Unit: Visual Arts - Stage 6

Project: Year 11 Identity

Focus Area: Subjective and Cultural Frames

Rational:
This unit of work has been designed for students to develop an understanding of the Frames and connection between the artwork,
artist, world and audience. The unit focuses on the exploration of the Subjective and Cultural frames whilst touching on structural
and post-modern. Students learn how to identify, compare and contrast subjective and cultural aspects of an artwork. Students will
also develop their practical skills in painting.

Students create a self portrait expressing their identity focusing on the subjective and cultural frames. Students will identify what
their influences were and how they believe their artwork will be perceived by the audience.
Timeline: Syllabus Outcomes Covered:

P1: explores the conventions of practice in artmaking

6 weeks,
18 lessons P2: explores the roles and relationships between the concepts of artist, artwork, world and audience
P3: identifies the frames as the basis of understanding expressive representation through the making of art

P4: investigates subject matter and forms as representations in artmaking

P7: explores the conventions of practice in art criticism and art history

P8: explores the roles and relationships between concepts of artist, artwork, world and audience through critical and historical investigations of
art

P9: identifies the frames as the basis of exploring different orientations to critical and historical investigations of art

Life Skills Outcomes Covered:

LS3 explores the function of and relationship between artists, artworks, the world and audiences

LS4 documents and represents ideas about the world including personal, social and cultural experiences and events

LS7 explores the ways in which ideas and experiences of the world are represented                                                   
Cross-Curriculum Priorities: General Capabilities:
History Numeracy - Interpret perspectives, proportions, timelines
-Discussion of clothing status, style and symbols are central to exploring Literacy - Reading, writing, interviews, responding to questions, interpreting visual
evidence of history literacy
ICT capabilities - Computer use, following weblinks, website
Geography usage/uploading/saving, printing
-Examining specific cultures and symbols allows students to gain Critical and Creative thinking - Interpreting visual signs and symbols, group
knowledge of how people cope and survive in different environments discussion
Ethical Understanding - Interpreting and respecting different cultures
Religious Education Personal and social capability - Group work, peer collaboration
-Many artworks examined include religious themes and spiritual
significance allowing students to explore similarities and differences
between cultures

Aboriginal and Torres Strait Islander History and culture -

Acknowledge social, cultural and historical trends

Quality Teaching Elements: Bloom’s Thinking Skills Utilised:

Intellectual Quality This six week unit of work includes relevant pedagogical strategies that support
Substantive Communication - Open class discussions creates diverse learners and creates a platform for students to utilise their skills to
sustained interactions between peers whereby understanding is explicit Remember, Understand, Apply and Anaylse knowledge, and begin to utilise
Deep knowledge -The subjective and cultural frame is centralised the skills to Evaluate.
throughout unit

Quality Learning Environment:

Social Support - emphasis on group work, active listening and peer
assessment creates a supportive environment
High Expectations - the unit is scaffolded for differentiated learners to
undertake challenging work that is explicit

Significance:
Connectedness - the social platform Instagram and Facebook is used
for students relatibility, creating connectedness
Inclusivity - the unit is scaffolded to enable exploration of diverse
cultures and identity
Literacy Approaches to Learning:
The unit of work provides opportunities for
students to develop their literacy skills,
through reading, writing, researching and
documenting data. Students must engage
in written, oral and visual language.
Numeracy Approaches to Learning:
The unit of work allows students to
demonstrate and further enhance their
numeracy skills through the use of
proportions, perspectives, quantities,
shapes, timelines, dates and patterns.
Technologies Integrated:
The flexibility of this unit enables students
to integrate a variety of ICT applications
into their research and documentation.
This includes computer usage, internet
search engine, word processing,
powerpoint, printing, scanning, uploading,
weblinks, website usage and website
building.
 Syllabus Content Teaching and Learning Tasks
Values and
Wk Content Outcome Core Task Modified or Extended Resources
Attitudes
Art criticism & P7: explores the Appreciate the Task 1,2,3: Overview of Identity UDL approach is utilised Whiteboard
art history: conventions of practice characteristics of practice and Frames offering multiple options for Ss and marker
Practice, in art criticism and art in the visual arts in to deliver their work pen. Index
conceptual history artmaking, art criticism, *T provides an overview of the art unit, cards and
framework and art history class expectations, safe working Ss can challenge themselves pens.
P8: explores the roles practices and practical tasks by going into more depth
and relationships Task 2 and 3 offer flexibility to Projector for
between concepts of *Ss explore identity and what it means learning as they allow students Youtube:
artist, artwork, world and to them to research designers of their https://www.
audience through critical choice youtube.co
1 and historical *Ss begin to analyse artwork and draw m/watch?
investigations of art connections between artist - artwork -
v=NICodKea
world- audience
dp0
*Overview of the frames
Resource 1
Assessment: Informal diagnostic
assessment used to gage level of
student prior knowledge
 Syllabus Content Teaching and Learning Tasks
Values and
Wk Content Outcome Core Task Modified or Extended Resources
Attitudes
Art criticism & P8: explores the roles Appreciate the different Task 4,5,6,7: Case study of Frida Flexibility of tasks enables Projector for
art history: and relationships meanings of artworks that Kahlo - Focus on Subjective and diverse learners to challenge Youtube
Conceptual between concepts of are valued Cultural Frame themselves utilising a UDL video:
Framework, artist, artwork, world and approach https://www.yo
Frames audience through critical *Ss research Frida Kahlo, exploring utube.com/wa
and historical aspects of her life and artwork tch?v=-
investigations of art oT7zwGWCv
Appreciate the different
*Ss identify cultural and subjective E
ways the world can be
P9: identifies the frames
interpreted in the making aspects of Kahlos work Images of
2-3 as the basis of exploring
of art and in the critical Kahlos works,
different orientations to * Ss compare and contrast
and historical
critical and historical Kahlos works with other artists Resource 2
interpretation of art
investigations of art
Assessment: Ss perform their own whiteboard
analysis of various artworks by and marker
Kahlo drawing connections to the pen
cultural and subjective frames
 Syllabus Content Teaching and Learning Tasks
Values and
Wk Content Outcome Core Task Modified or Extended Resources
Attitudes
Art criticism & P8: explores the roles Appreciate the Task 8,9: Structural Frame Multiple means of expression Images of
art history: and relationships characteristics of practice are offered for diverse learners Kahlos work
Conceptual between concepts of in the visual arts in * Ss explore structural to challenge themselves.
Framework, artist, artwork, world andartmaking, art criticism, components of an artwork Computers,
Frames audience through critical and art history paper,
and historical * Ss draw connection between VAPDs, pens,
Artmaking: investigations of art how the structural components effect paintbrushes,
Practice, the subjective/cultural frame paint
conceptual P9: identifies the frames Appreciate the
framework as the basis of exploring significance of expressive *Ss discuss key structural elements in Resource C
different orientations to representation in the Kahlos work
critical and historical visual arts
investigations of art *touch on post-modern frame
3-4
P1: explores the Assessment: Ss explore how
conventions of practice structural changes to an artwork
in artmaking can effect the audience response

P2: explores the roles

and relationships
between

the concepts of artist,

artwork, world and
audience
 Syllabus Content Teaching and Learning Tasks
Values and
Wk Content Outcome Core Task Modified or Extended Resources
Attitudes
Artmaking: P2: explores the roles Appreciate the Task 10, 11: Conceptualising Visually heavy tasks enables Computers,
Conceptual  and relationships significance of expressive Identity lower literacy student to VAPD
framework, Frames,  between representation in the demonstrate their learning
visual arts *Ss use Facebook to conceptualise through visual literacy whilst
Representation   https://www.cl
the concepts of artist, their own identity also allowing GAT Ss to extend
artwork, world and their technical skills in ICT. asstools.net/F
audience *Ss gain inspiration from Kahlo and B/home-page
other artists they have studied Identity task enables Aboriginal
P3: identifies the frames and Torres Straight Islander Projector
as the basis of *Ss consider how the audience will students to feel a sense of
connectedness.
for
understanding perceive their identity youtube:
4-5 expressive
https://www.yo
representation through Assessment: Ss explore their own
utube.com/wa
the making of art Identity through the cultural and
subjective frames tch?
P4: investigates subject v=NmBS_G2k
matter and forms as Hd4
representations in
artmaking
 Syllabus Content Teaching and Learning Tasks
Values and
Wk Content Outcome Core Task Modified or Extended Resources
Attitudes
Artmaking: P1: explores the Appreciate how the field Task 12: Identity Artmaking UDL approach enables Paint,
Practice, conceptual  conventions of practice of the visual arts offers Practice students to complete task paintbrushes,
framework, Frames,  in artmaking insights about at their own rate. VAPDs,
themselves, art and the * Ss explore the conventions of painting scanner or
Representation
P2: explores the roles world. with acrylics camera
and relationships
between * Ss use signs and symbols to
represent their identity in their artwork
the concepts of artist,
artwork, world and Assessment: Ss identify the
audience subjective and cultural frames as
the basis of their painting to
P3: identifies the frames reflect their Identity.
5-6 as the basis of
understanding
expressive
representation through
the making of art

P4: investigates subject

matter and forms as
representations in
artmaking
Week Lesso Teaching and learning tasks Reg
n

Week 1 1 Introduction to Identity

T provides overview of art unit, class expectations, practical tasks and safe working practices.

T provokes initial S response to the question “What is Identity?”

T uses informal diagnostic assessment of Ss prior knowledge of the subject identity by creating an open class discussing,
where Ss give their opinions of what ‘identity’ means. T documents on the whiteboard in a mind map

T uses mind map as an example to explain what identity means

Task 1: Ss write words, phrases or draw images on index cards describing something important to their identity.
Ss go around the room reading others cards and place stickers on ones they connect with. Class then discuss
what words were mostly identified with and why they think those cards were more popular

Ss with language difficulties can utilise visual literacy

2 Investigate Artist who explore Identity

T demonstrates Identity is perceived and expressed in various forms by presenting visual examples of self portraits.

Ss watch Youtube video How Artist Explore Identity https://www.youtube.com/watch?v=NICodKeadp0

Open class discussion: compare and contrast how artist in the video expressed their identity and why

Task 2: Students research at least 3 of the following artists and write a paragraph on how each artist expressed
their identity and why: Brett Whiteley, Glen Ligon, Adam Cullen, Tracey Moffatt, Chuck Close, Minela Krupic,
William Kentridge, Shirin Neshat, Frances Bacon

Peer collaboration supports inclusion

 3 Recap on the frames

T outlines the Frames, using powerpoint presentation (Resource 1 attached)

Task 3: Ss print off an artwork they researched in previous lesson, and create a mind map around the printed
image explaining how it relates to the 4 frames. Ss may work in pairs to complete this.

4 Case study - Frida Kahlo

T gives a description of Frida Kahlo outlining aspects of her life and artwork

Ss watch Frida Kahlo a Documentary to gain more insight: https://www.youtube.com/watch?v=-oT7zwGWCvE

Ss research Kahlo

Task 4: In groups Ss research Kahlo and create a timeline in their VAPDs of her major life events and artworks

Gifted and talented (GAT) Ss encouraged to explore and include worldly events and movements on their timelines that could have
effected Kahlo
Flexibility allows Lower ability (LA) Ss incorporate visuals to assist in documentation
Week 2
5 Case study - Frida Kahlo

The Two Fridas (1939) is projected at the front of the room. T prompts Ss to analyse the painting using the subjective and
cultural frame in open class discussion

T hands out worksheets for Ss to complete (Resource 2 attached)

Task 5: Ss complete worksheets by circle subjective words and cultural words then write their own description
using Key Words

GAT encouraged to explore in further detail the relationship between artist and world at the time of the artwork. They should
discuss how the work may be presented differently if painted today.

Worksheets help support LA students

 6 Case study - Frida Kahlo

Ss analyse The Broken Column (1944), focusing on subjective frame

Task 6: Ss write a description of the subjective aspects of The Broken Column using key words and compare and
contrast to subjective aspects of The Two Fridas.

GAT encouraged to explore why Kahlo displayed her identity in such graphic details

Worksheets with sentences starters provided for LA Ss

Week 3 7 Case study - Frida Kahlo

Ss analyse Self portrait with Cropped Hair (1940) in open class discussion.

Ss are prompted to compare and contrast with The Broken Column, The Two Fridas and artworks explored in task 3

Ss are encouraged to use key words

Task 7: Ss act as journalists to write or record a fake interview with Kahlo about her painting ‘Self Portrait with
Cropped Hair (1940). Ss should discuss questions with Kahlo about how the artwork reflects her identity and
incorporate the subjective and cultural frame.

Flexibility of the project allows Ss to extend their knowledge and use of different ICT

8 Case study - Frida Kahlo

Task 7: Ss complete their fake interviews and present them to the class
 9 Colour and composition - Structural frame

T revisits colour and composition

Ss explore primary and secondary colours, contrasting and complementary colours, different paint brushes, acrylic and oil paint

Ss explore how how colours can create mood and atmosphere

Ss explore line, shape, size, perspective, texture in a painting

(Resource C attached)

Task 8: Complete colour task and glue into VAPD

Week 4 10 How Structural elements effect the audience

T prompts open class discussion of how the structural elements of Kahlos works are vital in creating meaning and identity

Ss are encourages to talk about the form, brush strokes, line, colour, proportions etc

Ss are given print outs of a Kahlo painting they have studied and asked to change one structural element

Task 9: Ss change one structural element of a Frida Kahlo painting they have studied and justify how it would
change the subjective or cultural meaning of the work. Ss can use any form to change the image including paint,
drawing, charcoal, photoshop collage etc. (print and glue in VAPD)

Multiple means of expression are offered encouraging diverse learners to challenge themselves

11 How How Structural elements effect the audience

Ss complete their work and present to class

T touches on how their work fits into postmodern frame

Task 9: Ss complete their appropriation of Kahlos work and justify how Kahlos identity would be perceived
differently by the audience with the changes they made
 12 Students explore their own identity

Ss are prompted to explore aspects of their own identity

Ss create a Fakebook page to reflect on their culture and identity using website: https://www.classtools.net/FB/home-page

Ss watch tutorial: https://www.youtube.com/watch?v=NmBS_G2kHd4

Ss are asked to leave their profile picture blank

Task 10: Ss create their own ‘profile page’ on Fakebook website then print and glue into their VAPDs which
outlines aspects of their cultural identity, leaving their profile picture blank

Flexibility allows for further exploration by GAT, and also allows for more visual heavy work for LA

Week 5 13 Students explore their own identity

The Facebook profile page is used to prompt further Ss exploration into their own Identity

Ss begin to link visual stimuli between their culture and subjectivity, presenting their own individuality through images

(Their profile picture is still left blank)

Task 11: Ss collect images that reflect their culture and identity and ‘post’ them on their fakebook page. Ss reflect
on the relationship between artist - artwork - world - audience through the visuals they post, writing titles or
comments for each image. Ss print and glue into their VAPDs.

Flexibility allows for further exploration into Identity and ICT use by GAT, but also enables LA to demonstrate their learning
through visual literacy
 14 Identity artmaking practice

Using their fakebook profile page and images as inspiration, Ss conceptualise their own identity

Ss are to create their ‘profile picture’ by reflecting their identity through a painting of themselves

Ss should include emotive elements in their work that reflect their culture and identity

Ss should consider how the audience will perceive their work

Ss should be inspired by Kahlo and other artist they have studied and may choose to create an appropriation of an existing
artwork, so long as they have changed it to incorporate their own identity

Task 12: Students create a painting that reflects their identity and will be used as their ‘profile picture’

Aboriginal and Torres Straight Islander students can feel a sense of connectedness by exploring their culture

15 Identity artmaking practice

Ss work on painting

Task 12: Continued

Week 6 16 Identity artmaking practice

Ss work on painting

Task 12: Continued

17 Identity artmaking practice

Ss should complete their paintings in this lesson and leave to dry

Task 12: Finalise work

18 Identity Presentation

In open class discussion T prompts Ss to discuss how they interpret their peers work and how their paintings reflect the cultural
and subjective frame.

T touches on how the postmodern and structural frame have also been used - which will initiate student response for next unit of
work

Task 12: Ss complete their paintings and present them to the classroom. Ss photograph their paintings and
upload them into their fakebook profile picture to complete their profiles. Ss print profiles and glue in VAPDs.

Peer assessment and evaluation is utilised

Academic Justification
A Unit of work is purposefully created to ensure students receive high quality education that adheres to the NSW

Syllabus (NESA, 2012). Teachers must use effective programing to create lessons that cater to diverse learning needs

using relevant and engaging pedagogies that integrate strategies from the Universal Design for Learning, Blooms

Taxonomy (2001), as well as the Australian Professional Standards for Teachers (AITSL, 2017) and the Quality Teaching

(Model) in NSW Public Schools (Ladwig & Gore, 2009).

The development of the Unit of Work (attached) involved strategic sequencing and accommodation of the outcomes of

NSW Stage 6 Visual Arts Syllabus (NESA,2012), focusing on the development of students skills in interpreting art

through practice, the conceptual framework and the frames. The aim is for students to identify and demonstrate

theoretical and practical components of the Visual Arts Syllabus outcomes within the differentiated lessons.

Considering students age and learning level, appropriate strategies from Blooms Revised Taxonomy (2001) are

incorporated into the Stage 6 Unit of work. Senior students undertaking the preliminary course to the HSC, are

expected to master their ability to Remember, Understand, Apply and Analyse content, as well as begin to develop their

abilities to Evaluate.

Informal diagnostic assessment is utilised in the introductory lesson of the UOW, enabling the teacher to assess

students prior knowledge of the topic “Identity”. This activity enables the documentation of student progress, which

addresses AITSL Standard 5.1 ‘assess student learning’, and prompts any necessary modifications to lesson plans.
The central concept ‘Identity’ is maintained throughout the UOW, inwhich strategies from the Universal Design for

Learning (UDL) have been incorporated to enable diverse learners to examine the topic through numerous means of

presentation including literacy, narrative, video, class discussion, group work, painting as well as information and

communication technologies (ICT).

Lessons are scaffolded in week 1-3 to encourage peer collaboration and engagement in problematic knowledge 1.3 (QT

Model), prompting students to recognise and translate alternative perspectives of artists and their work. Students

explore the relationship between artist, artwork, world and audience adhering to outcome P8 (NESA, 2002). Tasks are

tactfully established to be ‘fun’ and relevant for all students to encourage class motivation by including key social

platforms Instagram and Facebook creating connectedness (QT Model) whilst advancing their ICT skills as well as their

literacy and numeracy skills, showcasing their understanding of the relevance of content to the VA framework (Blooms

Revised Taxonomy, 2001).

The UOW is designed for students to identify ‘the frames as the basis of exploring different orientations to critical and

historical investigations of art’ Outcome P9 (NESA, 2002), and the making of art, Outcome P3 (NESA, 2002), which can

be built upon throughout the course. Students are expected to execute their understanding of the Subjective and

Cultural Frames through art criticism and art history as well as art making practices. Students will ultimately use their

research and knowledge to conceptualise and create an artwork titled Identity through the medium of painting.
Students display their ability to apply subjective and cultural themes through the use of symbolism and context (Blooms

Revised Taxonomy, 2001), exhibiting their understanding of the relationship between artist, artwork, audience and world

P2 (NESA, 2002).

Tasks 8-9 focus on the development of practical abilities, encouraging students to use various materials and

techniques, or means of ‘Action and Expression’ (CAST, 2012), adhering to outcome P4 (NESA, 2002).

Students must document their work in their VAPDs and theory books which is essentially used for formal assessment of

student progress. It is vital that teachers monitor student participation in order to provide feedback and ensure they are

on task. Careful monitoring of class participation also assists in the prevention of discipline problems (Edwards & Watts

2004).

The UOW relies heavily on oral communication which is strategically incorporated to develop student/teacher

relationships and a sense of connectedness in the classroom. Aboriginal and Torres Straight Islander students

inparticular respond well to this means of communication as it reflects their history of non-written language (Chilisea,

2012). Students are also provided with additional support including visual examples, written guides and worksheet

sentence starters, assisting students with language difficulties, hearing impairments and behavioural problems, by

providing them with the opportunity to select their preferred way of processing information (Strain, Kohler, & Goldstein,
1996). This ensures high explicit quality criteria is met, adhering to Standard 3.5 ‘use effective classroom

communication’.

The differentiated strategies are also supportive of Gifted and talented (G&T) students. The flexibility of tasks enables

learners to advance their skills in a constructive manner, rather than just overloading them with more of the same work

causing negativity and dismissal of tasks (Rowley, Jennifer L, 2008).

Lessons are scaffolded to enable students of higher abilities to anaylse and evaluate more in depth content than their

peers. Task 4 is a key example of this inwhich G&T students are encouraged to go beyond the initial task of creating a

timeline of Kahlos life and work, and begin to explore worldly events and movements that could have affected Kahlos

practice, resulting in more depth and understanding of her influences. The teacher is used as a facilitator of knowledge

giving students the lead to engage in higher-order thinking, Standard 1.4 (Kanevsky, 2002).

The final lesson of the UOW invites students to engage in a showcase of their artwork, summarising what they

have learnt about the subjective and cultural frames and how they incorporated their knowledge into their

creation of their ‘Identity’. This is positive way for students to demonstrate their progress and creates a

rewarding experience inwhich students feel a sense of belongingness in the classroom (Jackson, 2011). The

differentiated strategies involved in this UOW enables all students to engage in meaningful and challenging

work that adhere to the NSW syllabus outcomes.

 References:

Australia Institute for Teaching and School Leadership (AITSL). (2014). Retrieved from
http://www.aitsl.edu.au

CAST, (2017). Retrieved from

http://www.cast.org/our-work/about-udl.html#.WZQYtrRy_zI

Crosland, K. and Dunlap, G. (2012). Effective Strategies for the Inclusion of Children With Autism in General
Education Classrooms. Volume: 36 issue: 3, page(s): 251-269

Chilisa, B. (2012). Indigenous research methodologies. California, USA: Sage.

Edwards, C.H. and Watts, V. (2004). Classroom Discipline and Management an Australasian Perspective.
Milton, QLD: John Wiley & Sons Australia, Ltd.

Eggen, P. and Kauchak, D. (2010). Educational Psychology: Windows on Classrooms. New Jersey:
Pearson.
 Harris. A. (1999). Teaching and Learning in the effective School. Haunts, UK: Ashgate Publishing

Jackson. Y. (2011). The Pedagogy of Confidence. NYC, USA: Teachers Collage Press

Ladwig, J.G. & Gore, J.M. (2009). Quality teaching in NSW Public Schools: a classroom practice guide.
Sydney Australia: Department of Education and Training. Retrieved from
http://web1.muirfield-h.schools.nsw.edu.au/technology/Programs/Template/Quality%20Teaching
%20Guide.pdf

Ladwig, J.G. & Gore, J.M. (2006). Quality teaching in NSW Public Schools: an assessment practice guide.
Sydney Australia: Department of Education and Training. Retrieved from
https://stjohnsprimarystaff.wikispaces.com/file/view/asspracg.pdf

Lewthwaite, B. E., Osborne, B., Lloyd, N., Boon, H., Llewellyn, L., Webber, T., Laffin, G., Harrison, M.,
Day, C., Kemp, C., & Wills, J. (2015). Seeking a Pedagogy of Difference: What Aboriginal Students and Their
Parents in North Queensland Say About Teaching and Their Learning. Australian Journal of Teacher Education,
40(5). Retrieved from
http://dx.doi.org/10.14221/ajte.2015v40n5.8

NSW Education Standards Authority (2012). Retrieved from

http://syllabus.nesa.nsw.edu.au/creative-arts/

Rowley, Jennifer L. Teaching Strategies to Facilitate Learning for Gifted and Talented Students.
Australasian Journal of Gifted Education, Vol. 17, No. 2, Dec 2008: 36-42. Retrieved from

<http://search.informit.com.au.ezproxy.uws.edu.au/documentSummary;dn=720828846652095;res=IELAPA >
ISSN: 1323-9686. [cited 10 Aug 17].

Strain P. S., Kohler F. W., Goldstein H. (1996). Peer-mediated interventions for young children with autism. In
Jensen P., Hibbs T. (Eds.), Psychosocial treatments of child and adolescent disorders (pp. 573-586). Bethesda, MD:
National Institutes of Health
 Visual Arts Years 7-10. Advice on Programing and Assessment. (2003). Retrieved from:
http://educationstandards.nsw.edu.au/wps/wcm/connect/9665b01d-0411-43f6-aec5-
f82e8e36b34e/visual_arts_710_support.pdf?MOD=AJPERES&CVID=

Wall, K. (2016). Is graffiti art? Or vandalism? TED-Ed. Retrieved from

https://www.youtube.com/watch?v=4GNoUYZhrT0

Resources
Resource A - Powerpoint ‘The Frames’ (17 slides)
Resource B - Subjective Frame Worksheet pg. 1 & 2, Cultural Frame Worksheet pg. 1 & 2
Resource C - Colour