Choose what is useful today, never a fixed learning-style/diagnosis group. All retain the day's purpose. Keep established communication and comfortable locally reviewed tools/supports; no forced grasp, posture, vision, colour, body range, sound, partner, camera or audience. Adult marks/tool operation, learner design decisions, realised media work, unmade plan and actual source/presentation/response stay attributed. Adult exact description is access to image information, not invented learner visual inspection. A no-material plan/response is complete at its stated partial evidence scope.
| Day / route | Concrete work, evidence and next invitation |
|---|---|
| 21 A | Draw one rough original shape/crop for a tiny mystery or private art with familiar tools. Choose what is inside/outside the frame and give one available reason. Actual marks and decisions can be observed; next try a different crop only if useful. No neatness/hand-speed quota. |
| 21 B | Direct a willing adult's broad marks one meaningful choice at a time using an established signal. Confirm the realised image reflects the learner's decision, including rejection. Record adult production and learner framing choices; next select a clue, not credit adult grip/tool skill to the learner. |
| 21 C | With no new kit, describe/sign an imagined first frame and one off-screen detail, or choose art without a mystery. Adult repeats the stated meaning. This is picture planning/explanation, not a realised image; next invite a useful source/mark later if wanted. |
| 22 A | Encounter the saved Fan strip in order A/B/C, choose a possible reading and make a purposeful own image variation. Credit the source. Record actual encounter/making/help, not a human folding event or broad contexts; next compare one shown/hidden detail. |
| 22 B | Receive exact image descriptions with familiar communication, or optional locally suitable tactile outlines. Select one fact and an own interpretation, then direct a variation/rejection. The adult description is not direct visual access; next ask which detail supports the chosen meaning. |
| 22 C | Encounter only a useful exact part of Fan, reject it or choose an appropriate own original source. Describe an own idea without materials. Record the actual source response/plan and access; next produce a component if wanted, with no all-three encounter or unique fan-reading gate. |
| 23 A | Make/choose close and wider versions of the same original scene using frame edges or an approved editor. One useful version can suffice. Explain a specific clue difference; next prefer a version for the intended reader/self. Actual tool manipulation is credited only where observed. |
| 23 B | Direct an adult to cover/reveal or redraw a named scene area, using broad locally suitable paper or exact descriptions. Compare information through chosen access. Record learner crop decisions and adult manipulation separately; next keep a purposeful ambiguity instead of assuming wider is better. |
| 23 C | Describe an imaginary scene and two possible framing edges in familiar communication. Choose how much to show and why. This is model/planning reasoning, no actual camera/photo; next retain an honest open production part or ask for a realised drawing. |
| 24 A | Arrange actual own frames in a chosen reveal/disappearance/contrast order, without a fixed correct sequence. Explain one available information change. Record actual arrangement/decision; next omit/insert/reverse a useful component rather than complete every option. |
| 24 B | Ask an adult to place or label frames according to the learner's named order, confirming each choice. Optional tactile boundaries preserve image order without compulsory touch. Adult placement stays attributed; next compare the first clue, not infer independent physical arrangement. |
| 24 C | With no frames, describe an own first/next view or choose a single final image. State what a reader could know at that point. It remains an unmade order/plan; next invite actual image production later if wanted, not a required completed strip. |
| 25 A | Receive only held C, choose one reading/edit/reason in familiar writing/drawing/signing/dictation. Capture first component/help before examples or more. A made edit and an unmade plan differ; next component/later sitting optional, no speed score. |
| 25 B | Receive exact new C facts individually or through optional familiar tactile outlines; distinguish the scene's blue border from the panel edge. Direct one own edit or choose a supported reading. Record access/adult production; unfinished not yet observed/another short sitting, not presumed independent reading. |
| 25 C | Reject/replace new C with an own original image/question or explain a different supported reading. Capture the actual first response without a preferred flag/picture answer. Participation remains valid; explanation/making components are judged only if available. Next work follows first capture. |
| 26 A | Choose own purpose/intended reader, then actually change one image scale/detail/word for that purpose. Self/private art can be explicit. Give an available reason; next realise a useful component rather than promise a reader effect or actual audience. |
| 26 B | Direct an adult to realise a chosen clue/title/blank space for an imagined reader. Confirm purpose and actual mark match the learner's decision. Record guided construction/adult tool action; next prefer/change without forced voice, grasp or real sharing. |
| 26 C | Describe a new private strip idea without earlier work/materials. Choose what it should communicate and to whom if useful. This is purpose/planning/explanation, not produced media or real reader feedback; next choose an optional making mode later. |
| 27 A | Make one actual image/text/arrangement component using familiar paper tools or approved offline editing. Select the strip as final work or clearly name a future-medium storyboard. Record actual process/tool/maker/help; next edit one useful detail with no four-frame/film completion gate. |
| 27 B | Give precise image/word/order choices while a willing adult draws/edits. Confirm or revise the realised component. Learner production decisions and adult marks are separately credited; next explain one process choice, not infer independent camera/software operation. |
| 27 C | Use an exact own description to plan a component and which process would realise it. Keep no-material work as planning/response. An adult-only preset source is not learner media production; next invite one meaningful realised decision only if wanted/available. |
| 28 A | Actually add/remove/reposition a word or image detail in an available own frame, or start a new one. Compare one specific information/meaning difference and prefer/stop. Record revision rather than assumed improvement; next keep a purposeful wordless image if chosen. |
| 28 B | Direct an adult's revised mark/text and receive an exact description of both versions. Choose an own supported reason or reject the revision. Record guided edit/adult tools/access; next test a different choice without a required sentence/colour target. |
| 28 C | Describe a proposed word/no-word or crop edit to an imagined original image and explain possible changed information. It stays a proposal, no actual reader result. Next choose an own source/realised component later; no recording or completed comparison table. |
| 29 A | Choose a final actual edit/credit and, only if wanted, present to a real willing reader privately. Ask what they notice and keep their actual reply. Record source/help/sharing, not guaranteed effect; next revise or keep a different reading without penalty. |
| 29 B | Direct an adult's final image/credit and chosen informal presentation, if a willing reader/learner consent exists. Name who showed/described it and the learner's decisions. Reader access is exact description if used; next retain real response or honest missing response, not public performance. |
| 29 C | Keep a private made image or no-material purpose plan; choose an honest source credit/reason. This is useful reflection/production where made, not actual presentation by saving alone. Next sharing can remain declined/open; no invented reader, notes or photos required. |
| 30 A | Encounter only new D seeds; make/select one own component or reason, including outside-bank art. Capture first/help before more/examples. No all-seed/four-panel quota; unfinished not yet observed/another short sitting/no speed score. Actual made work and plans differ. |
| 30 B | Receive each exact seed separately through familiar descriptions or optional tactile outlines. Preserve C's wavy line beside the right outer edge, not inside. Direct an own choice/change; record first access/help and adult marks, then optional next component/later sitting. |
| 30 C | Reject seeds or invent an own described image/meaning for self or an intended reader. Capture a first useful plan/reason without forcing bank completion. Keep actual construction/presentation/reader components open unless they occur; next invitation can be a realised image later, not compulsory. |
These are design provisions, not individual access findings or evidence of classroom benefit. Review actual choices/access with the learner and relevant adults.