The following activities are designed to assist you in developing further works that can be used on your boards
Drawing/mixed media collage
SIZE 20x60cm [painting card]
MEDIA - paint, collage materials, pencils, masking tape
TECHNIQUES - layering, masking, collage
ART WORKS - you will use works produced in 1.2 Photocopy works or use originals where they WILL NOT form part of your 1.4
PROCESS
Draw up some compositional layouts for your work [it will be landscape mode]. you can cut up various sections of your 1.2 works [original or photocopy] to develop layouts and move about elements to make a decision of overall composition. *REFER TO YOUR ARTIST MODELS FOR IDEAS
FORMAL ELEMENTS TO CONSIDER - scale, repetition, texture overlapping
Use glue or double sided tape to attach your imagery onto your painting card. Ensure edges are glued down well.
By drawing painting, printing - work into the large mixed media collage by adding more features such as symbols, motifs, subject matter, text or culturally significant pattern. *collage areas should be incorporated well into the work - NOT look like stuck on pieces of paper!
Mask out some sections and paint thin layers of paint and then draw into masked out areas.
Try Transfer release over parts of your image
Frames painting
SIZE & FORMAT
one painting - panoramic 60x20cm
two painting - 20x30cm each
three paintings - portrait 15x30cm
MEDIA - paint, white gel pen, pastels, pencils,
TECHNIQUES - layering, writing, framing
Colour - realistic or natural earthy values
ARTIST MODELS Peter James Smith , Michelle Thompson, Brian Strong, Laurence Berry
Your painting must include
a landscape [or scape if you are doing built environments]
written information about why it is meaningful to you/your theme or scientific information
an object/symbol/motif you have used in previous work on the board
PROCESS
prepare your card with gesso. refer to the works of Peter James and the other suggested artist models.
Plan your composition for each painting based on the artist models and your selected imagery
On your paint surface draw your landscape - place it slightly to the left or right to allow for a black frame which you will add later. Complete the underpaintings of your landscape [work in think layers] begin to build up your layers and add in details of your landscape - consider LIGHT as your formal element to help you decide where to place shadows and highlights
Use white pastel and the transfer release method to to add in parts of your other subject matter. Draw these in with value and tone
Mask out the areas to "frame" [on at least one of the paintings and paint in the frame using either black or dark value. Your frame could be two sided, just on the bottom, or oval or square.
Use a white gel pen or thin paint pen to write text or draw a map/diagram in one or more places within your composition.
Examples of white gel/paint pen overlays
Grid Painting
SIZE: could be one large work, two medium or three smaller ones [depends upon space you have available
MEDIA- paint, printing ink, shellac, painting card
TECHNIQUES - layering, masking, grid, release transfer, sandpapering back
COLOUR PALETTE- realistic or black and white with Natural colours
ARTIST MODELS- to assist with clarifying ideas - reference artists Peter James Smith, Shane Cotton, Simon Kaan and Brian strong.
Your Painting must include
a landscape/scape painting similar [not the same] to one already used i.e different viewpoint
a framed area [square, rectangle or oval of an image such as a portrait or pattern/symbol.
at least one NEW symbol
text = optional
PROCESS
Collect images/objects you wish to use in your painting. remember to use some of the images/objects that you have already worked with in previous works, BU include new subject matter also.
Prepare your card with gesso and colour wash
Design your compositions and layout - think about a grid format [look at how artist models have divided up their compositions into grids/sections].
Your sections should consist of different sizes.
Within each frame/division, sketch up your subject matter that will fill each one, consider the formal elements of overlapping, scale, contrasting values/colours/textures
Transfer your chosen composition to your painting card
Begin your underpainting in this layers of colour, make a range of tones and values and avoid using colour straight from the tube.
Build up layers to define detail and values using artist models as reference. Consider the edge of one object against another [dark against light] *use at least 3 layers of colour and paint.
create an aged look by using sandpaper to lightly rub over areas to "antique" it
To integrate/connect your frame shapes - again refer to artist models and look at how they have made each section look cohesive with their overall work... colour, line, printing or mark-making.
You could print objects overlapping the frames, or draw part of the image coming out of the frame into the other area [what have you done in previous works?]
Continue to build up layers of paint to define the detail of your subject matter
Ink Wipeout painting
MEDIA -Paint, Printing ink, card, shellac, rags, cotton buds
TECHNIQUE- Engraving images and applying printing ink and paint
COLOUR - Limit to 6 analogous colours/tones
ARTIST MODEL - Simon Kaan. John Walsh, Penny Howard
a combination of scape images from panel 1
a stylised cultural symbol from panel 1 or a new one
a pattern from panel 1
grid shape formats
PROCESS
you will be painting on a sealed surface so you will need to shellac or varnish your painting card to start [2 coats]
Alternatively if its purposeful - you could do this using the inside of a tetra pack or glossy side of a recycled package [cereal box]
design your composition - consider your subject matter/kaupapa and include a selection of formal elements such as
overlapping
scale
contrasting value/tones/colour
contrasting textures
if you are struggling to do this next step freehand, use carbon paper to transfer your design to your surface. Use a Stanley knife, scalpel or etching tool to score the outlines of your objects, forms, patterns etc into the surface of the card. the lines need to be deep enough for ink to be pushed into them, but not cut completely through the card!
for areas of tonal value, you can peel the glossy surface from the card.
use printing ink in a thin layer over the surface and pushed into the scored lines. Use rags and cotton buds to wipe back areas leaving tonal variations on the surface. allow ink to dry. *
You can work back into this with paint or pens to include another symbol/object/pattern to link with previous works
*ALTERNATIVE. if you have used a lot of print making in your previous works - you can actually print this plate as an etching [see your teacher] and use instead of a "painting"
Cut outs & engraving
SIZE-you can determine what size or scale these works need to be [2-3 paintings] allowing room for your final works on the bottom third.
MEDIA- Printing ink, paint, card that is varnished and some unvarnished, rags and cotton buds
TECHNIQUES - engraving, layering wiping
ARTIST MODEL - Richard Killeen [his cut outs] in combination with any of your previously investigated artist models [ie
COLOUR- Limited palette - black and white and 4 colours/tones that complement what you have already used.
your artwork can include
scape images previosuly used
natural forms or man made structures
a vessel, bird, cultural symbol/patterns/imagery that you have previously used or new
text [optional]
symbols motifs already used
You need to create at least 2 artworks that "fit" together and is made up of cut out shapes. These can be geometric or realted to your subjects used on panel one [i.e if you used a fantail in panel one, the shape might be a fantail]
PROCESS
varnish your painting card
spend time planning out your composition - this is the area of your board where you need to be making critical design decisions! View ALL of your work to date and decide on what imagery and ideas to reuse and what might you introduce to your compositions.
Draw your objects on the back of the card and cut out shapes individually if two shapes tough or overlap, cut them out as one.
Apply an underlayer of colour to your surface with printing ink and rag and rub into the surface of each shape
score your lines, forms, and details of objects into the shapes.
Use a cotton bud to push darker ink into those lines and rub back where needed, Consider your colour palette across the folio.
On unvarnished shapes, use acrylic paint on the surface and build up value and form with your paints.
You are trying to achieve a combination of Wipeout and painted surfaces on your shapes that work cohesively as one artwork.
Resolved work
SIZE - at least 1 work that fills the remainder of the space. [can be more then one or a work that is made up of cut-outs or grid pieces like in previous work]
MEDIA- mixed media on varnished and unvarnished surface, paint, shellac, printing ink, tape
TECHNIQUES - stencilling, masking, frottage, collage or any of your most successful techniques from your folio
ARTIST MODELS - Richard Killeen, Simon Kaan in combination with previously investigated artists
COLOUR - Look at your board and select your colour scheme along with black and white
You will create another cut-out shapes work but it needs to be developed more from your previous task. It needs to show development and clarification of ideas and integration of your artist models into your own work
cut out shapes/images to consider
landforms or maps
text
symbols and patterns
birds
vessels
objects related to your Kaupapa
PROCESS
prepare your surface
plan your composition. Ensure you are looking at your entire folio and and using images/objects/motifs already used BUT also incorporating something new.
Consider balance and harmony in your composition through your choice of subject matter and placement
cut out your shapes from? will the connect through other ways?
Develop your works by scoring and building up the surface as you did in the previous task.
