Year 8 animal caskets
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The document provides information about different levels of a curriculum for designing and creating animal caskets. At level 4, students experiment with ideas in their sketchbook and develop practical clay skills. At level 5, ideas are more ambitious and students understand Egyptian techniques. Level 6 requires research on Egyptian artwork and understanding materials. At level 7, students take creative risks to make imaginative work and can analyze their own and others' designs, explaining Egyptian symbols.
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More from Melanie Powell
Pictorialism- f64.pptx
Pictorialism, Photo-Secession, and Straight Photography were three major photographic movements between 1870-1930. Pictorialism aimed to express feelings and engage the senses through manipulated images focused on beauty rather than facts. The Photo-Secession movement was founded by Alfred Stieglitz in 1902 and sought to elevate photography to an art form while respecting its mechanical origins. Straight Photography emphasized photography's technical capabilities to sharply depict scenes in focus and detail without manipulation. Major figures included Edward Weston, Ansel Adams, and Imogen Cunningham who were part of the f/64 group that further developed Straight Photography.
Aliens SoW 2022.pptx .pptx
Year 7 SoW examining the work of Yinka Shonibare and the idea of what it is to be an alien. Students work towards creating an alien from found materials.
Easter holiday challenge 3 loo roll
This document provides a challenge for students to transform a toilet roll into something from their favorite film for the Easter holiday. Students can use various materials like paint, pen, pencil, card or fabric to depict characters, soundtrack, setting, genre, location, or quotes from a movie on the toilet roll. Examples shown include representations from The Shining, The Lego Movie, and Paddington to inspire students' creative interpretations.
Homework 1: Research an issue
This document provides instructions for researching and presenting a social issue using a mind map format. Students are to choose a social issue assigned by their teacher, create a mind map that diagrams the key individuals involved and arguments for different perspectives on the issue. The mind map should include images and text to thoroughly convey researched information on the definition of the issue, its causes and affected groups, supporting facts and statistics, and existing systems to address it, as well as how others can help. An outstanding submission will have in-depth, well-supported research presented in a dynamic visual format using color, drawings, pictures and personal insights.
Royal Academy W/Sheet 202
The document discusses the Eco-Visionaries exhibition which examines humanity's impact on the planet through climate change, species extinction, and resource depletion. It presents innovative approaches from architects, artists, and designers that reframe our relationship with nature. Through various media like film, installation, and photography, the works interrogate how architecture, art, and design are reacting to an increasingly changing world beyond mainstream notions of sustainability.
Year 11 ESA lessons 2020
This document outlines the lessons and homework for Year 11 GCSE exam students over the first 2 weeks focusing on the themes of "Broken", "Extreme Contrast", and "Personal Space". Students should bring in an object related to their chosen theme for observational drawings. Homework includes researching 3 artists on the theme and creating a written profile and practical response for each in their sketchbook. Future lessons involve creating additional studies of objects using different mediums like inks, watercolor, chalk pastels, and single line drawings.
Selfie Cover Lesson
This document provides instructions for students to draw a profile of themselves within a silhouette on a phone, filling it with words, doodles, pictures that illustrate their desires, wishes for the future, friends, fears, beliefs, family, and to think carefully about any text and to fill the entire silhouette with no white spaces and in full color.
Modernism and Photography
This document discusses the relationship between modernist art movements in the early 20th century and photography. It provides examples of key modernist photographers and artworks that pushed the boundaries of photographic representation, making artificial or fabricated images that depicted reality in unconventional ways, as the art form evolved during this period. Modernist movements discussed include Futurism, Vorticism, Constructivism, Dada, and Surrealism, with examples such as Muybridge, Marey, Duchamp, Boccioni, Lewis, Tatlin, Lissitzky, Moholy-Nagy, Duchamp, Outerbridge, de Chirico, Bayer, Man Ray, and Dali.
Lino step by step
This document provides step-by-step instructions for creating a lino print using multiple colors. It explains that the process involves making successive cuts to the lino printing plate to reduce the areas that will print, and layering different colored inks on the plate to create an image where the lighter colors show through the darker ones. The instructions are divided into sections for the initial cutting, the first print, the second cutting, the second print, the third cutting, and the final print.
Early Photography
The early history of photography began with artists in the Renaissance seeking to capture realistic representations of nature which led to the development of tools like the camera obscura. In the 18th century, scientists discovered ways to capture shadows using light-sensitive chemicals, laying the foundations for photography. The first permanent photograph was created by Joseph Niépce in 1826, while Louis Daguerre later invented the daguerreotype process in 1839, producing sharp metal plate images. Around the same time, William Henry Fox Talbot invented the calotype process using paper negatives, allowing images to be reproduced. Early photographers focused on portraiture and landscapes but their subjects expanded over time.
Past, Present & Future SoW
This document outlines an art project that explores past, present, and future techniques through a journey theme. It involves taking a sketchbook on a journey around the school, making observational drawings. Students will also complete mono-prints, take photos on their journey home, and draw from those photos. The project then introduces artists like Matisse, Hartill, Heckel, and Rauschenberg and their techniques like cut paper collages, embossing, linocuts, and collage. Students will experiment with these techniques, creating their own cut paper journey, relief prints, single and multicolor linocuts, and collages with lino prints. They will combine their best works in a final grid piece.
History of Photography, The Early Years
Photography began in the early 19th century when scientists discovered ways to capture images through chemical reactions on light-sensitive surfaces. The first permanent photograph was made in 1826 by Joseph Nicéphore Niépce in France, using a primitive camera to expose bitumen coated plates to light. By the late 1830s and 1840s, improvements in photographic processes and equipment allowed photography to become available for widespread experimentation and use.
Drawing machine
A simple drawing machine can be made using elastic bands wound up and felt pens to quickly and visibly mark a surface. Students are asked to take their homemade drawing machines to class to have them create a drawing and explore the types of marks they are capable of making. Examples of drawing machines are provided for inspiration but the goal is for students to quickly construct a new drawing device in class that can record marks without needing many components.
Year 12 abstraction 2
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.
How do we read a photograph?
Photography, A level Photography, Denotative, Connotative, Diane Arbus, Critical and Contextual Studies
KS3_First Lesson 2019
Students in the Art department should be respectful of other students' artwork by not touching it, as damaged work could affect grades. They should also be respectful of materials by using fragile items carefully and following safety instructions when using sharp equipment. The sink area must also be kept dry and clean to prevent slips or water damage to artwork. Students are expected to bring a sketchbook to class to apply their best efforts and take risks in exploring different ways of working.
Year 12 abstraction 1
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.
A level first lesson 2019
Fortismere welcomes the recipient to their school. They provide two art tasks for the summer holiday involving creating drawings with different mediums on various surfaces based on themes, as well as visiting specified art exhibitions. Expectations for art lessons include being punctual, prepared, engaged, and cleaning up. Outside of lessons, independent art engagement is encouraged through gallery visits and keeping up with the art world. Resources for wider art reading and theory are recommended, including books, magazines, and apps. The first project this term is on abstraction, exploring techniques and receiving feedback. The second project focuses on diversity and developing a personal response over several weeks.
Blind drawing
This document provides instructions for three blind drawing tasks. It begins by having students put their hand in a bag to feel an object without looking, then use descriptive words to create a blind drawing. In the second task, students examine a new object for 5 minutes before creating an ink drawing with their arms outstretched. The third task has students choose a section of their ink drawing to enlarge and develop into a painted composition using color theory concepts like advancing/receding and complementary colors. The overall document guides students through a series of blind drawing and painting exercises intended to heighten descriptive abilities and understanding of texture through non-visual means.
Mouth and Meaning
The document provides instructions for several mindfulness exercises focused on slowly experiencing water and mapping the interior of one's mouth through senses and drawing.
The first exercise has one slowly smell, taste, and feel water in their mouth before swallowing. The second asks one to draw the shape and textures felt inside their mouth using different media over three, one-minute drawings.
The third exercise invites revisiting mapping the mouth interior with eyes open, the non-dominant hand, varied papers and media, and different drawing speeds to further contemplation and sensory awareness.
More from Melanie Powell (20)
Year 8 animal caskets
- 1. ‘Animal caskets’ National Curriculum Levels Level 4 I experiment with ideas and information in my sketchbook to develop my casket design. I have developed a range of practical skills when using clay and decorating clay. I understand how to sculpt the clay to achieve my intentions. I evaluate my work and the work of others and make suggestions about how to make improvements.
- 2. ‘Animal caskets’ National Curriculum Levels Level 5 I experiment with ideas and information in my sketchbook to develop my casket design. My ideas are ambitious. I use my understanding of clay techniques when designing, making and decorating my casket . I outline the ideas, methods and approaches used by the Egyptians. I evaluate my own work and can adapt and refine my ideas and techniques. I then added coils along the side of the base To build up walls. I did this by using slip: a mixture of clay and water. While the clay was still soft I cut off the head Leaving catches so that the lid would fit on. I hollowed out the head so that it would not explode in the kiln.
- 3. ‘Animal caskets’ National Curriculum Levels Level 6 I explore and experiment with ideas for my casket using information to develop my design and make my final casket. The decorations on my casket show my research and understanding of Egyptian artwork. I understand the qualities of materials, processes and techniques that I am using. I interpret and explain how ideas and meanings are conveyed by the Egyptians. I evaluate my own work and that of others to develop my ideas and to refine my control of materials.
- 4. ‘Animal caskets’ National Curriculum Levels Level 7 I develop my casket design by taking creative risks and make imaginative work with some originality. I am confident when using clay, I understand how to join clay coils successfully and mould my animal head. I can analyse and discuss my own and others’ work. I can explain how and why the Egyptians used symbols and codes in their artwork. I can explain how my understanding of Egyptian art has influenced the decoration of my own canopic jar. Egyptian sculptures of male creatures or gods “had to be darker than female ones and anyone in a seated position had to have their hands on their knees.” “A character or figure was drawn in the size that reflected their status in society. Eg. Kings were bigger than Queens.”