1. Living Nature
An
Installation
Unit

2. Brief: Living Nature
• Read Mural BRIEF
• RESEARCH: analysis of artist model Fatu Fe’u and Michel Tuffrey
• COLLECTION of cultural designs related to your culture, plant image relating to your whanau, a self portrait,
symbols or images relating to your personal interests.
• Dump sheet exercise- Group brainstorm of mural ideas
• CONCEPTS: Divide an A3 page in to four parts. Draw six „thumbnail‟ ideas using images and ideas related
to yourself, your interests, your cultural patterns, design your whanau symbols i.e.. Miro plant, Hinau plant,
Tawa plant or Kowhai plant.
• DEVELOPMENT: make two compositional ideas on an A3 page. Explore use of line to create texture and
pattern as seen in artists works studied. Show your use of colour ( make a colour plan using 3-4 colours on
one of the development works) and media
• REFINEMENT: Discuss in small groups how to improve best ideas 5-10 minutes. Transfer your chosen
image to Ply.
• FINAL: Use a variety of media to work into your section of the installation

3. Art Process

4. Self - Management

5. Mural: „2013 – Living Nature‟
• Title Page: Make a title page on the
supplied task sheet template (Yr 10
start up task -
• Flow Chart – plotting process used
in doing unit of work
• Planning Chart with key used from
Flow Chart – Planning for duration
of unit, how long to spend on each
process

6. • Research: - cultures,nature interests:
• Mäori, Pacific and Asian, Celtic. Class
brainstorm/dump sheet.
• Research imagery to support
brainstorm/theme, ation in computer-
room
• HW find resources for above

7. • Analysis: of Artists from OTHC trust
collection:narrative/installation works:
use task sheets
• Artist models: Richard Killeen , John Pule,
Fatu Feu’u art works: Composition,
Colour, key ideas, patterns used and how
used, marks, tone, texture

8. Colour & paint
• Create 3 colour wheels, primary, secondary
tertiary colour. This will help students mix
paint and apply with discernment
• Work on the supplied tints and shades grid
• Draw one of your favourite shapes onto grid.
Paint tints and shades within this shape.

9. • Research: - group brainstorm of
installation ideas, assign a page to small
groups, reference ideas from Artist
research -
• Concepts: Make 4 composition ideas on
an A3 page. Explore use of line to create
textures and patterns as seen in artist’s
works studied

10. • Developments: (On Card to Scale) -
Discuss, improve best ideas, make colour
plan using 3-4 colours. (2 x A4) ( for
learning about colour, using paint and
tone)

11. • Finals - Transfer image to Ply. Paint with
white. Work over line work in ink. Allow
to dry then work over in colour tone,
media

12. Our project is a mural
installation which is
based on ‘Living Nature’
(and identity),
Shape & Colour

13. Fatu Feu'u
Ulu manu folau

14. Fatu Feu’u is a senior artist acknowledged as both a leader and mentor within the Pacific arts
community in New Zealand. Feu’u grew up in the village of Poutasi in Western Samoa and
immigrated to New Zealand in 1966 at the age of 20. He has been an exhibiting artist since the
early 1980s and became a full-time artist in 1988.
Fatu is a multi-media artist and while primarily a painter, he explores a range of other mediums
including bronze, wood and stone sculpture, pottery design, lithographs, woodcuts and glass
works (both stained and etched). Fatu gains inspiration from Polynesian art forms such as siapo
(bark cloth), tatau (tattooing), weaving, carving and ceremonial mask making. In these forms he
has discovered a rich lexicon of motifs and compositional structures. Fatu's works frequently blend
traditional and contemporary elements, incorporating a range of influences, inspirations,
techniques and motifs from Samoa and Aotearoa and more generally from Euro-American to
Pacific cultures.

15. Fatu Feu'u
Adoration of Fertility Ritual by Night 2001 Orongo 1992
Woodcut, 559 x 1212 mm. Woodblock on barkcloth,
laid on paper, 596 x 490 mm.

16. FATU FEU'U Tamilo I Moana 2004 Matau, 1988
woodcut, 760 x 1070 mm.

17. Ulutoa moana, 1999

18. Ulu manu folau

19. Talosaga pouli: Ancient worship of the black lizard by night,
2001, woodcut

20. Michel Tuffery
1.Tangaroa Conversion With Tui 500 X 1300mm
2.Tangaroa,Tangaroa,Tangaroa, Siva in Cook Strait 500 X 1950mm

21. Michel Tuffery is an acclaimed printmaker, painter and sculptor, who is constantly exploring,
collaborating and innovating.
A New Zealand based artist of Samoan, Rarotongan and Tahitian heritage, Tuffery likens the
role of the artist to that of a journalist – asking questions, investigating and telling stories
from fresh perspectives. For Tuffery, art is his first language. It’s the way he communicates his
ideas on the world around him; his cultural heritage and the diverse cultural fabric that
makes up New Zealand; and the changing nature of life in the Pacific region.
“ Tuffery’s journey is an open and expansive one, its wonder and revelations shared
generously, as a gift, in his art. It illuminates the sea around him, showing us aspects of our
world, our society and our lives that would otherwise remain unseen. ”
Tim Walker, Director, TheNewDowse, New Zealand

22. 4.Tangaroa,Tangaroa, Sanctuary, Lua Cook Strait 500 x 1950mm
5.Tangaroa,Tangaroa, Sanctuary, Tulu Cook Strait 600 X 1950mm

23. Pili Siva , 1988 Pili Pili Pili Pili Fa
lithograph, printed in colour, from multiple stones Lithograph on 650 x 510 mm paper,
from an edition of 38, 1997

24. Christ Keke Fala Sa. , 1998 Mata Mata Va'a 2005
relief; drawing woodcut collage,
woodcut, printed in colour, from multiple blocks printed in black ink, from multiple blocks; graphite

25. Design your whanau symbols i.e. Miro plant,
Hinau plant, Tawa plant or Kowhai plant.
HINAU

26. KOWHAI

27. TAWA

28. MIRO

29. Fatu Feu'u
Ulu manu folau

30. Michel Tuffery
Pili Pili Pili Pili Fa
Lithograph, 1997

31. Elements:
colour, line and
shape

32. COLOUR
Primary Colours Secondary Colours Tertiary Colours
Red, Yellow and Blue. Secondary colours are The tertiary colours are
Equally spaced on the formed when you mix the formed by mixing a primary
Colour wheel. When used and secondary hue together.
primary colours together.
together they tend to give They could be referred to as
These colours tend to have
a very contrasting effect. the “in-between” colours.
a much gentler feel to them

33. Monochromatic colour
Picasso

34. Line
Pablo Picasso, Bust of a Woman, 1909

35. SHAPE

36. Principles:
Contrast,
balance, rhythm
and harmony

37. BALANCE
There are three main kinds of visual balance:
Radial formal (or symmetrical) informal (or asymmetrical)

38. HARMONY & CONTRAST
A harmonious design is one in which its different elements are in unity with
each other
Contrast, the opposite quality to harmony, involves the use of opposing
elements, such as clashing colours and shapes, in the same design.

39. PATTERN AND RHYTHM
A repeated design element. Rhythm is related to
pattern in that it uses repeating elements
M C Escher - Vogels Marimekko - Hevoskastanja

40. Creating personal symbols, patterns, images and ideas
relating to yourself
• Family and friends
• Where you live- natural or built environments
• Interests- sports and hobbies
• Entertainment- T.V, films, music
• Reading materials- magazines and comics
• Religious and community involvement
• Cultural heritage

41. Personal Reflection
• What ideas did you gain from studying the artist models Fatu Fe’u and Michel Tuffrey
• What principles did you use to organise your final design?, for example balance, harmony and contrast
• What are the meanings and significance of the symbols you have used within your final A3 design?
• What messages did you communicate about yourself through your used images?

42. NZ born
Samoan
Artist,
Michel
Tuffrey uses
lizards in his
work
combining it
with
symbols of
his culture

44. Designers
often stylise real
creatures to
make
give them
emphasis

45. Artist Study
Richard Killeen : Installation
• Richard Killeen is an artist who uses a
range of different shapes which he
combines together to form ‘modular
installation’ works.
• He likes to research and puts his
collections together in creative
combinations
• He also like to work inside shapes

49. • The end