Grade 10 Art (Wuhan 2020 - 2021)

GEOMETRIC PATTERNS

Taking a closer look at the use of geometry in pattern making, students looked at traditional Islamic art-making processes and how four-, five- and six-fold designs were created, as well as the contexts in which they were used and geometry’s link to spirituality. Using this as a spring-board for their designs, classes drew the same complex set of lines and circles on an x- and y-axis. Once they created the grid of lines, they could isolate an interesting pattern tile. After finding a novel pattern in the network of lines, decisions regarding colour combinations were explored. The project culminated in a pattern created through the tessellated repetition of the tile. Emphasis was placed on originality and visually interesting colour combinations.

ZENTANGLE HANDS

After exploring the historical and cultural use of patterns throughout Art History from painting, sculpture and ceramics to its use on the body through scarification, tattooing and dyeing of the skin with henna, students used the idea of mehndi designs on hands as a springboard for their hand designs. The final work was created through the repetitive, mindful process of the relatively new pattern-making technique of Zentangles. Emphasis was placed on strong contrasts to create visually interesting surfaces.

TILED and STYLIZED ANIMAL PATTERNS

For this task students combined strategies from the ‘Animals’ and ‘Patterns’ units. They explored new approaches to image development, creating an A2 final tiled pattern depicting an animal of their choice. The final image was tiled like wrapping paper or wallpaper. Students demonstrated active engagement in creating artistic works and resolving creative challenges. They started by sourcing at least four photographic examples of their chosen animals. Breeds could differ, but the animal choice needed to be consistent. After planning a composition in which the four animals interacted with each other or were placed in harmonious relationships, students cut up their line drawings and rearranged them in order to locate the ‘dead space’ that would result should the image be repeated. This dead space was then filled with objects they associated with their chosen subject matter. Once this process was completed, the image was traced four times on the final format and coloured. Students were able to develop their own technical style, but needed to maintain precision and consistency as the design was hand crafted and not digitally manipulated.

SYMBOLIC ZODIAC SELF-PORTRAITS

For this project students investigated the power of animal symbolism on human culture. They created a symbolic representation of themselves based on their zodiac animals. Animals are used in the Chinese, Western and First Nations zodiacs, from which students sourced their ideas. After exploring the personality characteristics of each of their three zodiac animals, students created ‘creatures’ comprised of elements of each animal. The level of each animal’s representation in the creature was dictated by how much the student felt the stereotypical characteristics accurately represented their personalities. Before completing the task, students explored drawing and shading techniques. The animals were imaginative, but photographic reference was still utilised to create believable animals. For the final drawing, students practised creating the illusion of three-dimensionality on a two-dimensional surface.

ANIMALS

For this project, students experimented with oil pastels and acrylic paint, exploring mark-making techniques aimed at heightening the expressive (and therefore emotional) impact of their work. They utilised colour and mark to express their feelings on topics that explore connections and relationships between humans and animals. The topics they explored included poaching, conservation, hunting, animals' use in science and experimentation (including vivisection), as well as loving and useful relationships with humans (for example guide dogs and PTSD). The impact of human behaviour on marine life and ecosystems in general (ocean plastic and global warming) was also investigated. After looking more generally at potential topics, students picked the one that resonated most deeply with them, before focussing on a composition they felt expressed their views on the topic. As oil pastel is not a refined and delicate medium, photographic reference was used but the final composition was generally stylised to accommodate the limitations of the medium. Black acrylic paint was added to the surface of the work and scratched off to activate the surface and create an expressive finish.

TONAL SELF-PORTRAITS (FULL BODY WITH BACKGROUND)

After working through the Human Figure unit, where students explored the subjectivity of beauty and aesthetics whilst also looking at the difference between Expressive and Representational drawing techniques, these A3 drawings were completed using reference material created by the students. Each artwork is a self-portrait. Students posed in dynamic positions aiming to avoid clichéd poses, whilst at the same time referencing subtle details about their personalities. Whilst most photos were taken at school, backgrounds and environments were carefully considered to add a layer of meaning to the final works.

Emphasis was placed on traditional skills and utilising the Elements of Art and Principles of Design effectively, paying particular attention to tone and volume. The depiction of the human figure has a history that spans thousands of years and while students acknowledged this history, they also found solutions to expressing their identities in personal ways.

CONTOUR/SPEED SELF-PORTRAITS (FULL BODY + BACKGROUND)

After working through the Human Figure unit, where students explored the subjectivity of beauty and aesthetics whilst also looking at the difference between Expressive and Representational drawing techniques, these A3 drawings were completed using reference material created by the students. Each artwork is a self-portrait. Students posed in dynamic positions aiming to avoid clichéd poses, whilst at the same time referencing subtle details about their personalities. Whilst most photos were taken at school, backgrounds and environments were carefully considered to add a layer of meaning to the final works.

Emphasis was placed on taking risks and being brave enough to complete the drawing (or at least the bulk of the main shapes) without lifting the drawing medium (in this case a pen as the lines would be permanent and force students to resist ‘correction’) from the surface – use of one continuous line. The resulting drawings are visually intriguing and unpredictable. The bright colours are eye-catching and each young artist had a lot of room to express personal and creative choices.