Its a simple idea…..using photopea.com to look at colour and tone

Getting children to understand a bit about how areas of tone and colour can work to create form is a central task for most of those working in art education. The pupils generally get the idea of how line has a part to play rather quicker than these other two might combine to occupy the areas between the drawn line.

Also increasingly central to activities, at least in my art room, is how digital tools can also have a part to play and can be combined with more traditional approaches.

The following short assignment played very much into these areas, focusing on how form can be created using surfaces of colour, colour mixing and becoming familiar with how a few digitally editing tools can be used.  Those tools can be found in most editing software, and we were using the excellent (and free!) open source software offered on the photopea.com website.

The contextual background for the project that I did with my class of 12-13 year olds was transcriptions in art.  We had looked at a variety of artists’ work, but had paid particular attention to Velazquez Las Meninas and Picasso’s numerous interpretations of it.

Our focus was subsequently on the work of Vermeer for our own remakes.  The working process was reasonably simple and worked as follows:

  • Import the image that you want to remake into Photopea.com
  • Create a new layer above the image
  • Look carefully at the image and try to identify areas of colour that whilst not being identical are at least very similar
  • Use a selection lasso to trace round the area
  • Sample the ‘average’ colour in the selected area and fill the whole area with just that colour
  • Then proceed onto the next area

The pupils find this quite fascinating to do and work in an increasingly focused way, gradually building up their own image.  The result look a little like vector drawings that might have been created using a inbuilt filter, but it is very much a question of look, analyse and then carry out the digital steps.

For a group of 12-13 year olds the results have been excellent and has resulted in a feeling of considerable pride in the group.

The second phase was to use carbon paper to transfer the ‘vector’ drawing structure onto paper and then to paint or colour (using coloured pencils) the resulting simplified linear drawing.  At this point it becomes very much a colour mixing exercise where the subtleties of the digital image are transferred into a handmade version.

This part of the project is still at a relatively early stage, but the signs are good for some well made results.  But of course the real proof of the pudding will be in seeing whether pupils are able to take the lessons learning into future work, but hopefully without the digital step always having to be used.

Below is a link to a short PDF booklet that explains how the part of the project done using photopea.com works. It is written about portraits, but the principle and process is the same.

A classic poem in a CLIL context in the art room

Jabberwocky by Lewis Carroll

Combing content and language in the learning process

For a while now monsters of one kind or another have been a feature of the lessons that I give to my groups of twelve-year-old pupils.  We’ve done various drawing assignments, made clay gargoyles, and dipped into art history by looking at the work of the likes of Hieronymus Bosch.

With these classes, being bilingual learners (Dutch children, being taught across their timetable in English in order to super-charge their acquisition of the English language), I am always looking for ways of enriching the practical lessons with elements of language beyond simply using it for instruction.  For example, recently I have had the class writing haikus that were inspired by the clay heads that we made together.

This year though I decided to branch out in a slightly different direction and make use of Lewis Carroll’s poem The Jabberwocky.  The monsters connection was obvious, but how to work with it with these children who are only eight months into their experience of bilingual education was the question.  Would they be ready to deal with this curious piece of literature?

I needn’t have worried; they were up to it.  When I asked them to read the poem for themselves and underline all the nonsense words, they were able to complete this first challenge without any problem at all, their vocabulary being sufficiently developed to spot the words in amongst the text.

Next, we spent time thinking of alternative words that could be used to replace the nonsense in the middle section of the poem.  Again, no real problem.  An occasional grammatical error or slip in the spelling perhaps, but they were definitely onto it, and understanding the intention completely.

The fun and laughter really started when I asked them to come up with their own nonsense words for the first and last verse.  At this point I wondered if the imaginary words they created might end up having an English or a Dutch feel to them.  It was of course all nonsense……but to me, the words that they were coming up with did have a distinctly English twang to it and they generally nestled perfectly well into the context of Carroll’s poem.

The link below allows you to download a step by step guide to the language part of the lesson.

With this language component of the lesson series complete, we moved on with enthusiasm to work on a more than five-meter-long group drawing of our own Jabberwocky.  The result of the drawing project can be seen here, but how exactly we arrived at the composition and in what order we did things, are details I’ll save for another post.

The results of a stay at home Christmas

It was a rather static Christmas break. For the second year in succession no trip over to England. But the result was more studio time.

Over the last couple of years, I’ve regularly posted my experiments with lino-cutting. It’s been generally a fringe activity to the paintings I make, but for now at least the resulting work seems to be the leading factor and taking me towards the next round of paintings. Time will tell, but the prints and collages are offering interesting possibilities to explore.

As ever the themes relate to manipulated landscapes, geometry and the geometry that is found in the landscape itself……..and there is plenty of that in the Dutch landscape.

Can’t see the trees for the drawings – the start of the school year

All the work was actually done at the end of the previous school year.  In fact, a significant part was put in place during the tail end of the last lockdown that we had in schools here in the Netherlands back in the spring as this previous post documents:

Preparatory tree project work

But once back in school, with whole classes back together, what started as a walk in the countryside and photographic assignment, could take on a more ambitious drawing and painting character.

The idea was relatively simple. I wanted, after months of disruption and children following my lessons on their laptops and iPads at home to do a fairly loose group project that would deliver a result that was significantly bigger than the individual parts.  It was also obliquely connected to the Surrealist’s Exquisite Corpse drawing game where elements of drawing connect vertically without one part actually being made with the intention that it should seamlessly connect.

Our ‘corpses’ weren’t to me figures, but trees. Linked together by a vertical trunk that ran through the drawing.  The pupils had spent time outside looking at trees and photographing them.  We had made small digital collages connecting various sections of diverse trees into an arrangement that hinted at where we were going.

But still, the greatest challenge was to get the pupils (14-15 years old) to loosen up a bit and dare to start on the relatively large-scale drawings I was asking them to make.  To help reach the point where we got quite high contrast drawings there was really only one material to use and that was charcoal.

After a few nervous minutes at the beginning the class soon got into it.  I kept hammering on about daring to draw and being a bit aggressive in their mark-making.  Also, I kept again and again repeating to make sure that they got different scales of mark in the drawings, from the thick and lumpy trunks to the lace-like finest twigs and everything in-between.  We used the photographs made earlier as a reference point to make sure that nobody slipped into the ways of drawing trees that they may have used when they were at primary school.

Charcoal delivers fast results, and it was very quickly clear that the drawings that were being made have qualities that were going to mean that my hopes to make a larger group display of them was likely to be a possibility. 

The speed of the drawing process meant that in subsequent lessons we moved onto similar work, but this time drawn out in paint.  The pupils were working with a freedom that I rarely see, not just from the ‘artists’ of the class, but pretty much right across the room.

The resulting work now hangs in the hall at the main entrance to the school, backlit from the light outside and against a backdrop of real trees.

Reverse Perspective 2

Two years ago I wrote a couple of posts about a drawing project that I had done with groups of 12 year olds using a technique where the rules of perspective are flipped around and the paper used is folded a little to produce surprising illusionistic results.  The original posts can be found here:

Reverse Perspective LINK 1

Reverse Perspective LINK 2

Since then two things have happened.  Firstly, the posts have gone all over the place, I discover then time and again online.  The idea certainly seemed to catch the attention of many involved in art and education.  And secondly I have been playing with the ideas for other variations using the techniques involved. 

Just under a year ago I finally had the new version ready to try in class, but during that very same week a lockdown arrived and I just couldn’t see how the complexities of the assignment could be made to work in an online/do it at home sort of a lesson.  As a result I moved on to other plans. 

During the early summer though, we were back at school and it was time to try again.  Like the first version the drawing makes use of essentially a form of one-point perspective drawing and a little paper folding.  The construction and drawing involved is perhaps just a little easier this time round and the results slightly different.

This PDF offers a short cut to the drawing that is needed and can be printed out or redrawn by pupils (my preferred way) during the lesson.  The two small dots are the vanishing points that need to be used for the drawing of objects on the opposite facing wall.  The areas shaded blue ultimately need to be cut away before the folding of the paper can be completed and the two tabs glued behind to create the three dimensional construction.

Like with the original version the best illusionistic effect of the results are achieved when making a film of the resulting work.  For a next time, (as always you learn things as you go along!) I’ll be offering more guidance on how to draw tiled floors so that they fit more convincingly into the illusion.  You live and learn!!

Collision course

For more than ten years my creative output has broken clearly into two parts. The studio work that has resulted in paintings, constructions, prints and works on paper.  All carefully worked out and refined, often in quite extensive series of incremental steps.  Alongside this has been an extensive series of small scale, rapidly made, landscape drawings and paintings that have filled hundreds of pages of bound sketchbooks.

These two series of work have, at times, hinted at the possibility of coming together and supporting one another. But up until now, although there have been tentative connections in one way or another, I have never really felt a crossover occurring or a serious engagement between the two branches. 

However, that situation may be about to change.  It’s early days to shout too loudly about it, but maybe, just maybe, things are on a collision course, time will tell.  Here, in the most recent studio work there is a genuine landscape image, reminiscent of one of my sketchbook paintings, stands central….and there are more to follow, possibly making use of images such as this woodland watercolour.

At last some sun and a little bit of warmth

After what feels like months of continually having to reinvent what I am doing in the classroom, and way too much time staring into the webcam, there was today just a hint of spring in the air.  Reason enough to head of out on the bike before an afternoon of online meetings and prep work for the school days ahead.

The result two of the first en plein air drawings of 2021.  Fingers were still a bit cold, but it is a start……..

Digital presentation of pupils work, PR possibilities and a future assignment

Most schools in the Netherlands have open days during the mid-winter. Many schools have something of a pitched battle against nearby rival schools in the effort to attract a good number of new pupils for the forthcoming school year. The school where I teach is no different, we must be seen to compete!

Such open days are all well and good, if a little exhausting and long at the end of the teaching week. But with the current lockdowns and need for extreme social distancing the normal packed school with hundreds of children and their parents simply is not an option. As a result, things are moving online.  Most schools are frantically putting together a new online presence/digital open day. Films are being shot, interviews recorded, and websites constructed.

As far as the art department is concerned, in my school we were looking for a way to present a collection of pupils’ work.  Collections of photographs or films of pieces of work were of course possible but we wanted something a bit more immersive and interactive, and amongst all the other films that were being made, we simply wanted something that stood out as being a bit different.

The need of the situation, as with many other things in education in the last year, has forced me and a colleague to explore the possibilities more than we perhaps have done up until now.  The online exhibition possibilities offered my artsteps.com where something that I have known about for a while but have never fully explored up until now because I simply have not fully felt the need to.  But now was the time, was this going to be what we needed?

Well, the short answer to that is a resounding yes, absolutely. A week later I have built three online, three dimensional exhibitions of pupils’ work that are going to serve our purposes fantastically well. The links below will take you there and allow you to pass through and view the work. 

Exhibition one —————- Exhibition two —————- Exhibition three

Of course, it is not as good as walking around an art room in a school taking a closer look for yourself but given the circumstances it really isn’t a bad substitute for our 10- and 11-year-old visitors and their parents.

Having put it all together, what would I say are the pros and cons on offer here?

Positive points:

  • The learning curve for using the software really is not too step. Invest a little time and you should find your way.
  • Creating a stylish and well-ordered look to the exhibition is both possible and straight forward.
  • It is free and everything is online (apart from the photos and films you want to upload) with no software having to be downloaded or installed.
  • Videos can also be part of your exhibition.
  • You can design your own rooms.
  • But above all is just fun to create and fun to visit!

Negatives

  • Three-dimensional work is difficult to include.  3D printer designs can be unloaded and included, but documentation of a tradition sculpture can only be done using a film of the object or photographs of it.
  • I do not seem to be able to get the films to work on mobile devices. Although walking around the spaces to look at the pictures on my iPad works perfectly.
  • Visiting the exhibitions on a mobile phone is, it seems, possible on some phones and not on others.

The ease with which the software works leaves me thinking of the future possibilities.  I see opportunities for asking a group to curate their own exhibitions on selected themes.  They could visit the websites museums of the museums of the world gathering the artworks that they need.  I have done this before and set poster design assignments as a part of the project, but now I see the additional installation of a 3-dimensional digital exhibition as a fantastic extension of the project.

It is strange how necessity can be the mother of invention, forcing you to explore new possibilities. This has certainly been the case in the past few weeks.

New Year’s resolution……to draw more, again

Last year I started the year with a plan to draw more. I have drawn a lot in the last twelve months, but still have the feeling that I should do it more, if only to avoid later dead ends in paintings that haven’t been sufficiently planned out.

So this year we start again and above is the first drawing of 2021.

Last year’s resolution can be found here:

https://petersansom.wordpress.com/2020/01/01/new-year-the-same-old-resolution/

The summer 2020 sketchbook

This summer has been different. Not a completely stay at home holiday, but one that hasn’t seen me cross the Dutch borders. Like most holidays I document the trips we make in a small drawing book. No great aims or ambitions, just quick visual notes of where we go. That has meant images of forests, heathlands, the rivers and the coast.

Click here or on the image below to browse through the book.

I have quite a collection of similar books on the shelf in my studio. This is the first one that I’ve put into digital form. The quality is not too bad, and it is in the end a nice record of the ‘Corona summer’.

There connections to my other paintings that I produce is limited, although maybe there is just starting to be increasing convergence. A long over-due update and documentation of my studio work from 2020 should hopefully follow sometime in the coming weeks.