Torn Paper Places

Overview

Students explore how colour, texture, shape, overlap and negative space communicate ideas in visual art. After viewing and discussing paper mosaics, they develop a torn-paper mosaic inspired by a local place, treasured object, pattern or mood, then respond respectfully to classmates’ artworks using Whakaute.

Learning intentions

• WALT notice and describe visual elements in paper mosaics.
• WALT use controlled tearing, overlapping, negative space and small amounts of glue.
• WALT develop an artwork that communicates a place, object, pattern or mood.
• WALT respond to another artist’s work with Whakaute.

Success criteria

• I can name at least two visual elements I notice, such as colour, texture, shape or space.
• I can tear paper carefully, overlap pieces intentionally and leave some negative space.
• I can use colour and arrangement to communicate an idea or feeling.
• I can care for materials and give a specific, respectful response to another artist.

Curriculum links

• Visual Arts — developing practical knowledge through experimenting with paper, colour, texture, shape and space.
• Visual Arts — developing ideas in response to a local place, treasured object, pattern or mood.
• Visual Arts — communicating and interpreting meaning through artworks.
• Te Mātaiaho — learning through respectful participation, care for materials, and responding to others with Whakaute.

Lesson structure (50 minutes)

1. 0–7 min · View and notice. Open the paper mosaic viewing slides and show two or three contrasting paper mosaics. Students silently notice details, then share: “What do you notice?” and “How do the colours and textures make you feel?” Record precise art words on the board, such as bright, muted, rough, smooth, layered, repeated and open.

2. 7–15 min · Demonstrate techniques. Teacher models on scrap paper how to tear with control, vary piece size, overlap pieces, leave intentional negative space and apply only a small amount of glue. Refer to the technique demonstration slides for the visual sequence. Students use finger movements to rehearse tearing in the air and identify one technique they will try.

3. 15–19 min · Plan an idea. Distribute the torn-paper mosaic planning sheet. Students choose one focus: a local place, treasured object, pattern or mood. They make a quick thumbnail sketch and select a limited colour palette, adding a short note explaining what they want the viewer to notice or feel.

4. 19–37 min · Create the mosaic. Teacher reminds students to work from large shapes to smaller details, keep some background visible, and check that every piece has a purpose before gluing. Students tear, arrange, adjust and glue paper to create their mosaic, sharing materials responsibly and keeping work areas tidy. Circulate and ask: “Where is your focal point?”, “What does the negative space do?” and “How is your colour choice helping your idea?”

5. 37–46 min · Gallery walk and response. Students place artworks on tables or display them around the room and walk quietly, leaving hands off others’ work. Use the art critique feedback cards to prompt a specific response; each student names one visual element and one feeling or idea they notice in a classmate’s work. Students may use the sentence frame: “I notice ___, and it makes me think or feel ___ because ___.”

6. 46–50 min · Whakaute reflection and tidy. Open the gallery walk and reflection slides and ask: “How did I care for my materials and respond to another artist?” Students complete the two-sentence reflection on the reflection section of the planning sheet, then return unused paper, wipe tables and place artwork safely to dry.

Resources

• the paper mosaic viewing slides
• the torn-paper mosaic planning sheet
• Coloured paper, including recycled and textured papers
• Plain backing paper or thin card
• Scissors for optional trimming only
• Glue sticks or small glue pots
• Pencils, black markers and crayons
• Tables covered with newspaper or reusable cloths
• Drying rack or labelled drying area
• the art critique feedback cards

Assessment

• During viewing, listen for students naming visual elements and connecting colour or texture with feelings and ideas.
• During making, check for controlled tearing, intentional overlap, visible negative space, economical glue use and a clear connection to the chosen inspiration.
• Review the planning-sheet reflection and gallery-walk responses for evidence of material care, specific visual language and respectful response to another artist.

Differentiation

• Provide pre-torn paper, larger pieces, thicker backing paper and a limited colour selection for students who need support with fine-motor control, planning or decision-making.
• Offer sentence starters and visual vocabulary on the board: “I notice…”, “The texture looks…”, “The colour suggests…” and “This makes me feel…”.
• Allow students to sketch a simple bold silhouette or repeating pattern rather than a detailed image; demonstrate each technique again at a small teacher table when needed.
• Challenge confident artists to create contrast between positive and negative space, use a repeated motif, or layer translucent paper to alter colour. Support EAL learners with gesture, images, peer rehearsal and opportunities to respond by pointing, drawing or speaking.