Year 9 Art Project

2. CHUCK CLOSE

7. Finger prints
Paper making
Grids

8. The creation of self-portraits can create a connection to yourself and your
artwork.
Artists represent themselves from both their own internal views and the way
they feel the world sees (or should see) them.
Using different materials, methods and perspectives can help portray the same
subject in a new and interesting way.
What is the purpose of a self-portrait?
In what ways do artists represent themselves?

9. Year 9 Lesson 1/2
Today you will have your portrait photograph taken so that you can
complete this project on Portraiture and The Alter Ego
Choose one of the following 4 images by Chuck Close and copy each
square carefully using the grid provided.
L.O: Understand how to use the “Grid Method” in drawing and be able
to apply a range of tones using a 2B /4B pencil

10. Drawing task
Look carefully at each square on the photograph.
Choose the tone that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that tone.

11. Drawing task
Look carefully at each square on the photograph.
Choose the tone that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that tone.

12. Drawing task
Look carefully at each square on the photograph.
Choose the colour that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that colour.

13. Drawing task
Look carefully at each square on the photograph.
Choose the colour that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that colour.

14. HOMEWORK
Create a self portrait at home using a mirror or a
photograph.
Use the following guides to help with proportion. Fill the
page and use a range of tones to shade.

15. Instructions
1
Split the bottom half of the face into three
equal sections between the bottom of the
eyes and the bottom of the chin. Use a
pencil and don't try too hard to be perfect
as this part of the drawing is very rough.
2
Draw in with a pencil the bottom or tip of
the nose that should rest on the first third
line of the bottom half of the face.
3
Fill in the upper lip by drawing a line
about half way up the second third of the
bottom half of the face. The edge of the
mouth should line up with the middle of
the eyes.

16. 4
Pencil in the indent of the chin by
drawing a line half way up the bottom
third of the bottom half of the face. The
nose, middle of the lips and chin indent
should all line up.
5
Sketch the bottom of the chin in line with
the bottom of the third section.
6
Indicate hairline about half way up the
upper half of the face. This would
indicate a younger portrait whereas a
hairline further up indicates a receding
line or an older person.
7
Use pencil to draw in the rest of the
features marked out in previous steps.

17. LESSON 3: CHUCK CLOSE FINGERPRINT TASK
Chuck Close Fingerprint portrait of Phillip Glass (1979)
Using only your fingers/thumbs and black printing ink try
to copy the image on to A3 cartridge paper.
Once completed make a line drawing tracing of your
portrait photo.
L.O: Understand how to build up tonal values using
layering

18. Your teacher has now
photocopied your line drawing
onto A3 cartridge paper
LESSON 4: Using your
understanding of the finger
print task last week, complete
your own finger print portrait
over your A3 drawing. Pay
close attention to the tonal
values in the photograph. Use
different fingers for smaller
and bigger prints.
L.O: Understand how to build
tone by layering and be able
to explain monochrome
painting
Learn to paint using only your
fingers

19. Lessons 5-7: A3 Pencil /Fine liner self portraits using a GRID
You will now create a detailed pencil portrait using the grid
system and your portrait photograph. Your teacher will give
you an A3 Grid and your A4 photograph. Take your time and
really focus on one square at a time to create your own
photorealistic drawing. Once you have completed the overall
line drawing, each square must be completed using a
PATTERN and the pattern you choose must follow the tones
in the photograph. Try to change your patterns in each
square. See the next slides for examples. As long as each
square reflects the correct tonal values in the photo you will
succeed! It may be an idea to practice a section in your
sketchbook first!
L.O: Understand how to use mark making and pattern to
achieve different tonal values.

22. An alter ego is a
second self. A
person who has an
alter ego is said to
lead a double life.

23. International artist Moritz Wehrmann was invited by WERK to show 'Alter Ego’ at
Longbridge Light Festival. The installation which blurs the lines between Science and
Art was one of the highlights of Longbridge Light Festival (part of LPAP) exhibited in an
empty cavernous industrial unit situated on the grounds of the former Longbridge car
factory. Queues formed throughout the night with over 550 participants entering the
mysterious black box structure, two at a time, where they saw their bodies merge
together through the use of special glass and light technology

24. https://vimeo.com/58535083https://vimeo.com/58535083

25. Pearls on by day, tattoos out by night - a
photographer's cleverly-styled images show
how people often have more than one side to
them.
Toby Dixon, 34, who is based in Sydney,
Australia, recruited a stylist and make-up
artist to transform a man and woman's
appearance into two halves and captured the
pair's alter egos on camera.
On the one side they look distinctly 'serious',
with combed hair, buttoned-up collars and
glasses, while on the other they appear more
'playful', displaying inches of inked flesh and
cheeky smirks.

27. Cindy Sherman reveals how dressing up in
character began as a kind of performance
and evolved into her earliest photographic
series such as "Bus Riders" (1976),
"Untitled Film Stills" (1977-1980), and the
untitled rear screen projections (1980).
In self-reflexive photographs and films,
Cindy Sherman invents myriad guises,
metamorphosing from Hollywood starlet to
clown to society matron. Often with the
simplest of means—a camera, a wig,
makeup, an outfit—Sherman fashions
ambiguous but memorable characters that
suggest complex lives lived out of frame.
Sherman's investigations have a
compelling relationship to public images,
from kitsch (film stills and centerfolds) to art
history (Old Masters and Surrealism) to
green-screen technology and the latest
advances in digital photography.

31. Here are 2 different possible projects to develop, one 2D painting
outcome and one 3d outcome. Your teacher will tell you which
one you will complete….

33. John Stezaker

39. Lesson 5
Create a portrait your photograph and then
stitch into it. Looking closely at the Destroy
series by Rankin and also Maurizio
Anzeri’s stitched portraits. Experiment with
colour, pattern, and line to create an
interesting composition. If you don’t want to
sew you can also use coloured pens to
draw patterns over your photograph to
change it

40. Rankin “Destroy Series”

41. Shepard Fairey, Banksy, Space Invader
and other street artists who have
recognizable characters/stencils.
Shepard Fairey’s ObeyGiant stencil, Space
Invader’s Space Invader trademark, and
Banksy’s Rat character.

42. Alter Egos
In this lesson, you will explore the
idea of an icon/character as a
form of a signature. Look at street
artists like Banksy, Space
Invader, and ObeyGiant who use
characters to hide their identities.
Brainstorm characters or symbols
to represent your identities and
create a stencil of your chosen
design. Print your stencil on top of
your photo, and work into the
image so that your face is half
obscured..

43. Artist's Statement:
The main motif of my artworks is Human Faces.
The broken faces might be mirrors to reflect your emotions.
I am quite interested in various aspects and contradictions which people have
inside.

44. Mixed Emotion Portraits
Your teacher will take 2 photos of you, one looking happy, and one
looking sad.
Cut out sections of one of the photos and layer on top of the other to
create a mixed emotion collage. Hand in to your teacher who will then
photocopy this onto A3 cartridge paper for next week.

45. Lesson 6-8
Working on top of your A3 combined
emotion image create a distorted portrait in
the style of the artist Takahiro Kimura.
Add paint pencil, pen, oil pastel and paint
to complete the background and add even
more distortions to your collage.
Decide which areas to highlight. Which
areas do you want to make stand out. Try
to work into these with heavier darker tones
and use cross hatching with fine liner pen
for detail. You could also shade in the skin
tone in places with either pencil or black
and white paint.

47. 3D WORSHOP ON AN ALTER EGO IDENTITY

48. Your challenge is to create a mask that
describes an aspect of your personality that
we would normally not know. Like trash, which
we cover in land fills, think of a
characteristic/trait that is normally covered or
hidden. The mask you create should reveal
something new about you.
You may only use materials intended for your
rubbish, or recycling bin. In other words, save
the things you would normally discard... these
will become your materials.
Alter Ego Mask

53. Requirements
The mask must obscure most, if not all of your face.
Make sure that you can see out of the mask
Your mask/sculpture should be mostly made of found materials and
rubbish
Some element of the mask should extend at least 12 inches from
your head.
Make sure it stays on your head/face without your hands holding it.

54. Homework: Gather Materials
Begin by sourcing materials that you would normally throw away. Be sure to
clean them. As you take an inventory of your garbage/recycling, think about
how the materials can communicate just by themselves.
The primary materials you will use, are discarded items from your home,
things like: milk cartons, packaging, containers, broken household items, old
clothes, etc. Use the stuff you normally throw away.
Please clean and prepare your materials so they are not harmful to you, or
cause a potential pest problem. Remember you will be wearing this sculpture
on your head.
Do not use any materials that will rot, ie. vegetables, or animal by-products.

55. Lesson 1: Make Sketches and design ideas in your book
Start making sketches of how you could reflect a side of your personality in
the shape and form of the mask. Think about colour too. Complete 2
different designs in your book . Make some quick self portraits and add your
design to them!

56. Lesson 2/3-6 :Construction
Bring in your materials to class. Use tape, glue, glue guns, wire to construct
your mask.. The materials you use, and the way you put them together should
be enough to communicate your idea. They should show us something new
about who you are.
Artist Jozef Mrya sees his
work as an experiment in
ritualistic expression. His
recycled cardboard
masks take after animals
and invite people to
immerse themselves in
new roles to create a
primitive identity

57. Chris Scarborough, drawing of a mask
Lesson 6-8:
Once your mask in complete, put it
on and your teacher will
photograph you. Make a detailed
drawing of the new you from your
photograph. Use 2b/4b pencil or
Fine Liner pens and a cross
hatching technique.