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1
Knowledge Organisers at TEMA
Student Guide
Year 7
Teaching and Learning at TEMA: We will equip all students with the skills, abilities, attributes and qualifications to pursue a fulfilling career, contribute positively to their communities and be active, global citizens.
2
Dear Year 7, This booklet is designed to provide you with the essential knowledge you need for each subject this term and will compliment what you are learning in your lessons. You should also be completing your home learning workbook. Within this booklet, we have included strategies that will help you to remember the information you need to become an expert! CONTENTS
1. Introduction to knowledge organisers
a. What are knowledge organisers?
b. Why should you use knowledge organisers?
c. How to use your knowledge organisers
2. Your knowledge organisers
Use your knowledge organisers to demonstrate our REACH Values of:
Subject Topic 1. English Poetry through the ages 2. Maths Subtraction 3. Science Sound 4. History The Tudors 5. Geography Ecosystems 6. RE Christian Practices 7. Spanish What I like to do 8. Digital
Communication Spreadsheets
9. PA Musical Theatre 10. Art Natural Form 11. Technology Designing a Product 12. Food Plating and Presentation
3
Introduction to Knowledge Organisers
4
Remember it Use the tables below to learn the Powerful Language from this unit
LOOK: Copy the word from the knowledge organiser or pages from your workpack
COVER & WRITE: Now try to write the word without looking
CHECK: Did you spell the word correctly? Can you say the word correctly?
DEFINE: What does the word mean? Can you use it in a sentence?
5
LOOK: Copy the word from the knowledge organiser or pages from your workpack
COVER & WRITE: Now try to write the word without looking
CHECK: Did you spell the word correctly? Can you say the word correctly?
DEFINE: What does the word mean? Can you use it in a sentence?
Connect it Link what you know together: write 3 key words and explain how they are linked. Describe how information links to another topic or subject.
6
Year
: 7 E
nglis
hU
nit T
itle:
Poe
try
thro
ugh
the
ages
Term
: Hal
f Ter
m 4
The
Pow
erfu
l Que
stio
n:Ho
w d
oes t
he p
oet p
rese
nt a
n id
ea in
thei
r poe
m u
sing
lang
uage
, str
uctu
re a
nd c
onte
xt?
Poet
ry a
s an
art f
orm
can
be
the
basis
of a
ll lit
erar
y st
udy.
Poe
try
teac
hes u
s the
impa
ct o
f say
ing
a lo
t in
few
wor
ds. I
t also
en
cour
ages
us t
o co
nsid
er th
e sin
gula
r im
pact
of e
ach
wor
d in
wha
t we
writ
e. W
hen
a sin
gle
Twee
t or F
aceb
ook
post
can
be v
ilifie
d, a
nd sp
read
like
wild
fire,
pot
entia
lly ru
inin
g a
youn
g pe
rson
’s re
puta
tion,
read
ing
poet
ry c
an h
elp
you
unde
rsta
nd th
e im
pact
of s
hort
-form
lang
uage
. Poe
try
also
hel
ps in
und
erst
andi
ng d
iffer
ent p
ersp
ectiv
es. T
each
ing
and
lear
ning
from
poe
try
can
help
you
resp
ect a
nd u
nder
stan
d th
e vi
ewpo
ints
of p
eopl
e ac
ross
the
glob
e.
You
shou
ld b
e ab
le to
:1.
Iden
tify
feat
ures
from
spec
ific
eras
(per
iods
of h
istor
y) o
f poe
try
2.Id
entif
y po
etic
tech
niqu
es in
a v
arie
ty o
f poe
ms f
rom
diff
eren
t era
s3.
Anal
yse
the
effe
cts
of p
oetic
tech
niqu
es o
n th
e re
ader
4.Ex
plai
n w
hy th
e ke
y fe
atur
es o
f an
era
have
bee
n us
ed b
y th
e po
et a
nd th
ese
feat
ures
enh
ance
the
poem
Pow
erfu
l Kno
wle
dge:
Po
wer
ful E
xam
ples
:
Pow
erfu
l La
ngua
geSy
nony
ms
Def
initi
on a
nd s
ente
nce
to c
onte
xtua
lize
1.St
anza
Vers
eSe
ctio
nLi
ke a
par
agra
ph o
r a v
erse
in a
song
. E.g
. Tha
t sta
nza
has 1
4 lin
es.
2.Ca
esur
a Pu
nctu
atio
nPa
use
Punc
tuat
ion
with
in a
line
. “O
, non
e, u
nles
s thi
s mira
cle
have
m
ight
”
3.En
jam
bem
ent
Flow
Th
is is
devi
ce u
sed
in p
oetr
y w
here
a se
nten
ce c
ontin
ues b
eyon
d th
e en
d of
the
line
or v
erse
. E.g
. If
you
coul
d he
ar, a
t eve
ry jo
lt, th
e bl
ood
Com
e ga
rglin
g fr
om th
e fr
oth-
corr
upte
d lu
ngs,
4.M
etap
hor
Sym
bol
Com
paris
on
This
is w
here
a w
ord
or p
hras
e is
used
to im
ply
figur
ativ
e re
sem
blan
ce, n
ot a
lite
ral o
r 'ac
tual
' one
. E.g
. He
flew
into
the
room
.
5.Ju
xtap
ositi
on
Cont
rast
Com
paris
on
Two
thin
gs b
eing
seen
or p
lace
d cl
ose
toge
ther
with
con
tras
ting
effe
ct. E
.g. A
ll's
fair
in lo
ve a
nd w
ar.
6.To
neM
ood
Emot
ion
Tone
is th
e cr
eatio
n of
moo
d in
a te
xt, s
uch
as sa
dnes
s, g
loom
, ce
lebr
atio
n, jo
y, a
nxie
ty, d
issat
isfac
tion,
regr
et o
r ang
er.
7.Sy
mbo
lism
Imag
ery
Repr
esen
tat
ion
Obj
ects
, col
ours
, sou
nds a
nd p
lace
s may
wor
k as
sym
bols.
The
y ca
n so
met
imes
giv
e us
an
insig
ht in
to th
e th
emes
. So,
snak
es a
re
ofte
n sy
mbo
ls of
tem
ptat
ion
as in
the
stor
y of
Ada
m a
nd E
ve a
nd
whi
te u
sual
ly s
ymbo
lises
inno
cenc
e
8.Pe
rson
ifica
tion
Imag
e em
bodi
men
t
This
is w
here
a h
uman
qua
lity
is at
trib
uted
to a
thin
g or
idea
. For
ex
ampl
e, th
e m
oon
calls
me
to h
er d
arke
ned
wor
ld.
9.Pa
thos
Sym
path
yTh
is is
lang
uage
that
evo
kes f
eelin
gs o
f pity
or s
orro
w.
10.D
iale
ctVe
rnac
ular
La
ngua
geTh
is is
a ve
rsio
n of
a la
ngua
ge sp
oken
by
peop
le in
a p
artic
ular
ge
ogra
phic
al a
rea.
11.Im
ager
yPi
ctur
es
Imag
esSt
rong
pic
ture
s or i
deas
are
cre
ated
in th
e m
ind
of th
e re
ader
. Si
mile
s, m
etap
hors
and
per
soni
ficat
ion
can
all b
e us
ed to
ach
ieve
th
is -t
hey
all c
ompa
re so
met
hing
'rea
l' w
ith so
met
hing
'im
agin
ed'
Eliz
abet
han
poet
ry
Met
aphy
sica
l poe
try
The
Rom
antic
s poe
try
•The
y pr
efer
red/
enc
oura
ged
spon
tane
ous
and
emot
iona
l re
spon
ses o
ver l
ogic
al th
ough
t•T
hey
valu
ed im
agin
atio
n ov
er a
ll m
enta
l fac
ilitie
s; th
ey
belie
ved
that
with
out i
mag
inat
ion,
you
wer
e no
t a h
uman
be
ing
•Sel
f-exp
ress
ion
and
indi
vidu
al fe
elin
g lo
ts o
f use
of t
he
pron
oun
“I”
•The
mes
of r
elig
ion
and
natu
re
•Men
tions
of c
hild
hood
and
inno
cenc
e•M
entio
ns o
f Gre
ek M
ytho
logy
•An
inte
rest
in a
nd c
once
rn fo
r the
out
cast
s of s
ocie
ty:
tram
ps, b
egga
rs, a
nd th
e po
or a
nd d
isreg
arde
d ar
e es
peci
ally
evi
dent
in R
oman
tic p
oetr
y
Wor
ld W
ar 1
–m
oder
nism
poe
try
Hon
our-
Som
ethi
ng re
gard
ed a
s a ra
re o
ppor
tuni
ty a
nd b
ringi
ng
prid
e an
d pl
easu
re; a
priv
ilege
.In
jury
-In
jury
bec
ame
a m
ajor
them
e in
Wor
ld W
ar I
poet
ry a
s di
sfig
urem
ent a
nd e
mot
iona
l dam
age
wer
e su
ffere
d by
so
man
y co
mba
tant
s.G
ende
r Rel
atio
ns-
Durin
g W
orld
War
1, t
he ro
le o
f wom
en w
as c
ruci
al fo
r Br
itain
to w
in th
e w
ar. W
hilst
men
wer
e fig
htin
g, w
omen
ba
ck h
ome
wer
e w
orki
ng h
ard
to m
ake
amm
uniti
on a
nd
rebu
ild th
e co
untr
y as
wel
l as l
ooki
ng a
fter
the
fam
ily.
Poet
ic fo
rmal
ism
-A
late
20t
h-an
d ea
rly 2
1st-
cent
ury
mov
emen
t tha
t ch
ampi
oned
a re
turn
to rh
yme
and
met
er in
poe
try.
Cont
empo
rary
poe
try
1. C
onte
mpo
rary
poe
try
is of
ten
writ
ten
in fr
ee v
erse
(u
nrhy
med
and
with
no
spec
ific
met
rical
rhyt
hm).
2. R
eade
rs k
now
and
can
ass
ocia
te w
ith th
e la
ngua
ge.
3. It
is b
rief.
4. T
he p
oet l
aces
the
poem
with
imag
es u
sing
all t
he
read
er’s
sen
ses.
5. It
invi
tes t
he re
ader
to in
terp
ret t
he p
oem
with
out
yelli
ng fr
om th
e ro
ofto
ps th
e tr
ue m
eani
ng o
f the
poe
m.
Sonn
et fo
rm-
Fixe
d ve
rse
poet
ry o
f Ita
lian
orig
in c
onsis
ting
of
14 li
nes.
Blan
k ve
rse-
Vers
e w
ithou
t rhy
me,
es
peci
ally
that
whi
ch u
ses
iam
bic
pent
amet
ers.
Refe
renc
e to
the
mon
arch
y-Ro
yal f
amily
of a
cou
ntry
.Do
uble
ent
endr
es-
A fig
ure
of sp
eech
or a
pa
rtic
ular
way
of w
ordi
ng
that
is d
evise
d to
be
unde
rsto
od in
two
way
s,
havi
ng a
dou
ble
mea
ning
.Th
e Sh
akes
pear
ean
sonn
et-r
hym
e sc
hem
eab
ab c
dcd
efef
gg
Them
es: S
pirit
ual a
nd re
ligio
us th
emes
. It
focu
ses o
n lo
ve a
nd u
nion
of t
he so
ul.
Lite
rary
dev
ices
: Use
s m
etap
hors
, par
adox
es
and
puns
to cr
eate
tens
ion.
Met
aphy
sical
po
etry
use
s sci
entif
ic, m
edic
al a
nd le
gal w
ords
.Po
ets:
Met
aphy
sical
poe
ts a
re k
now
n fo
r the
ir in
telle
ct a
nd m
ost g
radu
ated
from
Oxf
ord
or
Cam
brid
ge u
nive
rsity
. U
ncla
rity:
Oft
en c
onsid
ered
am
bigu
ous
beca
use
of h
ow in
telli
gent
the
poem
s wer
e.
Som
etim
es th
e po
ems a
re h
ard
to u
nder
stan
d.M
etap
hysi
cal c
once
its: A
com
paris
on o
f tw
o di
ssim
ilar t
hing
s whi
ch h
ave
very
litt
le in
co
mm
on.
Wit:
Usin
g w
ords
and
figu
res o
f spe
ech
to
crea
te p
leas
ure
for t
he re
ader
sPl
aton
ic lo
ve: A
spiri
tual
love
, whi
ch is
free
fr
om e
lem
ents
of p
hysic
al lo
ve.
Whe
n w
ritin
g yo
ur o
wn
anal
ysis
, con
side
r thi
s ch
eckl
ist:
Hav
e yo
u m
ade
a po
int t
o an
swer
the
ques
tion?
Have
you
got
evi
denc
e fr
om th
e po
em?
Nam
e th
e te
chni
que
in th
e qu
otat
ion
from
the
poem
.Ha
ve y
ou p
icke
d on
e w
ord
to zo
om in
on
and
anal
yse
its
conn
otat
ions
?Yo
u ha
ve e
xplo
red
the
effe
ct o
n th
e re
ader
?Ex
plai
n w
hy th
e po
et h
as in
clud
ed it
usin
g co
ntex
t? H
ave
you
anal
ysed
the
stru
ctur
e of
the
poem
? Ha
ve y
ou a
naly
sed
the
tone
of
the
poem
? Ha
ve y
ou a
naly
sed
the
title
of t
he p
oem
?
Ow
en w
as a
war
poe
t dur
ing
the
end
of W
orld
War
1 a
nd h
is po
ems r
efle
ct th
e de
stru
ctio
n an
d so
mbr
e fe
elin
gs th
at w
ere
left
be
hind
. The
title
‘Dul
ce e
t Dec
orum
Est
’ tra
nsla
ted
to E
nglis
h m
eans
‘it i
s sw
eet a
nd h
onou
rabl
e’. T
his s
ugge
sts t
hat t
he p
oem
m
ight
hav
e a
patr
iotic
tone
and
cel
ebra
ting
the
sold
iers
. How
ever
, as
the
poem
dev
elop
s, O
wen
pre
sent
s war
as g
rues
ome
and
grap
hic.
Ow
en d
escr
ibes
how
“th
e bl
ood
Com
e ga
rglin
g fr
om th
e fr
oth-
corr
upte
d lu
ngs”
of o
ne o
f the
sold
iers
he
witn
esse
d dy
ing
durin
g hi
s tim
e at
war
. Thi
s ver
b ph
rase
“Th
e bl
ood
com
e ga
rglin
g”
is an
exp
licit
desc
riptio
n th
at a
llow
s the
read
er to
alm
ost i
mag
ine
the
horr
ors o
f cho
king
on
your
ow
n bl
ood
befo
re d
ying
. I th
ink
that
Ow
en h
as d
one
this
to sh
ow h
is re
ader
s tha
t war
was
not
w
hat p
eopl
e ha
d th
ough
t tha
t it w
as, a
s dur
ing
the
early
par
ts o
f th
e w
ar, m
any
writ
ers p
ortr
ayed
it in
a e
xciti
ng a
nd p
ositi
ve li
ght.
The
adje
ctiv
e “f
orth
-cor
rupt
ed”
show
s how
the
sold
iers
wer
e tr
icke
d in
to g
oing
to w
ar a
nd w
ere
naïv
e to
wha
t it w
as g
oing
to b
e lik
e fo
r the
m. T
his q
uota
tion
can
be fo
und
tow
ards
the
end
of th
e la
st st
anza
, whi
ch c
ould
repr
esen
t tha
t the
sold
iers
’ dea
ths w
ere
inev
itabl
e an
d ab
rupt
. It i
s cle
ar th
at th
e tit
le d
oes n
ot se
t the
tone
fo
r the
rest
of t
he p
oem
as t
he re
st is
som
bre
and
deta
iled
in
horr
or, l
eavi
ng th
e re
ader
feel
ing
alm
ost g
uilty
or i
n sh
ock
at th
e sit
uatio
n of
war
.
How
doe
s Ow
en u
se to
ne to
show
his
feel
ings
abo
ut w
ar in
‘D
ulce
et D
ecor
um E
st’?
Impr
oper
frac
tions
32 10−
5 4=
64 20−
25 20=
39 20
Exac
tly th
e sa
me
as
addi
ng p
rope
rfra
ctio
ns
39 20=
20 20+
19 20=
1+
19 20=
119 20
Neg
ativ
es a +
-b=
a –
b
Exam
ples
5 -- 2
= 5
+ 2
= 7
Non
-Exa
mpl
es
5 -- 2
≠
3
Parti
al D
iffer
ence
s Th
is re
quire
s a g
ood
unde
rsta
ndin
g of
ne
gativ
e nu
mbe
rs
but i
t wor
ks fo
r eve
ry
subt
ract
ion.
5 4
3-2
5 7
3 0
0-1
0-4
2 8
6
2 8
1-5
7 6
- 3 0
0 1 0
-5
-2
9 5
Inve
rted
Add
ition
Ever
y su
btra
ctio
n ca
n be
rew
ritte
n a
s an
addi
tion
beca
use
they
are
in
vers
e op
era
tions
.
Wha
t do
you
ad
d
to th
e su
btra
hend
to m
ake
the
min
uend
?
Cou
ntin
g Up
Cou
ntin
g up
is sim
ilar t
o th
e ju
mp
met
hod
we
saw
in a
dditi
onbu
t we
are
findi
ng a
n ad
dend
inst
ead
of th
e su
m.
Mat
hs: S
UBTR
AC
TION
POW
ERFU
L LA
NG
UAG
EPO
WER
FUL
EXA
MPL
ES
KEYW
ORD
DEFI
NITI
ON
1.M
inue
ndTh
e nu
mbe
r to
be
subt
ract
ed fr
om
2. S
ubtra
hend
The
valu
e th
at w
ill be
subt
ract
ed
3. D
iffer
ence
Resu
lt of
Sub
tract
ion
4. S
ubtra
ctio
nRe
mov
es a
val
ue
from
a n
umbe
r
5. In
vers
e op
erat
ion
Has t
he o
ppos
ite
effe
ct to
ano
ther
op
erat
ion
6. A
dditi
veRe
latin
g to
ad
ditio
n or
subt
ract
ion
7. A
ggre
gatio
nC
ombi
ning
par
ts to
fin
d th
e w
hole
8. A
ugm
enta
tion
Com
bini
ng th
e pr
evio
us n
umbe
r w
ith a
new
val
ue
9. P
artit
ioni
ngRe
writ
ing
as a
sum
of
parts
10. R
educ
tion
Rem
ovin
g a
valu
e fro
m th
e pr
evio
us
num
ber
11. D
iffer
ence
C
ompa
ring
the
addi
tive
valu
e of
nu
mbe
rs
12. P
roof
Fo
r now
, sho
win
g so
met
hing
in m
aths
is
true
(with
out u
sing
the
piec
e of
mat
hs
you’
re p
rovi
ng)
13. A
dditi
ve
inve
rse
Has t
he o
ppos
ite
effe
ct to
ano
ther
ad
den
d
Col
umn
Subt
ract
ion
54 31 2
12
-2
5
72
7
5
532
–25
7 =
275
Effic
ient
in m
ost c
ases
.
This
met
hod
will
not w
ork
whe
n s >
m
Deci
mal
s
4 9
. 76
1 0-0
6 .
5 4
4 3
. 1
6
Line
up th
ede
cim
alpo
int a
nd fi
ll a
ny b
lank
sp
ace
s with
ze
ros.
7 5
. 1
-4 .
6 9
3 1
. 8
Prop
er F
ract
ions
Equi
vale
nt D
iffer
ence
s
If yo
u au
gmen
t/ re
duce
the
min
uend
and
the
subt
rahe
ndby
the
sam
eva
lue
then
the
diffe
renc
ew
ill be
equ
ival
ent.
a –
b =
(a ±
n) –
(b ±
n)Ex
ampl
es16
5 –
98 =
(165
+ 2
) –(9
8 +
2)
= 16
7 –
100
= 67
25.5
–11
.2 =
(25.
5 –
1.2)
–(1
1.2
–1.
2) =
24.
3 –
10 =
14.
34¼
-2½
= (4
¼ +
½) –
(2½
+
½) =
4¾
-3
= 1¾
N
on-E
xam
ple
165
+ 98
≠ (1
65 +
2) +
(98
+ 2)
15 –
9 ≠
(15
x 2)
–(9
x 2
)14
–6
≠ (1
4 ÷
2) –
(6 ÷
2)
Frac
tions
:Yo
u ca
n su
btra
ctan
ytw
o fra
ctio
ns b
ut to
ass
ocia
teth
e nu
mer
ator
s, th
e de
nom
inat
orsm
ust b
e eq
ual.
If th
ey a
re u
nequ
al th
en
you
are
tryin
g to
add
nu
mbe
rs w
ith d
iffer
ent
units
whi
ch w
e ca
nnot
do
.
Usin
g th
e lo
wes
t com
mon
m
ultip
le o
f the
two
deno
min
ator
sis t
he m
ost
effic
ient
way
to a
ddth
e fra
ctio
ns. A
lthou
gh u
sing
any
com
mon
mul
tiple
will
gene
rate
the
corre
ct
diffe
renc
e.
3 10=
6 201 4
=5 20
Mix
ed n
umbe
rs
53 8−
21 6
=(5
−2)
+(3 8−
1 6)
=5−
2+
9 24−
4 24
=3
5 24
Ass
ocia
teth
e in
tege
rsan
d fra
ctio
nal
parts
sepa
rate
lySu
btra
ct th
e fra
ctio
ns a
s you
nor
mal
ly
wou
ld
Scal
eea
ch
fract
ion
Non
-Exa
mpl
e3 10−
1 4=
2 6
You
cann
ot ju
st s
ubtra
ctth
e nu
mer
ator
san
d
deno
min
ator
s
3 10−
1 4=
6 20−
5 20=
1 20LC
Mof
4 a
nd 1
0 is
20Sc
ale
each
frac
tion
to
have
a d
enom
inat
orof
20
subt
ract
the
num
erat
ors
Key
Fact
s
Subt
ract
ion
is th
e in
vers
e op
erat
ion
of a
dditi
on.
Add
ition
and
sub
tract
ion
are
inve
rse
oper
atio
ns b
ut th
ey a
re o
ppos
ites
with
in th
e sa
me
addi
tive
wor
ld.
Whe
n th
e m
inue
nd>
subt
rahe
nd,
the
diffe
renc
eis
posit
ive.
Whe
n th
e m
inue
nd=
subt
rahe
nd,
the
diffe
renc
eis
0.W
hen
the
min
uend
< s
ubtra
hend
, th
e di
ffere
nce
is ne
gativ
e.
The
ord
er y
ou s
ubtra
ctnu
mbe
rs
doe
s not
mat
ter,
the
size
of th
e nu
mbe
r will
be ri
ght b
ut th
e sig
nm
ight
be
wro
ng –
Wor
k ou
t the
sign
first
and
then
the
size
Law
s of
Arit
hmet
ic
Non
-ass
ocia
tive
(a -
b) -
c ≠
a -(
b -c
)W
hen
3 or
mor
e te
rms a
re
bein
g su
btra
cted
the
orde
r in
whi
ch y
ou u
se th
e op
erat
ors w
illaf
fect
the
diffe
renc
e.
Ant
icom
mut
ativ
eC
omm
utin
gth
e m
inue
ndan
d th
e su
btra
hend
inve
rts th
e sig
nof
the
diffe
renc
ebu
t the
val
ueis
the
sam
e.If
a –
b =
cth
en b
–a
= - c
POW
ERFU
L KN
OW
LEDG
E
78 -
74 =
?
?+
74 =
78
74 +
?=
78
9 /11
-3/ 1
1=
??
+ 3 /
11=
9 /11
3 /11
+ ?
= 9 /
11
1 -0
.98
= ?
?+
0.98
= 1
0.98
+ ?
= 1
Exam
ple
Non
-Exa
mpl
e
- 5 -
- 2=
- 5 +
2
= - 3
-a
Subt
ract
ing
a nu
mbe
r is e
quiv
alen
tto
add
ing
its in
vers
e.
10
Year
: 7 S
cien
ceU
nit T
itle:
Sou
ndTe
rm: H
T4
The
Pow
erfu
l Que
stio
n:Ho
w d
o liv
ing
thin
gs h
ear?
Hear
ing
is ho
w w
e pe
rcei
ve s
ound
. It's
how
our
ear
s tak
e so
und
wav
es a
nd tu
rn th
em in
to so
met
hing
our
bra
in c
an
unde
rsta
nd. F
irstly
, the
obj
ect p
rodu
cing
the
soun
d vi
brat
es. I
t cau
ses t
he p
artic
les i
n th
e ob
ject
to v
ibra
te. T
his e
nerg
y is
tran
sfer
red
betw
een
part
icle
s in
the
obje
ct, t
o th
e ai
r. Pa
rtic
les c
ause
the
ener
gy to
be
tran
sfer
red
and
this
in tu
rn c
ause
syo
ur e
ar d
rum
to v
ibra
te. T
he v
ibra
tions
of y
our e
ar d
rum
cau
se th
e tin
y ha
irs in
the
coch
lea
to v
ibra
te. T
his c
ause
s an
elec
tric
al si
gnal
to b
e se
nt th
roug
h th
e ne
rve
to th
e br
ain
and
this
is ho
w li
ving
thin
gs h
ear.
You
shou
ld b
e ab
le to
:1.
Iden
tify
the
diffe
rent
par
ts o
f a w
ave.
2.Ex
plai
n ho
w so
und
trav
els f
rom
one
pla
ce to
ano
ther
.3.
Desc
ribe
the
diffe
renc
e be
twee
n lo
ngitu
dina
l and
tran
sver
se w
aves
.4.
Iden
tify
wha
t can
dam
age
hear
ing.
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
1.So
und
prod
uced
by
vibr
atio
ns o
f obj
ects
. 2.
Soun
d w
aves
are
mea
sure
d in
freq
uenc
y (h
ertz
, Hz)
.3.
Soun
d ca
n be
refle
cted
(ech
o) o
r abs
orbe
d.4.
Soun
d ne
eds a
med
ium
to tr
avel
.5.
The
spee
d of
soun
d in
air,
wat
er a
nd so
lids v
arie
s.6.
How
soun
d is
prod
uced
from
loud
spea
kers
, det
ecte
d by
a m
icro
phon
e an
d by
the
ear.
7.So
und
wav
es a
re lo
ngitu
dina
l.8.
Audi
tory
rang
e of
hum
ans a
nd a
nim
als.
Pow
erfu
l Exa
mpl
es: H
ow s
ound
trav
els
Pow
erfu
l La
ngua
geSy
nony
ms
Def
initi
on a
nd s
ente
nce
to c
onte
xtua
lise
1.Vi
brat
e M
ove
from
sid
e to
side
Mov
e co
ntin
uous
ly a
nd ra
pidl
y ba
ckw
ards
and
forw
ards
. e.
g. P
artic
les i
n th
e ai
r vib
rate
.
2. S
ound
N
oise
Vibr
atio
ns in
a w
ave
whi
ch a
llow
you
to h
ear s
omet
hing
. e.g
. Th
e al
arm
is m
akin
g an
ann
oyin
g so
und.
3. W
ave
Ener
gy
tran
sfer
A w
ave
is a
tran
sfer
of e
nerg
y fr
om o
ne p
oint
to a
noth
er in
a
spec
ific
dire
ctio
n. e
.g. A
soun
d w
ave
trav
eled
from
a p
erso
ns
voic
e bo
x to
ano
ther
per
sons
ear
.
3.Ec
hoBo
unce
d ba
ckA
soun
d ca
used
by
the
refle
ctio
n of
soun
d w
aves
from
a sm
ooth
su
rfac
e ba
ck to
the
liste
ner.
E.g.
The
soun
d ec
hoed
of t
he w
alls
.
4. C
alcu
late
Wor
k ou
tCa
rry
out a
mat
hem
atic
al q
uest
ion.
e.g
. Cal
cula
te th
e m
ean
of
this
dat
a.
5. V
olum
e Lo
udne
ssVo
lum
e re
fers
to h
ow lo
ud s
omet
hing
is.
. e.g
. Sar
ah’s
wife
list
ened
to h
er m
usic
at a
ver
y hi
gh v
olum
e.
6. F
requ
ency
N
umbe
r of
The
num
ber o
f wav
es p
rodu
ced
each
seco
nd.e
.g. T
he
freq
uenc
y of
the
wav
e w
as 3
Hz.
7. P
itch
Ampl
itude
The
freq
uenc
y of
a w
ave.
Sou
nds w
ith a
hig
h pi
tch
have
a h
igh
freq
uenc
y. E
.g. T
he w
hist
le w
as v
ery
high
pitc
hed.
8. R
efle
ctio
nBo
unce
bac
k,
mirr
or im
age
Ther
e is
a re
flect
ion
whe
n w
aves
bou
nce
off a
surf
ace.
E.g
. The
so
und
wav
e re
flect
ed o
ff th
e m
irror
.
9. O
scill
atio
nVi
brat
ion,
w
ave
Osc
illat
ions
are
a re
peat
ed v
ibra
tion
(wav
e). E
.g. A
mac
hine
sh
ows a
wav
es o
scill
atio
n.
10. E
arLi
sten
ing
orga
nAn
org
an w
hich
allo
ws y
ou to
hea
r. E.
g. M
icha
el li
sten
ed to
the
mus
ic u
sing
his
ear
s.
Refla
tion
Soun
d w
aves
can
refle
ct o
ff su
rfac
es. W
e he
ar so
und
refle
ctio
ns a
s ech
oes.
Har
d, sm
ooth
surf
aces
are
par
ticul
arly
go
od a
t ref
lect
ing
soun
d. T
his i
s why
em
pty
room
s pro
duce
lo
ts o
f ech
oes.
Soft
, rou
gh su
rfac
es a
re g
ood
at a
bsor
bing
soun
d. T
his i
s why
ro
oms w
ith c
arpe
ts a
nd c
urta
ins d
o no
t usu
ally
pro
duce
lots
of
echo
es.
Soun
dW
hen
an o
bjec
t or
subs
tanc
e vi
brat
es, i
t pr
oduc
es so
und.
For
ex
ampl
e, w
hen
you
spea
k, y
our v
oice
box
vi
brat
es. T
hese
soun
d w
aves
can
onl
y tr
avel
th
roug
h a
solid
, liq
uid
or g
as. T
hey
cann
ot
trav
el th
roug
h em
pty
spac
e.
The
mai
n pa
rts o
f the
ear
The
eard
rum
vib
rate
s whe
n so
und
wav
es re
ach
it. T
he
mid
dle
ear b
ones
car
ry th
e vi
brat
ions
from
the
ear d
rum
to
the
coch
lea.
The
coc
hlea
co
ntai
ns c
ells
whi
ch a
re
sens
itive
to so
und
vibr
atio
ns.
They
cha
nge
soun
d in
to n
erve
im
pulse
s. A
udito
ry n
erve
car
ries
nerv
e im
pulse
s fr
om th
e co
chle
a to
the
brai
n.
Wha
t hap
pens
whe
n th
e ea
r is d
amag
ed?
Hear
ing
loss
occ
urs w
hen
the
tiny
hair
cells
are
dam
aged
or
die.
The
hai
r cel
ls do
not
regr
ow, s
o m
ost h
earin
g lo
ss c
ause
d by
hai
r cel
l dam
age
is pe
rman
ent.
How
are
ultr
asou
nds u
sed
arou
nd th
e w
orld
?U
ltras
ound
s are
use
d ar
ound
the
wor
ld. A
pul
se o
f ultr
asou
nd
is se
nt o
ut fr
om th
e sh
ip. I
t bou
nces
off
the
seab
ed o
r sho
al o
f fis
h an
d th
e ec
ho is
det
ecte
d. T
he ti
me
take
n fo
r the
wav
e to
tr
avel
indi
cate
s the
dep
th o
f the
seab
ed.
coch
lea
sem
i-circ
ular
cana
ls
eust
achi
an tu
be
ham
mer
, anv
ilan
d st
irrup
ear d
rum
nerv
e to
br
ain
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
Key
Conc
epts
:•
Chris
tiani
ty -
The
nam
e of
a re
ligio
n w
hich
incl
udes
lots
of d
iffer
ent b
elie
fs a
nd
smal
ler g
roup
s e.g
. Pr
otes
tant
& C
atho
lic•
Chur
ch-T
he n
ame
give
n to
the
orga
nisa
tion
of th
e Ch
urch
as w
ell a
s the
bui
ldin
g.
Key
Fact
s:He
nry
Tudo
r –Be
cam
e ki
ng a
fter
kill
ing
Rich
ard
III in
148
5. H
e av
oide
d w
ars a
nd
mar
ried
Eliza
beth
of Y
ork.
The
y ha
d 7
child
ren,
onl
y 4
surv
ived
. Th
eir 1
stso
n Ar
thur
di
ed in
150
2, s
o th
eir 2
ndso
n He
nry
beca
me
King
= H
enry
Viii
.He
nry
VIII
–W
ell k
now
n fo
r his
6 w
ives
and
cha
ngin
g th
e re
ligio
n of
Eng
land
. He
was
ha
ndso
me,
ath
letic
and
cle
ver.
He sp
ent m
oney
on
war
s and
wan
ted
to b
e a
fam
ous
king
. He
set u
p a
new
relig
ion
in E
ngla
nd to
gai
n a
divo
rce
from
Cat
herin
e of
Ara
gon.
Re
form
atio
n–
Henr
y’s 1
stw
ife fa
iled
to g
ive
him
a m
ale
heir
so h
e w
ante
d a
divo
rce.
He
had
falle
n in
love
with
Ann
e Bo
leyn
who
was
pre
gnan
t with
his
child
. The
Pop
e sa
id n
o. S
o He
nry
mad
e hi
mse
lf he
ad o
f the
Chu
rch
of E
ngla
nd a
nd c
hang
ed th
e re
ligio
n of
Eng
land
. Thi
s sta
rted
a se
ries o
f rel
igio
us c
hang
es u
nder
his
child
ren'
s re
igns
. Ed
war
d VI
–He
nry’
s 3rd
child
, onl
y so
n. H
is m
um w
as Ja
ne S
eym
our w
ho d
ied
shor
tly
2 w
eeks
aft
er h
e w
as b
orn.
He
beca
me
king
at t
he a
ge o
f 9, h
e w
as a
stric
t pro
test
ant.
He w
ante
d En
glan
d to
be
Prot
esta
nt. H
e di
ed a
ged
15 o
f tub
ercu
losis
.M
ary
I –He
nry’
s 1st
child
. Her
mum
was
Cat
herin
e of
Ara
gon.
She
was
a d
evot
e ca
thol
ic a
nd w
ante
d En
glan
d to
be
Cath
olic
aga
in. S
he g
aine
d th
e ni
ckna
me
‘Blo
ody
Mar
y’ a
s she
kill
ed 3
00 P
rote
stan
ts b
y bu
rnin
g th
em a
live.
El
izab
eth
I –He
nry’
s 2nd
child
. Her
mum
was
Ann
e Bo
leyn
. She
was
a p
rote
stan
t. Sh
e de
feat
ed th
e Sp
anish
Arm
ada
agai
nst P
hilli
p II
of S
pain
. She
rule
d fo
r 45
year
s and
her
re
ign
was
cal
led
the
Gold
en E
ra a
nd sh
e w
as a
pop
ular
que
en. S
he w
as a
pro
test
ant
but n
ot st
rict.
She
neve
r mar
ried
and
was
kno
wn
as th
e ‘V
irgin
Que
en’,
she
died
ch
ildle
ss.
Tudo
r Pun
ishm
ents
–th
ese
incl
uded
: Sco
ld’s
Brid
le, D
runk
ards
Clo
ak, H
angi
ng,
Exec
utio
n, B
ehea
ding
and
Whi
ppin
g to
nam
e a
few
.Tu
dor S
choo
l’s –
A bi
rch
coul
d be
use
d, th
is w
as w
hip
used
to h
it ch
ildre
n w
ho
misb
ehav
ed in
scho
ol. T
hey
wou
ld w
rite
usin
g qu
ill’s
. you
cou
ld b
e pu
nish
ed fo
r bei
ng
late
, fig
htin
g an
d fo
rget
ting
a bi
ble
pass
age.Po
wer
ful Q
uest
ion:
‘How
was
Rel
igio
n ch
ange
d an
d so
ciet
y im
pact
ed u
nder
the
rule
of t
he T
udor
s?’
This
topi
c lo
oks a
t key
feat
ures
of t
he T
udor
per
iod.
Thi
s inc
lude
s the
life
of H
enry
VIII
, mar
riage
, Sp
anish
Arm
ada
and
cha
nges
to re
ligio
n by
4 m
onar
chs.
It w
ill fo
cus o
n bo
th c
ause
and
con
sequ
ence
an
d ev
alua
ting
evid
ence
look
ing
at th
e im
pact
of d
iffer
ent i
ndiv
idua
ls an
d ev
ents
.
You
shou
ld b
e ab
le to
: 1.
Des
crib
e ke
y fe
atur
es o
f the
con
tent
they
lear
n.
2. A
naly
se e
vide
nce
to c
onsid
er u
tility
and
how
sour
ces c
an b
e fo
llow
ed u
p.3.
Exp
lain
why
eve
nts h
appe
ned
and
the
impa
cts t
hey
had.
4.
Con
sider
diffe
rent
inte
rpre
tatio
ns a
nd g
ive
an e
xpla
natio
n as
to w
hy th
ey g
ive
diffe
rent
opi
nion
s.
Year
: 7 H
isto
ryU
nit T
itle:
Tud
ors
Term
: Hal
f Ter
m 4
Pow
erfu
l Exa
mpl
es:
Case
Stu
dy: B
reak
with
Rom
eHe
nry’
s 1st
wife
Cat
herin
e of
Ar
agon
faile
d to
giv
e hi
m a
mal
e he
ir so
he
wan
ted
a di
vorc
e. H
e ha
d fa
llen
in lo
ve w
ith A
nne
Bole
yn
who
was
pre
gnan
t with
his
child
. He
nee
ded
this
child
to b
e le
gitim
ate.
But
the
Pope
hea
d of
th
e Ca
thol
ic c
hurc
h sa
id n
o to
the
divo
rce.
Hen
ry th
ough
t the
Pop
e w
as to
o po
wer
ful a
nd h
e di
dn’t
like
the
Pope
telli
ng h
im w
hat t
o do
so
he se
t up
his o
wn
relig
ion
and
mad
e hi
mse
lf he
ad o
f the
Chu
rch
of E
ngla
nd.
Tudo
r fam
ily
even
ts:
1170
–He
nry
VII,
the
first
Tu
dor m
onar
ch,
is cr
owne
d15
09-H
enry
VI
II be
com
es
king
.15
34-A
ct o
f Su
prem
acy
is pa
ssed
mak
ing
Henr
y He
ad o
f th
e Ch
urch
of
Engl
and.
Henr
y VI
II’s
lega
cy:
1547
-Edw
ard
VI b
ecom
es
King
1553
-Mar
y I
beco
mes
Q
ueen
1558
-Eliz
abet
h I b
ecom
es
Que
en15
87-M
ary,
Q
ueen
of S
cots
is
exec
uted
1588
-Spa
nish
Ar
mad
a
Pow
erfu
l La
ngua
geSy
nony
ms
Defin
ition
and
sent
ence
to c
onte
xtua
lise
1.Tu
dor
The
dyna
sty/
fam
ily w
ho ru
led
Brita
in fr
om14
85-1
603.
E.
g. ‘T
he T
udor
Fam
ily ru
led
Engl
and
1485
-160
3’.
2. C
atho
licA
form
of C
hrist
iani
ty w
here
you
com
mun
icat
ion
with
God
th
roug
h pr
iest
s, h
ave
very
dec
orat
ed C
hurc
hes.
E.
g. ‘B
efor
e He
nry
VIII
Engl
and
was
Cat
holic
’.
3. P
rote
stan
tA
form
of t
he C
hrist
ian
relig
ion.
Bel
ieve
in a
per
sona
l re
latio
nshi
p w
ith G
od, h
ave
plai
n ch
urch
es e
tc.
E.g.
‘Und
er E
dwar
d VI
Eng
land
was
Pro
test
ant’.
4. M
onk
Prie
st
A m
an w
ho li
ves a
s par
t of a
relig
ious
com
mun
ity.
E.g.
‘Mon
ks li
ve a
n ob
edie
nt li
fe’.
5.
Supr
emac
yPo
wer
Co
ntro
l Be
ing
abov
e ev
eryo
ne e
lse.
E.g.
‘The
kin
g is
supr
eme
to h
is pe
ople
’.
6. E
xplo
rer
Voya
ger
Trav
eler
So
meo
ne w
ho d
iscov
ers a
new
or u
nfam
iliar
are
a E.
g. ‘E
lizab
eth
sent
men
to e
xplo
re o
ther
isla
nds’
.
7. A
rmad
aFl
eet
Nav
y A
fleet
of w
arsh
ips
E.g.
‘The
Kin
g of
Spa
in se
nt th
e Sp
anish
Arm
ada’
.
8. R
eign
Dura
tion
The
leng
th o
f tim
e a
king
or q
ueen
is in
cha
rge
for
E.g.
‘Hen
ry a
nd h
is ch
ildre
n's r
eign
's w
ere
full
of c
hang
e’.
9.
Mon
aste
ryCh
urch
A
relig
ious
bui
ldin
g w
ere
mon
ks li
ve. E
.g. ‘
Henr
y cl
osed
dow
n a
lot o
f the
Mon
aste
ries d
urin
g hi
s rei
gn’.
10.
Refo
rmat
ion
Chan
ge
Rest
ruct
ure
The
act o
f cha
ngin
g so
met
hing
. E.g
. ‘He
nry
wan
ted
to re
form
th
e re
ligio
n of
Eng
land
so h
e co
uld
get a
div
orce
’.
11.
Annu
lmen
t Te
rmin
ate
Diss
olve
To
mak
e so
met
hing
inva
lid.
E.g.
‘ He
nry
annu
lled
his f
irst m
arria
ge’.
Year
: 7 G
eogr
aphy
Uni
t Titl
e: L
ocal
and
glo
bal e
cosy
stem
s.Te
rm: H
alf T
erm
4
The
Pow
erfu
l Que
stio
n:Ho
w a
re e
cosy
stem
s in
terr
elat
ed a
nd w
hy d
o th
ey n
eed
prot
ectin
g?Ec
osys
tem
s hav
e de
velo
ped
over
an
exte
nded
per
iod
of ti
me
and
the
com
pone
nts a
re c
o-de
pend
ent o
n on
e an
othe
r. Th
is co
uld
be to
ens
ure
they
get
eno
ugh
ener
gy, n
utrie
nts,
sunl
ight
or h
eat.
Thes
e in
terr
elat
ions
hips
mak
e th
e ec
osys
tem
vu
lner
able
to c
hang
e. S
udde
n ch
ange
s to
an e
cosy
stem
, suc
h as
an
inva
sive
spec
ies,
a c
hang
e in
clim
ate
or h
uman
act
ions
can
lead
to ir
reve
rsib
le c
hang
e in
the
area
. Thi
s has
the
pote
ntia
l to
lead
to th
e ex
tinct
ion
of a
nim
als a
nd p
lant
s. D
efor
esta
tion
in
the
rain
fore
st is
one
exa
mpl
e w
here
cha
nge
has o
ccur
red.
Thi
s dem
onst
rate
s why
eco
syst
ems n
eed
prot
ectin
g.
You
shou
ld b
e ab
le to
:1.
Des
crib
e an
eco
syst
em.
2.Ex
plai
n ho
w th
e bi
otic
and
abi
otic
com
pone
nts
of a
n ec
osys
tem
are
inte
rrel
ated
. 3.
Inte
rpre
t, dr
aw a
nd e
xpla
in fo
od c
hain
s an
d w
ebs.
4.Ex
plai
n ho
w e
cosy
stem
s can
be
impa
cted
by
chan
ge.
5.D
escr
ibe
the
char
acte
ristic
s of
a tr
opic
al ra
info
rest
.6.
Des
crib
e th
e im
port
ance
of r
ainf
ores
ts a
nd w
hy th
ey n
eed
prot
ectin
g.
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
An e
cosy
stem
is a
nat
ural
env
ironm
ent m
ade
of b
iotic
an
d ab
iotic
com
pone
nts.
The
se c
ompo
nent
s are
in
terr
elat
ed a
nd th
eref
ore
smal
l cha
nges
with
in th
em
can
have
dra
stic
con
sequ
ence
s. E
cosy
stem
s can
be
smal
l su
ch a
s a h
edge
row
or a
pon
d, o
r the
y ca
n be
larg
e, su
ch
as a
des
ert o
r a ra
info
rest
. Lar
ge e
cosy
stem
s are
kno
wn
as b
iom
es.
In a
n ec
osys
tem
food
cha
ins a
nd fo
od w
ebs a
re u
sed
to
show
how
ene
rgy
is tr
ansf
erre
d. A
food
web
show
s all
the
food
cha
ins t
hat e
xist
in a
n ec
osys
tem
. An
exam
ple
of b
oth
is sh
own
belo
w.
Food
cha
in
Food
web
The
type
of p
lant
s and
ani
mal
s fou
nd in
eac
h ec
osys
tem
de
pend
s on
the
type
of c
limat
e an
d so
ils. T
he h
arsh
co
nditi
ons o
f an
extr
eme
envi
ronm
ent m
ean
that
onl
y pl
ants
and
ani
mal
spec
ies t
hat h
ave
adap
ted
are
able
to
surv
ive
in th
e ar
ea. T
he v
eget
atio
n, c
limat
e an
d so
ils a
re
clos
ely
linke
d w
ith o
ne a
noth
er.
Pow
erfu
l Exa
mpl
es: T
ropi
cal r
ainf
ores
tsO
ne e
xam
ple
of a
bio
me
(larg
e, g
loba
l eco
syst
em) t
hat w
e ha
ve
look
ed a
t is a
trop
ical
rain
fore
st. T
ropi
cal r
ainf
ores
ts co
ver 7
% o
f th
e pl
anet
’s la
nd su
rfac
e an
d ha
ve b
iodi
vers
ity. T
hey
are
hom
e to
50%
of t
he w
orld
’s a
nim
al a
nd p
lant
spec
ies.
Rain
fore
sts a
re fo
und
clos
e to
the
equa
tor b
etw
een
the
Trop
ic o
f Ca
ncer
and
the
Trop
ic o
f Cap
ricor
n. T
his i
s due
to th
e cl
imat
e in
th
is ar
ea b
eing
hot
tem
pera
ture
s and
hea
vy ra
infa
ll. R
ainf
ores
ts
are
foun
d in
the
nort
hern
are
as o
f Sou
th A
mer
ica,
Cen
tral
Afr
ica
and
sout
h-ea
st A
sia.
In a
dditi
on to
the
high
leve
ls of
bio
dive
rsity
, rai
nfor
ests
are
also
im
port
ant a
s the
y ab
sorb
car
bon
diox
ide
and
brea
the
out
oxyg
en. A
s a re
sult
scie
ntist
s ref
er to
them
as t
he lu
ngs o
f the
ea
rth.
Thi
s also
hel
ps to
redu
ce c
limat
e ch
ange
as l
ess c
arbo
n di
oxid
e en
ters
the
atm
osph
ere.
Fin
ally
, 25%
of t
he w
orld
’s
med
icin
es c
onta
in in
gred
ient
s onl
y fo
und
in th
e ra
info
rest
. Thi
s co
uld
incr
ease
as t
here
are
bel
ieve
d to
be
man
y pl
ants
and
an
imal
s tha
t are
cur
rent
ly u
ndisc
over
ed.
Desp
ite th
eir v
alue
, tro
pica
l rai
nfor
ests
are
com
ing
unde
r in
crea
sing
thre
at d
ue to
def
ores
tatio
n. T
his i
s whe
re la
rge
area
s of
rain
fore
st a
re c
lear
ed to
ena
ble
the
land
to b
e us
ed fo
r so
met
hing
else
. The
mos
t com
mon
cau
ses o
f thi
s are
for c
attle
fa
rmin
g, e
xpor
ting
(sel
ling)
tim
ber (
woo
d) to
oth
er c
ount
ries a
nd
road
bui
ldin
g.
Whi
lst d
efor
esta
tion
dest
roys
the
hom
es o
f the
indi
geno
us
popu
latio
ns w
ho li
ve th
ere
and
rem
oves
the
‘lung
s of t
he e
arth
’, de
fore
stat
ion
can
crea
te sh
ort-
term
eco
nom
ic g
ains
. The
mon
ey
used
from
farm
ing
catt
le a
nd se
lling
tim
ber c
an b
e us
ed b
y th
e co
untr
y to
hel
p it
deve
lop
and
crea
te e
mpl
oym
ent f
or th
e pe
ople
w
ho li
ve th
ere.
Pow
erfu
l La
ngua
geSy
nony
ms
Def
initi
on a
nd s
ente
nce
to c
onte
xtua
lise
1. C
limat
eW
eath
er,
tem
pera
ture
.Th
e lo
ng-t
erm
ave
rage
wea
ther
cond
ition
s. E
.g. C
limat
e is
typi
cally
av
erag
ed o
ver a
per
iod
of 3
0 ye
ars.
2. E
cosy
stem
Envi
ronm
ent,
biom
e.A
syst
em th
at is
nat
ural
mad
e up
of p
lant
s, a
nim
als a
nd th
e na
tura
l en
viro
nmen
t. E.
g. A
pon
d is
a sm
all-s
cale
eco
syst
em.
3. B
iom
eG
loba
l/ la
rge-
scal
e ec
osys
tem
.A
biom
e is
a la
rge-
scal
e or
glo
bal e
cosy
stem
. E.g
. Bio
mes
can
stre
tch
acro
ss e
ntire
coun
trie
s and
con
tinen
ts.
4. F
ood
chai
nPe
ckin
g or
der,
ener
gy tr
ansf
er.
A lin
k be
twee
n pr
oduc
ers a
nd c
onsu
mer
s sho
wn
as a
sing
le li
ne. E
.g.
In a
food
cha
in e
nerg
y is
tran
sfer
red.
5. F
ood
Web
Food
cyc
le, f
ood
chai
n.Th
ese
show
all
the
food
cha
ins b
etw
een
prod
ucer
s and
con
sum
ers.
E.
g. A
food
web
show
s ow
ls c
onsu
me
mic
e an
d gr
assh
oppe
rs.
6. P
rodu
cer
Plan
t, au
totr
ophs
.Th
ese
prod
uce
and
conv
ert e
nerg
y fr
om th
e en
viro
nmen
t. E.
g.
Prod
ucer
s, su
ch a
s pla
nts,
con
vert
ene
rgy
from
the
Sun.
7. C
onsu
mer
Eate
r, pr
edat
or,
hete
rotr
ophs
.Th
ese
cons
ume
the
ener
gy c
onve
rted
by
prod
ucer
s. E
.g. A
con
sum
er
such
as a
rabb
it ea
ts ca
rrot
s.
8. B
iotic
Livi
ng, o
rgan
ic,
aliv
e.Al
lliv
ing
feat
ures
of a
n ec
osys
tem
. E.g
. Pla
nts,
ani
mal
s, fi
sh a
nd b
irds
are
all b
iotic
com
pone
nts.
9. A
biot
icN
ot li
ving
.Al
l non
-livi
ng fe
atur
es o
f an
ecos
yste
m. E
.g. c
limat
e, te
mpe
ratu
re,
light
and
soil
are
all a
biot
ic c
ompo
nent
s.
10. T
ropi
cal
rain
fore
stJu
ngle
.A
glob
al b
iom
e w
ith la
rge
num
bers
of p
lant
s and
ani
mal
s. E
.g.
Rain
fore
sts h
ave
hot a
nd h
umid
con
ditio
ns, w
ith h
igh
tem
pera
ture
s of
30°
and
heav
y ra
infa
ll.
11.
Defo
rest
atio
nLo
ggin
g,
dese
rtifi
catio
n.De
fore
stat
ion
is th
e pe
rman
ent r
emov
al o
f tre
es to
mak
e ro
om fo
r so
met
hing
bes
ides
fore
st. E
.g. T
he A
maz
on ra
info
rest
is a
t thr
eat
from
def
ores
tatio
n.
12.
Biod
iver
sity
Varie
ty, n
umbe
r of
livi
ng th
ings
.Th
e va
riety
of p
lant
and
ani
mal
life
in th
e w
orld
or i
n a
part
icul
ar
habi
tat.
E.g.
Rai
nfor
ests
hav
e hi
gh le
vels
of b
iodi
vers
ity.
13. E
xpor
tSe
lling
, tra
de.
Send
(goo
ds o
r ser
vice
s) to
ano
ther
cou
ntry
for s
ale.
E.g
. The
UK
expo
rts a
irpla
nes t
o ot
her c
ount
ries.
Year
7 R
EHo
w d
o Ch
ristia
ns p
ract
ice
thei
r fai
th?
Half
Term
4
The
Pow
erfu
l Que
stio
nHo
w d
o Ch
ristia
ns p
ract
ice
thei
r fai
th?
Sacr
amen
ts a
re h
oly
ritua
ls th
at o
utw
ardl
y ex
pres
s an
inne
r, sp
iritu
al e
xper
ienc
e. T
hey
mak
e vi
sible
fo
r bel
ieve
rs a
spec
ial g
ift o
f gra
ce (f
ree
gift
of G
od’s
love
). M
any
Prot
esta
nt c
hurc
hes s
ee b
aptis
m
and
Holy
Com
mun
ion
as im
port
ant r
itual
s bec
ause
they
bel
ieve
Jesu
s ins
truc
ted
them
to u
nder
take
th
ese.
Som
e ch
urch
es th
at p
ract
ice
belie
vers
’ bap
tism
con
sider
it a
n im
port
ant c
erem
ony
but d
o no
t re
fer t
o it
as a
sacr
amen
t. O
ther
chu
rche
s lik
e th
e Q
uake
rs o
r the
Sal
vatio
n Ar
my
do n
ot u
se a
ny
sacr
amen
ts a
t all.
Chr
istia
ns re
mem
ber t
he b
irth
and
deat
h of
Jesu
s by
cele
brat
ing
at C
hrist
mas
and
Ea
ster
.
You
shou
ld b
e ab
le to
:1.
Expl
ain
wha
t the
seve
n sa
cram
ents
are
.2.
Expl
ain
the
diffe
renc
e be
twee
n be
lieve
rs’ a
nd in
fant
bap
tism
.3.
Expl
ain
how
the
sacr
amen
t of r
econ
cilia
tion
supp
orts
the
othe
r sac
ram
ents
.4.
Expl
ain
why
Hol
y Co
mm
unio
n is
impo
rtan
t to
Chris
tians
.5.
Expl
ain
how
and
why
Chr
istia
ns c
eleb
rate
Chr
istm
as a
nd E
aste
r.
Pow
erfu
l Kno
wle
dge
For C
atho
lics,
the
sacr
amen
ts a
re ri
tual
s tha
t tea
ch, s
tren
gthe
n an
d ex
pres
s fai
th. T
hey
are
rele
vant
to
all
area
s and
stag
es o
f life
, and
Cath
olic
sbel
ieve
that
the
love
and
gift
s of G
od a
re g
iven
th
roug
hse
ven
sacr
amen
ts, w
hich
are
:•
Bapt
ism
•Eu
char
ist
•Co
nfirm
atio
n•
Reco
ncili
atio
n•
Anoi
ntin
g of
the
sick
•M
arria
ge•
Holy
ord
ers
Sacr
amen
tsin
volv
e sy
mbo
lic a
ctio
ns, w
ords
and
phy
sical
ele
men
ts su
ch a
s wat
er in
bap
tism
and
brea
d an
d w
ine
in H
oly
Com
mun
ion.
Man
y Ch
ristia
ns b
elie
ve th
at sa
cram
ents
are
spec
ial r
itual
s w
hich
hel
ped
to st
reng
then
thei
r rel
atio
nshi
p w
ith G
od b
y m
akin
g hi
m a
pow
er o
f the
ir lif
e. T
hey
are
impo
rtan
t to
the
Chris
tian
com
mun
ity b
ecau
se th
ey a
ffirm
that
Chr
istia
ns a
re p
art o
f the
bod
y of
Ch
rist,
the
Chur
ch, a
nd a
ll its
resp
onsib
ilitie
s.
Fest
ival
sha
ve a
n im
port
ant r
ole
in h
elpi
ng C
hrist
ians
rem
embe
r the
maj
or e
vent
s in
thei
r rel
igio
n an
d to
pla
n th
eir p
ublic
wor
ship
. Man
y Ch
ristia
ns c
eleb
rate
the
sam
e cy
cle
of fe
stiv
als e
ach
year
. By
livin
g th
roug
h th
e ev
ents
of J
esus
’ life
, dea
th a
nd re
surr
ectio
n an
d th
e co
min
g of
the
Holy
Spi
rit a
t Pe
ntec
ost,
Chris
tians
rem
embe
r the
cen
tral
teac
hing
of t
heir
faith
-th
at G
od g
ave
his o
nly
Son
to
save
them
.
At C
hris
tmas
, Chr
istia
ns c
omm
emor
ate
the
inca
rnat
ion
of Je
sus,
the
belie
f tha
t God
bec
ame
hum
an
in Je
sus.
In G
reat
Brit
ain,
Chr
istm
as is
cel
ebra
ted
on 2
5th
Dece
mbe
r.
East
eris
the
mos
t im
port
ant C
hrist
ian
fest
ival
. It c
eleb
rate
s the
resu
rrec
tion
of Je
sus f
rom
the
dead
. Du
ring
the
wee
k le
adin
g up
to E
aste
r (Ho
ly W
eek)
Chr
istia
ns re
mem
ber t
he e
vent
s tha
t led
to th
e sa
crifi
ce o
f Jes
us o
n th
e cr
oss.
Pow
erfu
l Exa
mpl
es
Scrip
ture
to le
arn:
Bapt
ism
:‘T
here
fore
go
and
mak
e di
scip
les o
f all
natio
ns, b
aptiz
ing
them
in th
e na
me
of th
e Fa
ther
and
of t
he S
on a
nd o
f the
Ho
ly S
pirit
.’ (M
atth
ew 2
8:19
)
Holy
Com
mun
ion
‘The
Lor
d Je
sus,
on
the
nigh
t he
was
bet
raye
d, to
ok b
read
,and
whe
n he
had
giv
en th
anks
, he
brok
e it
and
said
,“Th
is is
my
body
,whi
ch is
for y
ou; d
o th
is in
rem
embr
ance
of m
e.”
In th
e sa
me
way
, aft
er su
pper
he
took
the
cup,
sa
ying
,“Th
is cu
p is
the
new
cov
enan
tin
my
bloo
d;do
this,
whe
neve
r you
drin
k it,
in re
mem
bran
ce o
f me.
”Fo
r w
hene
ver y
ou e
at th
is br
ead
and
drin
k th
is cu
p, y
ou p
rocl
aim
the
Lord
’s d
eath
unt
il he
com
es.’
(1 C
orin
thia
ns 1
1:23
-26
)
Reco
ncili
atio
n‘A
ll th
is is
from
God
, who
reco
ncile
d us
to h
imse
lf th
roug
h Ch
rist a
nd g
ave
us th
e m
inist
ry o
f rec
onci
liatio
n:th
at G
od
was
reco
ncili
ng th
e w
orld
to h
imse
lf in
Chr
ist, n
ot c
ount
ing
peop
le’s
sins
aga
inst
them
. And
he
has c
omm
itted
to u
s th
e m
essa
ge o
f rec
onci
liatio
n.W
e ar
e th
eref
ore
Chris
t’s a
mba
ssad
ors,
as t
houg
h Go
d w
ere
mak
ing
his a
ppea
l th
roug
h us
. We
impl
ore
you
on C
hrist
’s b
ehal
f: Be
reco
ncile
d to
God
.God
mad
e hi
m w
ho h
ad n
o sin
to b
e sin
for u
s,
so th
at in
him
we
mig
ht b
ecom
e th
e rig
hteo
usne
ss o
f God
.’(2
Corin
thia
ns 5
:18-
21)
Chris
tmas
‘Fat
her,
you
mak
e th
is ho
ly n
ight
radi
ant w
ith th
e sp
lend
or o
f Jes
us C
hrist
our
ligh
t. W
e w
elco
me
him
as L
ord,
the
true
ligh
t of t
he w
orld
. Brin
g us
to e
tern
al jo
y in
the
king
dom
of h
eave
n, w
here
he
lives
and
reig
ns w
ith y
ou a
nd th
e Ho
ly S
pirit
, one
God
, for
eve
r and
eve
r. Am
en.’
(Ope
ning
pra
yer o
f the
Cat
holic
Mid
nigh
t Mas
s at C
hrist
mas
)
East
er‘C
hrist
is ri
sen
from
the
dead
, tra
mpl
ing
dow
n de
ath
by d
eath
, and
upo
n th
ose
in th
e to
mb
best
owin
g lif
e.’
(Tra
ditio
nal h
ymn
sung
by
Ort
hodo
x Ch
ristia
ns a
t the
Eas
ter D
ivin
e Li
turg
y)
Y10
REIs
lam
ic b
elie
fs a
nd te
achi
ngs
Half
Term
4
Pow
erfu
l Lan
guag
e
Wor
dSy
nony
ms
Defin
ition
and
sent
ence
to c
onte
xtua
lise
1ex
plai
ncl
arify
Mak
e an
idea
cle
ar to
som
eone
by
desc
ribin
g it
in m
ore
deta
il or
with
reas
ons e
.g. e
xpla
in w
hat h
uman
ists b
elie
ve.
3Ca
thol
icRo
man
Cat
holic
The
trad
ition
with
in th
e Ch
ristia
n Ch
urch
whi
ch is
led
by th
e Po
pe; a
lso c
alle
d th
e Ro
man
Cat
holic
Chu
rch
e.g.
The
re
are
man
y Ca
thol
ics i
n Br
azil.
4Pr
otes
tant
Angl
ican
Met
hodi
stQ
uake
r
Chris
tian
deno
min
atio
ns in
whi
ch a
utho
rity
is ge
nera
lly b
ased
on
the
Bibl
e, ra
ther
than
Chu
rch
trad
ition
/tea
chin
g e.
g. T
he C
hurc
h of
Eng
land
is a
Pro
test
ant o
rgan
isatio
n.
5Sa
cram
ent
ritua
lrit
eTh
e ou
twar
d an
d vi
sible
sign
of a
n in
visib
le a
nd sp
iritu
al g
race
. The
re a
re se
ven
sacr
amen
ts in
the
Cath
olic
Chu
rch
e.g.
Bap
tism
is o
ne o
f the
seve
n sa
cram
ents
.
6An
oint
ing
of th
e sic
kLa
st ri
tes
One
of t
he se
ven
sacr
amen
ts; a
sacr
amen
t of h
ealin
g th
at fo
rms p
art o
f the
last
rite
s. A
prie
st a
noin
ts th
e sic
k pe
rson
with
oil
and
bles
sing
e.g.
It w
as im
port
ant t
hat t
he a
noin
ting
of th
e sic
k co
uld
still
take
pla
ce in
ho
spita
ls.7
Bapt
ismch
riste
ning
One
of t
he se
ven
sacr
amen
ts; s
acra
men
t of i
nitia
tion
thro
ugh
whi
ch p
eopl
e be
com
e m
embe
rs o
f the
Chu
rch.
It
invo
lves
the
use
of w
ater
as a
sym
bol o
f the
was
hing
aw
ay o
f sin
e.g
. Som
e pe
ople
cho
ose
to g
et th
eir b
abie
s ba
ptise
d w
hen
they
are
still
ver
y yo
ung.
8
Euch
arist
Mas
sHo
ly C
omm
unio
nLi
tera
lly 't
hank
sgiv
ing'
; a sa
cram
ent i
n w
hich
the
deat
h an
d re
surr
ectio
n of
Jesu
s are
cel
ebra
ted,
usin
g br
ead
and
win
e e.
g. T
he E
ucha
rist w
as th
e se
rvic
e th
at m
ost p
eopl
e at
tend
ed.
9Co
nfirm
atio
nO
ne o
f the
seve
n sa
cram
ents
; the
seco
nd sa
cram
ent o
f ini
tiatio
n in
volv
es th
e an
oint
ing
with
chr
ism, u
sual
ly o
f yo
ung
adul
ts w
ho a
re n
ow a
war
e of
the
signi
fican
ce o
f the
eve
nt a
s a st
reng
then
ing
of th
e gr
ace
rece
ived
thro
ugh
bapt
ism e
.g. S
he h
ad h
er c
onfir
mat
ion
whe
n sh
e w
as 1
3 ye
ars o
ld.
10Ho
ly O
rder
sor
dina
tion
One
of t
he se
ven
sacr
amen
ts; t
he sa
cram
ent b
y w
hich
a m
an is
mad
e a
prie
st o
r bish
op e
.g. H
e to
ok h
oly
orde
rs to
jo
in th
e Ch
urch
as a
prie
st.
11M
atrim
ony
mar
riage
One
of t
he se
ven
sacr
amen
ts; t
he sa
cram
ent o
f mar
riage
whi
ch in
volv
es a
life
long
cov
enan
t mad
e be
twee
n hu
sban
d an
d w
ife e
.g. T
hey
are
now
join
ed in
hol
y m
atrim
ony.
12
Reco
ncili
atio
nO
ne o
f the
seve
n sa
cram
ents
whi
ch in
volv
es p
enan
ce fo
r sin
s in
orde
r to
be re
conc
iled
with
God
e.g
. Cat
holic
s mus
t co
mpl
ete
the
sacr
amen
t of r
econ
cilia
tion
befo
re a
tten
ding
Mas
s.
13Li
turg
ical
wor
ship
A ch
urch
serv
ice
whi
ch fo
llow
s a se
t str
uctu
re o
r ritu
al e
.g. M
ass i
s an
exam
ple
of li
turg
ical
wor
ship
.
14Pr
ayer
Com
mun
icat
ing
with
God
thro
ugh
wor
ds o
f pra
ise, t
hank
sgiv
ing
or c
onfe
ssio
n, o
r req
uest
s for
his
help
or g
uida
nce;
lis
teni
ng to
and
spea
king
to G
od e
.g. H
e sa
id h
is pr
ayer
s eve
ry n
ight
.15
Chris
tmas
The
day
com
mem
orat
ing
the
inca
rnat
ion,
the
birt
h of
Jesu
s (25
th o
f Dec
embe
r in
mos
t chu
rche
s); a
lso, t
he se
ason
of
12
days
end
ing
with
the
Epip
hany
(whe
n Ch
ristia
ns re
mem
ber t
he v
isit o
f the
wise
men
) e.g
. Chr
istia
ns g
o to
ch
urch
at C
hrist
mas
.16
East
erth
e re
ligio
us se
ason
cel
ebra
ting
the
resu
rrec
tion
of Je
sus f
rom
the
dead
; it s
tart
s on
East
er S
unda
y an
d fin
ishes
with
th
e fe
ast o
f Pen
teco
st e
.g. C
hrist
ians
cel
ebra
te th
e re
surr
ectio
n on
Eas
ter S
unda
y.
Year
: 7 S
pani
sh
Uni
t Titl
e: L
o qu
e m
e gu
sta
hace
r (w
hat I
like
to d
o)
Term
: hal
f-ter
m 4
The
Pow
erfu
l Que
stio
n:
1.
¿Qué
hac
es e
n tu
móv
il? –
Wha
t do
you
do o
n yo
ur p
hone
? 2.
¿Q
ué h
aces
en
tu ti
empo
libr
e? –
Wha
t do
you
do in
you
r fre
e tim
e?
3.
¿Cóm
o es
tu m
ejor
am
igo?
– W
hat i
s you
r bes
t frie
nd li
ke?
You
say
wha
t you
do
on y
our p
hone
, giv
e yo
ur o
pini
on a
nd c
ompa
re a
ctiv
ities
. You
will
also
say
wha
t you
do
in y
our f
ree
time,
wha
t you
r frie
nd d
oes a
nd w
hat y
ou d
o w
ith y
our f
riend
s. Y
ou w
ill d
escr
ibe
your
bes
t frie
nd.
You
shou
ld b
e ab
le to
: •
To sa
y w
hat y
ou d
o on
you
r pho
ne
• To
say
wha
t you
do
in y
our f
ree
time
• To
des
crib
e yo
ur b
est f
riend
•
To sa
y w
hat y
ou li
ke to
do
on y
our p
hone
•
To c
ompa
re a
ctiv
ities
•
To sa
y w
hat y
our f
riend
doe
s •
To sa
y w
hat y
ou d
o w
ith y
our f
riend
s
Pow
erfu
l Kno
wle
dge:
Co
nnec
tives
: It
is im
port
ant t
o us
e co
nnec
tives
to e
xten
d an
d lin
k yo
ur id
eas:
ta
mbi
én (a
lso),
y (a
nd),
sin
emba
rgo
(how
ever
), no
obs
tant
e (h
owev
er),
pero
(b
ut)
3rd p
erso
n (h
e/sh
e):
To d
evel
op y
our l
angu
age,
spea
k ab
out
wha
t oth
er p
eopl
e do
. ch
ateo
= I
chat
> c
hate
a =
he/s
he c
hats
saco
foto
s = I
take
pho
tos >
saca
foto
s =
he/s
he ta
kes p
hoto
s
leo
libro
s = I
read
boo
ks >
lee
libro
s = h
e/sh
e
read
s boo
ks
escu
cho
= I l
isten
> e
scuc
ha =
he/
she
liste
ns
com
pro
hago
= I
do >
hac
e =
he/s
he d
oes
veo
= I w
atch
> v
e =
he/s
he w
atch
es
Pow
erfu
l Exa
mpl
es:
1. ¿
Qué
hac
es e
n tu
móv
il? –
Wha
t do
you
do o
n yo
ur p
hone
? Co
n m
i móv
il ch
ateo
con
mis
amig
os y
a qu
e es
div
ertid
o.
Siem
pre
leo
notic
ias p
orqu
e pi
enso
que
es p
rodu
ctiv
o y
inte
lect
ual.
Tam
bién
, a m
enud
o es
cuch
o m
úsic
a. M
e gu
sta
porq
ue e
s mar
avill
oso.
No
obst
ante
, no
chat
eo p
or S
napc
hat
ya q
ue e
s abu
rrid
o. U
na v
ez a
la se
man
a ha
go T
ikto
ks p
orqu
e es
em
ocio
nant
e. M
i am
igo,
Est
efan
ía e
scuc
ha m
úsic
a, p
ero
nunc
a le
e lib
ros.
2.
¿Q
ué h
aces
en
tu ti
empo
libr
e? –
Wha
t do
you
do in
you
r fr
ee ti
me?
En
mi t
iem
po li
bre
jueg
o a
los d
epor
tes c
on m
is am
igos
ya
que
es e
moc
iona
nte.
Ta
mbi
én a
men
udo
jueg
o a
los v
ideo
jueg
os c
on m
i her
man
o po
rque
pie
nso
que
es d
iver
tido.
N
o ob
stan
te, n
o vo
y de
com
pras
con
mi f
amili
a po
rque
pie
nso
que
no e
s int
eres
ante
. Pe
ro u
na v
ez a
la se
man
a le
o lib
ros c
on m
i prim
a ya
que
pie
nso
que
es m
arav
illos
o. M
i prim
a sie
mpr
e le
e no
vela
s rom
ántic
as.
3.¿C
ómo
es tu
mej
or a
mig
o? –
Wha
t is y
our b
est f
riend
like
? M
i mej
or a
mig
o se
llam
a Si
món
y ti
ene
once
año
s.
Mi m
ejor
am
igo
tiene
el p
elo
rubi
o y
larg
o.
Tam
bién
, mi m
ejor
am
igo
tiene
los o
jos v
erde
s y e
s una
pe
rson
a ge
nero
sa. S
in e
mba
rgo,
mi m
ejor
am
igo
es b
ajo
y de
lgad
o.
Pow
erfu
l lan
guag
e De
finiti
on
Exam
ple
to c
onte
xtua
lise
1. A
djec
tival
ag
reem
ent
The
adje
ctiv
e 'a
gree
s' w
ith th
e no
un
it's d
escr
ibin
g in
gen
der a
nd n
umbe
r M
i mej
or a
mig
o es
alto
M
i mej
or a
mig
a es
alta
2.
Adj
ectiv
e W
ords
that
des
crib
e no
uns
Dive
rtid
o/in
tere
stan
te
3. C
onne
ctiv
e A
wor
d or
phr
ases
to li
nk tw
o id
eas
toge
ther
Po
rque
/ya
que
4. C
ompa
rativ
e Th
e st
ruct
ure
used
to c
ompa
re tw
o th
ings
Es
más
div
ertid
o qu
e
5. C
onju
gate
d ve
rbs
Conj
ugat
ed v
erbs
are
ver
bs w
hich
ha
ve b
een
chan
ged
to sh
ow th
e su
bjec
t and
tens
e of
the
verb
Leo
Veo
Me
gust
a 6.
Fem
inin
e A
gend
er o
f nou
ns a
nd a
djec
tives
, co
nven
tiona
lly re
gard
ed a
s fem
ale
Amig
a Al
ta
7. In
finiti
ve
Engl
ish, t
his i
s the
“to
” fo
rm o
f the
ve
rb. I
n Sp
anish
, the
y al
way
s end
in
eith
er A
R/ER
/IR
Chat
ear
Hace
r Ir
8. Ir
regu
lar
A ve
rb w
hich
doe
sn’t
follo
w th
e ru
le
Hago
/Soy
9.
Mas
culin
e A
gend
er o
f nou
ns a
nd a
djec
tives
, co
nven
tiona
lly re
gard
ed a
s mal
e Am
igo
Alto
10. N
egat
ive
A ne
gativ
e is
a w
ord
or p
hras
e th
at
show
s you
reje
ct o
r disa
gree
with
so
met
hing
.
No
chat
eo
Nun
ca c
hate
o
11. N
oun
A no
un is
a w
ord
that
nam
es a
spec
ific
obje
ct o
r set
of o
bjec
ts
Amig
o M
adre
/Pad
re
12. P
rese
nt te
nse
The
pres
ent t
ense
is u
sed
for a
ctio
ns
whi
ch a
re h
appe
ning
now
. Ch
ateo
Ve
o 13
. Sup
erla
tive
Expr
essin
g th
e hi
ghes
t of a
n ad
ject
ive
Mej
or/p
eor
14. V
erb
A ve
rb is
a w
ord
used
to d
escr
ibe
an
actio
n, st
ate
or o
ccur
renc
e. (d
oing
w
ord)
Veo
Ver
Me
gust
a ve
r 15
. Ver
b su
bjec
t W
ho is
the
subj
ect o
f the
ver
b?
Who
is c
ompl
etin
g th
e ac
tion?
1st
per
son
(I) 2
nd p
erso
n (y
ou)
3rd p
erso
n (h
e/sh
e)
Year
: 7 C
ompu
ting
Uni
t Titl
e: H
arry
Plo
tter S
prea
dshe
ets
Term
: HT4
The
Pow
erfu
l Que
stio
n: W
hy d
o bu
sine
sses
/org
anis
atio
ns u
se s
prea
dshe
ets?
How
do
they
use
them
for
spre
adsh
eet m
odel
ling?
Busi
ness
es a
nd o
rgan
isat
ions
use
spr
eads
heet
s to
hel
p ca
tego
rize
and
orga
nize
all
thei
r dat
a in
to a
logi
cal
form
at s
o th
at w
hen
you
look
all
the
data
it is
cle
ar to
und
erst
and.
Spr
eads
heet
s al
so h
elp
crea
te a
gra
phic
al
visu
alis
atio
n w
ith th
e us
e of
gra
phs
and
char
ts a
s sh
own
in th
e ‘p
ower
ful e
xam
ple’
. The
mai
n us
es o
f sp
read
shee
t mod
ellin
g is
to p
redi
ct fu
ture
fore
cast
s su
ch a
s ho
w m
uch
prof
it or
loss
es th
ey m
ight
mak
e, th
is w
ill th
en h
elp
them
mak
e de
cisi
ons
on w
hat t
hey
need
to d
o ne
xt to
impr
ove.
You
shou
ld b
e ab
le to
:•
Writ
e a
form
ula
•W
rite
a fo
rmul
a to
cal
cula
te th
e to
tal,
aver
age,
low
est a
nd h
ighe
st fr
om a
rang
e of
nu
mbe
rs•
Pick
up
a va
lue
from
ano
ther
shee
t usin
g a
cell
refe
renc
e•
Plan
out
a sp
read
shee
t•
Writ
e pr
edic
tions
and
test
them
out
Why
it is
impo
rtan
t to
plan
thin
gs b
efor
e yo
u cr
eate
th
em o
n th
e co
mpu
ter
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
Spre
adsh
eets
and
spr
eads
heet
mod
ellin
g
Spre
adsh
eets
are
use
d w
idel
y in
bus
ines
ses
and
orga
nisa
tions
(incl
udin
g sc
hool
s)
to h
elp
arra
nge
and
sort
data
as
wel
l as
use
form
ulas
to h
elp
calc
ulat
e.An
exa
mpl
e of
bus
ines
s us
e m
ight
be
calc
ulat
ing
the
prof
its/lo
sses
mad
e an
d us
ing
spre
adsh
eet m
odel
ling
to p
redi
ct w
hat t
hey
mig
ht m
ake/
lose
in th
e fo
llow
ing
mon
ths/
year
s. S
prea
dshe
ets
help
them
to g
et a
n ov
ervi
ew o
f wha
t pro
duct
s ar
e se
lling
best
so
they
can
con
tinue
sel
ling
thos
e ce
rtain
pro
duct
s.
Form
ulas
Form
ulas
are
a q
uick
way
to h
elp
calc
ulat
e th
e da
ta o
n a
spre
adsh
eet.
This
is u
sed
frequ
ently
as
it is
cal
cula
ted
auto
mat
ical
ly (o
nce
the
form
ula
has
been
put
in) s
o th
at if
any
of t
he d
ata
chan
ges
the
resu
lt of
the
form
ulas
cha
nges
with
it. T
his
is
impo
rtant
as
you
can
imag
ine,
bus
ines
ses
and
orga
nisa
tions
have
lots
of d
ata
and
num
bers
invo
lved
so
this
wou
ld s
ave
them
a lo
t of t
ime.
Pow
erfu
l La
ngua
geD
efin
ition
and
sen
tenc
e to
con
text
ualis
e
1.Sp
read
shee
tA
spre
adsh
eet
is a
file
that
exi
sts
of c
ells
in ro
ws
and
colu
mns
and
can
hel
p ar
rang
e, c
alcu
late
and
sor
t dat
a
2. A
vera
geth
e av
erag
eva
lue
in a
set
of n
umbe
rs is
the
mid
dle
valu
e, c
alcu
late
d by
div
idin
g th
e to
tal o
f all
the
valu
es b
y th
e nu
mbe
r of v
alue
s
3. R
ange
The
rang
eis
the
diffe
renc
e be
twee
n th
e hi
ghes
t and
low
est v
alue
s in
a s
et o
f nu
mbe
rs
4. C
ell R
efer
ence
A ce
ll re
fere
nce
refe
rs to
a c
ell
or a
rang
e of
cel
lson
a w
orks
heet
and
can
be
used
in a
form
ula
so th
at th
e sp
read
shee
t can
find
the
valu
es o
r dat
a th
at y
ou
wan
t tha
t for
mul
a to
cal
cula
te
5. F
orm
ula
A fo
rmul
a is
use
d to
cal
cula
te a
sum
6. R
owR
ows
run
horiz
onta
lly a
cros
s th
e w
orks
heet
and
rang
es fr
om 1
to 1
0485
76. A
ro
wis
iden
tifie
d by
the
num
ber t
hat i
s on
left
side
of t
he r
ow
7. C
olum
nC
olum
nsru
n ve
rtica
lly d
ownw
ard
acro
ss th
e w
orks
heet
. A
colu
mn
is id
entif
ied
by a
col
umn
head
er th
at is
on
the
top
of th
e co
lum
n w
here
the
lette
rs a
re.
8. A
ctiv
e ce
llC
urre
nt c
ell,
or s
elec
ted
cell
, an
activ
e ce
llis
a re
ctan
gula
r box
that
hig
hlig
hts
the
cell
in a
spr
eads
heet
9. V
alue
Valu
esar
e nu
mbe
rs e
nter
ed in
to s
prea
dshe
etce
lls. I
f a fo
rmul
a or
func
tion
retu
rns
a nu
mbe
r int
o a
cell,
this
dat
a is
als
o a
valu
e.
10. T
ext l
abel
sLa
bels
refe
r to
text
that
is ty
ped
into
the
cells
of a
spr
eads
heet
. Lab
els
have
no
num
eric
val
ue a
nd c
anno
t be
used
in a
form
ula
or fu
nctio
n
11. C
harts
A ch
art
is a
tool
you
can
use
in a
spr
eads
heet
to c
omm
unic
ate
data
gra
phic
ally
. C
harts
allo
w y
our a
udie
nce
to s
ee th
e m
eani
ng b
ehin
d th
e nu
mbe
rs, a
nd th
ey
mak
e sh
owin
g co
mpa
rison
s an
d tre
nds
muc
h ea
sier
.
12. S
prea
dshe
et
mod
ellin
g
A m
odel
is a
pro
gram
whi
ch h
as b
een
deve
lope
d to
cop
y th
e w
ay a
sys
tem
wor
ks
in re
al li
fe. I
t use
s m
athe
mat
ical
form
ulas
and
cal
cula
tions
to p
redi
ct w
hat i
s lik
ely
to h
appe
n ba
sed
on d
ata
reco
rded
abo
ut w
hat a
ctua
lly d
id h
appe
n in
the
past
.
Pow
erfu
l Exa
mpl
es:
Belo
w is
an
exam
ple
of a
pie
cha
rt cr
eate
d in
sp
read
shee
ts to
repr
esen
t dat
a vi
sual
ly. T
his
is u
sed
regu
larly
to g
ive
an o
verv
iew
of t
he d
ata
in fr
ont o
f you
.
The
follo
win
g im
age
show
s th
e sy
mbo
ls u
sed
for
form
ula
in s
prea
dshe
ets.
Rem
embe
r for
mul
as a
lway
s st
art w
ith =
R
emem
ber u
sing
form
ulas
hel
p w
ork
out c
alcu
latio
ns
auto
mat
ical
ly.
Year
: 7 P
erfo
rmin
g Ar
tsU
nit T
itle:
Mus
ical
The
atre
Te
rm: H
T4
The
Pow
erfu
l Que
stio
n: W
hat i
s M
usic
al T
heat
re?
Mus
ical
The
atre
is a
form
oft
heat
rical
per
form
ance
that
com
bine
s son
gs, s
poke
ndi
alog
ue, a
ctin
g an
d da
nce.
The
stor
y an
d em
otio
nal c
onte
nt o
f a m
usic
al–
hum
or,t
rage
dy, l
ove,
ang
er–
are
com
mun
icat
ed th
roug
h w
ords
, mus
ic, m
ovem
ent a
nd
tech
nica
l asp
ects
of t
he e
nter
tain
men
t ind
ustr
y as
an
inte
grat
ed w
hole
.
You
shou
ld b
e ab
le to
:1.
Iden
tify
the
key
elem
ents
of M
usic
al T
heat
re2.
Lear
n an
d pe
rfor
m a
pie
ce o
f rep
erto
ire
3.De
velo
p yo
ur c
hore
ogra
phy
usin
g a
prop
4.U
nder
stan
d ho
w to
link
dia
logu
e to
cho
reog
raph
y5.
Perf
orm
with
pro
ject
ion,
ene
rgy,
mus
ical
ity a
nd c
hara
cter
isatio
n
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
Pow
erfu
l Exa
mpl
es:
Pow
erfu
l La
ngua
geSy
nony
ms
Defin
ition
and
Exa
mpl
e Se
nten
ce
1. C
horu
s num
ber
Grou
p pe
rfor
man
ceA
larg
e nu
mbe
r with
sing
ing
and
ofte
n da
ncin
g.
2. S
how
stop
per
Spec
tacl
eA
song
so e
xciti
ng th
at th
e au
dien
ce c
lap,
inte
rrup
ting
the
perf
orm
ance
.
3. C
olla
bora
tion
Grou
p ef
fort
Wor
king
toge
ther
with
peo
ple
from
diff
eren
t spe
cial
isms
4. T
rans
ition
s Ch
ange
over
sCh
angi
ng fr
om o
ne sc
ene
to a
noth
er.
5. R
eper
toire
Sele
ctio
nA
stoc
k of
pla
ys o
r dan
ces t
hat a
com
pany
or a
per
form
er
know
s or i
s pre
pare
d to
per
form
.
6. C
hore
ogra
pher
M
ovem
ent
desig
ner
A pe
rson
that
crea
tes t
he d
ance
s.
7. D
irect
or
Coor
dina
tor
A pe
rson
who
ove
rsee
s th
e o
vera
ll vi
sual
ele
men
ts o
f the
pr
oduc
tion.
8. P
rodu
ctio
n el
emen
ts
Ligh
ts, s
ound
, cos
tum
e an
d m
ake-
up.
9. M
usic
ality
M
ovin
g in
tim
e w
ith th
e m
usic
and
hav
ing
a go
od fe
el fo
r the
dy
nam
ic q
ualit
y.
10. S
tam
ina
En
dura
nce
Prol
onge
d ph
ysic
al o
r men
tal e
ffort
.
11.C
hara
cter
isatio
nPo
rtra
yal
Crea
ting
a be
lieva
ble
char
acte
r, us
ing
all o
f the
act
ing
skill
s.
12. T
riple
thre
at
The
abili
ty to
sing
, act
and
dan
ce.
High
Sch
ool M
usic
al
High
Sch
ool M
usic
al is
an
Amer
ican
med
ia
fran
chise
cen
tere
d on
a se
ries o
f mus
ical
ro
man
tic c
omed
y-dr
ama
film
s cre
ated
by
Pete
r Bar
socc
hini
. The
fran
chise
also
in
clud
es st
age
mus
ical
s, b
ooks
, com
ics,
live
sh
ows,
vid
eo g
ames
and
a te
levi
sion
serie
s.
Mat
ilda
Mat
ilda
the
Mus
ical
is a
stag
e m
usic
al
base
d on
the
1988
chi
ldre
n's n
ovel
of t
he
sam
e na
me
by R
oald
Dah
l. It
was
ada
pted
by
Den
nis K
elly
, with
mus
ic a
nd ly
rics b
y Ti
m M
inch
in a
nd d
irect
ed fo
r the
stag
e by
M
atth
ew W
arch
us.
Whe
re y
ou w
ill fi
nd M
usic
als
Mus
ical
s are
per
form
ed a
roun
d th
e w
orld
. The
y m
ay
be p
rese
nted
in la
rge
venu
es, s
uch
as b
ig-
budg
etBr
oadw
ayor
Wes
t End
prod
uctio
ns in
New
Yo
rk C
ity o
r Lon
don.
Alte
rnat
ivel
y, m
usic
als m
ay b
e st
aged
in sm
alle
r ven
ues,
such
asr
egio
nal t
heat
re,
orco
mm
unity
thea
tre
prod
uctio
ns, o
ron
tour
. M
usic
als a
re o
ften
pre
sent
ed b
yam
ateu
r and
scho
ol
grou
psin
chu
rche
s, sc
hool
s and
oth
er p
erfo
rman
ce
spac
es.
The
Begi
nnin
g:Th
e or
igin
s of M
usic
al T
heat
re li
e in
Ope
ra.
Ope
ra w
as v
ery
fash
iona
ble
with
the
uppe
r cla
sses
in E
urop
e in
the
1700
s and
180
0s.
In th
e la
te 1
800s
, a d
uo c
alle
d Gi
lber
t and
Sul
livan
beg
an w
ritin
g sh
ort,
com
ical
ope
ras d
esig
ned
for e
very
one,
no
t jus
t the
upp
er c
lass
es.
This
still
con
tinue
d to
dev
elop
thro
ugho
ut th
e ea
rly
1900
s.
The
‘Roa
ring
Twen
ties’
and
193
0s:
The
1920
s and
30s
saw
a h
uge
boom
in m
usic
als a
nd th
eatr
e pr
oduc
tions
. Th
eatr
e at
this
time
was
one
of t
he m
ain
form
s of e
nter
tain
men
t. T
his p
re-w
ar e
ra w
as
whe
n m
usic
als w
ere
begi
nnin
g to
look
and
soun
d lik
e th
e m
usic
als w
e st
ill h
ave
toda
y, b
ut th
e so
ngs a
nd d
ance
wer
en’t
usua
lly re
late
d to
the
plot
(if t
here
was
on
e!)
The
Gol
den
Age
1943
-196
8:Th
is pe
riod
is w
hen
the
trad
ition
of m
usic
als w
as tr
uly
esta
blish
ed in
Brit
ain
and
Amer
ica.
Som
e of
the
grea
test
mus
ical
s wer
e w
ritte
n du
ring
this
time
and
the
wor
ld sa
w th
e de
velo
pmen
t of m
any
grea
t com
pose
rs.
Man
y m
usic
als w
ritte
n an
d pr
emie
red
in th
is tim
e ar
e st
ill lo
ved
and
perf
orm
ed to
day.
The
1970
s to
the
Pres
ent D
ay:
Ove
r thi
s per
iod,
aud
ienc
es h
ave
seen
mus
ical
s spl
it in
to g
enre
s and
su
bcat
egor
ies.
Mus
ical
s now
oft
en a
ddre
ss v
ery
serio
us is
sues
and
are
not
just
fo
r ent
erta
inm
ent.
We
have
also
seen
man
y ad
apta
tions
of f
ilms i
nto
mus
ical
s,
and
mus
ical
s bas
ed o
n th
e ca
reer
of a
gro
up o
r art
ist.
A st
rong
mus
ical
trad
ition
st
ill e
xist
s in
Brita
in a
nd A
mer
ica,
and
not
just
on
Broa
dway
or i
n Lo
ndon
but
ev
eryw
here
. Fi
lm h
as b
een
grea
tly in
fluen
ced
by m
usic
als.
Year
: 7 A
rtU
nit T
itle:
Nat
ural
For
mTe
rm: H
alf T
erm
3 &
4
The
Pow
erfu
l Que
stio
n:W
hy d
o w
e lo
ok a
t Nat
ural
For
m in
art
?W
e lo
ok a
t nat
ural
form
as i
t s su
bjec
t is o
ften
use
d in
lots
of a
rtw
ork.
Nat
ural
form
surr
ound
s us,
it is
goo
d to
take
in
spira
tion
from
thin
gs th
at y
ou h
ave
acce
ss to
. Ex
ampl
es o
f nat
ural
form
s are
leav
es, f
low
ers,
aco
rns,
shel
ls, b
irds,
ani
mal
s, in
sect
s, p
eopl
e.Be
ing
insp
ired
by n
atur
al fo
rm d
oes n
ot m
ean
that
you
onl
y ha
ve to
dra
w it
usin
g a
penc
il, y
ou c
an lo
ok a
t the
pat
tern
s an
d th
e de
tail,
you
can
look
at i
t clo
se u
p an
d no
tice
how
it c
hang
es o
ver t
ime.
Art
ists u
se d
iffer
ent m
edia
to p
rodu
ce
exci
ting
attr
activ
e pi
eces
of w
ork
that
ena
ble
you
to lo
ok a
t nat
ure
in a
diff
eren
t way
.
You
shou
ld b
e ab
le to
:1.
Reco
gnise
wha
t nat
ural
form
is2.
Crea
te a
det
aile
d dr
awin
g w
ith sh
adin
g3.
Expl
ore
diffe
rent
app
roac
hes t
o cr
eatin
g ar
twor
k th
at li
nks t
o th
e th
eme
natu
ral
form
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
that
…’
Nat
ural
form
isn’
t jus
t flo
wer
s an
d tr
ees –
Nat
ure
is so
met
hing
orig
inal
, so
met
hing
that
is g
row
n, n
ot m
an m
ade.
Not
onl
y ar
e flo
wer
s and
tree
s a
part
of n
atur
e, b
ut so
are
ani
mal
s, in
sect
s, p
eopl
e an
d so
me
food
. Yo
u w
ill
have
an
oppo
rtun
ity in
this
proj
ect t
o ap
ply
diffe
rent
skill
s to
diff
eren
t na
tura
l for
m.
Man
y ar
tists
take
insp
iratio
n fr
om N
atur
e –
Ever
y ar
tists
take
s ide
as b
efor
e cr
eatin
g th
eir o
wn
piec
e of
art
wor
k. T
here
are
man
y ar
tist w
ho u
se n
atur
e to
insp
ire th
eir w
ork.
Ar
tists
who
look
at n
atur
e:
Addi
ng to
ne a
nd s
hadi
ng m
akes
a d
raw
ing
real
istic
and
3D
–W
hen
you
appl
y lig
ht, m
ediu
m a
nd d
ark
tone
s to
a sh
ape
it ch
ange
s fro
m 2
D to
3D,
this
mea
ns th
at it
star
ts to
pop
out
of t
he p
age.
We
use
dire
ctio
nal s
hadi
ng to
m
ake
a dr
awin
g ev
en m
ore
real
istic
, thi
s mea
ns th
at th
e sh
adin
g fo
llow
s a
natu
ral d
irect
ion
and
help
s to
mak
e th
e sh
ape
mor
e 3D
. W
ithou
t ton
e or
sh
adin
g yo
ur d
raw
ings
can
look
flat
. Dr
awin
g is
the
base
of a
ll ot
her s
kills
an
d it
is im
port
ant t
hat y
ou le
arn
mor
e ab
out h
ow to
dra
w a
ccur
atel
y.
Pow
erfu
l Exa
mpl
es: S
hade
d dr
awin
gs:
Pow
erfu
l La
ngua
geSy
nony
ms
Def
initi
on a
nd s
ente
nce
to c
onte
xtua
lise
1.To
nePe
ncil
shad
ing
The
appl
icat
ion
of li
ght t
o da
rk‘Y
ou c
ould
see
the
tone
that
has
bee
n ad
ded
to th
e dr
awin
g’
2. N
atur
al
form
Nat
ure
The
orig
inal
form
/app
eara
nce
of a
n ob
ject
‘T
he tr
ee g
rew
from
the
grou
nd, i
n its
nat
ural
form
’
3. T
extu
re
Feel
The
feel
and
app
eara
nce
of a
surf
ace
‘The
text
ure
of th
e br
ick
was
roug
h an
d sp
ikey
’
4. S
hadi
ng
Addi
ng to
neTh
e da
rken
ing
of a
shap
e to
cre
ate
dept
h. A
ddin
g sh
ade
to a
n ob
ject
mak
es it
look
3D
and
real
istic
‘The
shad
ing
in th
e dr
awin
g m
ade
it lo
ok v
ery
life
like’
5. 3
D (3
di
men
siona
l)
Real
istic
, Life
lik
e
Whe
n so
met
hing
look
s rea
listic
, mak
ing
som
ethi
ng p
op o
ut o
f th
e pa
ge‘T
he 3
D st
yle
of th
e cu
be m
ade
it lo
ok li
ke it
cou
ld b
e ta
ken
off
the
page
’
6. D
irect
iona
l sh
adin
gCo
ntou
rs
Shad
ing
in th
e di
rect
ion
of th
e ob
ject
. Fol
low
ing
the
shap
e to
m
ake
it lo
ok m
ore
real
istic
and
3D
‘The
sphe
re lo
oked
roun
d be
caus
e of
the
curv
ed d
irect
ion
of th
e sh
adin
g’
7. P
atte
rnRe
peat
ed
desig
nA
spec
ific
desig
n th
at is
ver
y de
cora
tive,
and
then
repe
ated
‘Mak
e a
patt
ern
for t
he zi
gzag
edg
es’
8. M
anda
laSp
iritu
al
sym
bols
A sp
iritu
al p
atte
rn b
ased
on
circ
le d
esig
ns‘T
he m
anda
la p
atte
rn h
ad v
ery
deta
iled
circ
le d
esig
ns’
9. B
otan
ical
lin
e dr
awin
gs
Smal
l sim
ple
desig
ns
Sim
ple
line
draw
ings
of w
ild fl
ower
s and
oth
er p
lant
s‘T
he sm
all a
nd si
mpl
e lin
e dr
awin
gs h
ad a
bot
anic
al s
tyle
’
10. A
ccur
ate
Corr
ect a
nd
prec
iseCo
rrec
t in
all d
etai
ls, e
xact
ly th
e sa
me
‘The
dra
win
g of
the
appl
e w
as h
ighl
y ac
cura
te’
11. D
etai
lSp
ecifi
c an
d in
tric
ate
An in
divi
dual
fact
or f
eatu
re‘T
he d
etai
l in
the
leaf
dra
win
g co
uld
be se
en in
the
vein
s’
Addi
ng s
hadi
ng
to th
e ci
rcle
has
m
ade
it lo
ok 3
D –
A sp
here
Addi
ng li
ght,
med
ium
and
da
rk to
nes
acro
ss th
e ob
ject
s mak
es
the
obje
ct lo
ok
real
istic
Supe
rHer
o Ac
tion
Figu
re P
OW
ERFU
L EX
AMPL
ES
KS3
DESI
GN
AN
D TE
CHN
OLO
GY H
alf T
erm
4
Supe
rHer
o Ac
tion
Figu
re
POW
ERFU
L KN
OW
LEDG
E Y
ou sh
ould
kno
w th
at:
This
proj
ect p
rovi
des a
n in
trod
uctio
n to
a n
umbe
r of d
iffer
ent a
reas
with
in D
&T.
Yo
u w
ill le
arn
abou
t Des
ign
Spec
ifica
tions
, Des
ign
Idea
s, A
nnot
ation
, Fon
ts, P
acka
ging
De
sign,
Pac
kagi
ng F
uncti
ons,
Vac
uum
For
min
g, W
orki
ng D
raw
ings
, Mod
el M
akin
g an
d As
sem
bly.
You
will
also
look
at t
he p
roce
ss o
f des
igni
ng a
nd m
akin
g a
prod
uct f
rom
fir
st id
eas a
ll th
e w
ay th
roug
h to
you
r firs
t pro
toty
pe. Y
ou w
ill b
e de
signi
ng a
n ac
tion
figur
e an
d th
e pa
ckag
ing
that
it w
ill b
e so
ld in
. Thi
s will
giv
e yo
u a
good
foun
datio
n fr
om w
hich
to st
art y
our l
earn
ing
in D
esig
n an
d Te
chno
logy
.
Pow
erfu
l Kno
wle
dge
Defin
ition
Expl
anati
on a
nd P
urpo
se
Spec
ifica
tion
A se
t of c
riter
ia o
r tar
gets
th
at a
des
ign
mus
t hit.
A de
sign
spec
ifica
tion
is a
set o
f cle
ar c
riter
ia th
at y
our d
esig
n m
ust m
eet.
They
will
say
how
you
r pro
duct
mig
ht w
ork,
w
hat i
t mig
ht lo
ok li
ke, w
hat i
t will
hav
e to
do
and
wha
t it m
ight
be
mad
e fro
m. I
t cou
ld a
lso sp
ecify
size
and
shap
e.
Desig
n Id
eas
A ra
nge
of so
lutio
ns to
a
desig
n pr
oble
m.
Whe
n w
e th
ink
of lo
ts o
f way
s tha
t we
coul
d de
sign
our p
rodu
ct, w
e ar
e cr
eatin
g de
sign
idea
s. It
is im
port
ant t
o tr
y an
d cr
eate
man
y al
tern
ative
idea
s and
not
get
stuc
k on
just
one
. Ofte
n a
com
bina
tion
of d
iffer
ent p
arts
from
a v
arie
ty
of id
eas c
an g
ive
us th
e be
st a
nsw
er to
our
des
ign
prob
lem
.
Anno
tatio
nN
otes
and
labe
ls th
at
expl
ain
your
des
igns
Anno
tatin
g ou
r des
ign
sket
ches
is a
goo
d w
ay o
f exp
lain
ing
and
clar
ifyin
g ou
r des
ign
idea
s. It
is im
port
ant t
hat w
e co
mm
unic
ate
clea
rly w
hen
we
are
pres
entin
g ou
r tho
ught
s abo
ut h
ow w
e sh
ould
des
ign
our p
rodu
ct.
Font
A fu
ll se
t of l
etter
s de
signe
d in
the
sam
e st
yle
Ther
e ar
e th
ousa
nds o
f diff
eren
t fon
ts th
at w
e ca
n ch
oose
from
whe
n de
signi
ng lo
gos a
nd p
acka
ging
. Eac
h st
yle
of
lette
ring
has i
ts o
wn
moo
d. A
care
fully
cho
sen
and
appr
opria
te fo
nt w
ill e
nhan
ce th
e de
sign
of o
ur b
liste
r pac
k.
Func
tion
The
job
or ro
le th
at a
pr
oduc
t nee
ds to
do
A pr
oduc
t will
hav
e to
do
cert
ain
thin
gs o
r wor
k in
a p
artic
ular
way
. The
se a
re it
s fun
ction
s. W
hen
we
desig
n ou
r pa
ckag
ing
we
will
look
at t
he fu
nctio
ns o
f pac
kagi
ng: c
onta
in; p
rote
ct; p
rese
rve;
pro
mot
e; in
form
and
stor
e.
Vacu
um F
orm
ing
A pr
oces
s tha
t sha
pes h
ot
plas
tic b
y su
ction
Man
y ho
useh
old
obje
cts a
re m
ade
from
pla
stic
usin
g th
is pr
oces
s: b
aths
; sho
wer
tray
s; th
e in
side
of y
our f
ridge
. We
will
mak
e th
e pl
astic
bub
ble
for y
our b
liste
r pac
k on
a v
acuu
m fo
rmer
usin
g re
cycl
able
PVC
.
Wor
king
Dra
win
gA
draw
ing
that
giv
es
accu
rate
info
rmati
on
abou
t you
r des
ign
Ther
e ar
e m
any
type
s of w
orki
ng d
raw
ing.
We
will
be
mak
ing
two.
The
firs
t is a
scal
e dr
awin
g. T
his s
how
s all
the
part
s of
the
actio
n fig
ure
in th
e co
rrec
t pro
porti
ons t
o on
e ot
her.
The
scal
e of
this
draw
ing
will
be
1:1
(1 u
nit o
n th
e dr
awin
g =
1 un
it in
real
ity) w
hich
is a
ctua
l size
. The
seco
nd is
an
expl
oded
dra
win
g w
hich
show
s all
the
piec
es o
f the
figu
re a
s se
para
te p
arts
and
in th
e co
rrec
t col
ours
Mod
el M
akin
gM
akin
g an
initi
al o
ne-o
ff ve
rsio
n of
you
r pro
duct
Desig
ners
use
mod
el m
akin
g to
exp
lore
how
thei
r pro
duct
will
wor
k, h
ow it
will
look
and
how
they
can
chan
ge a
nd
impr
ove
it. M
odel
mak
ing
give
s a c
lear
impr
essio
n of
wha
t you
r pro
duct
will
act
ually
be
like.
Asse
mbl
yPu
tting
all
the
piec
es o
f yo
ur p
rodu
ct to
geth
erIt
is im
port
ant t
o be
ar in
min
d th
e w
ay in
whi
ch y
our p
rodu
ct w
ill b
e as
sem
bled
. Putti
ng th
en to
geth
er n
the
right
or
der w
ill g
ive
you
a su
cces
sful
pro
duct
or p
roto
type
. Doi
ng it
in th
e w
rong
ord
er m
ight
mea
n th
at it
won
’t w
ork.
Poly
Clay
A co
lour
ed m
odel
ling
mat
eria
l tha
t rem
ains
soft
until
bak
ed in
the
oven
Poly
Clay
is a
soft
mod
ellin
g m
ater
ial t
hat r
emai
ns w
orka
ble
until
you
bak
e it.
You
can
shap
e an
d sc
ulpt
it li
ke n
orm
al
clay
or p
lasti
cine
and
then
bak
e it
at a
low
tem
pera
ture
so th
at it
har
dens
. It c
omes
in a
wid
e ra
nge
of co
lour
s. Yo
u ca
n yo
u us
e yo
ur w
orki
ng d
raw
ings
to g
uide
you
r mod
ellin
g, c
heck
ing
the
size
and
colo
ur o
f eac
h pi
ece.
POW
ERFU
L Q
UES
TIO
N W
hat i
s inv
olve
d in
des
igni
ng a
nd m
akin
g ou
r pro
duct
?
Mos
t pro
duct
s are
des
igne
d to
mee
t a se
t of c
riter
ia -
a sp
ecifi
catio
n. T
his m
eans
that
th
e de
sign
has t
o hi
t cer
tain
targ
ets.
You
r des
ign
need
s to
be c
omm
unic
ated
cle
arly
by
ann
otat
ed sk
etch
es. Y
our p
acka
ging
will
hav
e to
per
form
a n
umbe
r of f
uncti
ons,
on
e of
whi
ch is
pro
moti
ng y
our p
rodu
ct. A
n un
ders
tand
ing
of fo
nts c
an h
elp
with
this.
Va
cuum
form
ing
is a
wid
ely
used
met
hod
of sh
apin
g pl
astic
, we
will
use
it to
cre
ate
a bl
ister
pac
k. Y
ou w
ill m
ake
wor
king
dra
win
gs to
hel
p yo
u m
ake
your
fina
l pro
toty
pe,
whi
ch y
ou w
ill m
odel
in P
olyC
lay,
befo
re y
ou a
ssem
ble
the
pack
that
will
hol
d it.
KS3
DESI
GN
AN
D TE
CHN
OLO
GY H
alf T
erm
4
Year
: KS3
Tec
hU
nit T
itle:
Bak
ed B
eans
Cha
lleng
e Te
rm: H
alf T
erm
4
The
Pow
erfu
l Que
stio
n:W
hy d
o w
e lo
ok a
t pla
ting
and
pres
enta
tion?
Plat
ing
and
pres
enta
tion
are
real
ly im
port
ant t
hing
s to
star
t to
cons
ider
whe
n co
okin
g an
d m
akin
g di
shes
. As h
uman
s we
have
man
y se
nses
and
we
eat w
ith o
ur e
yes a
s muc
h as
we
do w
ith o
ur m
outh
s. H
ow so
met
hing
look
s or a
ppea
rs c
an
som
etim
es st
op o
r enc
oura
ge p
eopl
e to
try
the
dish
or n
ew fo
ods.
In
Foo
d Te
chno
logy
we
don’
t jut
coo
k w
e en
cour
age
you
to lo
ok a
t all
area
s tha
t inc
orpo
rate
food
from
pre
para
tion,
pr
oduc
tion,
indu
stry
and
sour
ce. T
his w
ill n
ot o
nly
help
you
pla
n w
hat y
ou c
ould
mak
e bu
t also
how
muc
h to
mak
e an
d ho
w it
will
app
ear o
n th
e pl
ate
to m
ake
it ap
petis
ing.
You
shou
ld b
e ab
le to
:1.
Und
erst
and
wha
t is m
eant
by
pres
enta
tion
2.Pl
an a
dish
con
sider
ing
plat
ing
tech
niqu
es a
nd p
rese
ntat
ion
feat
urin
g th
e tw
o m
ain
ingr
edie
nts
3.Cr
eate
the
visu
alise
d di
sh u
sing
the
tech
niqu
es y
ou id
entif
ied
in y
our d
esig
n an
d pr
esen
t it o
n a
plat
e
Pow
erfu
l Kno
wle
dge:
‘You
sho
uld
know
…’
Why
pla
ting
used
in in
dust
ry:
Plat
ing
is im
port
ant t
o sh
owca
se th
e fo
od y
ou a
re m
akin
g fo
r you
r cu
stom
ers.
Usin
g im
agin
ativ
e an
d cr
eativ
e w
ays t
o di
spla
y or
con
ceal
th
e fo
od m
akes
the
eatin
g ex
perie
nce
mor
e en
joya
ble.
If so
met
hing
lo
oks n
ice
and
is pr
esen
ted
wel
l you
are
mor
e lik
ely
to tr
y it
and
rem
embe
r it
Ingr
edie
nts:
You
will
nee
d to
use
the
two
mai
n in
gred
ient
s in
your
reci
pe/d
esig
n:
Bean
s and
Bre
ad (T
oast
). Yo
u ca
n us
e sp
aghe
tti h
oops
if y
ou w
ant.
How
to c
reat
e yo
ur re
cipe
s:Kn
owle
dge
of e
quip
men
t: yo
u w
ill b
e en
cour
age
whe
re p
ossib
le to
cr
eate
one
of y
our c
halle
nge
reci
pes.
Yo
u sh
ould
be
able
to e
xpla
in w
hat e
quip
men
t you
will
nee
d an
d ho
w
it w
ill b
e us
ed.
You
will
also
show
you
r met
hod/
reci
pe in
stag
es to
show
how
the
mea
l has
bee
n cr
eate
d, so
that
oth
ers c
an re
crea
te it
as w
ell.
How
you
r sen
ses i
mpa
ct w
hat y
ou e
at:
Pow
erfu
l Exa
mpl
es: W
AGO
LLs
Pow
erfu
l La
ngua
geSy
nony
ms
Def
initi
on a
nd s
ente
nce
to c
onte
xtua
lise
1.
Com
posit
ion
Stru
ctur
e,
arra
ngem
ent,
Posit
ion
How
you
arr
ange
the
food
in th
e sp
ace
on th
e pl
ate
‘You
cou
ld se
e th
at th
e co
mpo
sitio
n of
the
food
had
bee
n w
ell
thou
ght o
ut’
2. P
latin
g Fo
od
Pres
enta
tion
How
the
food
look
s on
the
plat
e ‘T
he tr
ee g
rew
from
the
grou
nd, i
n its
nat
ural
form
’
3. A
ppet
ising
M
outh
w
ater
ing,
de
licio
us
The
food
look
s app
ealin
g to
eat
‘The
aro
ma
of p
izza
was
app
etisi
ng’
4.
Pres
enta
tion
How
it lo
oks,
di
spla
y
Arra
ngin
g th
e fo
od o
n th
e pl
ate
to m
ake
it lo
ok m
ore
appe
alin
g or
cha
nge
its o
vera
ll ap
pear
ance
.‘T
he b
eans
wer
e pr
esen
ted
in a
pre
sent
box
of t
oast
, as y
ou
open
ed it
they
pou
red
out ’
5. S
truc
ture
Sh
ape,
layo
ut,
laye
red
How
som
ethi
ng is
pla
ced
or p
ut to
geth
er to
cre
ate
a sh
ape
or
form
‘The
stru
ctur
e sh
owed
a to
wer
of b
eans
on
toas
t b la
yerin
g di
ffere
nt p
iece
s on
top
of e
ach
othe
r’
6. C
reat
ive
Orig
inal
, Ar
tistic
, In
vent
ive
Usin
g im
agin
atio
n to
cre
ate
an o
rigin
al d
ish
‘The
way
they
had
disp
laye
d th
e fo
od a
s a fa
ce w
as v
ery
crea
tive’
7. T
hem
e Su
bjec
t, To
pic,
Id
eaA
spec
ific
topi
c th
e pr
ojec
t or i
dea
follo
ws
‘You
r the
me
is Lo
ckdo
wn
Hero
es’
