Look at the compositions and the use of colour.
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| Forks & Spoons 2 |
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| French Cloth 2 |
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| Towels |
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Monday 2 December 2013
Tuesday 5 November 2013
Grade 11 practical examination
For my Grade 11s ........
Please complete this self-evaluation in order to assess how you think you have done in this examination.
It does help to be constructively self-critical!
Self-evaluation
Please complete this self-evaluation in order to assess how you think you have done in this examination.
It does help to be constructively self-critical!
Self-evaluation
Monday 4 November 2013
Jewellery Design sourcebook
For my grade 10s ......
'Captured Objects'
Choose an object that has a special meaning for you.
We will enclose or 'capture' this object in wire
Your process work will be rather limited because of the time constraints. You may work digitally or on paper.
Criteria for process work:- Research on other artists' caged objects [10]
Conceptual ideas and your artist's statement [5]
Rendering of your own caged design [10]
Experiments & research of your own showing wire work techniques [10]
Link to self-evaluation
'Captured Objects'
Choose an object that has a special meaning for you.
We will enclose or 'capture' this object in wire
Your process work will be rather limited because of the time constraints. You may work digitally or on paper.
Criteria for process work:- Research on other artists' caged objects [10]
Conceptual ideas and your artist's statement [5]
Rendering of your own caged design [10]
Experiments & research of your own showing wire work techniques [10]
Link to self-evaluation
Wednesday 30 October 2013
Rendering
For my Grade 10s ....
Rendering is the name given to a particular style of drawing.
This style tries to show a 'client' (or your teacher!) what your design will look like.
View the presentation HERE
Rendering is the name given to a particular style of drawing.
This style tries to show a 'client' (or your teacher!) what your design will look like.
View the presentation HERE
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| Rendering in oil pastels of an imaginary earring |
Tuesday 29 October 2013
Wednesday 23 October 2013
Grade 10 exams
Your 6 hour practical exam will combine the drawing, painting, ceramics and jewellery skills you have learnt this year.
Activity 1:
Look at the Rorke's Drift pot seen below. The real article will be in your studio for 3 hours.
Make a coloured study (or a number of studies) to show the form, colour, patterns and texture of this pot. You may use any media or combination of media.
Have a look at the examples shown here - done by Zama Zikhali when she was in Grade 10!
Activity 2:
This is a drawing activity. You may use pencils or pen and ink. Try and capture the illusion of space, the shininess & forms of the seeds, and the cylindrical form of the wire.
You should leave out the bag in the foreground.
Tuesday 8 October 2013
Evaluate your own sourcebook!
For my Grade 12s and Grade 11s ....
As you work on your sourcebook, you can keep trying this self evaluation tool, so that you can identify your strengths and weaknesses.
It is based on the new Grade 12 Exam rubric for LO1.
http://zenshaman.com/days/time-slips-through-your-hands/
As you work on your sourcebook, you can keep trying this self evaluation tool, so that you can identify your strengths and weaknesses.
It is based on the new Grade 12 Exam rubric for LO1.
'TIME' self evaluation tool
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| Time slips through your hands by riandesign |
Tuesday 24 September 2013
A wonderful exhibition!
Congratulations Grade 12 artists!
I can't do justice to all the work that was shown, but here are some highlights. So many students got 100%, but there were also some little gems hiding away that I have chosen to spotlight.
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I can't do justice to all the work that was shown, but here are some highlights. So many students got 100%, but there were also some little gems hiding away that I have chosen to spotlight.
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| Anna Ballantine |
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| Amy Bray |
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| Courtney Weakley |
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| Sabusiswa Mazebuka |
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| Courtney Weakley |
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| Khristen Bartleson |
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| Kiara Butler |
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| Natalie Wessels |
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| Roanne Moodley |
.jpg) |
| Sabusiswa Mazebuko |
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| Tharunisa Reddy |
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| Upasana Patel |
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| Zama Zikhali |
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| Carmen Hogan |
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| Roanne Moodley |
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| Roanne Moodley |
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| Roanne Moodley |
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| Upasana Patel |
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| Zama Zikhali |
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| Zama Zikhali |
Thursday 19 September 2013
2013 Practical rubrics - Grade 12 exam
SECTION A: SOURCEBOOK/WORKBOOK/JOURNAL (LO1)
CRITERIA- Concept development 10
- Research, investigation, experimentation, et cetera 15
- Process drawings 15
- Presentation and overall view 10
- TOTAL 50
Evaluate your sourcebook (LO1) HERE ....
SECTION B: THE ARTWORK (LO2)
CRITERIA- Choice and use of materials/techniques 10 (this is on-going while you work)
- Use of formal art elements 10 (this is on-going while you work)
- Overall impression of work – originality, creativity, innovation 10 (this comes together towards the end)
- Interpretation and practical implementation of research 10 (this is on-going while you work)
- Completion and presentation of artwork 10 (this comes together at the end)
- TOTAL 50
Link to LO2 self-evaluation - doing this will help you identify areas of strength and weakness
Tuesday 10 September 2013
Infographic examples
For my Grade 10s .......
Have a look at these two examples of infographics - one on the painting Perseus and the other on the sculpture Evolution.
Links .....
Evolution
Artist: Elizabeth Balcomb
Medium: Paper clay
Size: 17cm x 17cm x 50cm
Title: Evolution
Balcomb's website
Interpretation
Balcomb explains on her website how, despite her aptitude in art, she studied nature conservation and worked in environmental education. She still lives and works in the rural KZN midlands.
This love of Nature comes through in the sculpture.
The body language of the young girl suggests innocence and shyness with her her hands and feet in an almost ballet-like pose. Her old-fashioned dress emphasizes this innocence with its pretty pastel turquoise colour.
The cat-like features suggest the timid creature is one with Nature, and seems, to me, to question the evolutionary position of the human species.
Materials & Techniques
The sculpture is small (70cm hgh), and is finely modelled from paper clay.
This is made from paper pulp and white earthenware clay, and is a strong body which can be joined while quite dry. The paper burns out at about 200 degrees C, and the clay is bisqued until about 960 degrees C. The glaze colour is then applied when cold, and fired to its correct temperature. (1060 degrees C)
The hollow dress is draped and folded from a thin slab of textured (impressed) clay. The cat head, arms and legs seem to have been made separately and joined afterwards with a ‘scratch and slip’ method.
The figure balances on a base which seems to have been press moulded from an ice cream tub - a child-like structure.
Have a look at these two examples of infographics - one on the painting Perseus and the other on the sculpture Evolution.
Links .....
EvolutionArtist: Elizabeth Balcomb
Medium: Paper clay
Size: 17cm x 17cm x 50cm
Title: Evolution
Balcomb's website
Interpretation
Balcomb explains on her website how, despite her aptitude in art, she studied nature conservation and worked in environmental education. She still lives and works in the rural KZN midlands.
This love of Nature comes through in the sculpture.
The body language of the young girl suggests innocence and shyness with her her hands and feet in an almost ballet-like pose. Her old-fashioned dress emphasizes this innocence with its pretty pastel turquoise colour.
The cat-like features suggest the timid creature is one with Nature, and seems, to me, to question the evolutionary position of the human species.
Materials & Techniques
The sculpture is small (70cm hgh), and is finely modelled from paper clay.
This is made from paper pulp and white earthenware clay, and is a strong body which can be joined while quite dry. The paper burns out at about 200 degrees C, and the clay is bisqued until about 960 degrees C. The glaze colour is then applied when cold, and fired to its correct temperature. (1060 degrees C)
The hollow dress is draped and folded from a thin slab of textured (impressed) clay. The cat head, arms and legs seem to have been made separately and joined afterwards with a ‘scratch and slip’ method.
The figure balances on a base which seems to have been press moulded from an ice cream tub - a child-like structure.
Colour pencil, watercolour, metal leaf and stitching on 300gsm Fabriano Artistico paper
75 x 55cm
“Hair makes the man. Hair, or its apparent lack, is the typical way in which we discern men from women, male from female, masculine from feminine, maturity from immaturity.”
Ron J Suresha
Interpretation:
Diedericks says (on the website - Velvet) that he is investigating the idea of ‘hair’ as a defining element of the concept of masculinity.
The surface of the painting is so beautifully executed that it draws the viewers’ attention to the various textural ways in which Diedericks has depicted the male body. This attraction of the painted surface causes a subsequent attraction to the image - including the hair!
The central dominant vertical axis draws the viewers’ attention to the head of Perseus - a Greek historic mythological hero.His full head of hair and his facial hair are surrounded by chest hair and the armpit hair in a balanced symmetrical manner. The Greek helmet both conceals and emphasizes the idea of pubic hair, and the stitched outlines of the legs seem to hover above the figure in a strangely enticing way.
Materials & techniques: Mixed Media
Watercolour washes set up the fleshy colours in the background, and also create a convincing illusion of form on the body itself. Pencil crayons have been used to work into the fine detail of the eyes and face which creates a focal area.
A fine brush has been used to paint the illusion of textured hair on the body. This illusion (or virtual texture) is enhanced by the use of stitched actual texture. Stiff black thread has been stitched and knotted onto the dark ground at the bottom of the work, and around the outlines of the legs.
Red thread is also stitched around the outline of the body which has the effect of flattening the body to work with the flatness of the metal leaf of the helmet, which is also stitched onto the painting. Silver thread subtly balances the legs on the top left and right of the painting.
The surface of the work (excluding the body) has been covered with an acrylic crackle glaze, and a burnt umber has been rubbed into the crackles. This technique differentiates the figure (body) from the ground, and also gives the painting an antique feel which refers to the historical context of Perseus.
All the colours - in all media work together to enhance the overall integration of the work. This is often difficult to achieve using mixed media.
“Hair makes the man. Hair, or its apparent lack, is the typical way in which we discern men from women, male from female, masculine from feminine, maturity from immaturity.”
Ron J Suresha
Interpretation:
Diedericks says (on the website - Velvet) that he is investigating the idea of ‘hair’ as a defining element of the concept of masculinity.
The surface of the painting is so beautifully executed that it draws the viewers’ attention to the various textural ways in which Diedericks has depicted the male body. This attraction of the painted surface causes a subsequent attraction to the image - including the hair!
The central dominant vertical axis draws the viewers’ attention to the head of Perseus - a Greek historic mythological hero.His full head of hair and his facial hair are surrounded by chest hair and the armpit hair in a balanced symmetrical manner. The Greek helmet both conceals and emphasizes the idea of pubic hair, and the stitched outlines of the legs seem to hover above the figure in a strangely enticing way.
Materials & techniques: Mixed Media
Watercolour washes set up the fleshy colours in the background, and also create a convincing illusion of form on the body itself. Pencil crayons have been used to work into the fine detail of the eyes and face which creates a focal area.
A fine brush has been used to paint the illusion of textured hair on the body. This illusion (or virtual texture) is enhanced by the use of stitched actual texture. Stiff black thread has been stitched and knotted onto the dark ground at the bottom of the work, and around the outlines of the legs.
Red thread is also stitched around the outline of the body which has the effect of flattening the body to work with the flatness of the metal leaf of the helmet, which is also stitched onto the painting. Silver thread subtly balances the legs on the top left and right of the painting.
The surface of the work (excluding the body) has been covered with an acrylic crackle glaze, and a burnt umber has been rubbed into the crackles. This technique differentiates the figure (body) from the ground, and also gives the painting an antique feel which refers to the historical context of Perseus.
All the colours - in all media work together to enhance the overall integration of the work. This is often difficult to achieve using mixed media.
Tuesday 27 August 2013
Painting exhibition - Homosapiens
Visit the gallery and look for the yellow stickers on the work I have selected.
Choose ONE sculpture and ONE painting that you enjoyed, and create an infographic on each.
Include:-
KZNSA Gallery link
Choose ONE sculpture and ONE painting that you enjoyed, and create an infographic on each.
Include:-
- Information about the work (list of data - ONE chunk))
- Interpretation of the work (ONE chunk .... about 5 points .... about 100 words?)
- Discussion of the materials and technique involved (More than ONE chunk ... about 8 points ..... about 100 words + some sketching/diagrams)
KZNSA Gallery link
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Evolution
Artist: Elizabeth Balcomb
Medium: Paper clay
Size: 17cm x 17cm x 50cm
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PT Barnum, Charles Stratten and Lavinia Warren hosting small miracles
Artist: Sandra Hanekom
Price: R17,250.00
Medium: Oil on acid-free paint board
Size: 565mm x 820mm (framed
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Pomegranate, Bottle, and Skull
Artist: Peter Rippon
Year: 2011
Price: Not For Sale
Medium: Oil on linen canvas
Size: 224 x 370 mm (390 x 535 mm framed)
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Good link for Christiaan Diedericks - found by Ayanda
Wednesday 21 August 2013
Colour and painting
For my grade 10s....
Link to COLOUR presentation
Re-link to egg project
Re-link to composition
Re-link to egg painting
Re-link to surreal eggs
It's now time to put your sourcebook together:
[Collection of A3 posters]
LINK to self-evaluation
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| Egg and croc skull by Jessica Alcock (Oil painting) - student work |
Link to COLOUR presentation
Re-link to egg project
Re-link to composition
Re-link to egg painting
Re-link to surreal eggs
It's now time to put your sourcebook together:
[Collection of A3 posters]
- Cover page
- Experiments with collage cloud (+ notes)
- Experiments with watercolours (+ notes)
- Experiments with Hue; Intensity; Value (+ theory)
- Experiments with EGGs (+ notes)
- Investigations of other interesting art work (+ notes)
- Experiments with acrylics and oils (+ notes)
- Any drawings for your egg painting
- Gallery visit - oil painting
- Final egg painting
LINK to self-evaluation
Clay Carving
For my Grade 10s .....
The process of carving breaks down into two basic categories: low and high relief. You may choose to incorporate additive or subtractive techniques to create relief ranging from sgraffito to sculpture in the round.
Low-relief describes carving into non-freestanding clay. That leaves the design visually attached to the background area. Clay is removed or added to strategic areas which play with light and shadows, thus creating an illusion of superficial depth across the clay surface. High-relief carving describes undercutting design elements so they appear to detach from the background space. Further, it may also incorporate sculpted clay added to certain areas on top of the background to create added depth. (By Jennifer Harnetty)
Low-relief describes carving into non-freestanding clay. That leaves the design visually attached to the background area. Clay is removed or added to strategic areas which play with light and shadows, thus creating an illusion of superficial depth across the clay surface. High-relief carving describes undercutting design elements so they appear to detach from the background space. Further, it may also incorporate sculpted clay added to certain areas on top of the background to create added depth. (By Jennifer Harnetty)
Foreshortening and chiaroscuro
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Caravaggio
Late
Renaissance (Mannerism)
Italy
The Entombment of Christ
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Foreshortened images LINK
Using the strategy of 'chiaroscuro' will emphasize the illusion of 3-D form, and will also seem to put the form into a deep 'psychological' space.
Note: the background must be very dark for maximum impact.
Chiaroscuro drawing LINK
Activity
Use the printed transparency grid to draw a foreshortened part of the human body.
Draw the squares on your paper as big as you can.
Draw the squares on your paper as big as you can.
Use graphite powder and a 6B to set up the darks around the form and only then start working into the form with a 2B pencil.
Remember to maintain the huge contrast between the darks and lights which is the hallmark of CHIAROSCURO.
Sunday 18 August 2013
Sunday 11 August 2013
Adobe Premiere Tutorials
For my Grade 11s and 12s ..........
Many of you did exceptional videos and animations for the Inside/Out project. Well done! I will post some of them to look at.
If you enjoyed using Premiere, and would like to use it for the Nursery Rhymes project, then have a look at these free tutorials provided by Adobe.
Many of you did exceptional videos and animations for the Inside/Out project. Well done! I will post some of them to look at.
If you enjoyed using Premiere, and would like to use it for the Nursery Rhymes project, then have a look at these free tutorials provided by Adobe.
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