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Malena Final Piece 5 hidden meanings within my piece

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Malena Final Piece 5 hidden meanings within my piece

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The car symbolises a bubble of familiarity and safety, representing the way that many expats, like me, stay in familiar, “safe”, westernised environments, instead of immersing into Cambodia's culture. The fact that I am depicted sitting in the driver's seat (without ability to drive) alludes to an overwhelming situation that I don't know how to navigate/handle.

Repetition of colourful circles/dots alludes to a colourful crowd of people (dots = heads), that displays a sense of diversity, disorganization yet harmony, to represent the lively ambiance of Phnom Penh.

The letters dispersed around the car pertain to the languages familiar to me, which are entirely different to Khmer language characters. They represent my western education and the way in which it shapes and takes over my perception of Phnom Penh, and prevents me from fully understanding the culture.

The white geometric lines that disperse around the car imitate the shape of streets on a map, which represents the “perfect” organization in Frankfurt, Germany, and the fact that I find it easy to navigate.

The space left between the foreground and background creates physical distance between my “bubble”, and Phnom Penh. This highlights the fact that I view Phnom Penh from a distant, Westernized lens, rather than being immersed in it.

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The overall composition moves from the past (left) to the present (right). This is further established with the baby and present images. The composition creates the narrative of freedom and youth (bright colors and nature collage) dwindling over time due to expectations from society (becoming dark and soiled textures, showing discomfort).

The temple covering everything is a symbol of tradition being overbearing in this society. Although we all have personal stories, in the end, our personal opinions do not matter. To me personally, the temple is both a source of comfort and suffocating expectations.

The sharp, black impasto strokes coming from the sides and charcoal represent the feeling of suffocation from external factors.

The gold is used to bring the composition together but is also a symbol. It references the Chinese-Cambodian burning rituals, a source of my comfort. Meanwhile, it intoxicates society (in a literal and non-literal way).

The Khmer scripture is an extract of the “Chbab Srey”, the women’s code of conduct. Shows the stereotypes and expectations put on people, especially girls, in Cambodian society. I feel that it still has some, few but still some, comforting messages.

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Interview

GRAFF- FONKi's roots remain in graffiti & Cambodia

"Graffiti & Hip Hop culture was & still is a way to connect to any culture & country I go to paint"

LiFTED Roger Yiu 22 Nov 2021

Cambodia was once the center of the world but has had one of the roughest histories of any Asian country. The former French colony has suffered calamities, regime changes, Japan's occupation, civil wars, and notably, the devastating reign of the Khmer Rouge from 1975 to 1979, which eventually led to the most ruthless genocide of the 20th century with 1.5 to 2 million deaths. It is estimated that 90 percent of academics and artists were executed or exiled during the Khmer Rouge regime. This annihilation of a generation of artists severely crippled the passing down of traditional Khmer arts, but a handful of new generation artists in various mediums have managed to salvage the long-lost arts. One of these artists is FONKi.

Raised in Montreal, Canada from Cambodian parents who sought refuge from the Khmer Rouge genocide, FONKi always had a strong bond with the traditional Khmer culture despite growing up in Canada. FONKi started tagging his name everywhere from the age of four but got hooked on graffiti when he was 15 and has since been obsessed with this art form.

In 2012, his life took a big turn as he starred in a feature documentary, The Roots Remains, where he documented his return to Cambodia. There, FONKi started using Kbach style, a unique form of graffiti that incorporates the intricate Khmer elements with the expressive hand styles of graffiti. This eventually caught a lot of attention and boosted FONKi's career. Now, he has become a world-renowned artist who extended his talents outside street arts into fancy galleries and auction houses, yet his roots remain in graffiti and Cambodia.

Tell us about your upbringing. How did an Asian kid from Montreal get his head start to become an artist? Have your parents always been supportive of you pursuing the path of art?

I have always been a drawer as far as I could remember. In fact, I remember drawing stuff when I was only three years old. But what truly opened the door to becoming an artist was the graffiti culture I plunged into when I was 15.

My parents have always been extremely supportive when I started studying art at school. They were a bit concerned though during my teenage years because I was always brought home by police because of vandalism. Good thing I turned that into a career!

How did you get introduced to graffiti?

You are also widely recognized as the inventor of Kbach graffiti, a unique style of lettering that welds traditional Khmer art with a modern aesthetic. Tell us more about the process. What is the inspiration behind it and how did you balance the authenticity and the new elements when coming up with Kbach?

When I went to Cambodia in 2012 to shoot the documentary film The Roots Remain. I wanted to rock walls that reflected our Khmer Culture. So during the first month, I went to Angkor Wat and studied elements of the Kbach ornaments engraved there, and then I got this Kbach Book!

I didn't invent anything, I simply mixed traditional graffiti piece letterings with existing Kbach ornaments. It's like cooking, you know! Shout out to my man Peap Tarr and homegirl Lisa Mam who have been rocking street art murals with Khmer/Kiwi elements since 2010. It's cool to see over the past decade a little scene blooming from practically nothing to what we have now.

Can you tell us more about the distinctive features of Khmer arts?

How has the Western world responded to your art?

You have been involved in many different projects, both commercial and artistic. What is the most memorable experience in your career?

Cambodia's art scene is going through a renaissance after decades of oppression from the menacing Khmer Rouge. Do you feel, as a Cambodian of the newer generation, you have the mission to help revive the culture and promote it to the world?

As a second-generation immigrant, have you ever had an identity crisis as you feel dissociated from your own culture? If so, has graffiti been your way to link with your roots?

Lastly, if you are provided the opportunity to paint wherever you want, where would it be?

Bring me to the moon!
Check out FONKi's Instagram here and you can watch The Roots Remain below.

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GRAFF- FONKi's roots remain in graffiti & Cambodia

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"Graffiti & Hip Hop culture was & still is a way to connect to any culture & country I go to paint"

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Pinterest Board of mine with artworks that have Many Fine Layers

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Pinterest Board of mine with artworks that have Many Fine Layers

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Explore a hand-picked collection of Pins about Many Fine Layers-2D works on Pinterest.

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Tips for organizing yourself and managing your time in big projects

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Tips for organizing yourself and managing your time in big projects

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Managing state of mind -- Practise focus and concentration -- Practise strategies to develop mental focus -- Practise strategies to overcome distractions -- Practise being aware of body-mind connections -- Demonstrate persistence and perseverance -- Practise delaying gratification -- Practise strategies to overcome impulsiveness and anger -- Practise strategies to

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2021 August timeline for lessons and use of time this unit 

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2021 August timeline for lessons and use of time this unit 

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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found on the OCC

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Blank template (you should use edit this presentation) for this Project

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Blank template (you should use edit this presentation) for this Project

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Shealyn Art HL_ Unit 1, A Sense of Place (2019)

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Student Portfolio-A sense of place example

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Student Portfolio-A sense of place example

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This article features the Higher Level Investigation Workbook IWB and Studio Work of Naomi Ng, completed as part of her IB Visual Arts Diploma Programme at Sha Tin College. Naomi gained Level 7 overall.

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-Lay out for process portfolio pages and do's and dont's
-art terms
-Experiments using an artist's style/techniques and how meaning might be conveyed through them.
-Intention and purpose for each page before constructing it
-signposting criteria
-The sheet that says how many pages of each they require for each criteria
-photographic record of sculptural process
how to deepen conceptual qualities
-which art mediums they are required to use and document for PP
-Where to find great resources for Art. How to research. use the books in the library
-Finding resources in Cambodia that can inspire skills
-When starting your Comparative studies write down as may thought provoking questions that will fulfill the criteria and try and answer them that way.

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Drawing on the right hand side of brain book

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Drawing on the right hand side of brain book

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LearningIT Blog Here you will find various types of information regarding IT, the arts and learning in the 21st century. Most of the items you find here will hopefully help generate new and creative ideas for yourselves or your students.

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Still Life drawing inspiration for start of year tasks

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Still Life drawing inspiration for start of year tasks

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in all fairness, no two lines are exactly the same

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Discover (and save!) your own Pins on Pinterest.

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Discover (and save!) your own Pins on Pinterest.

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Elizabeth Le Court an interesting idea and use for maps

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Keep On Layering! Making More Mixed Media Layers

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fast forward to 2;20.

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Art Supply Review: Water Soluble Graphite

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Adapt for Grade 11 to capture the essence of Phnom penh

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Aug 27, 2011 - This Pin was discovered by Naomi Messier. Discover (and save!) your own Pins on Pinterest

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It’s not UNconditional love because if it was, we’d be doing a sense of place, United Nations.

The ideal Cambodian girl is often referred to as a flower: delicate, elegant, beautiful, and just

stay put and be pretty. This is why my artwork takes the shape of withered frangipani. The

fact that the flower is withered is supposed to represent our exhaustion, younger generations

are tired of tolerating such sexist judgments and expectations just because “it’s the old way”

.

The newspaper, wall putty, and ink medium that is seen throughout the flower are done to

create a vintage sense of place, to portray the fact that these traditions and expectations go

way back. The colorful pieces that spread throughout the flower starting from the stem

represent the range of deep-rooted emotions, the love, and intention that is behind

everything. The anger because older generations were raised with these ideals, they will try

to enforce these ideals onto you as that’s their way of loving us, to know what’s best for us.

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How many pages for each criterion for Process portfolio by Feb of Grade 12 and how to evidence it?

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How many pages for each criterion for Process portfolio by Feb of Grade 12 and how to evidence it?

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Crit A and B

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How many pages are required for Process Portfolio by Feb of Grade 12 and how to best evidence it?

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How many pages are required for Process Portfolio by Feb of Grade 12 and how to best evidence it?

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CRITERIA C and D

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A sense of Place student task sheet 2019-has since been updated with slightly different tasks

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A sense of Place student task sheet 2019-has since been updated with slightly different tasks

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A Sense of Place student task sheet

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A good example for how you should lay out your experimentation page

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A good example for how you should lay out your experimentation page

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Fine art. GCSE 2011. OCR. Final exam preparation (OCR-set task). "Gone fishing". Larise Jermy. William de Ferrers School.

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Sep 18, 2013 - Disegno e pittura in pratica per diffondere la cultura e la pratica delle arti figurative. Lezioni di disegno e pittura gratis

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Accordian book style.

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Moleskine make 2 sizes of what they call a Japanese Notebook which I recommend. If you would prefer to make your own then prepare a long strip of paper (possibly two lengths taped together) w 9am c h 14cm. There are 60 folds in the Moleskine. I will leave the amount up to you. The paper doesn't have to be white.

Drawing Gardens, Landscapes and Natural Forms (4 weeks) starts on Tuesday 12 May. For more information and to book click here

For tonal drawing or line, ink (black or sepia) would be ideal. If you have walnut ink, even better. Tones of one colour whether watercolour or coloured pencil could also be used. Otherwise, all watercolours, gouache and inks are suitable.

Depending on your individual circumstances, this exercise invites you to move around the space, your space, to observe the plants or trees inside or outside. Later in the day you may remember and imagine the forms.

The forms will have an effect on your sensibilities. I would like you to hold onto those feelings whilst you draw the plants and trees and the space they inhabit. Your feelings will alter a little as the atmospheric light changes during the day.

Remember that everything you care about is permanent for you but in the world everything is in a state of flux. It is little wonder that we want to grasp the essence of what we see. In our attempts to express this essence properly, it has to proceed from within.

Make a new drawing in each square, like two lines of a poem, a couplet. The advantage of making drawings in sequence is flow - the flow helps you find a sense of unity. Your design will now show a rhythm, and reveal a pattern; everything in Nature shows these.

Hsieh Ho, a Chinese scholar of the 5th century, said that of all the qualities that a good drawing must have, the most important is depth of feeling with rhythm of all of all living things.

Artworks from top:

Aanal Chandaria, Wintering in the Palm House, Royal Botanic Garndens, Kew, pen and walnut ink in accordian book, 9 x 14cm, 2016-17 / Photos: Clare Newbolt

Drawings by alumni of The Drawing Year (in order) - Tyga Helme, Cheri Smith and Kate Kirk

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Drawing Paradise Exercise | The Royal Drawing School

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Student work produced in my drawing courses

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Visual Communication
School of Architecture and Built Environment, University of Newcastle, 2021

A course designed to introduce students to the conventions, tools, and languages of architectural communication, this curriculum begins with a few simple, tectonic gestures and walks them through a series of operations in different media. Alongside this process, a lecture series covers a range of topics, keywords (which we unpack and demystify) and exemplars of different techniques in the history of design practice.

Almost incidentally, students learn design as they are exposed to generative methods, to gestures and investigations both formal and narrative, and to the codes of composition, We cover sketching, Rhino, physical modeling, drafting, orthographic projection, photography, image editing, layout software and manual and physical rendering. Students develop their sketching skills, and begin to wear-in the path from brain to hand, by attempting to draw every slide of every lecture (some 1000 sketches which invariably become more fluid).

Part I
We begin with free drawing and capturing time by drawing a dancer and mapping her path. We move into rhino, where students follow a set of rules to create a model of interacting forms.

These models are smashed, their parts printed, and made directly into physical models, which are then measured and drafted - each students learning these laws through their unique composition.

Part II
We site the subjects (anywhere, anywhen) and go through a series of formal iterations through which they adapt to their locations and conditions. They then select and develop a mixed media drawing set influenced by a drawing Guide of the students' choosing.

The guides include Lebbeus Woods, Raimund Abraham, Thom Mayne & Morphosis, Archigram, Hans Hollein, Zaha Hadid, Marion Mahony Griffin, Zoe and Elia Zenghelis, Aldo Rossi, Rafael Moneo, Peter Salter, Peter Eisenman, Smout Allen, William Kentridge, Mark West/Surviving Logic, Christine Hawley, Neil Denari, and Jones, Partners. Students draw from their bodies of work, studying and interpreting their methods and media.

We engage, then in processes of "enactive copying." From Patricia Cain, "My aim was to try to understand that artist's decisions through the logic and force of drawing. By doing this, I might discover something about an artist's approach that I could not have accessed from either looking at or theorising about the original drawing. As a 'visual to visual' model, copying might have the advantage of avoiding the synaptic jump one has to make as one moves from 'looking at' a drawing to making assumptions about the intentions of the artist. By choosing this option, I would be questioning why the method works rather than if it works, and trying to find out what stops it from merely being a transaction around style."

(Patricia Cain, "Making Thinking Visible: The Method of Copying" (2010) Etnofoor Special Edition on Imitation, 22:1, 5)

Mai Phuong Nguyen, part I

Mai Phuong Nguyen, part II

Mai Phuong Nguyen, final set

Steph Campbell, final set

Gallery of Part II drawings

1 Cooper Farmillo, 2 Harrison Doherty, 3 Mason McDougall, 4 Hanzhi Zhou, 5 Jeffery Castillo, 6-8 Johnny Villoso, 9-11 Ethan Scotney, 12 Tal Nelson, 13-14 Sam Orme, 15 Madeleine Lock, 16-17 Nathan Walshe, 18 Jordan Ritter, 19 Cade Howell, 20-21 Lucy Butler, 22 Cristian Bravo Morales, 23 Veruska Ceidel Rodrigues, 24-25 Tomi Langdon, 26-27 Kate Widdup, 28 Hannah Brookfield, 29-30 Andre Talafua, 31 Maggie Carr, 32-33 Allan Parmenter, 34-35 Jake Dempsey, 36 Dili Perera, 37 Daniel Turner

1 Joshua Medbury, 2-3 Brad Witham, 4-5 Flynn Oliver, 6-8 Gem Henderson, 9 Mollie Frith, 10-12 Connor Jackson, 13-14 Evan Richmond, 15 Brendan Deacon

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Visual Communication
School of Architecture and Built Environment, University of Newcastle, 2020

Hallie Burgess, final set

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Design Communication
School of Architecture, University of Western Australia, 2016
First and second year students in architecture, landscape architecture, and elective students from the broader university.

In this course, we began with machines (defined as anything that facilitates an act of translation from one state to another). Students sourced machines (cheaply or for free) and deconstructed them to their irreducible parts. They then drafted the pieces at 1:1, and imagined them into a new machine, with a new, but shifted, purpose. They designed the scale and determined the sites where the machines would be located, and transformed and developed them digitally through a series of iterations. They finally construct a perspective of the machines, animate some element of their movement, and render them using digital, manual, or mixed methods. The final compositions combine 9 layers of drawing on drafting film and detail, cultivating depth though backlining, collage, masking, and the use of dark and light media.

These images are details from larger, A1 compositions.

Calvin Markham

Gabrielle Patterson

Hae Yun Jung

Jinfa Wu

Jacob Lam

Junyan Liu

Kay Martin

Leslie-Claire Howard

Marissa Shearsmith

Kenny (Matthias) Widjaja

Nick Kotsoglo

Oliver Hill

Rebecca Ho

Renae Rabel

Rohan Golestani

Rosie Baird

Tai Nhan Dang

Yuxin Yang

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Design Communication
School of Architecture, University of Western Australia, 2015

First and second year students in architecture, landscape architecture, and elective students from the broader university.

In this course, we began with machines (defined as anything that facilitates an act of translation from one state to another). Students sourced machines (cheaply or for free) and deconstructed them to their irreducible parts. They then drafted the pieces at 1:1, and imagined them into a new machine, with a new, but shifted, purpose. They designed the scale and determined the sites where the machines would be located, and transformed and developed them digitally through a series of iterations. They finally construct a perspective of the machines, animate some element of their movement, and render them using digital, manual, or mixed methods. The final compositions combine 9 layers of drawing on drafting film and detail, cultivating depth though backlining, collage, masking, and the use of dark and light media.

Process - Part I: machine deconstruction

Drawings - Part II

Georgia Woodward

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Design Communication, level two Drawing Workshop Arct2001 2013
School of Architecture, UWA
Slow Drawing/Temple To/Layered Thing
tutors: Kate Fitzgerald, Kieran Ward, Jordan Blagaich, Sally Farrah, Ben Juckes, Yam Lapaz.

Synopsis
These are thick, dense drawings produced over nine weeks from sketch to render. They involve the sketching of a skull, the fragmentation of a piece of it, the construction of a fictional terrain, the development of a hand drawn "temple", the walking of this temple through digital space into an evolved form, the illustration of a moving part and the rendering and rubbing of a final iteration of the object.

Catalogue

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Beth George is an educator and practitioner in architecture in Perth, Western Australia. She is an Assistant Professor at the University of Western Australia and a director of Post- and co-founder of Spacemarket.

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Gauguin captured the feeling of Tahiti wonderfully

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Gauguin captured the feeling of Tahiti wonderfully

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Discover (and save!) your own Pins on Pinterest.

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A good example for collage use in older styled buildings

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A good example for collage use in older styled buildings

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Discover (and save!) your own Pins on Pinterest.

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26 Grade 10: Sense of Place ideas | sense of place, artwork, artist

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Nov 26, 2015 - Statement of Inquiry: The identity of human and natural landscapes can be interpreted and presented. See more ideas about sense of place, artwork, artist.

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A You tube video example of comparing and analysing two landscape artworks

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A You tube video example of comparing and analysing two landscape artworks

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These two artworks are from the same culture. You need to choose artworks from two different cultures to ensure greater contrast in the works.

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Discover (and save!) your own Pins on Pinterest.

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Although spending much of his career in Italy, Jeffrey Smart was one of Australia's most distinguished artists. Throughout his painting oeuvre he remained fascinated by the urban landscape, focusing on prosaic corners of the city and the sleek geometry hidden behind everyday detritus. Completed four years before Smart's eponymous painting, Sydney's Cahill Expressway was the first freeway to be constructed in Australia. Instead of a typically busy thoroughfare, Smart's reveals the site almost entirely devoid of figures. A bald, suited man is the only presence, drawing attention to the artist's highly composed pictorial structure.

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Although spending much of his career in Italy, Jeffrey Smart was one of Australia's most distinguished artists. Throughout his painting oeuvre he remained fascinated by the urban landscape, focusing on prosaic corners of the city and the sleek geometry hidden behind everyday detritus.

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Max Beckmann's Interpretation of his own city space

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Max Beckmann's Interpretation of his own city space

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In an era in which painting was being redefined at every turn, German artist Max Beckmann approached the medium with unwavering resolve. Like many early 20th-century vanguards, he found affinities with non-conformist, avant-garde groups, in his case the Berlin Secession and the Expressionists. What set him on his own course, however, was that he spoke out lucidly and critically about each circle. Dead-set on pursuing his own vision, in 1913 he even seceded from the Secession, founding the "Free Secession" along with Max Liebermann, Lovis Corinth, Max Slevogt, and Paul Cassirer. Throughout his multi-decade career, he lived in many cities: Leipzig (where he was born in 1884), Berlin, Frankfurt, Paris (in exile), Amsterdam (also in exile), St. Louis, Missouri, and, finally, New York, where he died in 1950. But perhaps no city is as emblematic of his work as Berlin, about which, in the years following World War I, he produced two of his most famous print portfolios.

The first important portfolio Beckmann produced was titled Hell. Published in 1919, it captured the political tumult of the immediate post-World War I period. Like many of his generation, Beckmann served in the war (as a medical orderly) and, after a nervous breakdown, returned to Frankfurt in 1915 a different man. He found a country devastated, economically and politically unstable, and populated by shell-shocked and mangled ex-soldiers. Cities were growing at unprecedented rates, and in the unrest following the war, they became powder kegs. After four years of trench warfare, Germany witnessed a six-month-long revolution in its own streets, culminating in democratic elections. Beckmann's series Hell captures the sense of tension in the city leading up to the elections. It includes such images such as Malepartus, which depicts wealthy individuals oblivious to the political unrest and suffering outside; as well as and semi-documentary scenes, such as one featuring the street demonstrations of the November Revolution.

Beckmann's series follows a broader trend toward graphic prints, portfolios and illustrated books. In this politicized climate, parties proliferated, artists who had been political before the war became activists, and their skills were employed in organizing and creating election posters. Visual culture-in the form of advertising, illustrated magazines, film-was coming into its own, and artists were on the frontline. George Grosz's "Ecce Homo" suite (1923), or Otto Dix 's series "The War" (1924) offered an unflinching view of humanity. Like his contemporaries, Beckmann, who produced some 80 percent of his 347 known prints between 1911 and 1924, approached his art as a form of cultural criticism, chronicling the swiftly changing urban fabric around him and satirizing the extremes of contemporary society.

In 1922, still living in Frankfurt, Beckmann published his graphic cycle Trip to Berlin. On the cover, Beckmann appears in front of an advertising column bearing the title of the portfolio. What follows plunges viewers into a fantastical, loose narrative that reads like a graphic novel. We first encounter him alone in his hotel room, in a moment of solitude before the adventure begins. Vignettes of the city at night ensue; a visit to a disillusioned family seated around a table, a strip tease at a café, down-and-out beggars, and the high life of a theater lobby.

Though produced only a few years after Hell, Trip to Berlin was created during a period of rapid change. Between 1919 and 1925, the city's population more than doubled from almost two million to over four million-more populous than it is today. The pace of urbanization was staggering. A new nightlife was emerging and cultural commentators decried the seedy underbelly of Berlin, overrun as it was with ex-servicemen, prostitutes, cigarette sellers, sausage vendors who fronted cocaine dealers, opium dens, and fat-bellied, uncouth nouveau riche. Beckmann's Trip to Berlin represents a subtle shift from the torment and political action encountered in Hell, revealing the absurdities of a society marked conversely by obscene decadence and abject deprivation.

Beckmann's commentary on Berlin was more bizarre and tortured than that of his compatriots. It lacked the acerbic humor of Grosz' caricatures, for one, and his fragmented, angular style, with its dark contour lines, belies a certain formal seriousness-a probing interest in complex stylistic problems: "I paint and try to develop my style exclusively in terms of deep space, something that in contrast to superficially decorative art penetrates as far as possible into the very core of nature and the spirit of things," he once said. The critic Julius Meier-Graefe, in 1924, already recognized the stakes of Beckmann's formal experiments. He described the painter's aesthetic, with his figures' drawn-out faces and fractured limbs, crammed into a claustrophobic composition, as a visual metaphor for the "mechanized bête humaine, the boxed-in existence of living beings." Beckmann's images of the city were about much more than just the city. He wrote, in 1918: "I need to be with people. In the city. That is just where we belong these days. We must be part of all the misery that is coming...We must love humanity... I love its meanness, its banality, its dullness, its cheap contentment, and its oh-so-very-rare heroism."

Meet your new art advisor.

Get the app. Get the art.

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Max Beckmann's City: Prints, Pimps, and Politics in Post-WWI Berlin | Artsy

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In an era in which painting was being redefined at every turn, German artist Max Beckmann approached the medium with unwavering resolve. Like many ear...

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A Pinterest board I made of lots of artworks that capture a sense of place perfectly.

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A Pinterest board I made of lots of artworks that capture a sense of place perfectly.

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Could use for artworks of inspiration or analysis and comparison task?

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A sense of place travel photography of cambodia example/inspiration.

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A sense of place travel photography of cambodia example/inspiration.

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Gemma has travelled extensively so look at her other countries photos as well if you like. I absolutely love her images.

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To celebrate the countdown of our upcoming adventure, I've been posting past travel shots - just so you can get an idea of what to expect once we're off and away on that jet plane. One week to go!

Cambodia - what an incredible country. Andrew and I had the opportuntity to visit just over a year ago, and it has left a big impression. We visited the famous temples of Angkor Wat and it's surrounds, plus lesser known and further a field temples such as Koh Keh and Beng Mealea. We also had the privilege of visiting Sunshine House, one of the many projects started and continued by Awareness Cambodia. Cambodia will steal your heart, I warn you!

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line x shape x colour is all about creating and being inspired. whether it be making something, travelling to far-away lands or listening to some awesome tunes - this is a place where it all collides.

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Beautiful sketches capturing Asia in a sketch book

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Beautiful sketches capturing Asia in a sketch book

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How artists capture environments | Modern Art & Ideas

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Could be good for task 4 assemblage/collage 

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Could be good for task 4 assemblage/collage 

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stremplerart: " Mixed Media UNTITLED 2014 Waldemar Strempler "

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Art Terms and Vocabulary to use for your analysis and comparison task

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Art Terms and Vocabulary to use for your analysis and comparison task

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Jessica Russo Scherr | Artist - Educator

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Process Portfolio PPExhibition EXComparative Study CSIB Art RequirementsSelected AssignmentsIndependent Work CriteriaStudio Themes/IdeasFollow Jessica's board IB Art on Pinterest. Follow Jessica's board Visual Art Journal on Pinterest.Acknowledgment: This page is geared toward my IB Visual Arts Students and is based on the IB Visual Arts

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Some different functions that art can have

(remember, a single artwork can have more than one!)

Expressive function – expresses the artists’ feelings

Descriptive function – records the likeness of a place or person or other subject.

Conceptual function –the idea or concept behind the work is more important than the object

Practical function-has a practical use, such as clothing, vessels, furniture, a building

Religious function – tells a religious story or is an object of devotion.

Historical narrative function- tells a story of an event in history

Commemorative function – made to honour someone (like a statue of a famous person)

Political function- serves a political purpose, such as propaganda.

Symbolic function – symbolizes certain beliefs or ideas without representing them.

Decorative Function- used to adorn the body, a room, a building etc.

Ritual function – used as part of a ritual or ceremony, or has magical powers.

Shock function – intended to shock or upset the viewer

can you think of more?

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Jan 13, 2013 - This Pin was discovered by Becky Leland. Discover (and save!) your own Pins on Pinterest

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Inspiration for media and technique experiments to trial in your Visual Journal

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Inspiration for media and technique experiments to trial in your Visual Journal

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Lots of examples of what you can do with various mediums

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Using text and reassembling. Also look at the work of Rosalie gascoigne for a similar style

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Jun 7, 2011 - This Pin was discovered by A Design&Life Project. Discover (and save!) your own Pins on Pinterest

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LearningIT Blog Here you will find various types of information regarding IT, the arts and learning in the 21st century. Most of the items you find here will hopefully help generate new and creative ideas for yourselves or your students.

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These are great to help you build basic skills.

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More waterolour paint tutorials and technique ideas

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More waterolour paint tutorials and technique ideas