iPads in the art room

I might be jumping the gun a little bit in this post. But the school where I teach is considering a change in our digital device of choice. For about six years all the pupils at our school have worked with an iPad alongside their regular schoolbooks or in many cases in place of their regular schoolbooks. As a school we are on the cusp of implementing considerable changes in the way we teach our pupils and, as a result, it’s a good moment to be reflecting on the educational tools that we use. This is the reason why our choice for the iPad is up for evaluation. It could well be that in the end we choose to stay with the iPad, although I feel maybe the balance of opinion within the teaching staff is shifting. Might the future device we choose be a laptop or a Chromebook perhaps?

Within the art Department we are also reflecting and thinking about what we prefer. If I’m honest and look back to the start of our iPad experiment, in the beginning I wasn’t sure exactly how it would come to gain a place in my lessons. I too was new to the iPad and the possibilities the digital tablet may offer the creative wing of our school. Through a process of learning and experimentation the digital possibilities on offer found their way into all sorts of areas of my lessons.

I love having Internet access at every desk for researching and linking art history to practical assignments. I also love having every pupil ready with a stills or video camera to record their activities and document their work. It has offered graphics and page layout design possibilities in the classroom without having to relocate to computer classrooms to access desktops. I’ve done animation projects and photo collage assignments having simply first asked the pupils to download the appropriate app.

Possibly though, the area that I’ve grown to enjoy most, and in a way, has surprised me most, are simply the drawing and painting opportunities that the touch screen offers my pupils. Teenagers are often very cautious when it comes to putting pen or pencil to paper. Most are teachers have any number of tricks to try and loosen them up and tempt them into more expressive mark making. The instantaneous nature of a digital paper that the iPad offers brings different possibilities to this area. Yes, perhaps it is at times a bit overly disposable, but that’s exactly what helps. When I look at the decorative letter designs my 12-year-old pupils recently produced, and the freedom of mark making that they display, it is a considerable step from where I can get them to using pencils and paper. Also, when I consider the abstract designs that my slightly older 14-year-old pupils have produced using a different app. This work shows a speed of creative possibilities are so much faster than the comparable approach on paper would allow. It is not a replacement; it is simply something creatively different that allows them to cut loose and be considerably more experimental and ultimately more expressive in their work. In both cases these benefits can subsequently be drawn on and used in pieces that rely on more traditional media.

The art department enthusiasm for the iPad isn’t entirely shared by other areas within the school. Some colleagues lament the lack of a proper keyboard. Others would like to have a bigger screen. And many would like to lose the instant accessibility of the games put the pupils are so determined to play outside (and inside) their lessons.

I would certainly be interested to hear from any other art teachers and art departments that have been confronted with similar digital choices.

Using technology to make use of an analogue trick

The idea of making a panorama photograph using a modern camera, even the one on your phone, is simple. Select the panorama setting press the button and sweep round the 180 or 360 degrees that you want to capture. The teenagers I teach are only too familiar with this possibility. So when I suggest that we are going to have a go at creating composite panoramic photographic compositions using maybe up to fifty photographs, there is a certain amount of ‘unlearning’ to be done.

Talking our way through a number of David Hockney’s ‘joiner’ collages of multiple Polaroid photographs certainly helps open the teenage imagination to the possibilities on offer. Preparing the pupils to head out to take their series of photographs is an important point in the process. Young people are not to used to the idea of stopping to consider their photographic subjects too much, the instant and endlessly free nature of the digital image has changed that. Yet for this assignment finding an interesting, complex and maybe above all, spatial subject is crucial.

Once the photographs have been made, what Hockney would have done, puzzling through all the hard copies of his images spread across a large table is easily done digitally and without expensive or time consuming printing. Although, having said that, I am regularly surprised at the difficulties experienced by my digital natives in getting images off their phone and onto a desktop computer! Once that is achieved though, the photographs can be dumped into a single PowerPoint slide or MS Publisher document and resized to an appropriate format. After that the enjoyable part to putting the photographic puzzle together again can begin, experimenting with the layering and overlapping as they go. At this point I can normally sit back and wait for the final pdf documents to be made and handed in.

This year was the second time I’ve tried this assignment with the 15 year olds that I teach. Maybe I’d learnt a few things from last year, spotted and alerted pupils to potential problem areas when explaining the process perhaps, maybe they are just more creative pupils than last year’s group…..who knows! Either way, the results are, generally more ambitious and successfully worked out than the first time around.

Street art, but just outside the classroom door

img_0138It’s been a while since I’ve done this wall drawing project, but a new addition to our school year has been two dedicated ‘project weeks’. The aim of the project weeks was to try and get some of the interruptions that regularly come along during regular weeks (and disturbing the lessons) out of these weeks and into one compact session. This has worked to a degree, but has also lead to new projects being dreamt up or activities from previous years being revamped and inserted somewhere into the five days. My ‘street art/wall drawing project’ was one such example.

For the second year pupils (aged 13) that I was working with, this was an opportunity, albeit a rather short one (about two hours) to have a go at creating some large scale images, a welcome change to the A4 or A3 sheets that we seem to spend most of our time working on. The other challenges we worked on were creating three dimensional appearance in the taped objects and also plenty of overlapping. Both points were aimed at creating a more spatial illusion in the drawings.

An interesting and very useful reference point we’re the wall drawings of British artist Micheal Craig Martin.

The documentation of this project from a number of years ago can be found here.

A secret art project…..and a unique opportunity

The post below was written six months ago. At the time it had to remain unpublished, an art related secret yet to be told. Things have moved on, I can now tell the story.

27 February 2019

I am writing this knowing that for the time being at least, I’m not going to be publishing this post. The reason for this is that it involves an artwork that at the moment is something of a secret and is related to the ‘Rembrandt year’ that the Rijksmuseum in Amsterdam is hosting to mark the 350 years since the artist’s death.

The story starts two and a half weeks ago. My colleague Caroline and I were at the Rijksmuseum in Amsterdam. We had split our group of twenty-two pupils into two groups and were receiving a tour from two tour guides focussing on Dutch 17th century art. Such a tour inevitably stops off in front of Rembrandt’s Nightwatch. I was elsewhere in the museum with my group when Caroline was standing in front of Rembrandt’s massive masterwork.

While the group were answering questions Caroline noticed that the group was being very closely observed by another visitor. Moments later the same visitor came and introduced herself as Rineke Dijkstra, the Dutch art photographer who is perhaps best known for her photographs of teenagers, awkwardly posing before the camera on apparently empty beaches.

Dijkstra didn’t waste anytime in getting to the point, she had been commissioned by the Rijksmuseum to produce a new video work as part of the current Rembrandt year. It was going to be along the lines of the earlier work shot in Liverpool of British children talking and reflecting on a Picasso painting without the painting itself ever coming in shot. The new project was going to have its focus on Rembrandt’s Nightwatch though……and the bottom line was, that she wanted to use Caroline’s group of pupils as a part of the project.

Two weeks of organisation followed, permission from school to participate, permission from parents because the group was mainly made up of sixteen and seventeen year olds and the willingness fo the pupils themselves to be involved.

Two and a half weeks later we find ourselves, after museum closing time in the essentially deserted gallery of honour, with its collection of Vermeer, Steen, Hals and Rembrandt works. But in front of the Nightwatch a temporary studio has been errected for the film shoot. A white cube, bright lights and multiple cameras. It begins, I think, to dawn on the pupils that this is actually really quite a big deal! We are introduced to Rineke, she also seems quite excited about the work to be done that evening.

One of the Rijksmuseum tour guides take the girls off on a quick tour of some of the other paintings to settle nerves (yes, only girls, clearly a factor that made the artist pick Caroline’s group from the masses a couple of weeks earlier). A clear embargo was placed on photographing the set or any of the activities around the shoot. No images were to find their way onto social media!

Then it was down to work. Rineke sellecting clusters of girls to join her on the set that had been created in such a way that the pupils were issolated against an intensely lit white background.

I stood, a little out of view. Behind three monitors streaming the input from the cameras, not unlike the multiscreen effect that I had seen before in the Liverpool work. However, unlike that work, where the children involved were presented in a row side by side, this time the artist seemed keen to experiment with different approaches and compositional devices. The girls were arranged sitting on a bench together, but with the bench lined up in such a way that it was angled towards the camera. The result being that the faces of the girls appeared almost stacked up behind one another, way more dynamic and perhaps more in keeping with the work of Rembrandt himself. The girls were encouraged to talk about what they saw, what they thought, no script, just spontaneous reaction.

Dijkstra also asked a group of the girls to look at the painting and draw from it in their sketch books. After much careful positioning and repositioning of the girls, and laughter and a little bemusement from the young subjects, Rineke gave the sign, cameras rolled, silence decended. The girls drew, they looked, they drew again. This time the shoot ran for a considerable time, in fact it seemed to go on and on. The concentration was palpable. Were these really the same chatty, and often enough, distracted children that we see in class at school?

The material that was recorded was fascinating to see, as was the process of work of Ms Dijkstra as she cast her critical eye over the detail of the framing of each of the cameras. One of the later shots that was made reminded me more of Rineke’s well known photographic work of teenagers on the beach and a certain discomfort that creeps through in those images. A row of girls took up position against the white backgroud, the Rijksmuseum guide, just out of shot started to talk them through the painting, an extensive and detailed monologue which went on for quite an extended period. The girls focussed on the image of the painting, following the guides descriptive speech. You saw their gaze move around the image. They remained standing and looking. After a while you saw an ocassional adjustment of balance, a dip in concentration, a momentary distraction. Suddenly you observe that ‘not completely relaxed’ mark that is present in so much of Dijkstra’s work. Simply by filming for just long enough that lapse in focus starts to show itself, both physically and mentally.

23 August 2019

At the time of writing we had no way of knowing how much, if any, of what was filmed would in the end be used in the film work. We’ve reached the point now though that there is a finished work that will shortly be unveiled in the Rijksmuseum. The presentation of the work Night Watching in the Rijksmuseum in Amsterdam is a couple of weeks away and the group of girls and us, their teachers, have been invited to the preview at the beginning of September.

End of year…..jobs you just don’t get to the rest of the year

The last weeks of the school year have arrived.  The pupils are intermittently at school for tests, a few last appointments and finally the picking up of reports.  Apart from a huge amount of clearing up, once this stage of the year is reached there is generally time at last to spend a little while working on a task that has been continually pushed to the side throughout the year.  That being presenting the work of pupils on the walls and in the glass cases around school.

It is an important job, at least in terms of raising the profile of the art department in the school as a whole, both for pupils and staff.  Some great things do get made in the art department, we produce good final exam results, but still the importance of a bit of PR work is never wasted. Colleagues from other subject areas are generally pleased and interested to see the creative work that pupils produce. But undoubtedly the most important thing is building the interest of the younger pupils to potentially choose the creative subjects as an exam subject in our upper school.

From a personal point of view, I do also get a sense of satisfaction in seeing the pupils’ efforts presented clearly and well.  This is especially true for the larger group projects that I have carried out with whole classes during the last months.

 

The homework issue

Some of my first years (aged 12) have truly transformed their artistic ability this year. It is almost like they’ve developed a completely different artistic soul……which may well turn out to be an extremely accurate evaluation of the situation.

The pupils concerned handed in a homework project yesterday that they had been working on for the past month or so. I was an assignment that involved a little internet research, writing a short text and producing two drawings.  I flicked through the folders afterwards and two in particular caught my eye.  I’ve watched the two boys concerned struggle with their drawing capabilities over the last year.  I’ve pushed and encouraged, there has been some progress, but generally quite small steps. Below are two drawings that the pupils made while we were working on a monsters and gargoyles project earlier in the year.  The paper is filled, the drawings quite unrestrained in their character and the shading is, well lets be positive, quite expressionistically done.

Perhaps I should also mention that the drawings were done in class.

So back to the project.  The main drawing assignment was to take a flower or small branch from a tree and lay it on a sheet of white paper and make a pencil drawing of the plant form and shadow.  We didn’t spend time practicing this sort of observational drawing in class, although I did give a little instruction about filling the sheet and trying to make full use of the range of greys that your pencil offers.

The same to pupils from the drawings above produced these drawings:

Something quite remarkable seems to have occurred.  As the art teacher, I would like to claim that my pupils have suddenly become so much more sensitive in the use of their materials.  But the truth is of course, these drawings are not made by the pupils concerned.

Now there is nothing new in parents or older siblings helping with homework.  Generally, a parent who helps and explains with a difficult piece of maths should be applauded.  It is also true to say that the same parent who goes that little bit further and fully solves that especially tricky equation for their child will generally pass by unnoticed. But with art homework it is all rather easier to see.  The question to those who have helped here is simple, do they really think that I can’t see this?  I feel a comparable drawing assignment that we will work on in class may be the way to resolve this, maybe there will be a third pair of drawings added to this post later……….

 

An app as a serious story-telling device

Screenshot 2019-04-11 at 07.01.31Today, for the first time ever in one of my lessons I had a whole class active on their phones, headphones on and experiencing a piece of serious thematic lesson material. We were using an app that connected strongly with our current lessons based around how artists and other creative people tackle subjects such as immigration and refugees in their work.

For more than half an hour there was silence in the room and eyes were fixed on the small screens as the pupils were challenged to make decisions for an imaginary refugee fleeing persecution in Malaysia.

The app that we were using was ‘Finding Home’ made by the UNHCR a couple of years ago to give users insights into how the life of such a refugee is and their dependence on the communication opportunities offered by a smartphone.

It is an interesting approach and engaged the pupil’s attention fantastically well.  The app, in effect, takes over the phone of the user and makes it work like the phone of the refugee in the story.  The app presents a story in which there are choices to be made by the user that will alter what happens and the course of events.  In a sense it is not unlike some forms of literature that offer the reader the chance to make decisions and choices as the story progresses.

The app goes a step further though in that it also offers access to the photos, video and phone calls of the user, thus making it a much more immersive experience, one that continually engages you with choices, new developments and lurking in the background a constant feeling of danger.

The reaction of the pupils at the end of the lesson was positive.  The narrative that drives the storyline that the app develops was engaging and held their attention. There was even a suggestion I feel that they would actually have liked the app to have had even greater complexity and length, a positive, I think.  It will be a while yet before I ask the class to make a comparison between the various cultural media used to deal with these sensitive political issues.  It will be then that truly find out what the whole class thought of the way we spent the lesson and how the experience weighs in against immigration narratives developed by filmmakers, writers and visual artists in the other examples that we will be looking at.

 

Sworn to secrecy in Rembrandt year

Sometimes the strangest things at the strangest time simply happen…..and in this case might result in a rather unique experience for some of the art department pupils at my school. An interesting story to tell? Well maybe, although at this moment I am rather bound by a kind of pact of secrecy. But I feel I can share just a little of the story and will do in a moment.

IMG_6623

First though a bit more about the Rembrandt celebration that are rather sweeping through the Dutch cultural scene this year. It is 350 years since the artist’s death. The Rijksmuseum has taken the lead and have mounted an extensive exhibition of the Rembrandt’s paintings, drawings and prints. There is a tv show where amateur artists are competing against each other to produce the most accomplished Rembrandt inspired paintings and there is a planned exhibition of Rembrandt related work made by artists (amateur and professional) from across the globe.

If you are interested in art and living in the Netherlands, it really is quite difficult not to be swept along a little in the hype.

I have also made a slight adjustment to my usual planning to make space for Rembrandt. He has provided the content for a group transcription project that I often do with my first year (aged 12-13) pupils. So, this year it was 45 pupils, 48 squares of card and only black and white paint (to draw extra attention to Rembrandt’s use of tone). Our starting point was a close-up image of one of Rembrandt’s self-portraits, which once dissected into smaller, provided some pretty abstract looking details for each pupil to tackle. The question was, would this image have enough structure to hold the overall portrait together in the hands of my pupils, and could they be precise enough in their mixing of greys?

As things turned out, I didn’t have to worry. Once all the white of the paper had been painted away, the pupils themselves were able to see areas that needed extra attention generally, and once the total image could be seen from a distance for the first time there was undoubtedly a sense of pride from the group. Maybe it’s not the most creative assignment that I do with the groups involved. But it certainly has benefits in the areas of mixing different tones and the effect of light and dark. Coupled with that comes the positives of producing a team work, and the challenge for everyone to up their painting performance to avoid their piece of the puzzle standing out for the wrong reasons!

The artwork has subsequently been entered at the last minute for the Rijksmuseum’s open exhibition. You must ‘be in to win’ of course, but with well over 8000 other entrants we won’t be expecting too much!

Which brings me back to that other project involving the pupils studying art as an exam subject at the school I teach at. They too have been involved in an art project that also has a Rembrandt and a Rijksmuseum connection, I hope to be able to tell a little more about that later in the summer.

Apps that meet my art room needs (12-15 year olds)

 

I’ve been making use of iPads in my art lessons for a number of years.  Together with my pupils I have experimented quite a bit, discovered some very bad apps and some very good ones. I’ve enjoyed having a camera always close to hand, easy and rapid access to the internet and discovered that an iPad also works really well as a tray for carrying cups of coffee through the corridor! 

There are still things that I am searching for. For instance I am yet to find an app that works well enough and fine enough to give satisfying results for modelling and designing for a 3d printer. But maybe someone out there has a suggestion for me. 

So what are my favourites when it comes to combining the digital possibilities of the iPad with the more conventional materials in the art room?  First of all let me explain a couple of criteria I have (or are forced to have): 

·         Due to department and school restrictions the app must be free to use 

·         It mustn’t be overly and unnecessarily complex 

·         It must be reliable, no crashes or freezing screens 

·         It must offer truly creative possibilities, not just readymade routes to polished results (this is a particularly important criteria, there are way too many apps that simply do too much for you) 

Below are a few of my favourites at the moment and examples of pupil work that has been produced using them. 

PHOTO EDITING 

Photoshop mix (Difficulty level: initially seems quite complex, but really isn’t) 

Cutting out, rearranging and editing photos on the iPad in the first instance looks like it is going to be difficult with a relatively small screen and complex to do without a mouse.  Photoshop Mix from Adobe though makes this remarkably easy to carry out quite fine work and even the younger pupils grasp the principles of the app rapidly and are soon able to manipulate images made up of multiple parts on numerous layers. 

blogipadletters

DRAWING AND PAINTING 

Bamboo Paper (Difficulty level: easy) 

The free version of Bamboo Paper comes with only two drawing tools and a limited collection of colours.  Despite these apparently enormous restrictions I use it every year with my youngest pupils.  It’s easy to use and has the by-product of forcing the pupils to be creative in discovering just what is possible with so few things to work with. 

Brushes Redux (Difficulty level: easy) 

Like Bamboo Paper, Brushes Redux doesn’t go overboard on the tools that it offers.  There are unlimited colours and a large collection of possible brushes but not a great deal more.  It is also a lot less graphic in the quality of the images that you make. It brings you closer to a painting or drawing with pastels sort of experience. The sampling of colours by touching a colour on the image on which you are working is useful, as is the possibility to import an image and work over the top of it is a facility that I have used in class.  Also the app allows you to reply i high speed animation of the drawing that you have been working on, a feature that is always popular with my pupils. 

Medibang Paint (Difficulty level: more complex, but offers so much) 

Medibang Paint (with its truly awful name) is a very complete, free, drawing app with a huge amount going for it.  Yes the screen space is often very crowded with the controls that are on offer, but get used to that and you start to ese the potential.  There is a huge selection of brushes on offer that can be modified,  photos can be imported and worked on and it has and interesting control feature that lets you manipulate the ways and directions in which your brushes work.  My older classes love it. 

GRAPHIC PAGE DESIGN AND POSTER LAYOUTS  

DesignPad (Difficulty level: more complex, but works well, even on the iPad’s relatively small screen) 

I use DesignPad with all age groups that I teach, beginning with a simple book cover design assignment with twelve year olds as a sort of orientation challenge.  After that comes poster design before progressing onto using it to plan the entire layout of a self-made book with my groups of fifteen year olds.  It requires a certain amount of getting your head around how it all works, but after that it is possible to use it for quite complex design challenges without ever having to leave the classroom to go and search out the desktop computers. 

Well-being and the arts (part two)

A couple of days ago I posted some thoughts on the significance of the arts and their general contribution towards our sense of well-being. I’ve had various pieces of feedback in response to it and I’d just like to share a couple that seem to connect so well.

blueart

Firstly, a quote from Brian Thorne, Emeritus Professor and Director of the Centre for Counselling Studies at the University of East Anglia in Norwich.

I count it essential that I visit the sea frequently, that I train my eye to observe the intricate design of trees and plants, and that I make friends with animals.  What is more, I am horrified if I discover I have let a whole week pass without having read a poem, listened to music, visited a beautiful building or feasted my eyes on a work of art.  I know that I need to do these if I am to cultivate a sense of deep connectedness to all that is, and, more importantly, if I am to retain a sense of awe and wonder at the marvels of creation, whether natural or human.

Secondly, a short film that relates more specifically to my work to encourage pupils to choose creative subjects to study whilst at school. The Tate Gallery in London has produced a film that addresses many of the points I try to make, plus a few more.

A couple of days ago I posted some thoughts on the significance of the arts and their general contribution towards our sense of well-being. I’ve had various pieces of feedback in response to it and I’d just like to share a couple that seem to connect so well.

Firstly, a quote from Brian Thorne, Emeritus Professor and Director of the Centre for Counselling Studies at the University of East Anglia in Norwich.

I count it essential that I visit the sea frequently, that I train my eye to observe the intricate design of trees and plants, and that I make friends with animals.  What is more, I am horrified if I discover I have let a whole week pass without having read a poem, listened to music, visited a beautiful building or feasted my eyes on a work of art.  I know that I need to do these if I am to cultivate a sense of deep connectedness to all that is, and, more importantly, if I am to retain a sense of awe and wonder at the marvels of creation, whether natural or human.

Secondly, a short film that relates more specifically to my work to encourage pupils to choose creative subjects to study whilst at school. The Tate Gallery in London has produced a film that addresses many of the points I try to make, plus a few more.