Living nature


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Living nature

  1. 1. Living Nature An Installation Unit
  2. 2. Brief: Living Nature • Read Mural BRIEF • RESEARCH: analysis of artist model Fatu Fe’u and Michel Tuffrey• COLLECTION of cultural designs related to your culture, plant image relating to your whanau, a self portrait, symbols or images relating to your personal interests. • Dump sheet exercise- Group brainstorm of mural ideas• CONCEPTS: Divide an A3 page in to four parts. Draw six „thumbnail‟ ideas using images and ideas related to yourself, your interests, your cultural patterns, design your whanau symbols i.e.. Miro plant, Hinau plant, Tawa plant or Kowhai plant. • DEVELOPMENT: make two compositional ideas on an A3 page. Explore use of line to create texture and pattern as seen in artists works studied. Show your use of colour ( make a colour plan using 3-4 colours on one of the development works) and media • REFINEMENT: Discuss in small groups how to improve best ideas 5-10 minutes. Transfer your chosen image to Ply. • FINAL: Use a variety of media to work into your section of the installation
  3. 3. Art Process
  4. 4. Self - Management
  5. 5. Mural: „2013 – Living Nature‟• Title Page: Make a title page on the supplied task sheet template (Yr 10 start up task -• Flow Chart – plotting process used in doing unit of work• Planning Chart with key used from Flow Chart – Planning for duration of unit, how long to spend on each process
  6. 6. • Research: - cultures,nature interests:• Mäori, Pacific and Asian, Celtic. Class brainstorm/dump sheet.• Research imagery to support brainstorm/theme, ation in computer- room• HW find resources for above
  7. 7. • Analysis: of Artists from OTHC trust collection:narrative/installation works: use task sheets• Artist models: Richard Killeen , John Pule, Fatu Feu’u art works: Composition, Colour, key ideas, patterns used and how used, marks, tone, texture
  8. 8. Colour & paint• Create 3 colour wheels, primary, secondary tertiary colour. This will help students mix paint and apply with discernment• Work on the supplied tints and shades grid• Draw one of your favourite shapes onto grid. Paint tints and shades within this shape.
  9. 9. • Research: - group brainstorm of installation ideas, assign a page to small groups, reference ideas from Artist research -• Concepts: Make 4 composition ideas on an A3 page. Explore use of line to create textures and patterns as seen in artist’s works studied
  10. 10. • Developments: (On Card to Scale) - Discuss, improve best ideas, make colour plan using 3-4 colours. (2 x A4) ( for learning about colour, using paint and tone)
  11. 11. • Finals - Transfer image to Ply. Paint with white. Work over line work in ink. Allow to dry then work over in colour tone, media
  12. 12. Our project is a muralinstallation which isbased on ‘Living Nature’(and identity),Shape & Colour
  13. 13. Fatu Feuu Ulu manu folau
  14. 14. Fatu Feu’u is a senior artist acknowledged as both a leader and mentor within the Pacific artscommunity in New Zealand. Feu’u grew up in the village of Poutasi in Western Samoa andimmigrated to New Zealand in 1966 at the age of 20. He has been an exhibiting artist since theearly 1980s and became a full-time artist in 1988.Fatu is a multi-media artist and while primarily a painter, he explores a range of other mediumsincluding bronze, wood and stone sculpture, pottery design, lithographs, woodcuts and glassworks (both stained and etched). Fatu gains inspiration from Polynesian art forms such as siapo(bark cloth), tatau (tattooing), weaving, carving and ceremonial mask making. In these forms hehas discovered a rich lexicon of motifs and compositional structures. Fatus works frequently blendtraditional and contemporary elements, incorporating a range of influences, inspirations,techniques and motifs from Samoa and Aotearoa and more generally from Euro-American toPacific cultures.
  15. 15. Fatu FeuuAdoration of Fertility Ritual by Night 2001 Orongo 1992Woodcut, 559 x 1212 mm. Woodblock on barkcloth, laid on paper, 596 x 490 mm.
  16. 16. FATU FEUU Tamilo I Moana 2004 Matau, 1988woodcut, 760 x 1070 mm.
  17. 17. Ulutoa moana, 1999
  18. 18. Ulu manu folau
  19. 19. Talosaga pouli: Ancient worship of the black lizard by night, 2001, woodcut
  20. 20. Michel Tuffery 1.Tangaroa Conversion With Tui 500 X 1300mm2.Tangaroa,Tangaroa,Tangaroa, Siva in Cook Strait 500 X 1950mm
  21. 21. Michel Tuffery is an acclaimed printmaker, painter and sculptor, who is constantly exploring,collaborating and innovating.A New Zealand based artist of Samoan, Rarotongan and Tahitian heritage, Tuffery likens therole of the artist to that of a journalist – asking questions, investigating and telling storiesfrom fresh perspectives. For Tuffery, art is his first language. It’s the way he communicates hisideas on the world around him; his cultural heritage and the diverse cultural fabric thatmakes up New Zealand; and the changing nature of life in the Pacific region.“ Tuffery’s journey is an open and expansive one, its wonder and revelations sharedgenerously, as a gift, in his art. It illuminates the sea around him, showing us aspects of ourworld, our society and our lives that would otherwise remain unseen. ”Tim Walker, Director, TheNewDowse, New Zealand
  22. 22. 4.Tangaroa,Tangaroa, Sanctuary, Lua Cook Strait 500 x 1950mm 5.Tangaroa,Tangaroa, Sanctuary, Tulu Cook Strait 600 X 1950mm
  23. 23. Pili Siva , 1988 Pili Pili Pili Pili Falithograph, printed in colour, from multiple stones Lithograph on 650 x 510 mm paper, from an edition of 38, 1997
  24. 24. Christ Keke Fala Sa. , 1998 Mata Mata Vaa 2005 relief; drawing woodcut collage,woodcut, printed in colour, from multiple blocks printed in black ink, from multiple blocks; graphite
  25. 25. Design your whanau symbols i.e. Miro plant, Hinau plant, Tawa plant or Kowhai plant. HINAU
  26. 26. KOWHAI
  27. 27. TAWA
  28. 28. MIRO
  29. 29. Fatu Feuu Ulu manu folau
  30. 30. Michel Tuffery Pili Pili Pili Pili Fa Lithograph, 1997
  31. 31. Elements:colour, line and shape
  32. 32. COLOURPrimary Colours Secondary Colours Tertiary ColoursRed, Yellow and Blue. Secondary colours are The tertiary colours areEqually spaced on the formed when you mix the formed by mixing a primaryColour wheel. When used and secondary hue together. primary colours together.together they tend to give They could be referred to as These colours tend to havea very contrasting effect. the “in-between” colours. a much gentler feel to them
  33. 33. Monochromatic colour Picasso
  34. 34. Line Pablo Picasso, Bust of a Woman, 1909
  35. 35. SHAPE
  36. 36. Principles: Contrast,balance, rhythm and harmony
  37. 37. BALANCE There are three main kinds of visual balance:Radial formal (or symmetrical) informal (or asymmetrical)
  38. 38. HARMONY & CONTRASTA harmonious design is one in which its different elements are in unity with each other Contrast, the opposite quality to harmony, involves the use of opposing elements, such as clashing colours and shapes, in the same design.
  39. 39. PATTERN AND RHYTHM A repeated design element. Rhythm is related to pattern in that it uses repeating elementsM C Escher - Vogels Marimekko - Hevoskastanja
  40. 40. Creating personal symbols, patterns, images and ideas relating to yourself • Family and friends • Where you live- natural or built environments • Interests- sports and hobbies • Entertainment- T.V, films, music • Reading materials- magazines and comics • Religious and community involvement • Cultural heritage
  41. 41. Personal Reflection • What ideas did you gain from studying the artist models Fatu Fe’u and Michel Tuffrey• What principles did you use to organise your final design?, for example balance, harmony and contrast • What are the meanings and significance of the symbols you have used within your final A3 design? • What messages did you communicate about yourself through your used images?
  42. 42. NZ bornSamoanArtist,MichelTuffrey useslizards in hisworkcombining itwithsymbols ofhis culture
  43. 43. Designersoften stylise real creatures to make give them emphasis
  44. 44. Artist Study Richard Killeen : Installation• Richard Killeen is an artist who uses a range of different shapes which he combines together to form ‘modular installation’ works.• He likes to research and puts his collections together in creative combinations• He also like to work inside shapes
  45. 45. • The end