A tale of two sketchbooks continued…..

An exhibition visit last weekend and a previous post about sketchbooks have prompted me to write this short extension to the A tale of two sketchbooks post of a couple of weeks ago.

Last weekend I visited the Mondrian exhibition at the Gemeentemuseum in The Hague.  In the museum, as well as this blockbuster show there was a smaller exhibition of work by the Haagse School, a group of Dutch artists working in the Dutch capital at the end of the 19th century.  There was a good collection of interesting paintings but actually what caught my attention most were two walls in the exhibition that had been given over solely to displaying the sketchbooks of some of the artists involved.

These small, and very intimate glances into the working process of the likes of Breitner and Israels were quite captivating.  It is the sort of exhibition display that I would like to bring my pupils at school to see.  Direct, small scale and personal, these are visual documents that somehow bridge the gap between the artist and the finished work.  You see a visual connection with the finished paintings, but also, a much more apparent and obvious presence of the artist themselves.  These are after all books that lived in their pockets or bags, objects that travelled around with them and were a sort of personal forum for the development of ideas.

Sketchbooks are important, we can learn much from them.  In many ways, it is a shame that they are so rarely of display in our museum.  There are places online where examples can be found and pages turned through, such as here.

sketchbook

There are also places such as The Sketchbook Project where the drawing books of lesser known artists and creative people are receiving an online place where others can turn through the digital pages.  I’ll certainly be drawing the attention of my pupils to this source of documentation of the creative process.

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Language and creativity – content and language integrated learning idea (CLIL)

Most who work in education know that children generally respond well to games and puzzles. This is a short assignment that never fails to engage the attention and (particularly important for me) the creativity of the pupils. As I will explain the creativity comes in part with a drawing element at the end, but actually the area of greater creativity comes earlier in the part using language.

humunentBefore I start, I should perhaps explain that I first came across this idea in the work of the British artist Tom Phillips and in particular his book A Humunent: a treated Victorian  Novel. Although there are others who have subsequently used similar approaches such as Austin Kleon in his work and book entitled Newspaper Blackout.

Although these ideas come from a visual arts context do not get the idea that this is something only for the art department, as an assignment it has opportunities for language lessons and potentially other areas too. I often use it for cover lessons when I am absent from school for a day or have to fill in unexpectedly for a colleague.

Essentially the idea is very simple. You take a piece of existing text, from an old novel, a text book or newspaper article for example, and give the text to the pupils. Personally I love walking around at the start of a lesson ripping a book to pieces, it certainly succeeds in getting attention! It also ensures that everyone has a different piece of text, which I quite like, but isn’t absolutely necessary, copies from the copy machine are also fine.

Then, using the text that they have been given, and in the order that it appears on the page (so reading from top left to bottom right) they have to make a new version, a summary, a storyline or even a poem. The words that you don’t want to use simply have to be crossed out or better still completely obliterated. In the early stages it pays to be a little cautious, you don’t want to cross out anything that you later will want to use. Generally it quite quickly becomes evident that there are some words that seem loaded with meaning that just have to be used!

Imagine for a moment that the text below was the piece that you have been asked to work with:

One of the cardinal clichés about the English is that, as a nation, we are obsessed with trivial fluctuations in the weather. Lamenting the onset of a sudden shower could happily occupy two strangers on a railway station platform for several minutes – or, at least, that is the perception. Yet Weatherland, a beautiful new book by the British cultural historian Alexandra Harris, suggests that this cliché is a fair reflection of reality.

Moreover, the argument of the book, which examines how scores of great writers and artists have been inspired by English meteorological phenomena over the past two millennia, goes even further.

Summarizing assignment

Extracting the essence out of a text is the basis of writing summaries. This is the same here, but with an added language dimension, or if you prefer, restriction! It requires creativity and flexibility with the language options that are on offer, sometimes removing a single letter from the end of an existing word can make all the difference. Remember it’s all about summarizing the essence of the text as well as you can  with the text and words that you have to work with. The result might look something like this.

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A more playful assignment

For a more creative variation, perhaps more suited for a language lesson, give the pupils a free choice of coming up with the most fantastic, imaginative and inventive new storyline, as long that is, that the grammar used still fits together and is correct. Our same initial text might produce a result like this:

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The full creative assignment

For the full creative explosion of the idea combine the idea above with a drawing assignment where the whole design and layout of the page has to be activated to tell the storyline that has been created. At this point the sky is the limit, after an initial planning stage the pages used could be enlarged to open up the full creative possibilities.

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I’ve experimented a number of times with these assignments. They really do engage the pupils in language and creativity, particularly at the puzzling out with the text stage. Believe it is well worth trying, regardless of what sort of teacher you are and which subject you teach.

The examples above have been made on my iPad, an ideal tool for experimenting with this although for the full creative effect hand-made offers so much, as Tom Phillips shows in his original work. It is really worth taking a look at his site:

http://www.tomphillips.co.uk/

Austin Kleon talks about his work in this area in his TEDx presentation about his books Steal Like an Artist and Newspaper Blackout, also well worth a look.

A secret love

When I was at art school, one of my art history lecturers described herself as a cartomaniac. At the time I had to think for a moment about what she could mean, but as the lecture went on it became clearer, she had a love or at least a fascination for the world of maps. I can relate well to this. I too love a map.

It is the schematic representation of the world around us, everything so familiar, yet so different, the symbols, the lines and patterns, the place names. There is just so much. When I travel, a map is always a necessity, seeing where I am, what’s around me and where I can go. I, like most people have a small collection of maps from various holiday destinations I’ve visited over the years. But perhaps my favourite is actually one closer to home, it is a very Dutch map indeed and one showing the most interventionist approach to the real landscape. It shows the 32 kilometer long afsluitdijk.

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There are artists enough who have made use of maps in their own work. I fully expect one day to make paintings and drawings based around this particular view of the landscape, but up until now the right ideas in the context of my own work have yet to present themselves.

The same isn’t true though amongst the adults that I teach. I have regularly set assignments that are hung up around travel be that walking, running or biking routes through the locality or journeys round the globe. My angle has often been to try and encourage the participants to try and break away from the conventions of map making, get away from the idea that the sea has to be blue and polar regions white, simplify forms, think about what ideas of content you can use to help dictate the way the painting goes.

Last night while I was doing this I was struck a change in how this sort of assignment is now approached. I used to show up with a pile of black and white photocopies of the world map as a jumping off point. Now though, the iPads and tablets come out and the world quite literally opens up. Last night one group member opened up GoogleEarth, scanned around a bit, for some reason decided to focus in on Timbuktu, zoomed right in on the grid formation of the streets and buildings of the city, and proceeded to set to work on an abstract painting based on these forms. It really was wonderful to see, the instantaneous nature of it all. My black and white photocopies seem like such a distant memory.