Living Nature

An Installation

Unit

• 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

Brief: Living Nature

Art Process

Start with your Brief

Research

ConceptsDevelopments

Final

Self - Management

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

• 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

• 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

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.

• 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

• 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)

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

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

Fatu Feu'u

Ulu manu folau

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.

Adoration of Fertility Ritual by Night 2001Woodcut, 559 x 1212 mm.

Orongo 1992Woodblock on barkcloth, laid on paper, 596 x 490 mm.

Fatu Feu'u

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

Ulutoa moana, 1999

Ulu manu folau

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

Michel Tuffery

1.Tangaroa Conversion With Tui    500 X 1300mm

2.Tangaroa,Tangaroa,Tangaroa, Siva in Cook Strait   500 X 1950mm

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

4.Tangaroa,Tangaroa, Sanctuary, Lua Cook Strait      500 x 1950mm

5.Tangaroa,Tangaroa, Sanctuary, Tulu Cook Strait      600 X 1950mm

Pili Pili Pili Pili Fa Lithograph on 650 x 510 mm paper,

from an edition of 38, 1997

Pili Siva , 1988 lithograph, printed in colour, from multiple stones

Christ Keke Fala Sa. , 1998

woodcut, printed in colour, from multiple blocks

Mata Mata Va'a 2005relief; drawing woodcut collage,

printed in black ink, from multiple blocks; graphite

HINAU

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

plant.

KOWHAI

TAWA

MIRO

Fatu

Feu

'u

Ulu

manu fo

lau

Mic

hel Tu

ffery

Pili Pili P

ili Pili Fa

Lithogra

ph, 1

99

7

Elements: colour, line and shape

COLOUR

Primary Colours Secondary Colours Tertiary Colours

Red, Yellow and Blue.

Equally spaced on the

Colour wheel. When used

together they tend to give

a very contrasting effect.

Secondary colours are

formed when you mix the

primary colours together.

These colours tend to have

a much gentler feel to them

The tertiary colours are

formed by mixing a primary

and secondary hue together.

They could be referred to as

the “in-between” colours.

Picasso

Monochromatic colour

Line

Pablo Picasso, Bust of a Woman, 1909

SHAPE

Principles:

Contrast, balance,

rhythm and harmony

BALANCEThere are three main kinds of visual balance:

Radial formal (or symmetrical) informal (or asymmetrical)

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.

PATTERN AND RHYTHM

A repeated design element. Rhythm is related to pattern in that it uses repeating elements

                                        

M C Escher - Vogels

                                    

Marimekko - Hevoskastanja

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

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?

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

Designers often stylise real

creatures to make

give them emphasis

Artist StudyRichard 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

• The end