This document outlines a multi-step art project focused on identity and self-portraits. Students will explore different mediums including graphite, chalk pastels, clay, and ceramics. They will create self-portrait tiles by developing clay skills like slab building and imprinting, then glazing and firing their finished pieces. The project encourages self-reflection and symbolism to express ideas about identity through art.

1. You will improve your use of graphite and chalk
pastels and develop an understanding of proportion.
You will also discover the potential of clay and
produce a glazed, self portrait, ceramic tile.
During this project you will explore your identity and create
images that reflect ideas about yourself, working from observation,
memory and imagination.
You will learn about the ideas, methods and
approaches used by other artists who have created
portraits. You will also investigate artists who use
symbolism within their work to tell us more about
the people they are painting.
SoW: Identity(Year 7)

2. Step1: Introduction to clay
Learning objectives. By the end of the lesson you will:
Develop an understanding of the properties and potential of clay.
Use the correct words to describe clay techniques and processes.
Learning outcomes. By the end of the lesson you will:
Have created a thumb pot showing your understanding of techniques.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Firing baking clay at a high temperature.
Bisque clay after first firing.
Kiln furnace that fires the clay.
Glaze finely ground mineral solution, turns to glass when fired
Part 1: Clay tile

3. Preparing your clay for sculpting
Wedging removes air pockets

4. Modeling clay into a pinch pot.
Start with a ball.
Push thumb into centre.
Pinch from bottom upward.
Shape and smooth for finished pot.

5. Step 2: Create two slabs
Learning objectives.
By the end of the lesson you will be able to roll out a clay slab and explain the
process to a peer using the correct words.
Learning outcomes.
By the end of two lessons you will have created two clay slabs.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Slab a piece of clay that has been rolled out to a specific
thickness.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Firing baking clay at a high temperature.
Bisque clay after first firing.
Kiln furnace that fires the clay.
Glaze finely ground mineral solution, turns to glass when fired

6. Creating a slab.
Roll out a slab using the guides to
control the thickness of the clay.
Use the sharp knife to cut around the
template. Initial your tile discreetly.
Flatten the clay a little to start you off.

7. Collecting homework
Due: next Art lesson
Bring objects to impress into the
clay slabs.
Objects should reflect something
about your hobbies and interests.
Choose objects with an interesting
texture.
Please do not bring anything too
valuable, inappropriate or too big.

8. Step 3: Creating a self portrait in clay
Learning objectives. By the end of the lesson you will:
Develop your control of manipulating and cutting clay accurately.
Be able to explain the process of transferring an image to clay using the correct
vocabulary.
Learning outcomes.
By the end of the two lessons you will have transferred an image of you to one of
your clay slabs. The face will be clear and recognisable as you.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Slab a piece of clay that has been rolled out to a specific
thickness.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Firing baking clay at a high temperature.
Bisque clay after first firing.
Kiln furnace that fires the clay.
Glaze finely ground mineral solution, turns to glass when fired

9. Step 4: Decorating your clay tiles and create your
layered portrait.
Learning objectives. By the end of the lesson you will:
Be able to construct strong composition and understand how to use symmetry,
balance and pattern to your advantage.
Use your understanding of Lucinda Mudge’s work to influence the marks you use
in decorating your tile
Understand the potential of different tools and objects in creating an effective
impressions into the clay.
Learning outcomes. By the end of the lesson you will have:
Created a patterned clay slab using impressing, moulding and embossing
techniques.
Used the score and slip technique to join together the two decorated, slabs of clay.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Slab a piece of clay that has been rolled out to a specific thickness.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Glaze finely ground mineral solution, turns to glass when fired

10. Lucinda Mudge
Mudge’s work pays
homage to the
Staffordshire slipware
potters of the 17th
century, and refers to
the decorative arts.
Her surfaces are richly
textured with designs
marked into the clay,
which is then followed by
the process of honey
glazing that traditionally
accompanies slip work.

12. Step 5: Painting your ceramic self portrait.
Learning objectives. By the end of the lesson you will:
Understand basic colour mixing and be able to mix your skin tone.
Choose the most appropriate colours in terms of reflecting your own interests and
creating a good balance.
Learning outcomes.
By the end of the lesson you will have painted your ceramic self portrait accurately
and with colours that reflect something about your personality.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Slab a piece of clay that has been rolled out to a specific thickness.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Firing baking clay at a high temperature.
Bisque clay after first firing.
Kiln furnace that fires the clay.
Glaze finely ground mineral solution, turns to glass when fired
Option 1: Water colour and white ready mix.

13. Step 5: Painting your ceramic self portrait.
Learning objectives. By the end of the lesson you will:
Understand how and why the colours of the glaze are altered when they are fired.
Choose the most appropriate colours in terms of reflecting your own interests and
creating a good balance on the tile.
Learning outcomes.
By the end of the lesson you will have painted your ceramic self portrait accurately
and with colours that reflect something about your personality.
Glossary:
Clay moist earth of decomposed rock
Wedge technique to take the air out of clay.
Slab a piece of clay that has been rolled out to a specific thickness.
Leatherhard unfired clay not quite dry but firm enough to carve.
Greenware dried out, unfired clay.
Firing baking clay at a high temperature.
Bisque clay after first firing.
Kiln furnace that fires the clay.
Glaze finely ground mineral solution, turns to glass when fired
Option 2: With glaze.

14. Jasna Sokolovic left her native
Yugoslavia in 1994, venturing to
Granville Island, Vancouver. She is
inspired by as Gaudi and
Hundertwasser. Her long journey is
often portrayed symbolically with birds
representing “fragility and liberty,
taking off, falling down and covering
distances.”
Jasna
Sokolovic

15. Step1: Introduction to drawing
Learning objectives. By the end of the lesson you will:
Develop an understanding of the purpose of drawing.
Know what the formal elements are in art.
Learning outcomes.
By the end of the lesson you will show your understanding of the formal elements
through a number of drawing exercises.
Glossary:
The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, Form
Cross hatching: At least two layers of parallel lines. The line sin each
later travel in different directions.
Stippling: Areas of tone created by dots or specks.
Tone: The degree of lightness or darkness of an area
Burnishing: Heavy layers of pencil creating a shiny surface
Part 2: Developing skills in 2D

16. Why draw?

17. Rami Efal “Tea” (2005) Pen on paper
www.flickr.com/photos/aburami/sets/1509705/
To Remember
To Contemplate
To Investigate
To Observe
Elizabeth Kane “Diet Coke” (2008) Colouring Pencils
www.flickr.com/photos/elizabethkane/
Paul Brady “Will Smith” (2008)
www.flickr.com/photos/pbradyartwork/
Key Words:
Look & see.

18. Ernst Haeckel “Kunstformen
der Natur” (1899-1904)
To see more click here
To Remember
To Contemplate
To Investigate
To Observe
Ben Lawson “Absence Makes the Heart…” (2007 )
www.trans-technical.com/images.html
Key Words: To observe or inquire into in detail;
examine systematically.

19. To Remember
To Contemplate
To Investigate
To Observe Key Words: An act of directing the eyes on an object:
look, regard, sight, view, believe.
Steve Bell: 10 Dec 2013
No matter how famous you are, it appears, few can resist
the appeal of the selfie
Grayson Perry: Map to
Nowhere. 2008

20. To Remember
To Contemplate
To Investigate
To Observe
16
Cai Guo-Qiang
"Drawing for Transient Rainbow“ (2003)
Gunpowder on paper, 198 x 157 inches
“Thinking of Dad” (2007)
Pen and Watercolour
www.flickr.com/photos/sketchpot/

21. Taking a line for a walk!
The artist Paul Klee spoke of drawing as “taking a line for a walk”—so start
off in one corner of your page, and take your pencil for a stroll across it.
Start off slow and meandering, then add some detours. Experiment with
the weight of the line, pressing heavily and lightly. Do some zigzag sprints,
flicking skips, and twirling spirals. See how many different marks you can
create with a single pencil.

22. Pencil Shading Cross-hatching

23. Shading Support Task Sheet 1
NOTE: Trim the edges of this paper and stick this sheet in your sketchbook
Exercise 1
Copy the tones
into the boxes
using a HB or 2B
pencil. Try to keep
within the boxes
Exercise 2
Copy the cross-
hatching next to
the marks below
using a pen or biro
Exercise 3
Copy following
tones using a 4B
pencil
Exercise 4
Copy following 3D
shapes using
dark, mid-tone and
light shades

25. Step 2: Drawing an eye, nose, mouth and ear.
Learning objectives. By the end of the lesson you will:
Understand how to create a realistic depiction of the features of a face.
Apply the formal elements as appropriate in creating the features.
Learning outcomes.
By the end of the session you will have an accurate drawing of an eye, nose,
mouth showing good use of tone.
Glossary:
The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, Form
Cross hatching: At least two layers of parallel lines. The lines in each
layer travel in different directions.
Stippling: Areas of tone created by dots or specks.
Tone: The degree of lightness or darkness of an area
Burnishing: Heavy layers of pencil creating a shiny surface

26. Drawing eyes
Structure of the eye clip (go to two thirds in).

27. Add tone to the iris
and pupil working
from the centre
outwards.
Create a shadow
beneath the upper
lid to show the eye
sits behind it.
Add the lower
lashes. Like the
top eyelashes, the
centre ones curve
down and you go
either left or right
so you start to see
the curve on the
hair
The eyelashes are
added, take a look at
the angle that they
are drawn, they are
not drawn straight
down,except for the
ones in the centre.

28. Drawing mouths
Clip of mouth drawing

29. 1. Draw a straight line to indicate where the lips should be. Curve the line to
show an expression.
2. Draw a circle in the middle with a slight bit of the circle below the line.
3. Draw two circles / ovals on the side of and slightly above the first circle and
two below.
4. Follow the shape of the circles as you draw the shape of the lips. NB the lips
do not always go to the end of the line.

30. The highlighted area in orange
shows an area of the lower lip that
sometimes is a little darker, or gets
a little more shadow. This is where
the lower lip especially curves in.
The closer to the edges of the
mouth, the darker (or, in shadow)
the bottom lip gets. But, remember -
the bottom lip is usually lighter than
the top lip because it is facing
upwards, and gets more light cast
upon it.
The purple highlighted areas in the
illustration above show a particular
shadowed area of the upper lip. As
a general rule, all of the upper lip is
darker (compared to the lower lip)
but the area highlighted in purple is
especially darker. If you look at the
original mouth drawing above, you'll
see the particular shadow of this
area—like the lips go "in" there
especially. This is where the lips
curve "in" to the inside of the mouth.
The highlighted area in green
shows shows a shadowed area
around the mouth that should not
be forgotten. This shading indicates
the structure of the face around the
mouth. The mouth isn't just plopped
on the face, it is a three-
dimensional thing, with surrounding
muscles and structure. Usually,
there will be some shading (subtle,
but there) at under the lower lip,
and around the corners of the
mouth.

31. Drawing noses
Nose drawing clip

32. Draw the shape the
nostrils make at the
base of the nose. The
size will depend on your
‘model’
Complete the nostrils by
adding lines (like brackets)
around them. The curve in
the middle shows where
the tip of the nose is.

33. Drawing ears
7 minute drawing of ears.

34. Side view
Draw a
rectangle
that is twice
as high as it
is broad.
This will help
us to keep
the ear in the
right
proportions.
Start at the left side, close to
the top, then curve upwards to
touch the rectangle's top in the
middle, and curve down again
afterwards, touching the
rectangles right side. In a long
curve it then moves towards
the bottom, where the small
earlobe is finally ending its
shape.
Outline the ear's rim, by
drawing a parallel line along its
side.
Some ears have a small bump
in their upper corner here.
The rim's shape continues and
curves into the ear's inner part.
Some ears are very flat inside,
but the average ear is quite a
sculpture. The shape inside of
the ear looks like a curved
version of the letter Y.
Start to draw this with a line
that begins at the left top and
curves down to the bottom of
the tragus, curving around the
obstacle in its way.
In some ears
you can still
see a bit of
the ear hole;
in other ears
it is entirely
hidden
behind the
tragus.
In case you want to shade your
ear, draw the darkest values
into the places where the least
light is falling on, and leave the
brightest places entirely white.
Shading will strengthen the
three-dimensional depth of your
picture.

35. Front view
The basic ear shape is
almost the same as in the
side view; the difference is
just that the 1x2
proportions no longer
apply. Draw the ear much
narrower instead. It is
probably three times as
high as it is wide now. Also
take care to make all the
curves much flatter.
Draw in the beginning of
the ear's upper rim. Make
it fairly thick.
The rest of the ear's rim
lies in the back and
appears to be a bit thinner.
Note how its line starts
from behind the line for the
front rim.
Also add the tragus at the
side.
Here is another
special thing about
the front view.
The inner ear-
structure can be
seen bulging out of
the ear in some
cases. Here it is
overlapping the
ear's rim a little bit.
Outline the
inner edge
of this part.
Then add a
little dent at
its top, and
your ear is
finished

36. Step 3: Proportions of the face
Learning objectives. By the end of the lesson you will:
Understand how to plan a drawing of the face making sure that all the features are
in proportion.
Apply the formal elements as appropriate when creating the features and use tone
to give the illusion that the features are three dimensional.
Learning outcomes.
By the end of the session you will be have an accurate portrait drawing.
Glossary:
Proportion: Proportion is the relative size and scale of various
elements in a work of art. It describes the relationship
between objects or parts of a whole.
The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, Form
Cross hatching: At least two layers of parallel lines. The lines in each
layer travel in different directions.
Stippling: Areas of tone created by dots or specks.
Tone: The degree of lightness or darkness of an area
Burnishing: Heavy layers of pencil creating a shiny surface

39. Shading Support Task Sheet 2
NOTE: Trim the edges of this paper and stick this sheet in your sketchbook
Exercise 2
Using the cross-
hatching
technique, try
drawing the face
below using the
outline to help
Extension
Exercise
Take a portrait
photograph from a
magazine or
newspaper and try
to draw using the
cross-hatching
technique with a
pen
Exercise 1
Practice drawing
the following
cross-hatchings
using a pen/biro