You will improve your use of graphite and chalk pastels and develop an understanding of proportion. You will also discover the potential of clay and produce a glazed, self portrait, ceramic tile.

During this project you will explore your identity and create images that reflect ideas about yourself, working from observation, memory and imagination.

You will learn about the ideas, methods and approaches used by other artists who have created portraits. You will also investigate artists who use symbolism within their work to tell us more about the people they are painting.

SoW: Identity(Year 7)

Step1: Introduction to clay

Learning objectives. By the end of the lesson you will:Develop an understanding of the properties and potential of clay.Use the correct words to describe clay techniques and processes.

Learning outcomes. By the end of the lesson you will:Have created a thumb pot showing your understanding of techniques.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Firing baking clay at a high temperature.Bisque clay after first firing.Kiln furnace that fires the clay.Glaze finely ground mineral solution, turns to glass when fired

Part 1: Clay tile

Preparing your clay for sculptingWedging removes air pockets

Modeling clay into a pinch pot.

Start with a ball.

Push thumb into centre.

Pinch from bottom upward.

Shape and smooth for finished pot.

Step 2: Create two slabs

Learning objectives. By the end of the lesson you will be able to roll out a clay slab and explain the process to a peer using the correct words.

Learning outcomes. By the end of two lessons you will have created two clay slabs.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Slab a piece of clay that has been rolled out to a specific

thickness.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Firing baking clay at a high temperature.Bisque clay after first firing.Kiln furnace that fires the clay.Glaze finely ground mineral solution, turns to glass when fired

Creating a slab.

Roll out a slab using the guides to control the thickness of the clay.

Use the sharp knife to cut around the template. Initial your tile discreetly.

Flatten the clay a little to start you off.

Collecting homework

Due: next Art lesson

Bring objects to impress into the clay slabs.

Objects should reflect something about your hobbies and interests.Choose objects with an interesting texture.Please do not bring anything too valuable, inappropriate or too big.

Step 3: Creating a self portrait in clay

Learning objectives. By the end of the lesson you will:Develop your control of manipulating and cutting clay accurately.Be able to explain the process of transferring an image to clay using the correct vocabulary.

Learning outcomes. By the end of the two lessons you will have transferred an image of you to one of your clay slabs. The face will be clear and recognisable as you.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Slab a piece of clay that has been rolled out to a specific

thickness.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Firing baking clay at a high temperature.Bisque clay after first firing.Kiln furnace that fires the clay.Glaze finely ground mineral solution, turns to glass when fired

Step 4: Decorating your clay tiles and create your layered portrait.

Learning objectives. By the end of the lesson you will:Be able to construct strong composition and understand how to use symmetry, balance and pattern to your advantage.Use your understanding of Lucinda Mudge’s work to influence the marks you use in decorating your tileUnderstand the potential of different tools and objects in creating an effective impressions into the clay.

Learning outcomes. By the end of the lesson you will have: Created a patterned clay slab using impressing, moulding and embossing techniques.Used the score and slip technique to join together the two decorated, slabs of clay.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Slab a piece of clay that has been rolled out to a specific thickness.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Glaze finely ground mineral solution, turns to glass when fired

Lucinda Mudge

Mudge’s work pays homage to the Staffordshire slipware potters of the 17th century, and refers to the decorative arts.

Her surfaces are richly textured with designs marked into the clay, which is then followed by the process of honey glazing that traditionally accompanies slip work.

Step 5: Painting your ceramic self portrait.

Learning objectives. By the end of the lesson you will:Understand basic colour mixing and be able to mix your skin tone.Choose the most appropriate colours in terms of reflecting your own interests and creating a good balance.

Learning outcomes. By the end of the lesson you will have painted your ceramic self portrait accurately and with colours that reflect something about your personality.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Slab a piece of clay that has been rolled out to a specific thickness.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Firing baking clay at a high temperature.Bisque clay after first firing.Kiln furnace that fires the clay.Glaze finely ground mineral solution, turns to glass when fired

Option 1: Water colour and white ready mix.

Step 5: Painting your ceramic self portrait.

Learning objectives. By the end of the lesson you will:Understand how and why the colours of the glaze are altered when they are fired.Choose the most appropriate colours in terms of reflecting your own interests and creating a good balance on the tile.

Learning outcomes. By the end of the lesson you will have painted your ceramic self portrait accurately and with colours that reflect something about your personality.

Glossary:Clay moist earth of decomposed rockWedge technique to take the air out of clay.Slab a piece of clay that has been rolled out to a specific thickness.Leatherhard unfired clay not quite dry but firm enough to carve.Greenware dried out, unfired clay.Firing baking clay at a high temperature.Bisque clay after first firing.Kiln furnace that fires the clay.Glaze finely ground mineral solution, turns to glass when fired

Option 2: With glaze.

Jasna Sokolovic left her native Yugoslavia in 1994, venturing to Granville Island, Vancouver. She is inspired by as Gaudi and Hundertwasser. Her long journey is often portrayed symbolically with birds representing “fragility and liberty, taking off, falling down and covering distances.”

Jasna Sokolovic

Step1: Introduction to drawing

Learning objectives. By the end of the lesson you will:Develop an understanding of the purpose of drawing.Know what the formal elements are in art.

Learning outcomes.By the end of the lesson you will show your understanding of the formal elements through a number of drawing exercises.

Glossary:The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, FormCross hatching: At least two layers of parallel lines. The line sin each

later travel in different directions.Stippling: Areas of tone created by dots or specks.Tone: The degree of lightness or darkness of an areaBurnishing: Heavy layers of pencil creating a shiny surface

Part 2: Developing skills in 2D

Why draw?

Rami Efal “Tea” (2005) Pen on paperwww.flickr.com/photos/aburami/sets/1509705/

To Remember

To Contemplate

To Investigate

To Observe

Elizabeth Kane “Diet Coke” (2008) Colouring Pencils

www.flickr.com/photos/elizabethkane/

Paul Brady “Will Smith” (2008)www.flickr.com/photos/pbradyartwork/

Key Words: Look & see.

Ernst Haeckel “Kunstformen der Natur” (1899-1904)To see more click here

To Remember

To Contemplate

To Investigate

To Observe

Ben Lawson “Absence Makes the Heart…” (2007 )www.trans-technical.com/images.html

Key Words: To observe or inquire into in detail; examine systematically.

To Remember

To Contemplate

To Investigate

To Observe Key Words: An act of directing the eyes on an object: look, regard, sight, view, believe.

Steve Bell: 10 Dec 2013 No matter how famous you are, it appears, few can resist the appeal of the selfie

Grayson Perry: Map to Nowhere. 2008

To Remember

To Contemplate

To Investigate

To Observe

16

Cai Guo-Qiang"Drawing for Transient Rainbow“ (2003)Gunpowder on paper, 198 x 157 inches

“Thinking of Dad” (2007)Pen and Watercolourwww.flickr.com/photos/sketchpot/

Taking a line for a walk!

The artist Paul Klee spoke of drawing as “taking a line for a walk”—so start off in one corner of your page, and take your pencil for a stroll across it. Start off slow and meandering, then add some detours. Experiment with the weight of the line, pressing heavily and lightly. Do some zigzag sprints, flicking skips, and twirling spirals. See how many different marks you can create with a single pencil.

Pencil Shading Cross-hatching

Shading Support Task Sheet 1NOTE: Trim the edges of this paper and stick this sheet in your sketchbook

Exercise 1Copy the tones into the boxes using a HB or 2B pencil. Try to keep within the boxes

Exercise 2Copy the cross-hatching next to the marks below using a pen or biro

Exercise 3Copy following tones using a 4B pencil

Exercise 4Copy following 3D shapes using dark, mid-tone and light shades

Step 2: Drawing an eye, nose, mouth and ear.

Learning objectives. By the end of the lesson you will:Understand how to create a realistic depiction of the features of a face.Apply the formal elements as appropriate in creating the features.

Learning outcomes.By the end of the session you will have an accurate drawing of an eye, nose, mouth showing good use of tone.

Glossary:The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, FormCross hatching: At least two layers of parallel lines. The line sin each

later travel in different directions.Stippling: Areas of tone created by dots or specks.Tone: The degree of lightness or darkness of an areaBurnishing: Heavy layers of pencil creating a shiny surface

Drawing eyes

Structure of the eye clip (go to two thirds in).

Add tone to the iris and pupil working from the centre outwards.

Create a shadow beneath the upper lid to show the eye sits behind it.

Add the lower lashes. Like the top eyelashes, the centre ones curve down and you go either left or right so you start to see the curve on the hair

The eyelashes are added, take a look at the angle that they are drawn, they are not drawn straight down,except for the ones in the centre.

Drawing mouths

Clip of mouth drawing

1. Draw a straight line to indicate where the lips should be. Curve the line to show an expression.

2. Draw a circle in the middle with a slight bit of the circle below the line.3. Draw two circles / ovals on the side of and slightly above the first circle and

two below.4. Follow the shape of the circles as you draw the shape of the lips. NB the lips

do not always go to the end of the line.

The highlighted area in orange shows an area of the lower lip that sometimes is a little darker, or gets a little more shadow. This is where the lower lip especially curves in. The closer to the edges of the mouth, the darker (or, in shadow) the bottom lip gets. But, remember - the bottom lip is usually lighter than the top lip because it is facing upwards, and gets more light cast upon it.

The purple highlighted areas in the illustration above show a particular shadowed area of the upper lip. As a general rule, all of the upper lip is darker (compared to the lower lip) but the area highlighted in purple is especially darker. If you look at the original mouth drawing above, you'll see the particular shadow of this area—like the lips go "in" there especially. This is where the lips curve "in" to the inside of the mouth.

The highlighted area in green shows shows a shadowed area around the mouth that should not be forgotten. This shading indicates the structure of the face around the mouth. The mouth isn't just plopped on the face, it is a three-dimensional thing, with surrounding muscles and structure. Usually, there will be some shading (subtle, but there) at under the lower lip, and around the corners of the mouth.

Drawing noses

Nose drawing clip

Draw the shape the nostrils make at the base of the nose. The size will depend on your ‘model’

Complete the nostrils by adding lines (like brackets) around them. The curve in the middle shows where the tip of the nose is.

Drawing ears

7 minute drawing of ears.

Side view

Draw a rectangle that is twice as high as it is broad.This will help us to keep the ear in the right proportions.

Start at the left side, close to the top, then curve upwards to touch the rectangle's top in the middle, and curve down again afterwards, touching the rectangles right side. In a long curve it then moves towards the bottom, where the small earlobe is finally ending its shape.

Outline the ear's rim, by drawing a parallel line along its side.Some ears have a small bump in their upper corner here. The rim's shape continues and curves into the ear's inner part.

Some ears are very flat inside, but the average ear is quite a sculpture. The shape inside of the ear looks like a curved version of the letter Y.Start to draw this with a line that begins at the left top and curves down to the bottom of the tragus, curving around the obstacle in its way.

In some ears you can still see a bit of the ear hole; in other ears it is entirely hidden behind the tragus.

In case you want to shade your ear, draw the darkest values into the places where the least light is falling on, and leave the brightest places entirely white. Shading will strengthen the three-dimensional depth of your picture.

Front view

The basic ear shape is almost the same as in the side view; the difference is just that the 1x2 proportions no longer apply. Draw the ear much narrower instead. It is probably three times as high as it is wide now. Also take care to make all the curves much flatter.

Draw in the beginning of the ear's upper rim. Make it fairly thick. The rest of the ear's rim lies in the back and appears to be a bit thinner. Note how its line starts from behind the line for the front rim.Also add the tragus at the side.

Here is another special thing about the front view.The inner ear-structure can be seen bulging out of the ear in some cases. Here it is overlapping the ear's rim a little bit.

Outline the inner edge of this part.

Then add a little dent at its top, and your ear is finished

Step 3: Proportions of the face

Learning objectives. By the end of the lesson you will:Understand how to plan a drawing of the face making sure that all the features are in proportion.Apply the formal elements as appropriate when creating the features and use tone to give the illusion that the features are three dimensional.

Learning outcomes.By the end of the session you will be have an accurate portrait drawing.

Glossary:Proportion: Proportion is the relative size and scale of various

elements in a work of art. It describes the relationship between objects or parts of a whole.

The formal elements: Line, Tone, Colour, Pattern, Texture, Shape, FormCross hatching: At least two layers of parallel lines. The line sin each

later travel in different directions.Stippling: Areas of tone created by dots or specks.Tone: The degree of lightness or darkness of an areaBurnishing: Heavy layers of pencil creating a shiny surface

Shading Support Task Sheet 2NOTE: Trim the edges of this paper and stick this sheet in your sketchbook

Exercise 2Using the cross-hatching technique, try drawing the face below using the outline to help

Extension ExerciseTake a portrait photograph from a magazine or newspaper and try to draw using the cross-hatching technique with a pen

Exercise 1Practice drawing the following cross-hatchings using a pen/biro