Nursery Rhymes: Task 5 &6

Task 5
Select your final composition/intention and create a final sketch of the artwork you will be producing for LO2. Include annotations/ a brief paragraph describing your final idea.

Matrics Remember that you producing an artwork for your trial practical exam, as well as your term 3 practical mark.

Task 6: Self Reflection

A self reflection on this completed LO1 process, will provide a bridge to the final artwork (LO2).
Follow the link below to find out how to use a SWOT analysis to help you with this reflection.

Below is the rubric for each section of your sourcebook.

SECTION A: SOURCEBOOK/WORKBOOK/RESEARCH
CRITERIA
Learner's intention/proposal 10
Investigation of a variety of approaches and ideas 10
Exploration and manipulation of materials and techniques 10
Reflective report on completion of task 10
Presentation 10
TOTAL 50
SECTION B: THE ARTWORK/PRACTICAL
CRITERIA
Choice and use of materials/techniques 10
Use of formal art elements 10
Overall impression of work – originality, creativity, innovation 10
Interpretation and practical implementation of research 10
Completion and presentation of artwork 10
TOTAL 50
COMBINED TOTAL: 100 100 ÷ 2
Final = 50

Remember to include images in your reflection process.

When planning your work please note that:
Direct copying from magazines, the Internet, et cetera is not allowed. Direct
copying of an image that is not your own, will be penalised. This is a form of
plagiarism and is unacceptable.
Of utmost importance is the process of transformation of the source material.
If you need to use appropriate borrowed images, you must combine them with
your own original images to create your own interpretation.

Nursery Rhymes: Concept drawing: Task 4

Concept Drawings

  


You will need to showcase your drawing ability for your future portfolio. Create a tonal drawing based on your chosen nursery rhyme.

This means to showcase your ability to create illusions of space and of form.
It also means to showcase your compositional abilities.

Now create a compositional drawings in any medium or combination of media. Each should be roughly A4 in size, depending on the media you have chosen and the shape of the format you have chosen.

Hint: Work in the middle of an A3 page as you develop the composition. This leaves you lots of room to crop and to add. Avoid always putting the focal area in the middle - boring!

See the links below for tips:

the-secret-of-good-composition link

http://emptyeasel.com/2006/11/24/9-steps-to-creating-better-compositions/

http://willkempartschool.com/perspective-drawing-for-beginners/

Starting with a good reference photo will ensure a successful composition.

make sure you have a strong focal area and that your range of light and dark tones add to the focal area and illusion of depth.

Nursery Rhymes: Task 3: thumbnail sketches

  
Task 3: Thumbnail Sketches & Experiments

Now create your own A3 page of drawings to arrive at your final intention. These are your 'thumbnail' sketches.
You may use any media / materials to create any meaning / mood.

If you trying out new media (in Grade 11), create another A3 page showing your tuition and experiments. Make your mistakes here and reflect on them.

Develop a certain set of skills that will happen you achieve the ideas laid out in your thumbnails.

Present your skills acquired as part of your A3 experiments page.

some thoughts about designing with Thumbnail Sketches
"Don't fret over details. Use thumbnails to establish approximate locations for major elements. (the examples described above may actually be "too perfect" — don't worry about making "pretty" pictures.)
Try for an approximately proportional page size (if doing sketches for a full page layout) but don't get out the ruler. You're aiming for a general idea of how the piece might look." Jacci Howard Bear (http://desktoppub.about.com/cs/basic/a/thumbnails.htm)

link to clip on transposing thumbnails into final sketches

Experiments...
Below are some links to tutorials that will help you identify skills you could develop in your practical work.
Drawing: expressive markmaking (http://studio2-41.blogspot.com/2013/01/mark-making-in-drawing.html),  foreshortening (http://studio2-41.blogspot.com/2013/05/foreshortening-notes.html) in drawing/ studying anatomy and proportion.

Compositional techniques
http://willkempartschool.com/drawing/

Wire binding for 3-dimensional wirework/ jewellery
creating a wire bead cage
caged bead wire earrings
creating a wire horse/ practising wirework using solder
basic wire weaving
basic wire techniques
joining chicken mesh
creating a wire bird


Stitching techniques if using embrodiery/ how to use the sewing machine/ pattern creation/ sewing with unusual materials.

Photoshop techniques for editing photos.

You could also experiment with Bronwen's Gesso technique as an experiment.
clip explaining gesso properties

Some Painting revision:
colour mixing

painting posts

packing tape transfers

Rike Sita's Artthrob Review on Bronwen Vaughan-Evans with added images of works being discussed

The wolf that prowled the fairy-tales looking for victims, 2010, Gesso and oil on board, 10cm x 10cm, Price on request

Rike Sitas  states the following about Vaughan-Evans's work:

"When I was young, my parents read Der Struwelpeter to me. This is the collection of stories where the child who sucks his thumbs, has them chopped off. And the childwho played with matches, gets burnt into a pile of ash. This was no world of Disney princesses and happy endings. Very few fairy tales actually are. Societies across the globe have, throughout history, constructed tales and parables as a form of moral education for the young.

Bronwen Vaughan-Evans exhibition ‘Early Learning (Fairy Tales and Urban Myths)’, explores the intersection of fairy tales and childhood fear in contemporary early learning. Using her memory of the fairy tales from her upbringing, Vaughan-Evans’ exhibition reflects on the kinds of fear that are passed onto children. What she argues through her work is that the evil that lurks in all of these tales is not so much the wolf or the witch, but fear itself. The exhibition is a collection of moments from these stories."  


Bronwen Vaughan-Evans
the little match girl’s first day in the city of gold, . Gesso and oil on board .

The little match girl’s first days in the city of gold depicts a young girl with a backdrop of the Johannesburg cityscape. Those that know this story are aware that the poor girl dies in the streets in mid winter, after burning the last of her matches. This juxtaposition makes reference to the migration of people to big cities, perceiving them as spaces of hope and prosperity.

a vicious game of leap frog

Year: 2010

Medium: Gesso and oil on board

Size: 20cm/20cm

Price: SOLD

 Alongside is A vicious game of leapfrog, in which two children play the titular game. The backdrop of Johannesburg against which the action is set, could be any city. The symbolic one-upmanship of the game raises a sharp question about the values which childhood games teach children: here Vaughan-Evans clearly comments on children’s conditioning for the capitalist urban experience.

the exile of Hansel and Gretel

Year: 2010

Medium: Gesso and oil on board

Size: 40cm/80cm

Price: SOLD

Collection: Private Collection

The exile of Hansel and Gretel looks at the spaces of fear that emerge in these stories, and that are also reflected in our everyday engagement with public spaces. In many of these stories, the characters have to move from safe into unsafe spaces; from spaces of the known into the unknown. Traditionally, fairy tales cast the unsafe space as the forest. In this particular story, Hansel and Gretel escape a protracted period of torture and servitude. In her work, Vaughan-Evans wonders what happened to them. They survived the forest and the cannibalistic hag. Where did they go to next, and where would they be in a contemporary context of middle-class paranoia?





Briar Rose had premonitions of a world to come
Year: 2010
Medium: Gesso and oil on board
Size: 40cm/40cm
Price: SOLD
Collection: Private Collection

Fairy tales are also riddled with curses. For Vaughan-Evans, the curse represents the aspects of everyday life we cannot control – the fearful situations that spill from the fairy tale into our lives. Briar Rose was on of these cursed women, but managed to negotiate her way out of death, with the compromise of being asleep for 100 years. Briar Rose had premonitions of a world to come wonders what world Briar Rose would wake up in today.



The girls were no longer certain they wanted to be princesses, 2010, Gesso and oil on board, 20cm x 20cm, Price on request

Although Disney has taken the inherited gendered roles of stories’ protagonists to their most sexist and stereotypical extremes, fairy tales have almost always been premised on constructing behavioural roles for girls and boys. The girls were no longer certain they wanted to be princesses, reflects on these roles. The princesses in many of the stories undergo torturous ordeals, from cursing, to hard labour, to pin pricks. This work offers a hint of an alternative.



the revenge of the four and twenty blackbirds
Year: 2010
Medium: Gesso and oil on board
Size: 40cm/80cm
Price: SOLD
Collection: Private Collection

The show is also punctuated with moments of humour. The revenge of the four-and-twenty blackbirdsshows a group of birds ominously circling in the sky. Vaughan-Evans imagines how angry the birds would have been, being destined to be ‘baked in a pie’, as the story goes. This work is about what they would do if they were to escape. Bambi also appears a few times as comical interludes in After the death of her mother Bambi eked a living by playing extras in fairy-tales (i&ii). 

after the death of her mother Bambi eked a living by playing extras in fairy-tales (i)

Year: 2010

Medium: Gesso and oil on board

Size: 10cm/20cm

Price: SOLD

Collection: Private Collection

Vaughan-Evans is known for her signature style of contemporary painting, using layers of gesso, on which images are sanded and etched. 

This technique enables Vaughan-Evans’ melancholic musings – the trees are appropriately haunting and the lone wolf that much more menacing (The wolf that prowled the fairy-tales looking for victims).

We sometimes forget that the seemingly innocuous fairy tales we pass from generation to generation have specific agendas connected to the socialisation of our children. Whereas other artists may attempt to tackle macro-economic, social and political issues, Vaughan-Evans is concerned with the everyday microcosmic practices that construct our values, behaviours and fears.

READ THIS ARTICLE BY CLICKING ON THE LINK BELOW

http://www.artthrob.co.za/Reviews/2010/10/Rike-Sitas-reviews-Early-learning-(fairy-tales-and-myths)-by-Bronwen-VaughanEvans-at-artSPACE-durban.aspx

Grade 11& 12: Nursery Rhymes Task 2

Task two:

In your groups, identify some WELL KNOWN children's stories and nursery rhymes from your different cultures.

Use the guidelines below for your discussion.

(Don't forget to document this discussion as an illustrated mindmap.)

• What are the underlying messages in your choices?
• Why do you think these messages were necessary for children?
• Can you modify these as universal messages for adults as well?
• What materials & techniques would be powerful in messaging these?
• How can you be subtle rather than obvious in your imagery?
• How can you illustrate your mindmap?

When planning your practical work please note that:
Direct copying from magazines, the Internet, et cetera is not allowed. Direct
copying of an image that is not your own, will be penalised. This is a form of
plagiarism and is unacceptable.
Of utmost importance is the process of transformation of the source material.
If you need to use appropriate borrowed images, you must combine them with
your own original images to create your own interpretation.

Grade 11 & 12 Term 3 Theme

Theme: Nursery Story

This is a theme based on children's stories and nursery rhymes which you will interpret to carry an underlying message.  The term children's stories refers to nursery rhymes, fairy-tales and legends.  Stay away from Disney and cartoon network animations and stick to the more traditional, storybook ancient stories.  See your teacher for clarification of your topic/fairytale choice if you are still unsure.

Task 1:

Research one of the following artists 

Research Rosemarie Marriott or Bronwen Vaughan-Evans 

create an infographic on one or two of their works.

• Find out from the website what this sculpture/painting is about - its meaning & the symbolism of the images.
• Explain the effect of the materials & techniques on this meaning.
• How could the arrangement of the individual pieces affect the meaning?
• What mood / emotion do you get from this work?
• Compare the two levels of meaning. i.e. for the child and for the adult.

link to kznsa gallery post on relaas

link to an article translating the titles of Marriott's work

see earlier post on Bronwen- Vaughan Evans for more information..you can click on the link below.
http://studio2-41.blogspot.com/2013/06/grade-12-nursery-rhymes-inspiring.html

link to Bronwen Vaughan Evan's website



Bronwen Vaughan Evans 

Early learning: Fairy tales and urban myths

grade 12 holiday classes

Dear Grade 12s, I have flu, so am still recovering, therefore will only be in from 9-11 today. Sorry