Home Tuition- GCSE focus- Sessions involve developing a deeper awareness of the processes in creativity through sustaining a peronal project that is motivated by initial ideas, refining developments and experimentation, all major parts that make up the 4 Assessment Objectives for GCSE AQA Art & Design. I am also an experienced AQA GCSE Art & Design moderator and Team Leader.
Art Workshops- KS2/3/4 & A Level
-Drawing for purpose-Exploring drawing in a variety of media and from different subjects relating to given theme; Experimental drawing, drawing using the senses, to music, tone and form, light out of dark, abstraction and scale.
Getting in touch- The idea is to develop a range of marks and textures that will get you thinking about the differences between physically touching objects and trying to draw an equivalent of a sensation of texture. Trace marks, stains and cracks on the ground. Layer them together, on top of one another then make one drawing from them using different coloured pencils.
One decision, one mark- The aim of the exercise is to produce an analytical, well observed, detailed drawing of the contours of an object by using only small straight lines.Seeing double- The aim is to make awkwardly interesting initial marks and use them as a challenging starting point upon which to make a drawing. By using 2 pencils taped together you will make a dense and unpredictable mark.
Divine damage, how to rescue a drawing- The aim is to draw your object using tape or another clumsy material and then re draw your object over the top of your previous drawing using a more accurate media.
Capturing three- dimensional form- Draw the object without taking your pencil or pen off the paper. Repeat this in different colours, seen from different viewpoints and super impose over the top of each drawing. By doing this you will gradually understand the relationship between looking and responding and start to see your object as a three dimensional form.
Free drawing- This exercise requires you to resist looking at your drawing while making it.Drawing in motion- To engage with the idea of movement and enjoy discovering a drawn equivalent for it.
Seeing the light- To recognise tonal differences using black sugar paper to place your objects. Draw the lightest tones first and gradually build confidence to use the full range of tones.Creating light out of darkness- You will depict the entire tonal ranges of light you see by firstly covering a sheet of paper with charcoal and graphite, horizontally and vertically then using a rubber to draw your image.
The thinking hand- This exercise is essentially about making marks with varying amounts of control over the drawing implement. Ink and stick is one method and attaching a pencil to a long stick of different lengths will display a variety of marks.
Bringing colours to mind- You will make 2 preliminary sketches of a subject, which you will then use to develop a final painting from memory. Painting away from a subject can heighten your ways of seeing, and make you reflect on what interested you about it originally.
Placement and proportion- Many artists find subject matter by making initial sketches or taking photographs, which they later enlarge into a painting. Gridding and scaling up is an easy and precise way to transfer and enlarge a small image.
From the ground up- Prepare 3 sheets of paper, one white, one with the complimentary colour of the object and the final one with a colour of your choice. On each coloured surface construct your painting of your chosen object.
The all Seeing Eye- The impact that changing your eye level can have on the dynamics of your compositions.
-Developing drawing skills
-Ways of seeing (Breaking down environments)
-Finding your strengths
-Painting as a mark making exercise
-Printing (poly, mono & collograph activities)
-Experiments in texture, surface and low level relief
-Getting started ('a message')
All workshops are underpinned with links to looking at the work of others- Artists work and other cultures.
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