YEAR 8 EXTENDED LEARNING PROJECT (ELP)

AN ENCOUNTER WITH ART FROM ST IVES

SPRING / SUMMER TERM 2017

YEAR 8 EXTENDED LEARNING PROJECT (ELP)

AN ENCOUNTER WITH ART FROM ST IVES

SPRING / SUMMER TERM 2017

THE BRIEF: AN ENCOUNTER WITH ART FROM ST IVESYou are challenged to plan an Art work of your own in response to St Ives as part of your extended project task to be displayed later on in the year.

Your Extended Learning project will be carried out in Four parts:

1: The Introduction /cover (page 1 of booklet)This should include your name and who you are doing the project on. Make it visual and appropriately presented.

2: The Annotation (page 2 and 3 of booklet)The first part is a case study focussing on one of the artists selected from a list from St Ives. This involves research into the artist and analysing their work to enable you to demonstrate an understanding of this artist in your own work. Using the templates you are expected to do a double page spread in your A4 booklet. This can be hand written or typed.

3: Responses , Planning, practice final piece. (page 4 and 5 of booklet)This is a double page spread in your sketchbook that involves responses to the chosen artist, sketches of any idea, relevant photographs to draw from , experimentation with materials etc This is an opportunity to demonstrate your planning and possible ideas.------------------------------------------------------------------------4: Documentation of the final piece and evaluation. (page 6-8 of booklet)The final part of the ELP is the creation of an ambitious artwork in response to the artist you chose to base your case study on. This will be done in class not at home. It is vital that it is well considered and a product of a sustained effort, review and refinement. Whatever the final piece is it must be photographed and documented in the booklet.

DEADLINE: 2ND WEEK in JUNE

PERSHORE HIGH YEAR 8

TO MAKE THE PROJECT MANAGEABLE FOR THE STUDENTSTHERE ARE 2 MINI DEADLINES THAT EXIST AS CHECKPOINTS WHERE TEACHERS WILL CHECK COMPLETION BUT NOT ASSESS:

CHECKPOINT 1: IN LESSONS IN WEEK OF 15th MAY

Sketchbook check for part 1: The cover and part 2: The Annotation = 2 pages.

CHECKPOINT 2: IN LESSONS WEEK OF 6th JUNESketchbook check for part 3: The responses, planning = 2 pages.

IN WEEK OF 6TH JUNE STUDENTS WILL BE EXPECTED TO SUBMIT THE A4 PLASTIC WALLET CONTAINING THE FIRST 5 PAGES OF THE A4 BOOKLET READY TO EXECUTE FINAL PIECE IDEAS IN CLASS.

The final piece would ideally be exhibition friendly and can be displayed at a later date. But for the sake of marking - the final piece must be documented in photographic form to show the teacher what was created.

THE BRIEF: AN ENCOUNTER WITH ART FROM ST IVES

You are challenged to create an Art work of your own in response to St Ives as part of your extended project task to be displayed later on in the year.

DEADLINE: 2ND WEEK in JUNE

PERSHORE HIGH YEAR 8

1: The Introduction /cover (page 1 of booklet)This should include your name and who you are doing the project on. Make it visual and appropriately presented.

2: The Annotation (page 2 and 3 of booklet)The first part is a case study focussing on one of the artists selected from a list from St Ives. This involves research into the artist and analysing their work to enable you to demonstrate an understanding of this artist in your own work.

3: Responses , Planning, practice final piece. (page 4 and 5 of booklet)This is a double page spread in your sketchbook that involves responses to the chosen artist, sketches of any idea, relevant photographs to draw from , experimentation with materials etc

4: The final piece. (page 6-8 of booklet)The final part of the homework is the creation of an ambitious artwork in response to the artist you chose to base your case study on. It is vital that it is well considered and a product of a sustained effort, review and refinement.

Whatever the final piece is, it must be photographed and documented in the booklet..

5: Evaluation: (page 8 of booklet)Explain your ideas and reflect on how you executed them in the final piece.

Further help guides and resources are available for students and parents on the school website:http://www.pershore.worcs.sch.uk/ELP

PARTS 4 & 5 WILL BE CARRIED OUT IN CLASS TIME.

For this project we want you to imagine what you would do at Porthmeor studios in St Ives if you had been given the keys by one of these 7 artists? How would you interpret their style and the impact of the coastal landscape in and around St Ives?

You are encouraged to hijack aspects of their techniques, choice of materials, colour palette and ways displaying their work. Your challenge is to create your own response to St Ives in a manner that demonstrates a visual understanding of the artist’s work.

The Artists who have worked in St Ives: THE CONTINUATION OF THE ST IVES TRADITION; FROM THE PAST TO THE PRESENT - TO YOU!!!

YEAR 8 STUDENT

NICHOLSON HEPWORTH LANYON HERON GABO FROST MELLIS

The artwork you produce can be a drawing, painting, sculpture, print, collage, mixed media or digital media but cannot be a pure photograph.

We do not expect the same specialised materials to be used but do consider your materials wisely. There will be some suggestions on what you can use and how to approach your artists over the following slides. Be resourceful and inventive!!

INTRODUCTION TO THE PROJECT AND THE BRIEF:AN ENCOUNTER WITH ART FROM ST IVES

St Ives is a small Cornish town that for many years has attracted artists and craftsmen and women. The lure of its quiet beauty and Atlantic sunlight generated a vibrant Art scene that at one time matched the bright lights and big cities such as London, Paris and New York. This is like Pershore town playing in the premier league!You are challenged to create an Art work of your own in response to St Ives as part of your extended project task to be displayed later on in the year.

Your Extended Learning project will be carried out in two parts:The first part is a case study focussing on one (or two) of the artists selected from a list from St Ives. This involves research into the artist and analysing their work to enable you to demonstrate an understanding of this artist in your own work.

The second part of the homework is the planning of an ambitious artwork in response to the artist you chose to base your case study on. This artwork will be carried out in class but you need to consider the materials you use and be prepared to resource your own ideas by getting the relevant materials..

There are many artists who have based themselves in St Ives over the years but for this homework you are advised to base your work on one (or a combination) of the following seven artists:

• BEN NICHOLSON (paint/drawing/relief/print)• BARBARA HEPWORTH (sculpture/drawing)• PETER LANYON (paint/sculpture)• PATRICK HERON (paint/print)• NAUM GABO (sculpture/drawing)• TERRY FROST (paint/print/collage)• MARGARET MELLIS (sculpture/constructions)

All artists are to some extent influenced by their surroundings. Sometimes they not fully aware of it!

For example, looking at the stripped back studio with its careworn walls and blistered paint surfaces and muted tints of coastal colours it is clear that St Ives influenced Ben Nicholson’s work visually and atmospherically.

Artists absorb a wide range of stimulus:Consider the sounds, colours, erosion, the shapes of the boats and nets, the flotsam and jetsam along the coastline. All these things may have an impact of how, what, where and why the artists work in the way they do.

EXPLOIT THESE RESOURCES AND SEEK YOUR OWN IF IT HELPS YOU TO CREATE YOUR OWN RESPONSE.

THE NEXT FEW SLIDES PROVIDE GUIDANCE FOR YOUR ANNOTATION OF YOUR CHOSEN ARTIST. THIS WILL PROVIDE YOU TIPS ON HOW TO LAYOUT YOUR INFORMATION AND WHAT QUESTIONS TO ASK OF THE WORK YOU ARE ANNOTATING.

TASK 1:

RESEARCH AND ANNOTATION OF ARTIST’S WORK – IN SKETCHBOOK

Brief Success criteria for CASE STUDIES.

Well presented and laid out in appropriate style to images analysed.

Balanced range of early/mid/late work, good use of specialist Art terms.

A good balance of fact and opinion.

Connections made to work of others and the times it was created.

Supported by artist quotes.

Well executed Technical investigations.

YOU ARE STRONGLY ADVISED TO USE THE ANNOTATION TEMPLATES AT THE BACK OF THE SKETCHBOOK AS A GUIDE TO WAYS OF ANALYSING ARTWORKS. AVOID SIMPLY STATING THE OBVIOUS – ALWAYS ASK THE 6 FUNDAMENTAL QUESTIONS: WHO/WHAT/WHERE/WHEN/WHY/HOW ?BE OPINIONATED, BE WILLING TO DESCRIBE HOW IT MAKES YOU FEEL, WHAT IT MAKES YOU THINK OF. DO NOT BE AFRAID TO EXPRESS YOURSELVES BUT BE WARNED TO SIMPLY SAY I DON’T LIKE IT IS NOT BEING ANALYTICAL OR OPINIONATED!YOU DO NOT NEED TO WRITE LOTS. YOU CAN WRITE CONCISELY IN BULLET POINTS IF IT HELPS. TRY TO USE APPROPRIATE WORDS LIKE TONE, MARK-MAKING, TECHNIQUE, COMPOSITION. RESIST TEMPTATION TO SIMPLY FOCUS ON FACTS, THIS SHOULD ONLY BE MENTIONED IF RELEVANT, IT IS MORE IMPORTANT THAT YOU REFER TO QUOTES AND COMMENT ON WHAT THE ARTIST IS SAYING. BE WILLING TO BACKGROUND RESEARCH USING A RANGE OF SOURCES ie NEWSPAPER ARTICLES, INTERVIEWS, INTERNET, YOU TUBE. DOCUMENT YOUR RESEARCH AND INTEGRATE IT INTO YOUR WORK IN A VISUALLY INTERESTING WAY.

WITH THE PRACTICAL WORK:TRY TO STUDY A SMALL DETAIL OF THE ARTWORK AND RECREATE YOUR OWN VERSION.CONSIDER HOW IT WAS DONE AND FOLLOW THE SAME PROCESSES YOUR SELVES. IF THE ARTIST WORKED FROM PHOTOS, TRY TO FIND IMAGES OF THE ORIGINAL SOURCE MATERIAL AND WORK FROM THOSE TO CREATE YOUR OWN TECHNICAL RESPONSES.WHEN DOING YOUR OWN RESPONSES SOME CAN BE EXECUTED QUICKLY AND LEFT UNFINISHED TO LEAVE SPACE TO WRITE YOUR OWN OBSERVATIONS ON HOW IT WENT.ASK YOURSELF ALL THE TIME HOW WOULD THE ARTIST DO THIS AND DEVELOP YOUR OWN IDEAS WITH THIS IN MIND.

CASE STUDIES GUIDANCE AND TIPS:When you carry out your project you will be required to carry out in depth case study on a St Ives artist. This involves a 3 step process, this should be what you sketchbook breathes : A/I/R

ANNOTATE / INTERROGATE / RESPONDThis is a combination of written analysis and technical investigations and this can have a huge impact on your grades if carriedout well and with consistent effort. Here are some tips:

Main example of artists’ work with title and date if possible

What is the overall mood/feel of the artwork?How does it make you feel?Subject matter, use of materials, and size will all help to answer this.

What does it show?Try to describe exactly what the artwork shows to you.

What is it?Painting,Sculpture, Drawing, Print?Is it seen in a particular place?How big is it?

How has it been made?What materials have been used?How have the materials been used?Do they have a particular effect?

Other relevant artist example

Other relevant artist example

Other relevant artist example

Notes discussing links to main work.

Notes discussing links to main work.

Notes discussing links to main work.

ANNOTATION TEMPLATE 1:

3: ARTIST/ WHO ?Who was the creator of the work? Nationality / country based

4: WHAT? What is it about? Subject?GENRE – What type of work is it: Portrait, still life sculpture etcCONTENT -Describe what you can see in the work?Is the artist trying to say something? Is it symbolic etcIDEA – What do you think is the idea behind the work?THEME ?SPECULATE WHY - What do you think it means?

1:THE ARTWORK

9: QUOTE BY THE ARTIST OR OTHER RELEVANT

SOURCES SUCH AS CRITICS, COLLECTORS

ETC

8: BACKGROUND INFORMATION ON ARTIST

2: TITLE / DATE / MEDIA USED TO PRODUCE THE

WORK.

5:TECHNIQUE / HOW?MATERIALS –why do you think the artist chose these materials?PROCESSES –how was it created, what methods and skills are used. Speculate preparation involved.Consider :SURFACE AND TEXTURE MARK-MAKINGCOLOUR SCALESHAPES AND PATTERNCOMPOSITIONSPACE

6: DOES THE TITLE AFFECT THE WAY YOU SEE THE WORK? DID IT CHANGE YOUR INITIAL READING OF THE WORK?

7: WHEN? ART IN CONTEXT?Is the date significant ?Can you tell when it was made? Did this influence the work?Consider the Arts of the period not just Art but also music literature, film, fashion and design.

10: PERSONAL RESPONSE – YOUR REACTION / OPINION OF THE WORK. VISUAL – What is you first reaction to the work? What words come to mind? SENSORY – Does the work please the eye? Does it engage the other senses? EMOTIONAL – How does it make you feel? Describe the mood/how it does this?ASSOCIATIVE – Does it remind you of anything? Is the work familiar in any way?What is your opinion of the work ?What aspects do you appreciate ? The skill ? Technique? Meaning? Idea ? Originality ?Did your opinion change once you understood the work?

12: STIMULUS:What do you think the artist use as a reference to making the work?

11: MEDIA EXPLORATIONTry out the materials that the artist may have used.

If you cannot use the exact materials what would make a good alternative?

This is your opportunity to get creative ! This will act as a stepping stone to doing your own response to the artist's work.

13: POSSIBLE VISUAL REFERENCES FROM OUTSIDE ART

15: ART STYLE or MOVEMENTWhat style of

Art is the artist working in?Is the artist connected to a group or a movement in Art?If so is the work typical of that style and era or is it slightly different from their peers?

14: POSSIBLE INFLUENCES ON THE ARTIST FROM WITHIN THE ARTS?

Looking at the artists work can you detect influences from the works of other artists ? All Artists are to some degree are influenced by others ?Some artists are very obvious and happy to declare their admiration for others; however others are more subtle and reluctant to admit that they have borrowed ideas from artists before them.Speculate and identify similarites with the work of others

17: CAN YOU TRACE THE INFLUENCE OF THE ARTIST ON THE WORK OF OTHER YOUNGER ARTISTS ?The work may have inspired others and it may be useful to be aware of these prior to doing your own response to the work.

16: OTHER WORK BY THE ARTIST.The artist may work in different disciplines and media and it is worth knowing about these to identify whether the work is typical of their output.

ANNOTATION GUIDE 2: HIGHER LEVEL QUESTIONING

CASE STUDIES GUIDANCE AND TIPS:When you carry out your project you will be required to carry out in depth case study on a St Ives artist. This involves a 3 step process, this should be what you sketchbook breathes : A/I/R

ANNOTATE / INTERROGATE / RESPONDThis is a combination of written analysis and technical investigations and this can have a huge impact on your grades if carriedout well and with consistent effort. Here are some tips:

Examples of annotations by previous Year 8 students in their ELT, one of which religiously follows the template and one that did not. The annotation can be handwritten onto the template or typed up and cut and pasted into relevant boxes in the booklet.

To illustrate how to respond to an artwork I have quickly selected a Patrick Heron painting. I noticed how he used blue lines and filled areas with blocks of colour. I also noticed the chair, the sculpture, lamp and windows.To prepare for my response I gathered similar objects to draw and also took photos as an extra resource. Once I had done a couple of practice attempts I moved from sketchbook sized work to work on a larger scale.

Be prepared to work at it and do not expect success first time or second time!! Resist temptation to simply copy!

ADVICE:Once you have decided on an artist focus on a specific piece that you admire/like. Consider developing your own resource either by taking photos like I have here to assist the drawing process. Practice first, get familiar with the process and materials.Constantly ask yourself what would the artist have done?

‘Bad artists copy, Good artists steal’ -Picasso

HERON MR REID’S RESPONSE

To give an idea of what a response is –see this example. It is not a copy but the response as stolen elements from the Heron original, such as the colour scheme and subject matter.

A SUMMARY OF THE KEY STAGE LEVEL DESCRIPTORS DESIGNED TO ENCOURAGE STUDENTS TO SELF ASSESS THEIR WORK AND RECORD THEIR PROGRESS AS THEY

CARRY OUT ST IVES CASE STUDY WORK. Level DESCRIPTION OF

UNDERSTANDINGEXPECTED AREAS OF COMPETENCE TO ACHIEVE LEVELS:

1 BASIC

EVID

ENC

E O

F AB

ILIT

Y:

To EXPLORE the work of chosen artist and communicate ideas VISUALLY.

To USE the appropriate materials and processes of chosen artist with SKILL and INTENTION.

To DEMONSTRATE awareness of the artists they study TECHNICALLY and INTELLECTUALLY.

To REVIEW and REFINE work in progress with an UNDERSTANDING of how the work can be improved.

To RESEARCH appropriately and make CONNECTIONS between artists and themes.

To USE specialist Art terms/keywords to COMMENT on own work and the work of others.

To DOCUMENT and RECORD the creative journey in the SKETCHBOOK.

To CONCLUDE work realising IDEAS and INTENTIONS in a manner that demonstrates awareness of chosen artist’s style.

To EVALUATE work making reference to artist.

2 LIMITED

3 DEVELOPING

4 IMPROVING

5 CONSISTENT

6 SUSTAINED

7 CONFIDENT

8 HIGHLY SKILLED

9 FLUENT

SUCCESS CRITERIA AND SELF ASSESSMENT

EVALUATION:An important part of any project is the evaluation of your own creative efforts. The preparatory work produced in your sketchbook and the final piece, must be explained/evaluated in written form. You must make notes on your modifications and revisions of materials, ideas, composition, etc. Justify your decision-making. To write an effective Evaluation you are encouraged to include, at least, the following:

What was the starting point of your project?Which artist(s) did you study?How did this artist influence you?What materials did you choose/investigate and why?How and why did your ideas develop?Did your final conclusion turn out as you expected in your plans?How does the conclusion answer the brief set? Does it represent St Ives?What would you do differently next time, and why?

When you write your evaluation try to use the appropriate visual language, with words, such as:Line, Tone, Colour, Form, Texture, Content, Composition, Structure, Pattern, Space, Movement, Harmony, Balance, Mark-making, Scale, Proportion, Representational, Abstract, Portrait, Landscape, Limited Palette. Etc.

AT THE END OF THE PROJECT PLEASE USE THIS SLIDE TO HELP YOU WRITE YOUR EVALUATION.

St IVES ARTIST CASE STUDY RESOURCES

AND HELP GUIDE

CASE STUDY ARTIST 1: Ben Nicholson (1894-1982) PAINT/DRAWING/PRINT FOCUS

Ben Nicholson was perhaps the first of the St Ives based artists to gain wider success and reputation. Having arrived in St Ives along with his wife, fellow artist, Barbara Hepworth he developed a style of work that has been described as British Cubism; like Picasso, the Cubist he worked with muted colours and rejected conventional perspective creating images where the background/middlegroundand background collide and jostle for space on the flat surface he was working on. He became known later for his white on white relief works in which paper cut and hollowed out are layered to create abstract compositions that look like aerial views of a still life arrangement. His work captures the Cornish colour palette and the weather beaten wooden huts on the coastline.

TEACHER TIPS/SUGGESTIONS:• Consider using weathered wood as a surface to

paint on; sand down paint and wax at the end when work is completed

• Begin by drawing in continuous line perhaps overlap 3 drawings from different viewpoints,

• Using a limited number of coastal colours paint in the emerging shapes.

USEFUL WEBSITES:http://www.tate.org.uk/art/artists/ben-nicholson-om-1702http://www.bbc.co.uk/arts/yourpaintings/artists/ben-nicholsonhttp://gerryco23.wordpress.com/2010/12/03/ben-nicholsons-cornwall/ KEY LINKS: Alfred Wallis, Cubism, Barbara Hepworth

CASE STUDY ARTIST 1: Ben Nicholson (1894-1982) PAINT/DRAWING/PRINT FOCUS

TEACHER TIPS/SUGGESTIONS:• Consider using weathered wood as a surface to

paint on; sand down paint and wax at the end when work is completed

• Begin by drawing in continuous line perhaps overlap 3 drawings from different viewpoints,

• Using a limited number of coastal colours paint in the emerging shapes.

Alternatively• Collect a range of different pieces of thin wood,

card, old canvas covered hardback books etc, anything that is in a muted range of colours .

• Cut pieces into rectangles and remove circles and collate a range in different sizes.

• Layer these shapes on a larger base and then glue together before final touches in pencil and a subtle touch of paint.

USEFUL WEBSITES:http://www.tate.org.uk/art/artists/ben-nicholson-om-1702http://www.bbc.co.uk/arts/yourpaintings/artists/ben-nicholsonhttp://gerryco23.wordpress.com/2010/12/03/ben-nicholsons-cornwall/

KEYWORDS:CONTINUOUS LINE STILL LIFE RELIEF MUTED PALETTE WEATHER BEATEN OVERLAP

CASE STUDY ARTIST 2: Barbara Hepworth (1903-1975)

USEFUL WEBSITES:http://www.hepworthwakefield.org/about/our-journey/www.barbarahepworth.org.uk/www.tate.org.uk/visit/tate-st-ives/barbara-hepworth-museumhttp://www.ysp.co.uk/exhibitions/barbara-hepworth

SCULPTURE/DRAWING FOCUS

Barbara Hepworth was a sculptor who became well known for her carvings that are hollowed out forms that resemble eroded rock forms and the waves on the coast. Many also take on abstract shapes that make you think about the human figure in the landscape. She produced a series of family sculptures inspired by her triplets with first husband Ben Nicholson. These group sculptures are a good starting point for developing your own responses.

TEACHER TIPS/SUGGESTIONS:• Consider using white soap or large

wax candles as a material for carving. • Carve a good number focussing on

creating smooth hollowed out forms. • Combine a number of carvings to form

a figure. Hepworth tended to do this in 4 pieces per figure.

• Base the shapes loosely on family members, perhaps take a photo to adapt and reduce into Hepworth silhouettes to help the design process.

CASE STUDY ARTIST 2: Barbara Hepworth (1903-1975)

USEFUL WEBSITES:http://www.hepworthwakefield.org/about/our-journey/www.barbarahepworth.org.uk/www.tate.org.uk/visit/tate-st-ives/barbara-hepworth-museumhttp://www.ysp.co.uk/exhibitions/barbara-hepworth

SCULPTURE/DRAWING FOCUS

TEACHER TIPS/SUGGESTIONS:• Consider using white soap or large

wax candles as a material for carving. • Carve a good number focussing on

creating smooth hollowed out forms. • Combine a number of carvings to form

a figure. Hepworth tended to do this in 4 pieces per figure.

• Base the shapes loosely on family members, perhaps take a photo to adapt and reduce into Hepworth silhouettes to help the design process.

• Consider how Hepworth uses string and wire to link hollow spaces to the edges of the sculptural object – you could use needle and thread, wire, cocktail sticks etc to do this.

KEYWORDS:HOLLOW ERODED INSIDE/OUTSIDE ORGANIC ABSTRACT CURVACEOUS

CASE STUDY ARTIST 3: Peter Lanyon (1918-1964) PAINT/SCULPTURE FOCUSPeter Lanyon was an artist who was well known for his landscape paintings that leant heavily towards abstraction. He combined movement and gesture to capture the history and geological make up of the land. He was much looser and more expressive than Nicholson who taught him. Lanyon’s work at times was described as an x-ray of the Cornish landscape, works like St Just and Porthleven, refer to the Levent coal mine disaster in 1919. His desire to see St Ives from the air to help his paintings ultimately lead to his death following a glider crash.

TEACHER TIPS/SUGGESTIONS:• Consider working in a long panoramic format or

a tall upright format. • Decide on whether you are doing a seascape or

a landscape and select a range of colours appropriate. (Blues=sea/Greens=land).

• Use household brushes in a variety of different sizes and paint standing up and move physically to get dynamic brush strokes.

• Build up image in layers but be sure to leave some marks recognisable such as church spire or harbour. Scratch back paint whist still wet to reveal layers underneath.

USEFUL WEBSITES:http://www.tate.org.uk/art/artists/peter-lanyon-1467http://www.youtube.com/watch?v=ydQskTSiDUQhttp://www.artcornwall.org/profiles/Peter_Lanyon.htmhttp://www.telegraph.co.uk/culture/art/art-features/8080467/Peter-Lanyon-glider-who-deserves-to-fly-higher.html

KEYWORDS:GESTURAL BOLD MOVEMENT BRUSHSTROKES SEASCAPE LANDSCAPE X-RAY MINES

CASE STUDY ARTIST 3: Peter Lanyon (1918-1964) PAINT/SCULPTURE FOCUS

TEACHER TIPS/SUGGESTIONS:• Consider working in a long panoramic format or

a tall upright format. • Decide on whether you are doing a seascape or

a landscape and select a range of colours appropriate. (Blues=sea/Greens=land).

• Use household brushes in a variety of different sizes and paint standing up and move physically to get dynamic brush strokes.

• Build up image in layers but be sure to leave some marks recognisable such as church spire or harbour. Scratch back paint whist still wet to reveal layers underneath.

USEFUL WEBSITES:http://www.tate.org.uk/art/artists/peter-lanyon-1467http://www.youtube.com/watch?v=ydQskTSiDUQhttp://www.artcornwall.org/profiles/Peter_Lanyon.htmhttp://www.telegraph.co.uk/culture/art/art-features/8080467/Peter-Lanyon-glider-who-deserves-to-fly-higher.html

KEYWORDS:GESTURAL BOLD MOVEMENT BRUSHSTROKES SEASCAPE LANDSCAPE X-RAY MINES

These works exemplify Lanyon’s idea of the ‘experiential landscape’, which involved approaching a place from different positions and combining these views with allusions to geology, history, culture and myth. For example he depicts the fishing port of Porthleven from several perspectives, revealing its two harbours and clock tower. The viewer is made to work and interpret the image in their own personal way .

CASE STUDY ARTIST 4: Patrick Heron (1920-1999) PAINT/PRINT FOCUS

Patrick Heron was well known for his paintings and printmaking which celebrates colour, light and painterly abstraction. His earlier work was carried out using continuous line and the spaces were filled with bold flat colour. He combined a clever use of harmonious hues, accent and surprise colours. His later works were inspired by the horizon , how the sea met the land and also his own garden.

TEACHER TIPS/SUGGESTIONS:• Draw with a long stick with a thick

crayon attached to the end and in continuous line.

• Focus on a room with a view and add a sea scape in the distance.

• Block paint flat colour within the lines without touching the edge.

• Colour selection should be borrowed from Heron, consider 3 similar colours ie pink, mauve and violet then 2 contrasting ones to draw attention.

KEYWORDS:VIBRANT COLOUR ABSTRACT GESTURALCONTINUOUS LINE MATISSE ROTHKO

CASE STUDY ARTIST 4: Patrick Heron (1920-1999) PAINT/PRINT FOCUS

TEACHER TIPS/SUGGESTIONS:• Draw with a long stick with a thick crayon

attached to the end and in continuous line. • Focus on a room with a view and add a sea

scape in the distance. • Block paint flat colour within the lines without

touching the edge. • Colour selection should be borrowed from

Heron, consider 3 similar colours ie pink, mauve and violet then 2 contrasting ones to draw attention.

Alternatively• Working onto very wet paper apply

brushstrokes in watercolour to allow paint to bleed into the paper, once dry add some more controlled marks with the brush.

Or• Using a sheet of glass or a smooth sheet

of plastic that can be wiped clean, apply paint thickly to surface in a manner that suggests an aerial view of a garden and then drop a sheet of paper onto the glass and rub from the back of the paper to create a monoprinted image.

KEYWORDS:VIBRANT COLOUR ABSTRACT GESTURALCONTINUOUS LINE MATISSE ROTHKO

CASE STUDY ARTIST 5: Naum Gabo (1890-1977) SCULPTURE/DRAWING FOCUS

Naum Gabo was a well travelled Russian jewishartist who arrived in St Ives prior to the 2nd World War escaping from Nazi lead Berlin . Having trained as an engineer he introduced new materials to sculpture, embracing plastics and fishing wire and stainless steel. He was interested in ways of suggesting space not mass, and was interested in ways in which sculpture can move and suggest energy. He took inspiration from shipbuilding techniques and wove them into his own work

TEACHER TIPS/SUGGESTIONS:• Consider using flat pieces of strong card and cut

these into flat silhouettes of multiple viewpoints of the shoulder and head.

• Using the slotting technique, slot these multiple viewpoints to create one portrait.

Alternatively:• Working with a thin sheet of metal or wood cut

into an organic shape without a centre then bend into shape.

• Make holes along the inside edge of the shape and thread fishing wire across until a pattern is formed.

USEFUL WEBSITES:http://www.naum-gabo.com/http://www.tate.org.uk/whats-on/tate-st-ives/exhibition/naum-gabohttp://www.tate.org.uk/art/artists/naum-gabo-1137http://www.moma.org/collection/object.php?object_id=81440

KEYWORDS:SCULPTURE SPACE LINEAR CONSTRUCTIVISM PLASTIC ENGINEERED SLOTTED TOGETHER

CASE STUDY ARTIST 6: Terry Frost (1915-2003) PAINT/PRINT FOCUS

Terry Frost was well known for his paintings and printmaking which celebrates colour, light and painterly abstraction. His earlier work was more recognisably inspired by the rows of boats and their masts that populated the harbour. This resulted in his using of recurring shapes such as the slanted semi circle which represented the boat rocking in the water as the waves came in and out. His colours became increasingly bold and flat as his career progressed.

TEACHER TIPS/SUGGESTIONS:• Working on a tall vertical and narrow piece

of paper or canvas sketch using only straight lines that suggest triangular sails and semi circles that suggest boats .

• Practice simply working in 3 tone black /grey and white before progressing to colour.

Alternatively• Frost’s work lends itself perfectly to collage

using cutting vibrant coloured paper or working in photoshop.

KEYWORDS:TILTED SEMI-CIRCLES VIBRANT COLOUR ABSTRACT NAUTICAL FORMS FLAT MATISSE PICASSO

CASE STUDY ARTIST 6: Terry Frost (1915-2003) PAINT/PRINT FOCUS

KEYWORDS:TILTED SEMI-CIRCLES VIBRANT COLOUR ABSTRACT NAUTICAL FORMS FLAT MATISSE PICASSO

TEACHER TIPS/SUGGESTIONS:• Working on a tall vertical and narrow piece

of paper or canvas sketch using only straight lines that suggest triangular sails and semi circles that suggest boats .

• Practice simply working in 3 tone black /grey and white before progressing to colour.

Alternatively• Frost’s work lends itself perfectly to collage

using cutting vibrant coloured paper or working in photoshop.

Or• You can follow Frost’s lead

focussing purely in working in Red, Black and white and creating your own variations of Frost in a fixed sized square grid. Each square in the grid has to be a variation of semi circles, ovals, circles, stripes, triangles and swirls.

CASE STUDY ARTIST 7: Margaret Mellis (1914-2009) PAINT/DRAWING/PRINT FOCUS

KEYWORDS:FLOTSAM JETSAM RECYCLED DECAYED RELIEF WEATHER BEATEN CONSTRUCTIONS

USEFUL WEBSITES:http://www.youtube.com/watch?v=lFP-BAmvqvQhttp://www.artcornwall.org/features/margaret_Mellis_essay.htm

TEACHER TIPS/SUGGESTIONS:• Collect weathered wood as a material to work with; if you add

colour artificially sand down paint and wax to create the weathered effect.

• Begin by playing with the shapes working on the floor until the shapes reveal some balanced arrangement. Do not worry if it does not look like something…often these are the best ones!!

• When you join the pieces together do not disguise how you join them , a rusty nail can character add to the work in the same way a brushstroke can.

Margaret Mellis was perhaps the least established of the St Ives based artists in this project. She was best known for her vibrant wall based sculptures and colourful reliefs that are like a hybrid of Ben Nicholson and Peter Lanyon. She started out as a painter who gradually found her distinctive style using the flotsam and jetsam found on the beaches which in her playful hands were recycled to create abstract compositions that look like aerial views of the harbour. Like Nicholson before her, she work captured the Cornish colour palette and the weather beaten wooden huts on the coastline.

CASE STUDY ARTIST 7: Margaret Mellis (1914-2009) PAINT/DRAWING/PRINT FOCUS

USEFUL WEBSITES:http://www.youtube.com/watch?v=lFP-BAmvqvQhttp://www.artcornwall.org/features/margaret_Mellis_essay.htm

Margaret Mellis was perhaps the least established of the St Ives based artists in this project. She was best known for her vibrant wall based sculptures and colourful reliefs that are like a hybrid of Ben Nicholson and Peter Lanyon. She started out as a painter who gradually found her distinctive style using the flotsam and jetsam found on the beaches which in her playful hands were recycled to create abstract compositions that look like aerial views of the harbour. Like Nicholson before her, she work captured the Cornish colour palette and the weather beaten wooden huts on the coastline.

TEACHER TIPS/SUGGESTIONS:• Collect weathered wood as a material to work with; if you add

colour artificially sand down paint and wax to create the weathered effect.

• Begin by playing with the shapes working on the floor until the shapes reveal some balanced arrangement. Do not worry if it does not look like something…often these are the best ones!!

• When you join the pieces together do not disguise how you join them , a rusty nail can character add to the work in the same way a brushstroke can.

KEYWORDS:FLOTSAM JETSAM RECYCLED DECAYED RELIEF WEATHER BEATEN CONSTRUCTIONS