First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… If you are able to begin your response, start, if not, return to your Artist copy for now…

Peer advice / reflection… Artist copy – WWW/EBI Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Peer advice / reflection… Artist copy – WWW/EBI Response image – answer: Is it an appropriate size? Relevant angle? Wise words… Place a post-it on top of your: Artist copy Image brought in for response

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and each other to create an effective response Do: Begin your response if you can – if you cannot for any reason, today is the last lesson you can work on your artist copy trial.

First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… Use one of the A5 pieces of paper as a colour / sampling space (this would be great to present with your work at the end)

Artist research (with analysis and sample) Deadline: Mon 19th Nov Complete a thorough Artist research for chosen paint artist – See Boxes 2 and 4 of Knowledge Organiser to help with this Include your image analysis (typed up from handout) and your artist sample presented with an image of the piece. Ext: 2nd independent response to Paint artist. …There must be nothing incomplete, missing or loose by the deadline. REMEMBER: If you have problems / need help or resources you need to come to booster – Tuesday 3:00 – 4:30pm.

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and each other to create an effective response Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

(e.g. Try again to correct the tone on the…) Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Self Reflection: On the back of your work – set yourself a clear target for next lesson… (e.g. Try again to correct the tone on the…)

First 5: Self Reflection: Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture First 5: Self Reflection: Re-read the target you set for yourself for today’s lesson – ready your materials and begin painting!

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

Work to Table 2 (to go onto drying wrack) Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Tidying up: Work to Table 2 (to go onto drying wrack) Brushes collected, cleaned, brought to me Water pots emptied and put under window Palettes washed and placed under window

First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… On the back of your work, write an adjective to describe your use of colour so far (Use Box 1 of the KO to help you)

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist – consider your colours carefully Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… On the back of your work, write an adjective to describe your use of texture so far (Use Box 1 of the KO to help you)

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist – consider your textures carefully Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… On the back of your work, write an adjective to describe your use of tone so far (Use Box 1 of the KO to help you)

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist – consider your tone carefully Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

Work to Table 2 (to go onto drying wrack) Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Tidying up: Work to Table 2 (to go onto drying wrack) Brushes collected, cleaned, brought to me Water pots emptied and put under window Palettes washed and placed under window

First 5: Collect a palette if you need one… Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. First 5: Collect a palette if you need one… On the back of your work, write down a WWW / EBI to reflect and focus yourself for this week…

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist – use reflection to move on… Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

Fine Artist complete and presented Deadline: Mon 26th Nov Ensure that your response is complete and refined to the best of your ability Present with your response annotation and reference image (the image you worked from) …There must be nothing incomplete, missing or loose by the deadline – this work is being assessed… REMEMBER: If you have problems / need help or resources you need to come to booster – Tuesday 3:00 – 4:30pm.

Paul Wright Joel Penkman Liz Steel Know & Understand: Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist – use reflection to move on… Do: Continue to complete your response, using the step-by-step and learning from your Artist sample.

First 5: Response annotation: Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Response annotation: In the back of your sketchbook, write out your annotation for your response… Who / what is your response of? How does this link personally to your theme? How have your techniques linked to your artist? (Consider formal elements and adjectives selected last week) How would you like to move on from this work? First 5:

Complete your response and annotation draft. Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Know & Understand: How to learn from trialling (artist copy) and use techniques effectively from observation of an artist Do: Complete your response and annotation draft. Ext: Present your response (leave space for annotation and reference image)

Brushes collected, cleaned, brought to me Paul Wright Objects – possessions OR portraits Joel Penkman Personal Items, objects representative of theme Liz Steel Still life items – culture, possessions OR Architecture Mix up a few key colours to determine your basic palette in acrylic – look closely at the artist… Work on top of your photocopy and refer back to the colour image. 3) Use expressive brushstrokes to build texture and tone, allowing the edges of your subject to smudge into the background with broken, detached strokes where seen. 4) Use colour pencil to refine Draw or trace from the outline in pencil Work back on top of the lines in none soluble black pen (biro) – test if unsure Use a combination of dilute and concentrated watercolour to build up colour. TIP: Note where colours have blended and where they are crisp: To blend - work wet on wet To gain crisp colours - wait until layer below is dry) Draw or trace a light pencil outline of your objects onto cartridge paper Use either watercolour paints or acrylic (but with water so not thick) to build soft, photorealistic colour and tone. Add a chalky pastel blue / lilac background with soft shadows under your objects. Refine details with colour pencil. Tidying up: Brushes collected, cleaned, brought to me Water pots emptied and put under window Palettes washed and placed under window

Significant places or people… Places (urban) and some people First 5: Look at the artists below: Consider which is your favourite / most suitable for your project… What techniques do you think you will need to explore in response to them? Jose Romussi: People Elise Wehle: Significant places or people… Laura Oldfield Ford: Places (urban) and some people Select from… Identity: Elise Wehle, Jose Romussi Impressions of our Surroundings: Elise Wehle, Laura Oldfield Ford Growth and Decay: (All) Elise Whele, Laura Oldfield Ford, Jose Romussi

Mixed Media Manipulation Response 3 Weeks (9 Lessons) Know & Understand: The style of your artist & how you plan to use appropriate media to create an effective mixed media response linking to your theme. Do: Plan your responses and understand the skills you will use… experiment with some of these… Jose Romussi: People Key themes – past and present, nostalgia, new narratives Elise Wehle: Significant places or people… Key themes – wearing away, layers, texture, creating new landscapes (escaping the digital age) Laura Oldfield Ford: Places (urban) and some people Key themes – regeneration, social antagonism, hidden narratives. Select from… Identity: Elise Wehle, Jose Romussi Impressions of our Surroundings: Elise Wehle, Laura Oldfield Ford Growth and Decay: (All) Elise Whele, Laura Oldfield Ford, Jose Romussi

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern. Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti.

What are the difficulties / potential problems with this technique? Jose Romussi Elise Wehle Laura Oldfield Ford Technique 2: Draw and paint Trace using carbon paper or oil pastel print. If tracing using carbon paper, position this (face down) between your image and the paper (image on top so you can see it) secure with tape If using oil pastel – add black oil pastel onto the reverse of your image, then secure it to your paper. Trace over your outlines softly – check at the start Develop tone and contrast – black coloured pencil / charcoal. Technique 2: Paper cut Practice your paper cut skills – using a scalpel with control. Cutting mat below your work Cut away from your supporting hand Use the tip of the blade out from every corner One controlled, smooth cutting action. Technique 1: Embroidery Needle and thread – linear stitch to create patterns… also, hair spray to hold tangled thread… Pierce holes Tape thread from behind Pull thread taut without bending the paper. Pritt stick then titch on hair-sprayed thread. How are you doing? What are the difficulties / potential problems with this technique?

Photography for manipulation artist Deadline: Mon 3rd December Bring in a series of photos (2 x A5, 1 x A4) suitable for your chosen manipulation artist (on photo paper) …There must be nothing incomplete, missing or loose by the deadline. REMEMBER: If you have problems / need help or resources you need to come to booster – Tuesday 3:00 – 4:30pm.

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery On a copy of your photo / tracing paper, plan the arrangement of your thread design Use a needle or pin to carefully push holes into the first section of your design Use a needle and embroidery thread to follow the pattern (once colour at a time) – bringing the thread first from the back (you can secure your thread from the back with tape) Keep your thread taut without pulling your photo – if it starts to become delicate from lots of holes, adhere it onto cartridge paper for added strength. Extra challenge – Try different designs with more advanced stitch… Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and distress your image (glossy photo paper only) Use paint (colour matched to image) to paint into and over the image to add texture and give a worn appearance. Stencil pattern over the piece using doyleys (contrast – either v. dark or v. light) Extra Challenge - Create your own stencil design. Technique 1: Distress photo paper Use bleach and sand paper to distress your image (glossy photo paper only) Use off-white paint (blue or brown tinge) to lighten and when dry, biro over the lines to add a sketchy detail. Add coloured ink or paint to bring through contrasting colour. Extra Challenge - Layer together 2+ scenes by ripping and re-attaching.

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 2: Draw and paint Trace from your photo using carbon paper or create an oil pastel print – work lightly initially. Develop a high level of tonal contrast by working back into the dark areas with black crayon. You can also experiment with charcoal for this. Add wet media – you may wish to just bring through a bright highlight of colour or experiment with white paint / coffee to add atmosphere. Technique 2: Distress and paper cut Put a small amount of paint (start with white) on a roller and roll across your photo to add texture Use a dry brush to blend in some of the paint and bring back through your image. Rip out sections of the second copy and layer together (take away sections of the bottom photo where you want a hole) Use a scalpel to cut out the decorative pattern – transfer the outline to cut out onto the back of your photo first and follow the outline. Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Sew on the fabric and extend the colours into a patchwork design using satin stitch. Extra challenge – Try adding some padded satin stitch.

Read through your feedback and plot your bar on your graph… …You will have time this lesson to make improvements to your work and check your photo manipulation photos… First 5: Select from… Identity: Elise Wehle, Jose Romussi Impressions of our Surroundings: Elise Wehle, Laura Oldfield Ford Growth and Decay: (All) Elise Whele, Laura Oldfield Ford, Jose Romussi

Development lesson Know & Understand: How to develop your work to improve the standard and secure your target grade… Do: Review your sample techniques and plan how you aim to manipulate your own images to respond to your artist (I will check with you) Work on your choice of development task(s) – you will need to complete any that you do not get done today during your own time before your next assessment (28th January) Jose Romussi: People Key themes – past and present, nostalgia, new narratives Elise Wehle: Significant places or people… Key themes – wearing away, layers, texture, creating new landscapes (escaping the digital age) Laura Oldfield Ford: Places (urban) and some people Key themes – regeneration, social antagonism, hidden narratives. Select from… Identity: Elise Wehle, Jose Romussi Impressions of our Surroundings: Elise Wehle, Laura Oldfield Ford Growth and Decay: (All) Elise Whele, Laura Oldfield Ford, Jose Romussi

First 5: Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Consider how you plan to use your time today – do you have a clear plan on the back of all of your images? Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Lesson Objective: This is lesson 1 / 4 on your responses – use time wisely to begin applying techniques appropriately to manipulate your photograph(s) Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.

First 5: In the back of your book, write down a list of success criteria for your Artist Responses ready to feed back… Consider how each skill / technique you are applying can be executed to the best standard Jose Romussi: Embroidery – pilot holes - fabric collage – tangled threads Elise Wehle: Paint / distressed techniques – paper cut – stencil Laura Oldfield Ford: Paint / distressed techniques – illustration – drawing – tone Select from… Identity: Elise Wehle, Jose Romussi Impressions of our Surroundings: Elise Wehle, Laura Oldfield Ford Growth and Decay: (All) Elise Whele, Laura Oldfield Ford, Jose Romussi

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Lesson Objective: Lesson 2 / 4 on your responses – apply techniques appropriately to manipulate your photograph(s) consider Success Criteria carefully Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.

First 5: Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Gather your materials and continue… Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Lesson Objective: This is lesson 3 / 4 on your responses – use time wisely to develop your techniques in response to the artist… Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.

Own choice Artist research and response plan Deadline: Mon 7th January First 5: Read and Record… Complete and present your manipulation artist responses with annotation Select an artist that links to your theme and allows you to use your choice of skills… present an effective research into them and plan your response on the resource given (including any sampling) Ext: Artist comparison within research annotation – KO Box 3 for help …There must be nothing incomplete, missing or loose by the deadline.

Jose Romussi Elise Wehle Laura Oldfield Ford Technique 1: Embroidery Needle and thread – linear stitch to create patterns (like top left) and hair spray for tangled thread. Extra challenge: Can also create designs with more advanced stitches (e.g. chain stitch, satin stitch, French knots etc.) Technique 2: Fabric collage and embroidery Collage patches of fabric onto your image first. Use embroidery to sew on the fabric and add further pattern (like top right) Lesson Objective: This is the final lesson on your responses – use time wisely to develop your techniques in response to the artist… complete over Christmas! Technique 1: Distress photo paper Use bleach, sand paper, biro and ink / paint Extra Challenge: Layer together 2+ scenes. Technique 2: Draw and paint Trace using carbon paper or oil pastel print. Develop a high level of detail and tonal contrast. Use watercolour to bring through a contrast of colour / graffiti. Technique 1: Distress and stencil Use bleach, sand paper, sharp tools to scratch and paint. Stencil using doyleys. Extra Challenge: Create your own stencil design. Technique 2: Distress and paper cut Experiment with rollers and ripping / layering. Use a scalpel to cut out the decorative pattern.