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Learning Intention – to translate selected imagery into more resolved media using artist models and looking at Whakapapa
Penny's artworks are an expression of the artist's narratives of finding one's cultural identity. Penny is of Maori (Te Mahurehure, Ngāpuhi) Irish and Scottish descent. Her works explore memories, stories, and longing of and for whanau, whakapapa and tūrangawaewae, within both her Maori and European ancestry. She questions what we have lost culturally through colonisation and pacific diaspora but also the connections that we can retrace and hold within ourselves to pass on to future generations. The red thread in Penny’s work represents I Nga Wa O Mua, the Maori world view to take the past with us into the future for guidance.
AKO - learn
AKO - learn
VISUAL DIARY WORK
VISUAL DIARY WORK
Thinking and Reflecting
Thinking and Reflecting
Do some simple research on your artist and their style of work [look at slide 2 & 3 of the slideshow below]. In your Visual diary note down some important or interesting facts about your Artist.
Select 2-3 images from the provided sheet on the right [or search your own] and glue them into your Visual Diary.
Consider/answer the following questions and make notes in your sketchbook [these are guides only, not questions to be answered]
Describe what you see.
Drawing conventions - The arrangement of formal elements (line, shape, space, colour, tone, point, texture, form, mass) and principles (balance, harmony, rhythm, tension, contrast, etc).
Composition (strong circular forms, diagonal, vertical/horizontal, or a combination).
Space – negative/positive areas of the composition
Application of media ( washes, gesture, painterly, impasto, layers etc) or Drawing media [hatching, shading, line, value]
Analyse & Interpret- what might the artist be communicating in their artworks?
What themes and ideas can you identify? how?
How do the methods you have identified in Question 1, contribute to or develop the themes and ideas of the artwork?
Discuss the relationship between the conventions used and communicating the themes?
How is subject matter arranged and what significance does this have?
Research the context that contributes to the art works. Consider...
Where and when was the image produced
Who was it produced for and why was it produced.
Where was/is it viewed (e.g. gallery, marae, private collection, in print).
How do the ideas and techniques you identified above reflect the context?
What value (e.g. monetary, emotional, cultural, political or social) would the artworks have to those that view the art works?
Techniques Study
Techniques Study
Howard uses a transfer technique to get her drawings and paintings so realistic.
select one of the drawings of Howards from your sheet and on the reverse use your graphite pencil [2b] to shade over the area that the image is [hold it up on a window to see where to shade.
Place the image face down in your visual diary or drawing paper and use a skewer to draw the outlines onto your page. Press firm enough to transfer but not so hard that you make a dent in the paper!
Look at your values and start with the darkest values and work your way across the drawing using your photo as reference to shade.
Use kneadable and plastic erasers to remove the lightest values as you go.
*you only need to complete a small amount of this drawing as it is a direct copy and therefor not assessable in itself.
Techniques Study- Dry Brush with Acrylic
Techniques Study- Dry Brush with Acrylic
In Howards earlier work about memories you can see a technique that looks like smoky hazy shading [similar to white pencil on black paper]. This technique is called dry brushing and is a great way to transition from drawing to painting. I can be done on any dark background as well as in reverse to add shading on a light background. Using another image from the artists sheet transfer the lines to black paper using chalk pastel on the reverse - White is good if you want to keep the effect white, but of you use colour pastel - sometimes this will be picked up in the technique and stain the white paint. Try both and see what works for you...
Technique..
Technique..
Find the oldest crappiest brush you can! Most students work from the tube as you use so little paint. Dab a small amount on the brush then dab this on some scrap paper until almost all of the paint is removed - then use this to "smudge" onto your work in small circles, slowly building up layers to deepen the values. It should look like you are painting with a cloud or with smoke! Add some stencils to areas like Howard does - again dry brush these to slowly build up colour. Experiment with dry brushing other colours or different colour backgrounds.
WAIHANGA - Create
WAIHANGA - Create
Personal response: drybrush painting
Personal response: drybrush painting
SIZE: A4
MEDIA: white acrylic, black paper, stencil
This task you can use an artifact, animal or portrait with a pattern stencil to explore Howards use of dry brushing
The task will be completed using a black background which can be either left as is or cut to shape.
In your visual diary complete 2-3 composition sketches as to how you will combine your 3 elements [animal, portrait, pattern]
Experiment using the dry brush method [also referred to as scumbling] to build up layers and value on black background.
Experiment with your stencil if using for your cultural pattern
Transfer your best composition using the transfer method to your black surface and render using dry brush and monochromatic colour
Add your “Whakapapa line”
EXTENSION: Personal response Artefact & Bird
EXTENSION: Personal response Artefact & Bird
In this task you will combine an artefact and bird in the style of Howards “Sort of Homecoming” work
You will combine Both Māori and Your personal culture together… use your whakapapa research
Option 1: Māori artefact + cultural bird
Option 2: Cultural artefact + New Zealand Bird
Incorporate a whakapapa line… what colour will your “string” be?
SIZE: A4
MEDIA: Graphite
extension - Personal response - Landscape painting
extension - Personal response - Landscape painting
This work will be responding to Howard's recent work of repatriating historical items to modern society.
Select one of your cultural artefacts and decide on what personal/local landscape you will introduce it to… your house? Your street? Your school? Your beach? Your stream?
Experiment with collaging your artefact and your landscape together. [digital or paper]
Print or photocopy your collage and transfer this to your painting surface [black ground].
Consider your time…. Render your artefact well, but if short on time consider how you can leave your landscape partially incomplete, like turning it into a line drawing or simply dry brushing details in only…if you look at Howards paintings - the backgrounds in some are blurred and lack detail!..
Whakapapa line… ADD IT IN
SIZE: A4
MEDIA: acrylic paint on card
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