year 8- double take portraits monoprint · how does jasmin dwyer’s work link to our own? learning...

YEAR 8- DOUBLE TAKE Portraits

Monoprint

http://jasmindwyer.blogspot.hk/?view=classic

WHY ARE WE STUDYING THIS?

•You will be introduced to the basic but important skills and knowledge regarding portraiture. You need these skills to be able to tackle any sort of portraiture work- even abstract and experimental work. (Look at the early work of Picasso!)

•Recognising expression and emotion are vital social skills. We have innate and learnt abilities to recognise faces and features. We’re also able to predict someone’s actions by their facial expressions. Having a deeper understanding or consciousness of this, develops and extends our abilities and empathy.

•As always, we will be extending our written analysis and evaluative skills.

https://uk.pinterest.com/shelleywood83/8-double-take/

HOW ARE THE 3D FORMS OF FACIAL FEATURES CREATED IN 2D DRAWINGS?

Learning Objectives

•Develop our understanding of Form and Tone

•Develop our recording and portraiture skills through pencil studies.

Learning Outcomes

•Create tonal drawings of facial features using a combination of tutorials and observation.

Links- “make images,” (3) “combine visual and tactile qualities,” (4) “manipulate materials and processes,” (5 and 6) “extend,” (7) “exploit the potential,” (8)

STUDENT WORK

http://www.portrait-artist.org/basics/realistic-

portrait.html

https://joannasmolarz.wordpress.com/2013/11/26/portret

-in-vooraanzicht/

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HOMEWORK

You are to create 3 photomontages of portraits. You will assemble

found or collected facial features to create semi-abstract (and very

weird looking) faces.

Min size- A4. You must cover the whole page! So think about

background colours and textures.

Try to make each one very different looking (see examples on next

slides!)

Deadline-

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Student Work


HOW DOES JASMIN DWYER’S WORK LINK TO OUR OWN?

Learning Objectives

•Develop our understanding of Dwyer’s work.

•Develop our analysis skills.

Learning Outcomes

•Write a critical analysis of Dwyer’s printed portraits using the framework.

Links- “comment on,” (3) “relate / compare,” (4) “analyse,” (5) “ideas and meanings,” (6) “context,” (7) “evaluate sims / diffs,” (8)

Jasmin Dwyer

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Adapted for Dulwich College Shanghai, November 2016 from: Skills@Library, University of Leeds,

library.leeds.ac.uk/downloads/393/referencing_lecturers.

Referencing vocabulary

Citation

Reference

Works Cited

List

Bibliography

Appears in the text of your work, wherever you use a quote or incorporate an idea you have picked up from another source.

Appears at the end of your work and gives full details of the source of your

information.

An alphabetical list of your references at the end of your work giving full details of sources cited within your workand gives full details of the source of your information.

An alphabetical list at the end of your work which gives the full details of all sources which you have read even if they are not cited in your text.

Ekman, Hans-Göran. Strindberg and the Five Senses: Studies in

Strindberg’s Chamber Plays. Continuum International Publishing

Group, London, 2000.

Ekman, Hans-Göran. Strindberg and the Five Senses: Studies in

Strindberg’s Chamber Plays. Continuum International

Publishing Group, London, 2000

Gaiman, Neil. “Neil Gaiman: Why Our Future Depends on Libraries,

Reading and Daydreaming.” The Guardian, 29 Jan. 2016.

www.theguardian.com/books/2013/oct/15/neil-gaiman-

future-libraries-reading-daydreaming. Accessed 12 March

2016.

Met Office - Weather. “What Are Hurricanes, Typhoons and

Tropical Cyclones?” YouTube. 14 Nov. 2011.

www.youtube.com/watch?v=SSx_gisp24w. Accessed 15

Sept. 2016.

Appealing to multiple senses enriches drama (Ekman 7). That the audience should not only listen or look to a play might be

a new concept. The playwright Strindberg is the master of this. “Strindberg himself experienced his surroundings (…) with all his senses” (Ekman 6). Ekman explains how Strindberg plays with sight in his chamber plays (64).

http://www.easybib.com/mla8-format/painting-artwork-citation

(At the end of your essay / writing)

Work Cited-

Kamei, Toru. “Vanitas-Still Life with Flowers and Insects.” The Order

of the Good Death, Caitlin Doughty, Japan, 17 Jan. 2013,

www.orderofthegooddeath.com/mortality-meditation-with-artist-

toru-kamei.

Next to the image...

Title, Artist, Year

Vanitas-Still Life with Flowers

and Insects, Toru Kamei, 2008


HOW CAN WE APPLY OUR PREVIOUS RECORDING SKILLS TO MONOPRINTING?

Learning Objectives

•Develop our understanding of Tone and Texture.

•Develop our recording and portraiture skills through monoprinting.

Learning Outcomes

•Create tonal monoprints considering our previous freedback.


REFLECT…

THINK: In silence, read through the feedback given, especially for the “features drawings” and read the ticked / checked criteria. Think about what you need to do to improve your recording skills when working with facial features.

PAIR: In pairs, tell each other what you need to do to improve your recording skills when working with facial features. Can you do this in your monoprint? Maybe you need to do the same? Maybe its something different?

APPLY: Before we apply those improvements to our monoprints, have a look at these common mistakes…

TEACHER WORK

Consider your feedback and the common

mistakes as you complete your monoprint.

Either-

Complete the mini one you started last

lesson and then go on to the bigger

image once you’ve finished.

Or

Start on the bigger one straight away, but

keep the mini one you started in your

book- don’t throw it away!

Remember-

• Sketchy outline

• Draw over details that you can see

like a pattern

• Start the shading light and get darker

if needed

• Concentrate on the face first, not the

hair- see my example.

STUDENT WORK


HOW CAN WE CREATE A DOUBLE EXPOSURE EFFECT USING PRINTING METHODS?

Learning Objectives

•Develop our understanding of Dwyer’s work.

•Develop our recording and portraiture skills through monoprinting.

Learning Outcomes

•Use our monoprinting skills to create two overlapping prints- the first in colour, the second in black.


HOW DO WE EVALUATE OUR ART WORK?

Learning Objectives

•Develop our understanding of the Evaluation process.

•Develop an understanding of our own skills, knowledge and practical performance.

Learning Outcomes

•Use the writing frame to write an evaluation of all of the work completed this term.

Links- “comment on,” (3) “relate / compare,” (4) “analyse,” (5) “ideas and meanings,” (6) “context,” (7) “evaluate sims / diffs,” (8)


year 8- double take portraits monoprint · how does jasmin dwyer’s work link to our own? learning...

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