12. 1. Draw a grid on to
your photo.
2. VERY LIGHTLY draw
a grid in to your
book
3. Look closely at what
is in each square.
4. Copy the contents
of each square in to
the correct blank
square in your
book.
5. Start with light lines
6. Build up tones to
give the illusion of
3D.
13. Homework due:
•Practise drawing a tonal self portrait using dramatic
lighting in pencil. Try holding the pencil in the
sideways hold and layering tones.
•Turn off the overhead, main lights and use a
lamp/torch at a safe distance to create dramatic
tones.
•BE SAFE LAMPS GET VERY HOT
•Obtain a clear photograph of yourself (head and
shoulders) in black & white and print in A4. You
will need this in the next lessson.
15. FRANCIS BACON
(28 October 1909 – 28 April 1992) was an Irish-born British figurative
painter known for his bold, graphic and emotionally raw imagery.
16. Objective: Explore the potential of
oil pastel to distort a self portrait
Artist reference:
Francis Bacon
18. Bacon's painterly but abstracted figures
typically appear isolated in glass or steel
geometrical cages set against flat,
nondescript backgrounds. He began painting
during his early 20s and worked only
sporadically until his mid-30s. Before this
time he drifted, earning his living as an
interior decorator and designer of furniture
and rugs. Later, he admitted that his career
was delayed because he had spent too long
looking for a subject that would sustain his
interest. His breakthrough came with the
1944 triptych Three Studies for Figures at
the Base of a Crucifixion, and it was this
work and his heads and figures of the late
1940s through to the mid-1950s that sealed
his reputation as a notably bleak chronicler
of the human condition.
Study for the Head of George Dyer (1966)
19. se oil pastel over your photograph
IVE: To show evidence that you have looked
at the artist’s technique and can reproduce it.
20. KEY THEME: THE SCREAM
Bacon called the image of a screaming mouth a catalyst for his work, and incorporated the
shape of the mouth when painting the chimera. Bacon's finding of the theme is examined in one
of his first surviving works, Abstraction from the Human Form. By the early 1950s it became an
obsessive concern, to the point, according to art critic and Bacon biographer Michael Peppiatt,
"it would be no exaggeration to say that, if one could really explain the origins and implications
of this scream, one would be far closer to understanding the whole art of Francis Bacon."
The inspiration for the recurring motif of screaming mouths in many Bacons of the late 1940s
and early 1950s was drawn from a number of sources, including medical text books, the works
of Matthias Grünewald[51] and photographic stills of the nurse in the Odessa Steps scene in
Sergei Eisenstein's 1925 silent The Battleship Potemkin. Bacon saw the film in 1935, and viewed
it frequently thereafter.
Still from Sergei Eisenstein's 1925 silent film
The Battleship Potemkin
21. Extra information
In his studio, he kept a photographic still of the scene
which showed a close-up of the nurse's head
screaming in panic and terror and with broken pincenez spectacles hanging from her blood-stained face. He
referred to the image throughout his career, using it as
a source of inspiration. One can relate this particular
image to that of Nanny Lightfoot, as she, like the
wounded nurse, wore the same oval spectacles.
Extra information
22. Written annotations are vital for success at GCSE
Provide detailed written answers to these questions:
•
•
•
•
•
•
•
what you have done and why you did it
how you did it, such as the media and techniques
used
why you chose a particular medium or technique
how an artwork fits in with your project
what aspects you like
how you could improve the work
what you think you will do next
•
•
•
•
Key words for Bacon annotation
•
•
•
•
•
distorted
horror
manipulate (paint and features of the face),
exposed (the flesh, the inner identity, the
painter’s innermost fears)
Oil pastel (explain how they are similar and
different to oil paint...research this yourself)
•
•
•
•
•
You must use the correct vocabulary when
annotating your work to show that you are
developing your knowledge, understanding and
skills. Key terms are:
Subject - what is shown in the artwork, such as
a portrait or a still life
Composition - how the elements of the work
are arranged, ie whether they're close together
or far apart
Foreground and background - elements that
appear to be in front or behind other aspects of
the artwork
Line - can vary in width, length, curvature,
colour or direction
Shape - describes the two-dimensional outline
Form - describes a three-dimensional object
Texture - the way surfaces look and feel, ie
rough, smooth, soft, etc
Tone - shading, from dark to light
23. Homework due:
•Write about Francis Bacon
Include
•Biographical information
•2 pictures of his work , with tiltes date and media
info
•Your opinion of his subject matter, style, use of
media
•Explain how it may link to your theme of identity
25. Learning Objective:
To learn about Chiaroscuro in paintings – looking at
different styles and characteristics.
Learning Outcomes:
All students will be able to:
1. Identify when Chiaroscuro is used.
2. Mix a variety of paint tones.
3. Paint a self portrait creating Chiaroscuro effects.
4. Work with their peers to problem solve and analyse
(BLP: noticing, questioning, making links,
experimenting)
30. Chiaroscuro
using do
What contrasts of
light to achieve a
you know
sense of volume in
about it ? threemodelling
Tones
dimensional objects
strong contrasts between light and dark
31. The Boy with
the Monkey
By El Greco
What is the direction of the light ?
32. What have they got in common?
St Peter in Prison
By Rembrandt
Christ on the Mount of Olives
By Goya 1819
33. Why is it appropriate to use
chiaroscuro in religious paintings?
36. Written annotations are vital for success at GCSE
Provide detailed written answers to these questions:
•
•
•
•
•
•
•
what you have done and why you did it
how you did it, such as the media and techniques
used
why you chose a particular medium or technique
how an artwork fits in with your project
what aspects you like
how you could improve the work
what you think you will do next
•
•
•
Key words for Chiaroscuro annotation
•
•
•
•
•
•
Distorted tonal range
Dramatic
Contrast
Density
Shadow
•
•
Caravaggio, El Greco, Rembrandt
•
Acrylic paint (explain how you created varied tones ,
and challenges or successes)...research this yourself)
•
•
•
•
You must use the correct vocabulary when
annotating your work to show that you are
developing your knowledge, understanding and
skills. Key terms are:
Subject - what is shown in the artwork, such as
a portrait or a still life
Composition - how the elements of the work
are arranged, ie whether they're close together
or far apart
Foreground and background - elements that
appear to be in front or behind other aspects of
the artwork
Line - can vary in width, length, curvature,
colour or direction
Shape - describes the two-dimensional outline
Form - describes a three-dimensional object
Texture - the way surfaces look and feel, ie
rough, smooth, soft, etc
Tone - shading, from dark to light
37. Homework
• Take 5 chiaroscuro photographs each
from a different angle and with a
different emotion. Print these out in
black and white and stick in to your
books.
• Due in Friday 18th Oct
• Lunch time help available today
40. Written annotations are vital for success at GCSE
Provide detailed written answers to these questions:
•
what you have done and why you did it
•
how you did it, such as the media and techniques used
•
why you chose a particular medium or technique
•
how an artwork fits in with your project
•
what aspects you like
•
how you could improve the work
•
what you think you will do next
Key words for Monoprint annotation .
Include these in your answers
•
It is a print process
•
linear (has lines)
•
Contrast Tonal
(has varied values of light, medium , dark)
•
Layers ( has layers of drawn information)
•
Mark making (all the lines /tones you draw)
Extension work
Include images (including titles, dates etc) of artists work that
uses this media (monoprint) Make sure the images you
include ARE ACTUAL MONIPRINTS not drawings or other
media
Examples: Georg Baselitz, Tracey Emin, Rembrandt, Degas
•
•
•
•
•
•
•
•
•
You must use the correct vocabulary when
annotating your work to show that you are
developing your knowledge, understanding and
skills. Key terms are:
Subject - what is shown in the artwork, such as
a portrait or a still life
Composition - how the elements of the work
are arranged, ie whether they're close together
or far apart
Foreground and background - elements that
appear to be in front or behind other aspects of
the artwork
Line - can vary in width, length, curvature,
colour or direction
Shape - describes the two-dimensional outline
Form - describes a three-dimensional object
Texture - the way surfaces look and feel, ie
rough, smooth, soft, etc
Tone - shading, from dark to light
41. How to Analyse a Piece of Art
Part 1
Describe the piece by conducting an analysis. Use the following questions and make
notes (visual and written) using a visual vocabulary.
Content
What genre does the painting belong to?
What is the subject matter?
What is happening in the piece?
Is the subject matter based on direct observation memory or imagination?
Is the subject matter exaggerated, distorted or abstracted?
Does the work have meaning is it obvious or is it hidden?
Visual Qualities
Describe the composition in terms of the visual elements- line, tone, shape, form,
colour, pattern, texture, space, and size
Is there a dominant colour?
Is there a distinct shape to the composition?
Is there a sense of movement or stillness?
How has the artist arranged the elements and what is the effect of the arrangement?
How does the composition fit the subject?
What questions emerge?
42. How to Analyse a Piece of Art
Part 2
Process
How has the work been created (materials, techniques, tools)?
Have these techniques been used for a particular reason? (Mood, atmosphere)
What stages do you think the artist went through to create the work?
How do you think the artist worked?
Mood
Does the painting suggest a mood feeling sensation or atmosphere to you?
What qualities in the piece convey this?
Suggest any similarities relating to your own experiences?
Context
Make connections with other works of art and the time in which the work was created.
Does the work fit into any specific movement?
Does the piece support any ideal? Was it made for a specific purpose?
What is the artist trying to say?
How is the work displayed? Are there any related pieces around it?
Use descriptive language to articulate their thoughts. Your work should be a piece of
prose supported by illustrations.
43. Art-Writing frame for a critical study
When writing about a piece of art follow the following steps - Description, analysis, interpretation and evaluation.
Structure
Describe
Describe what
you see in the
painting.
Imagine that you
are describing
the artwork to
someone who
cannot see it
(someone over
the telephone)
What to write
Artist’s name
Title of painting
Date of the piece of work (if known)
What is the subject matter of the
picture? e.g. landscape(see
Vocabulary)
What movement/tradition/culture
is it from?
Write down your first impression of
the piece of work. This might
change once you understand more
about it.
What do you think the picture is
about? Beauty? Nature? Emotions?
Power? Prestige? History? Money?
Faith?
Useful starters
The piece of art I have chosen to
write about is called.............
It was completed by……………. in
…………….
It comes from the
movement/culture of... (eg.
Surrealism, impressionism)
I think the work portrays …...........
In the picture/piece of artwork I
can see......
I think the artist is trying to say
that...
Useful Vocabulary
Adverbs
Adverbs
typically
Subject matter: landscape,
answer
still-life, figures, portrait,
questions such
fantasy, abstract, impressionist,
as how?, in
pattern, religious, seascape,
what way?,
surreal, symbolic
when?, where?,
suggests, conveys, conjures up, and to what
recalls, recreates, when looked extent?. Use
the list here
at closely, from a distance
throughout
your work so
your work is
interesting to
read
44. Analyse
Start to describe
in detail what
you see in the
picture.
Try to write
about how the
artist has
achieved certain
effects. Use the
art vocabulary
for highest
marks.
Look at how the
elements of art
are used
•Analyse
(continued)
In the foreground/middleWhat is in the foreground, middle- ground, background there is....
The focal point is......
ground and background?
The piece is
What medium has the artist used?
painted/drawn/constructed
(see vocabulary in last column)
from....
Why have they chosen this
This piece is made out of...
material?
The technique of ......has been
How and where has line been used used.
The artist may have
(if at all)?
used......to/because.....
What do you think the texture is
The lines used in the piece are......
like?
The texture appears to be ....
What types of brushstrokes/marks Therefore the piece looks.......
or techniques have been used
The
marks/textures/brushstrokes
What pattern has been used (if
that have been used are...
any)?
What shapes/form have been used? The patterns are.....
They create an .......... effect
How and where has the artist
The shapes/form in the work.....
shown light and dark tones?
The tone in the painting/piece
How and where have they used
is.....
colour?
Colours are....
The use of colours make the
What are the main colours used?
work look/make me feel......
Foreground, background,
middle-ground, arrangement,
composition, focal point. Eye
line, proportion, scale
Media: Oil paint, Chalk, Pencil,
Watercolour, Acrylic paint,
drawing printmaking,
sculpture, wash, impasto,
scraffito, glaze, digital media,
collage,
Lines: fluent, confident, rough,
bold, powerful, geometric, light,
free, flowing, scribble, broken,
rounded, angular, delicate,
Strong, Smooth, heavy, obvious,
exaggerated, small, large,
curved, Cross-hatching,
Texture/pattern: Thick, soft,
coarse, fine, smooth, shiny,
rough, jiggered, splatter, flat,
matt, simple, symmetric,
repeat, uniform, stencil
Shape/form: sculpted, sharp,
uniform, repeat, symmetric,
angular, geometric
Tone: Bright, Dark, faded,
smooth, Harsh, contrasting,
intense, sombre, strong,
powerful, grey, gradation, haze,
shadow, highlight
Colours: Soft, subtle, pastel,
tonal, bright, pure, bold, murky,
radiant, contrasting,
harmonious, warm, cold, dull,
gloomy, vibrant, vivid, intense,
So
so that
to
in order to
because
since
Also
Besides
Comparatively
Consequently
45. Interpret
Your reaction
Try to figure out
what the artwork
is about. All
artworks are
about something.
Some are colour,
subject matter,
social or cultural
issues. Some are
not as easy to see
what the artist
was thinking.
Evaluate/
Conclusion
Come to a
conclusion about
the artwork
based on what
you have found
out and your
interpretations,
What is the theme or subject of the
work.
What mood or emotions does it
communicate
What is the work about, what do
you think it means
Why do you think the artist created
it
I think the story behind this
piece is....
I think the artist wanted us to
feel/think.....
I think the artist is trying to say
that....
The piece of work makes me
think of......
The work makes me ……….
because ……………….
Have your thoughts or feelings
about the art work changed? How
and why?
What do you think/feel about the
picture?
Why do you like it or dislike it?
How could the artist have improved
or made it different?
What have you learned from the
piece of work that you might apply
to your own
I chose to write about this piece
of work because.....
I like/dislike this work
because……
What works in this piece is...
I have been inspired by this piece
of work to
see, feel, think, imagine,
suggests, evokes, conveys,
conjure up, recreates, observes,
reflects, recalls, reminds me of,
Happy, sad, sombre, alive,
atmospheric, depressing,
disturbing, exciting, expressive,
fresh, humorous, imposing,
nostalgic
Further
Elsewhere
However
In addition
In comparison
In contrast
Instead
Next
Rather
Similar
Then
Therefore
46. The information you need:
1. Background information Who made the image or artefact?
What is it called?
Where does it come from?
What tradition/movement/culture does it belong to?
1. What can you see?
Is the image realistic or abstract?
Describe accurately what you see.
1. What materials, processes and techniques have
been used?
Materials: oil paint, collage, wood…
Processes: painting, drawing, printmaking, sculpture,
digital media
Techniques: cross-hatching, wash, impasto, scraffito,
glaze…
1. Meaning, mood and feeling.
What do you think it is about?
Does it have a story?
Can you find out what the maker thought about when
making this?
1. How have the different elements of art been
used to create different
effects/moods/feelings?
How have the following been used Texture, shape, form, space, line, tone, colour,
composition, objects, symbols, focal point, pattern…
1. What do you think of it?
What do you like about it? Why?
What don’t you like about it? Why?
Why did you choose to write about it?
What might you like to ask the artist/ maker?
How might you take ideas to use in your own work?
Sentences you could use:
The piece of art I have chosen to write about is called…
The artist/designer who made/painted this piece is…
He/she lives/lived and works/worked in…
It comes from the tradition/ movement/ culture of… (e.g. Chinese art,
surrealism)
In the picture I can see…/The sculpture looks like…
In the background/middle ground/foreground there is…
The piece is painted in…/drawn in…constructed from…
/This piece is made out of…
Materials have been used to create a powerful effect by…
The technique of…has been used
The artist may have used…
The picture/sculpture makes me think of…
I think the story behind the piece is…
It makes me feel…/I think the viewer of the piece would feel…/I think the artist
wanted us to feel…
I think that the artist is trying to say that…
Colours are…soft and subtle? pastel and tonal? bright and bold? The use of
colour makes me feel …
Lines and shapes are…rhythmic? chaotic?
Colour/tone/line has been used effectively to create a…mood
The composition/form/structure is … and …
The artist has used…to…
The painting/piece makes me feel…because of the…
I chose to write about this piece because…
Before I started looking closely at this piece I thought…
Now I have looked more closely I think that…
What I particularly like about this piece is…This is because…What works well in
this piece is the…
I like everything in this piece except…This is because…
I would like to ask the artist/maker…why they chose…/what they were thinking
about when…/who inspired them.
I have been inspired by this work to experiment with..
47. Comparing the Work of Others to Identify the Similarities and Contrasts
Name of Artist
Movement
Influenced by
Influenced whom
Audience
Narrative
Composition
How does it embody the
theme of identity?
Extra category of your
choice
48. Idea Development
Write up journey to your final idea.
How has experimentation with media, recording of ideas ( 1st and 2nd hand drawing, mind mapping and photography) and analysis of the work of other’s
influenced your final outcome?
AO1
AO2
AO3
49. Experimentation Log
Write in detail about your media experiments. Include successes, areas for improvement and how this will influence your next step.
50. First Hand Observational Drawing Instructions
1. Set up a still life using contrasting objects of interest. Place the still life beside a natural light
source to get the best play of reflected light.
2. Draw the basic contours of the still life shapes lightly in pencil in your sketchbook to form your
composition. This rough sketch is now ready to add tonal shading.
3. Observe the play of light and dark on the surfaces of the still life objects and notice the light
and dark contrasts before applying tone to your study.
4 .Use a good range of drawing pencils from 2H to 8B to be able to maximize the tonal quality of
your pencil studies. The darkest grade of pencil to create the darkest tones is the 8B. The lightest
tone can be achieved by using a grade 2H pencil. Use an eraser or the white of paper to show
areas of reflected light.
5 .Shade in the darkest areas in your drawing by using an 8B and shade in exactly the shape of
the shadow you see in the still life. Note where your lightest areas are and, with your 2H pencil,
shade around an area of white reflected light. Work in the mid- and graduating tones from dark
to light areas to add a range of tonal qualities to the drawing.
6. Use a range of shading techniques to create different effects. Hatching is where you shade
with a series of lines in one direction, whereas cross-hatching is where you draw a second series
of lines over the first section of hatching but in the opposite direction to create a box-like effect.
Stippling is using a series of dots in close proximity to create shading and texture. Squiggling is
the process of creating random squiggled marks to suggest pattern.
Read more: http://www.ehow.com/how_7679365_draw-using-pencil-art-gcse.html#ixzz2qe8wXA1J
51. Week
1
Introduction
&
Stimulus.
Inform students to outline to
this unit & outcomes.
Discuss the theme & show
how artists over the years
have addressed this.
Observe structure of the
head.
Use of PowerPoint History of
& drawing techniques.
Dept skull and A3
worksheets of skull studies.
A4/A3 sketchbooks.
Powerpoint.
Studies of Human skull using
line proportion & Tone in
pencil.
Activity
Homework
Complete 3 studies of the
skull. Various viewpoints.
A0’s
A03
2
Proportions of the
face.
Demonstration.
Pencils & mirrors.
3
4
Tone
Looking at how
artists have
represented Tone
in the face/
Charcoal studies.
Demo on using
charcoal & putty
rubber techniques.
.
Studying sections of
face & facial
features.
Links artist’s
techniques &
media.
.
Distortion.
Make reference to
artists, such as
Escher. Jenny
Saville. Francis
Bacon.
Monotone & 1
colour pencil.
A3 size.
Links to
Photomontage
scanning original
drawings, use of
Photoshop.
Refer to work of D.
Hockney.
Students to observe
own faces and use
quality of line to
show shape form &
structure.
On A2 cartridge
paper students to
produce own
version from photo
of all or part of
their face
Students to draw
eyes, ears etc from
artists visual using
appropriate media
& techniques. Use
Tone & colour.
By looking into
concave/convex
mirrors or reflective
objects draw a self
portrait using 1
colour pencil.
Practise a self
portrait using
dramatic lighting in
pencil & tone.
Obtain a clear picture
of self in Black &
white.
¾ view of own face
in charcoal.
Expressive Self!
Produce an A3 Self
portrait of an
expressive portrait.
Work from a clear
photo.
Using students own
photographs &
imagery construct a
photomontage self
portrait.
Higher ability
students could
manipulate the
images using
Photoshop
techniques.
Continue above.
Research on
Hockney’s
photomontages.
A03
A03
A03
5
.Practise for
homework –
Kettles, irons etc.
6
A03/1
A03/1
Week
7
8
Interim
Assessment
9
10
11
12
13
14
Introduction
&
Stimulus.
Gallery visit.
Visit to the NPG .
Ceramic workshop.
Interim Evaluation
Sheet
Lino Printing
Demonstration to
cover H & S
issues.
1 & 2 colour
prints – printing
on different
surfaces/ quality
of paper.
Project brief set.
Students to be
introduced to 4
20thCentury/
Contemporary
artists work.
( Attached
brief)
Research &
planning.
Developing ideas
Developing
ideas &
refining
final
outcome.
Final
outcome
Timed test of
5 hours + 5
hours of
lesson time.
Activity
Students to gather
drawing research
etc and postcards
for use back in
school.
Students to explore
the work of
Giacometti &
construct a series of
small heads to be
positioned on long
poles.
Demonstration
given on techniques
to employ
Students are to reflect
on progress so far.
Students to fill in an
evaluation sheet in
relation to assessment
objectives.
Teacher & Pupil to
address issues &
targets for next area of
coursework.
Students to be
shown the
German
Expressionists
woodcuts as
inspiration.
Develop ideas
towards a Lino
design. The
whole or part of
the face.
.PowerPoint
.Students to
shown on
relevant artists
work. Possible
outcomes.
Handout with
tasks and
deadlines to be
read through.
work
independently
on project brief.
Enhancing
research &
responding to 4
postcards on the
theme of Identity.
Complete Gallery
follow up work
ready for marking.
Mount & display
of final prints.
Working
through first
task in handout.
As Above
A02
A03
A03
Homework
A0’s
A01
A02
AO’s 1 – 2 & 3
End of year
examination
piece.
( 10 hours in
total)
Students to
self assess.
Teacher
assessment &
feedback
given.
A01
A02
All A0’S
52. GCSE Interim Evaluation Sheet.
Name :
Unit :
Form :
Assessment Objective Criteria
A01
Develop their ideas through investigations informed by
contextual and other sources, demonstrating analytical and
cultural understanding.
A02
Refine their ideas through experimenting and selecting
appropriate resources, media, materials, techniques and
processes.
A02
Record ideas, observations and insights relevant to their
intentions in visual and/or other forms.
A04
Present a personal informed and meaningful response
demonstrating analytical and critical understanding, realising
intentions and, where appropriate, making connections
between visual, written, oral or other elements.
Date:
Project title:
Evidence