This document provides information about using felt making in art lessons. It includes examples of the artist's own felt works, inspiration, process, and how it can support the curriculum. Specific activities are described like responding to a stimulus to create a whole class felt piece. Resources needed for felt making are outlined. The document emphasizes using original artworks as stimuli and suggests nature, artists' works, and literature as starting points for felt projects.
This document summarizes a digital ethnography of the Second Life world "Hue Are You" and its creator Zinnia Zauber. The summary discusses how Zinnia uses Hue Are You to teach color theory and incorporates her artwork both in-world and in real life. Zinnia was interviewed about her process, which involves hand drawing designs, creating digital versions, and bringing physical artwork into Second Life. Her goal is to empower people through color and help them express their identity. The summary analyzes how Zinnia's bright, colorful world makes learning stimulating and inclusive. It also notes some challenges new users face in Second Life's complexity.
This document contains Laura Baker's digital portfolio, including examples of her work from various terms of her Fine Art BA program. It includes samples of statements she has written to accompany drawings, sculptures, lens-based media works, and self-directed projects. The statements describe her creative process, influences, and intentions for each piece. The portfolio also contains Laura's CV, business card, and postcard with her contact information.
Christian San Jose is a graphic designer from the Philippines who created the artwork "Rise Together" in Adobe Illustrator CS5 to commemorate how the Filipino people came together after a devastating typhoon. The artwork features hands reaching out and typographic elements composed of people rising together. San Jose started with rough sketches, scanned them, and then traced the sketches in Illustrator, using new tools like variable width strokes and bristle brushes to create organic, fluid designs that reflected the spirit of unity among Filipinos during a time of crisis.
Miriam is offering felt picture making workshops on various dates in October through December at her studio in Blessington, Co. Wicklow, where participants can create their own designs using wool and silk in the beautiful surroundings of Blessington lakes, with the workshops running from 10:30am to 3:30pm and costing 70 euro, which includes materials and a three course organic home cooked lunch.
Felt is a non-woven fabric produced by matting, condensing and pressing wool fibers. It has been produced for over 8,000 years using heat, pressure and moisture to cause the fibers to interlock. Wool fibers have scales that allow them to stitch together when rubbed with water and friction. Early felt artifacts have been found in Siberia and it was used by various cultures for clothing, tents, armor and other purposes due to its strength when wet. Traditional Mongolian feltmaking involves layering wool, spreading water on it, and rolling it while applying pressure to fully mat the fibers together.
The document discusses various techniques and exercises for abstract art, including blind contour drawing to describe textures by feel alone, using unorthodox tools to create unique brush marks, and contemplative drawings exploring the sensory experience of drinking water and the interior of one's mouth. Students are encouraged to experiment freely with mark making and non-traditional methods to develop their artistic practice.
This document summarizes a digital ethnography of the Second Life world "Hue Are You" and its creator Zinnia Zauber. The summary discusses how Zinnia uses Hue Are You to teach color theory and incorporates her artwork both in-world and in real life. Zinnia was interviewed about her process, which involves hand drawing designs, creating digital versions, and bringing physical artwork into Second Life. Her goal is to empower people through color and help them express their identity. The summary analyzes how Zinnia's bright, colorful world makes learning stimulating and inclusive. It also notes some challenges new users face in Second Life's complexity.
This document contains Laura Baker's digital portfolio, including examples of her work from various terms of her Fine Art BA program. It includes samples of statements she has written to accompany drawings, sculptures, lens-based media works, and self-directed projects. The statements describe her creative process, influences, and intentions for each piece. The portfolio also contains Laura's CV, business card, and postcard with her contact information.
Christian San Jose is a graphic designer from the Philippines who created the artwork "Rise Together" in Adobe Illustrator CS5 to commemorate how the Filipino people came together after a devastating typhoon. The artwork features hands reaching out and typographic elements composed of people rising together. San Jose started with rough sketches, scanned them, and then traced the sketches in Illustrator, using new tools like variable width strokes and bristle brushes to create organic, fluid designs that reflected the spirit of unity among Filipinos during a time of crisis.
Miriam is offering felt picture making workshops on various dates in October through December at her studio in Blessington, Co. Wicklow, where participants can create their own designs using wool and silk in the beautiful surroundings of Blessington lakes, with the workshops running from 10:30am to 3:30pm and costing 70 euro, which includes materials and a three course organic home cooked lunch.
Felt is a non-woven fabric produced by matting, condensing and pressing wool fibers. It has been produced for over 8,000 years using heat, pressure and moisture to cause the fibers to interlock. Wool fibers have scales that allow them to stitch together when rubbed with water and friction. Early felt artifacts have been found in Siberia and it was used by various cultures for clothing, tents, armor and other purposes due to its strength when wet. Traditional Mongolian feltmaking involves layering wool, spreading water on it, and rolling it while applying pressure to fully mat the fibers together.
The document discusses various techniques and exercises for abstract art, including blind contour drawing to describe textures by feel alone, using unorthodox tools to create unique brush marks, and contemplative drawings exploring the sensory experience of drinking water and the interior of one's mouth. Students are encouraged to experiment freely with mark making and non-traditional methods to develop their artistic practice.
This document contains summaries of artworks and techniques explored by a student over the course of an art project. It discusses primary and secondary sources, development processes using different mediums, techniques like relief printing and its health and safety practices, and an evaluation of their time management, research, skill development, and areas for future improvement. Key lessons included learning about visual language, analyzing and developing ideas, and presenting work in a visually engaging way.
This document contains summaries and reflections from a student on their art project. It discusses the techniques and processes they learned, such as relief printing and the importance of safety procedures. The student evaluated their time management, research skills, drawing development, and use of visual language. They reflected on how to improve incorporating different elements into one composition and making their sketchbook and blog more visually interesting.
- The document is a process journal entry from March 21, 2011 describing work on a mirror photoframe project.
- The author had previously completed work on the backboard by rounding and filing the edges. On this date, they began painting the backboard in preparation for adding a mirror and assembling photo frames.
- They mixed green, yellow, and white paint to create a pale, leaf-like color and painted the backboard, adding vein lines across the middle using gradations from dark to light. In future sessions, they planned to add six more vein lines with gradations.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
The document describes an art class activity at Marta Mata Public School in Girona where students created Halloween witches out of paper mache. The activity was divided into 4 sessions over several weeks. In session 1, students designed their witches and formed features out of newspaper. In session 2, they painted the heads and made hands out of straw. Session 3 involved adding hair, eyes, and hats. The final session was for decorating hats and creating bodies. The witches were judged in a school competition. The teacher found evaluating the projects difficult but using a rubric helped involve students.
This document provides a teacher's guide for promoting drawing skills in the primary classroom through the use of artwork focusing on hands. It includes introductions to key concepts like form and tone, examples of artists' work, suggested drawing activities exploring different materials and techniques, and links to how this topic connects to wider areas of the curriculum. Suggested activities guide students in close observation, developing tonal range, and conveying form through sketching, painting, sculpture, printmaking, photography and other media. Links are made to subjects like science, maths, history and RE to provide broader learning opportunities through hands as a theme.
The document outlines the expectations for classroom behavior, stating that students are expected to maintain an environment conducive to learning, and disruptive behavior will not be tolerated. Specific rules are provided regarding participation, use of electronics, respect, and completing assignments on time. Consequences like warnings and sanctions are mentioned for students who do not follow the expectations.
This document provides ideas for fundraising lessons centered around visual arts projects. It suggests having students create and sell buttons, painted rocks, or customized t-shirts with designed graphics. For each project, the document outlines steps like brainstorming designs, creating templates, and setting up displays to advertise and sell the artwork. It emphasizes keeping designs simple, bold, and consistent with the fundraising theme or organization. The final sections propose auctioning chairs painted by students to represent themselves or works of art as another creative fundraising option.
This document summarizes the artist's process in creating several self-portrait paintings. It describes the artist's initial source material that inspired them, including a portrait of a girl in a red jumper. It then discusses the artist's experimentation with different compositions, materials, and self-portrait angles. The artist created sketches, prototypes in different styles and backgrounds, settling on three compositions to further develop. They struggled with perspective but overcame this by ensuring consistent lighting. The artist learned about manipulating acrylic paints to create realistic skin tones and textures. Overall, the document reflects on the learning experience and importance of development, time management, and analytical skills for future improvement.
The document outlines 5 activities to teach art elements to students. The activities focus on lines, shapes, color, and light/dark tones. They involve showing students examples, having them identify elements in their surroundings, and creating artworks using the elements. One activity asks students to use their imagination to incorporate shapes into an abstract painting of a hot sunny day. The document also analyzes a student's artwork of a sunset beach scene and discusses how it effectively uses elements but could be improved. It concludes that art education helps develop important life skills.
The document outlines 5 activities to teach art elements to students. The activities focus on lines, shapes, color, and light/dark tones. They involve identifying these elements in objects, nature, and their surroundings. Students then apply what they've learned by creating drawings using different lines, shapes, primary colors and their mixes, and light/dark colors. One student's artwork of a sunset beach scene is described, showing their use of elements like sky, sea, birds and objects. The picture's effective and ineffective uses of elements are analyzed. [/SUMMARY]
The document discusses an initiative between the language arts and art departments at Wilkins Junior High to better integrate art into the language arts curriculum. It aims to reinforce key language arts skills like the 6+1 writing traits and reading comprehension strategies through art projects and activities. Some examples provided include having students analyze paintings to practice identifying details, comparing artwork, and reflecting on personal connections to pieces. The collaboration has helped improve student engagement and understanding by appealing to different learning modalities. Moving forward, the teachers plan to further develop common rubrics and provide additional training opportunities.
This document provides an overview of an encaustic art lesson for high school students. It discusses the history of encaustic art dating back to ancient Greece and Egypt. It then covers safety guidelines and supplies needed for the lesson, including heat sources, brushes, substrates, and wax. Various encaustic techniques are demonstrated such as collage using napkins, photo transfers, and combining painting with collage. Examples of student works are also shown. The document emphasizes that encaustic art develops 21st century skills like creativity, critical thinking, communication and collaboration.
The student has chosen to study fine art as it allows for visual expression of ideas. They will produce a painting for a local art gallery featuring attractions in Kilve such as aspects learned from sculpture experimenting with found materials and nature. The chosen project is a detailed close-up painting of landscapes focusing on textures and patterns within nature using different materials and techniques.
This document provides learning aims and outcomes for analyzing artwork. The aims include sharing knowledge and opinions with group members to deepen understanding of chosen artists, analyzing techniques like composition, color, and mediums. Keywords for annotation are identified, such as composition, balance, content, mediums, and techniques. Students will analyze example artworks using these terms and share opinions with the group.
This document provides learning aims and outcomes for a lesson on analyzing artwork. The aims include sharing knowledge and opinions with group members to deepen understanding of chosen artists, analyzing techniques like composition, color, and mediums. Learning outcomes focus on defining key terms, identifying words for annotations, analyzing art using those terms, and sharing opinions with peers. Students are instructed to take notes on ideas from paired work and a lesson video to consider when analyzing their own artist.
6 2 subs presentation summer work, review and planning for the future epEleanor Pipe
The student reflected on their first year of art study. They learned the most from a project that involved new techniques and materials like working in the workshop. Their skills and understanding developed across different art areas, and they found their strengths to be in drawing-based areas like fine art, fashion, and illustration. Moving to the second year, they want to improve their digital art skills in Photoshop and Illustrator as well as their presentation skills. Their goals for after art school remain the same - to study art foundation then costume design at university.
Desiree Gonzalez decided to try painting in the impressionist style after her daughter volunteered to give her lessons. Her daughter suggested impressionism and taught her about its key characteristics like visible brush strokes and emphasis on light. For her first attempt, Gonzalez painted a landscape photo of a sunset on a lake, following her daughter's instructions to use thick, short strokes of opaque paint. Though she felt her result looked more expressionist than impressionist, Gonzalez was pleased with her first try and plans to practice techniques like color mixing and using more water in future paintings.
This student completed an art project focused on experimenting with different techniques including drawing from observation, sculpture building, and printmaking. They analyzed primary sources by doing sketches of still life sculptures using various materials and shading techniques. They also created collograph prints inspired by the still life sculptures and researched artists like Leonardo Da Vinci and Pablo Picasso for techniques to incorporate. The student evaluated their work and felt they performed well in the artist research, printing, and sketching but could improve on sculpture building and the speed of their drawings.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
This document contains summaries of artworks and techniques explored by a student over the course of an art project. It discusses primary and secondary sources, development processes using different mediums, techniques like relief printing and its health and safety practices, and an evaluation of their time management, research, skill development, and areas for future improvement. Key lessons included learning about visual language, analyzing and developing ideas, and presenting work in a visually engaging way.
This document contains summaries and reflections from a student on their art project. It discusses the techniques and processes they learned, such as relief printing and the importance of safety procedures. The student evaluated their time management, research skills, drawing development, and use of visual language. They reflected on how to improve incorporating different elements into one composition and making their sketchbook and blog more visually interesting.
- The document is a process journal entry from March 21, 2011 describing work on a mirror photoframe project.
- The author had previously completed work on the backboard by rounding and filing the edges. On this date, they began painting the backboard in preparation for adding a mirror and assembling photo frames.
- They mixed green, yellow, and white paint to create a pale, leaf-like color and painted the backboard, adding vein lines across the middle using gradations from dark to light. In future sessions, they planned to add six more vein lines with gradations.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
The document describes an art class activity at Marta Mata Public School in Girona where students created Halloween witches out of paper mache. The activity was divided into 4 sessions over several weeks. In session 1, students designed their witches and formed features out of newspaper. In session 2, they painted the heads and made hands out of straw. Session 3 involved adding hair, eyes, and hats. The final session was for decorating hats and creating bodies. The witches were judged in a school competition. The teacher found evaluating the projects difficult but using a rubric helped involve students.
This document provides a teacher's guide for promoting drawing skills in the primary classroom through the use of artwork focusing on hands. It includes introductions to key concepts like form and tone, examples of artists' work, suggested drawing activities exploring different materials and techniques, and links to how this topic connects to wider areas of the curriculum. Suggested activities guide students in close observation, developing tonal range, and conveying form through sketching, painting, sculpture, printmaking, photography and other media. Links are made to subjects like science, maths, history and RE to provide broader learning opportunities through hands as a theme.
The document outlines the expectations for classroom behavior, stating that students are expected to maintain an environment conducive to learning, and disruptive behavior will not be tolerated. Specific rules are provided regarding participation, use of electronics, respect, and completing assignments on time. Consequences like warnings and sanctions are mentioned for students who do not follow the expectations.
This document provides ideas for fundraising lessons centered around visual arts projects. It suggests having students create and sell buttons, painted rocks, or customized t-shirts with designed graphics. For each project, the document outlines steps like brainstorming designs, creating templates, and setting up displays to advertise and sell the artwork. It emphasizes keeping designs simple, bold, and consistent with the fundraising theme or organization. The final sections propose auctioning chairs painted by students to represent themselves or works of art as another creative fundraising option.
This document summarizes the artist's process in creating several self-portrait paintings. It describes the artist's initial source material that inspired them, including a portrait of a girl in a red jumper. It then discusses the artist's experimentation with different compositions, materials, and self-portrait angles. The artist created sketches, prototypes in different styles and backgrounds, settling on three compositions to further develop. They struggled with perspective but overcame this by ensuring consistent lighting. The artist learned about manipulating acrylic paints to create realistic skin tones and textures. Overall, the document reflects on the learning experience and importance of development, time management, and analytical skills for future improvement.
The document outlines 5 activities to teach art elements to students. The activities focus on lines, shapes, color, and light/dark tones. They involve showing students examples, having them identify elements in their surroundings, and creating artworks using the elements. One activity asks students to use their imagination to incorporate shapes into an abstract painting of a hot sunny day. The document also analyzes a student's artwork of a sunset beach scene and discusses how it effectively uses elements but could be improved. It concludes that art education helps develop important life skills.
The document outlines 5 activities to teach art elements to students. The activities focus on lines, shapes, color, and light/dark tones. They involve identifying these elements in objects, nature, and their surroundings. Students then apply what they've learned by creating drawings using different lines, shapes, primary colors and their mixes, and light/dark colors. One student's artwork of a sunset beach scene is described, showing their use of elements like sky, sea, birds and objects. The picture's effective and ineffective uses of elements are analyzed. [/SUMMARY]
The document discusses an initiative between the language arts and art departments at Wilkins Junior High to better integrate art into the language arts curriculum. It aims to reinforce key language arts skills like the 6+1 writing traits and reading comprehension strategies through art projects and activities. Some examples provided include having students analyze paintings to practice identifying details, comparing artwork, and reflecting on personal connections to pieces. The collaboration has helped improve student engagement and understanding by appealing to different learning modalities. Moving forward, the teachers plan to further develop common rubrics and provide additional training opportunities.
This document provides an overview of an encaustic art lesson for high school students. It discusses the history of encaustic art dating back to ancient Greece and Egypt. It then covers safety guidelines and supplies needed for the lesson, including heat sources, brushes, substrates, and wax. Various encaustic techniques are demonstrated such as collage using napkins, photo transfers, and combining painting with collage. Examples of student works are also shown. The document emphasizes that encaustic art develops 21st century skills like creativity, critical thinking, communication and collaboration.
The student has chosen to study fine art as it allows for visual expression of ideas. They will produce a painting for a local art gallery featuring attractions in Kilve such as aspects learned from sculpture experimenting with found materials and nature. The chosen project is a detailed close-up painting of landscapes focusing on textures and patterns within nature using different materials and techniques.
This document provides learning aims and outcomes for analyzing artwork. The aims include sharing knowledge and opinions with group members to deepen understanding of chosen artists, analyzing techniques like composition, color, and mediums. Keywords for annotation are identified, such as composition, balance, content, mediums, and techniques. Students will analyze example artworks using these terms and share opinions with the group.
This document provides learning aims and outcomes for a lesson on analyzing artwork. The aims include sharing knowledge and opinions with group members to deepen understanding of chosen artists, analyzing techniques like composition, color, and mediums. Learning outcomes focus on defining key terms, identifying words for annotations, analyzing art using those terms, and sharing opinions with peers. Students are instructed to take notes on ideas from paired work and a lesson video to consider when analyzing their own artist.
6 2 subs presentation summer work, review and planning for the future epEleanor Pipe
The student reflected on their first year of art study. They learned the most from a project that involved new techniques and materials like working in the workshop. Their skills and understanding developed across different art areas, and they found their strengths to be in drawing-based areas like fine art, fashion, and illustration. Moving to the second year, they want to improve their digital art skills in Photoshop and Illustrator as well as their presentation skills. Their goals for after art school remain the same - to study art foundation then costume design at university.
Desiree Gonzalez decided to try painting in the impressionist style after her daughter volunteered to give her lessons. Her daughter suggested impressionism and taught her about its key characteristics like visible brush strokes and emphasis on light. For her first attempt, Gonzalez painted a landscape photo of a sunset on a lake, following her daughter's instructions to use thick, short strokes of opaque paint. Though she felt her result looked more expressionist than impressionist, Gonzalez was pleased with her first try and plans to practice techniques like color mixing and using more water in future paintings.
This student completed an art project focused on experimenting with different techniques including drawing from observation, sculpture building, and printmaking. They analyzed primary sources by doing sketches of still life sculptures using various materials and shading techniques. They also created collograph prints inspired by the still life sculptures and researched artists like Leonardo Da Vinci and Pablo Picasso for techniques to incorporate. The student evaluated their work and felt they performed well in the artist research, printing, and sketching but could improve on sculpture building and the speed of their drawings.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
2. Angie Lewin How to use
Mary-Clare Buckle felt making
Artists
What it supports
My art work Websites
Final piece
Contents
My work in
Example of the classroom
My inspiration activities
Surface
decoration NC Links
Additional
Information
My felting
How to -
process Starting points
Click flower
to return to When first viewing this presentation, view from beginning to end. On next viewing feel free to
this page use this hyperlinked contents page to take you directly to the page you wish to look at.
3. Every piece of artwork should
have an inspiration or a
stimulus.
My inspiration was my Nan’s garden where I used
to spend a lot of time as a child.
I specifically remember her chive flowers and
their vivid colour against the green.
4. The decision to make felt
These are examples of my trial
pieces of felt.
This felt didn’t work and needed something to
make it more eye-catching.
Nuno Felting inspired by Mary-Clare Buckle
5. Mary-Clare Buckle
Buckle is an abstract textile
artist mainly using the process
of felt making to create her
pieces.
These are examples of her work.
6. Embellishing the surface
My sketchbook was key to helping me
think out ideas and consider the
effectiveness of trial pieces.
7. Angie Lewin
Lewin is a printmaker who specialises in
linocuts.
I was not inspired by her process, rather
her beautiful garden depictions.
8. My Final Piece
Up close detail of the final piece.
Final piece displayed at our exhibition.
The A-frame further adds to the garden
theme.
9. Using my work in the classroom
My work can support learning and teaching about felt and the process of felt making.
As well as the process of felt making, my
work would cover the teaching of the
following elements of art:
Colour
Texture
The other elements of art are:
Space
Shape
Form
Line
Click here to see additional slide on
Tone the process of felt making.
10. Colour Texture Process
Colour is easily covered by Texture is also something The process of felt making
felt making as it is the that can be covered by felt is clearly covered by
main tactile element of felt making, as different teaching felt making, as it
because it is the colours methods of felting create is almost impossible to
that make the final piece different textures. teach about felt making
aesthetically pleasing. and not teach the process
Older children should be or skills of it.
Children should carefully given the opportunity to
consider what colour choose different methods Skills can be introduced
merino wools they will use of felting to create a texture from an early age and
to create their work. to suit their purpose. developed throughout the
children’s school career.
Colours can be mixed by
carding two colours
together to integrate the
fibres.
11. Felt making supports the following areas of the KS2 national
curriculum for art and design:
• 2a - investigate and combine visual and tactile qualities of materials and
processes and to match these qualities to the purpose of the work.
•4a - visual and tactile elements, including colour, pattern and texture, line and
tone, shape, form and space, and how these elements can be combined and
organised for different purposes.
•5c - using a range of materials and processes, including ICT [for example, painting,
collage, print making, digital media, textiles, sculpture].
Felt making can also be linked to:
•2b
•4b
•4c (If using artists to inform felt work)
12. Children using my work as a
stimulus
“Look, this is how our
felt will look when it is
finished. I wonder how
Miss R. made it look
like this?”
Where possible, use original art work. It is so
much more valuable than seeing a picture on
the white board.
13. Learning Objective (for year 3/4 activity):
I can respond to a stimulus to contribute to a whole class felt piece
Activities:
•The initial stimulus for the art work was a trip to study a local environment.
Here the children made sketches and colour samples to take back to class.
•Back in class, children decided on the colours they
required for the felt. This supports the colour
element of art.
•As there are several stages to felt making,
children were grouped so each group was able to
be part of the main piece of felt.
14. •While one group was working on the main
piece, the other groups were working as
individuals to make small pieces of felt combining
one of two of the colours used to create boarder
pieces.
Children were encouraged to think
wisely about their colour choices, to
create an effective boarder piece.
15. Final piece on display
Inspiration complete with
boarder felt
Whole class felt
completed
16. Felt making can be:
• A result of any stimulus – I really mean anything!
• A stepping stone in a textiles project – make the felt as a base to work on.
• A piece of art in its own right
• A way of recording – rather than drawing or painting, why not felt what you see.
• A final piece or a starting point
• Designed – plan desired outcome from a stimulus
• Free flow (lets see what happens)
Felt inspired by literacy
17. Ideas for starting points to lead to felt work:
Why do we have to draw
still life all the time?
Nature
Why not use artist’s work
Just a few ideas, the
list is limitless!
18. Back to ‘Using my work in the classroom’
Click here to open the above pages in Adobe PDF
Although the instructions are for felt making with young children, the
process is very simple and suitable for all ages!
19. Useful Websites
http://www.maryclarebuckle.com/
Website where you can view Mary-Clare Buckle’s beautiful felt work, her
contact is also there and she is very happy to email advice if you need it.
http://www.angielewin.co.uk/
This website is Angie Lewin’s official website and shows a huge range of her
linocut prints.
http://www.feltbetter.com/feltMaking.asp
Brilliant resource for felt making! Hyperlink takes you to a method page but
the whole website is useful.
http://curriculum.qcda.gov.uk/key-stages-1-and-2/subjects/art-and-
design/index.aspx
Link to the Art and Design National Curriculum statutory programmes of
study for both Key Stages.
20. Additional Information - Resources
Merino Wool Tops – The main material that felt is made from.
Carders – To ‘brush’ fibres together to mix colours.
*Safety Warning* Carders are sharp metal brushes so with younger children should be
used by an adult.
Soap or Washing up liquid – bubbles help the fibre bind together.
Warm/hot water (hotter the better but consider the children) – heat helps the fibres bind
together.
Containers for water – seems simple but useful to get ready before lesson.
The rest depends on the method you are using to make the felt. The following resources
are for my recommended method:
Bubble wrap – Provides friction for the felting process to occur.
Fabric (ideally cotton, but whatever is lying around) – Allows for children to rub the felt
without disturbing the design and arrangement.
21. Additional Information - My Felt Making Method
This is the actual felt making method. It doesn’t include the previous
stages of designing, etc.
1. Onto the bubble wrap, lay 2. The next layer fibres should be
thinned merino wool with the lay vertically and the 3rd and final
fibres all running in one direction layer should be horizontal again.
(horizontal).
Thin merino wool by teasing it
using your fingers. Layers can be any colours. If Fibres
you want to save your
coloured wools use cheaper
natural wools for the first 2
You can card
layers and create your design
fibres
in coloured wool on the top. together to
If there is no design, I would fix colours
recommend using coloured before
wool on all layers. laying them
down.
Ensure there are no gaps in layers! You don’t want to see the layer below.
22. Additional Information - My Felt Making Method
3. Gently lay the fabric over your 6. Once you can feel that the
carefully placed merino wool. wool it wet and soapy you can
begin to rub harder and in all
directions. Circular motions are
4. Pour on a little hot water onto best.
the fabric and press down gently Continue for around 10 minutes.
to ensure the wool is wet. Too
much water will not cause a
problem, it will just be really wet. 7. After this time, lift the fabric
and the wool should come with
it. Gently pull at the wool to see if
5. Either rub with a bar of soap or it has become one thick piece of
squeeze on a small amount of felt.
washing up liquid and begin to
rub the fabric, slowly at first.
If it has: If it hasn’t:
Peel off the fabric, wash Continue
the felt in clean water from step 6.
and leave to dry.
23. Additional Information - Where to get Resources from
As you can imagine, Merino wool tops are not as easy to come
across as a set of art pencils, but by looking in the following
places, resourcing felt making should be easy.
Although merino wool can be found in art catalogues that
you might receive at school, I have found them to be
expensive for what they provide. I much prefer ebay to buy
good quantities of merino tops for reasonable prices.
xxstarburstxx is one of my favourite sellers offering 100g of merino tops for £3 and
you can choose an assortment of colours! This is brilliant for a first time felting
experiment.
forestfibres are also a well priced ebay company but
specialise in single colour bags of felt. Their bags are
normally 50g and vary between £2.50 and £5.
Their colour range is extensive!
24. Additional Information - Where to get Resources from
One the previous page I talked about Merino wool being sold in grams. It is
difficult to say how much Merino wool you would need to buy for whole class
felting, but I have 200g for a class of 30 to make the lighthouse piece and there
was lots left. Obviously the bigger the felt the more you will need!
Carders are not a necessary piece of equipment for felt making and
may only be required for advanced felt making rather than the first
attempt. However, I have been unable to source where the can be
bought.
Here is a really good guide on how to use carders Happy Felting!
if you do have any and wish to use them:
http://rosiepink.typepad.co.uk/rosiepink/how-
to-use-hand-carders-for-needle-felting.html
Editor's Notes
An inspiration or stimulus can be anything from a piece of artists work to an object. My stimulus held personal meaning and inspired work that meant something to me.
I considered the structure of gardens and their many layers of planting. This led me to thinking about art forms that required layers. As I have a passion for textiles, I was automatically lead to felt making. After struggling with lacklustre felt, I sought the advice of a local felt artist Mary-Clair Buckle.
From emailing Buckle I learnt a new felting technique called Nuno felting where the fibres curl and fuse after being distressed.
Once I had found the right technique to make my felt base interesting, I began to look at how to embellish the surface to make it resemble a garden. Following the memory of chives from my Nan’s garden, I began to add purples to the felt.Embellishment means surface decoration. I covered this is several ways including hand and machine stitching, screen printing and using beads and wools to create texture.
I experimented with screen printing to create blocks of colour in a solid shape to represent flowers. These were then stitched over to add move detail and make the block shapes look more like chives.
The size of the piece was important as it emulated the feeling of being little in a huge, overgrown garden.
I am going to take a focus to KS2, specifically year 3/4 as that is where I have used my art work and so have tried and tested examples to show.Any activities that are shown can be adapted for any age.The image at the top of the page is hyperlinked to the art and design section of the national curriculum.
From inspiration to final piece.
Felt making isn’t as simple as getting paper and pencils out for drawing but it is simple process to teach so don’t be alarmed by the resource list.