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This term we will be focussing on mark making to create texture, shading and form and allow our students to express emotions through mark making as well. This is a crucial part of learning what values are within art.
We will be looking at many different artists that use mark making within their work and one especially which is a staff favourite , Durer's Rhino.

Durer was a master of the woodcut and had brought greater artistic vision and intellectual depth to the medium. His skill can be seen in the delicate shading and the intricate patterning of the animal’s hide. This is great for our pupils to study to create their own mark making patterns.

The other artists we will be researching this term are;
Marie Bortlotto
Alma Thomas

Both incredible and inspiring artists that use mark making in all of their pieces of art.

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This woodcut of an Indian rhinoceros by Dürer has proved endlessly popular since its first publication in 1515. Eight editions of the print were taken from the original woodblock over the course of a century or so; this impression is one of a large number printed in the sixteenth century, after Dürer's death. Over the next two centuries many artists used it as a model for their own depictions of the animal. The text at the head of the print explains that the animal shown is that sent from Goa to Portugal for King Manuel I. The Portuguese king sent the animal on as a gift to the Pope, but it drowned when the boat it was travelling in sunk en route. The rhinoceros was the first to arrive in Europe for centuries and caused a sensation. Dürer did not see the animal itself, but appears to have based his surprisingly accurate depiction on descriptions and images of the beast which arrived in Nuremberg. His preparatory drawing for the woodcut, which includes his handwritten description, is in the British Museum. Catalogue entry adapted from 'The Northern Renaissance. Dürer to Holbein', London 2011

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Albrecht Dürer (1471-1528) - A rhinoceros

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This woodcut of an Indian rhinoceros by Dürer has proved endlessly popular since its first publication in 1515. Eight editions of the print were taken from the original woodblock over the course of a century or so; this impression is one of a large number printed in the sixteenth century, after Dürer's death.

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This Autumn term we will studying shadow and light within our art lessons.

The technique, Chiaroscuro, (from Italian chiaro, “light,” and scuro, “dark”), is employed in the visual arts to represent light and shadow as they define three-dimensional objects. This is cirtical to allow our young artists to figure out form and dimension of shapes to create beautiful pieces of art. We are currently looking into creating a narrative with a few objects projected onto the board using shadow and light. Not only will our pupils be creating wonderful works of art but be able to use their literacy skills across another subject and be freely creative within their writing.

A few artists we will be looking at are;
-Giacometti
-Sue Webster
- Willie Hsu

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This term we will be looking at still life and focussing on creating beautiful pieces of art from our observation. We will also be studying the history of art and researching lots of different artists that will assist us on our still life journey. From this we will be able to develop our skills and understanding even further.

We will be developing our shading skills to show depth within our art work and make our paintings and drawings come to life.

The artists we will be looking at are;
-Cezanne
-Braque

A great place to visit to observe still life work from amazing artists such as the ones above, is the Tate museum in London.

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Still life includes all kinds of man-made or natural objects, cut flowers, fruit, vegetables, fish, game, wine and so on. Still life can be a celebration of material pleasures such as food and wine, or often a warning of the ephemerality of these pleasures and of the brevity of human life (see memento mori).

In the hierarchy of genres (or subject types) for art established in the seventeenth century by the French Academy, still life was ranked at the bottom - fifth after history painting, portraiture, genre painting (scenes of everyday life) and landscape. Still life and landscape were considered lowly because they did not involve human subject matter.

In modern art simple still life arrangements have often been used as a relatively neutral basis for formal experiment, for example by Paul Cézanne, the cubist painters and, later in the twentieth century, by Patrick Caulfield.

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Tate glossary definition for still life: One of the principal genres (subject types) of Western art - essentially, the subject matter of a still life painting or sculpture is anything that does not move or is dead

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In year 8 this term we are focussing on perspective within our art lessons. We will be looking at both one and two point perspective to create different structures of buildings then move on to creating words that vanish into the distance.

This not only is a great skill within art but brings other elements such as maths into the classroom as well.

We will be looking at different artists to inspire us, they are as follows;
-Escher
-Julien Beever

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In Art option during the Summer term students will be developing their skills in a range of art techniques and styles to look at observational drawings to improve their work.

Students will use collage, pencil drawing, oil pastels, papier mache modelling and paint.
Many previously learned skills will be revisited to embed learning and to revisit skills to deepen understanding and practices.

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This term in Fashion and textile we will be continuing with our designs, and the students will make their first garment. We will look at some surface decoration techniques and look more into sustainable fashion, and the impact the fashion industry have on the environment.
We will look more at fashion drawings and practice makes perfect, students should practice their fashion drawings alot at home. Below there are some fab pages for inspiration and ideas.

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Tie dyeing is a fabulous and relatively easy process. Materials is easy to come by and it may be something you want to try to do at home.
Things to think about:
- You can only dye natural fabrics. So cotton, wool, silk or linen, manmade fabrics like polyester, nylon or acetate will not take the dye.
-you can use Dylon dyes, these are not too expensive and you can buy them in Arts and Crafts shops or on the internet.
-You need some salt for the the dye to "fix" to the fabric.
-You need some string to tie the fabric up before you dye it.
I have attached an instruction video below.
Have Fun!

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In Art Club on Thursdays after school we will be looking at a variety of Art Techniques in detail. We are going to start with a project looking at endangered species and what is done to protect them.
We are going to start by drawing animal portraits in pencil, developing texture, shading and proportions. We will then move on to sculpting animal heads using chicken wire and plaster of paris. These will then be painted, again embed skills such a colour mixing, shading, and texture.
We are incredibly lucky to have Whipsnade Zoo close by and I am hoping that they will do a zoom meeting with us where they show us what they and other zoos are doing to protect our endangered species.

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In this section I will give some practical tips of what you as a parent or carer can do to support your childs learning.
Art is such a wide subject, so even if you think that you may not be very good at drawing, maybe you like taking photographs, maybe you are a avid gardener, maybe you knit or sew.
There are so many ways of expressing yourself creatively and I am absolutely certain that all people enjoy creating and making.
Below there will be some links to places, museums and exhibitions that you can visit with your child which will be beneficial to support your child in their education, not just in the Arts.
Feel free to contact me on arising@brooklands.school if you have any ideas or tips that I havent covered here, lets use our collective hive mind.

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Whipsnade zoo.
Amazing opportunity to learn more about conservation, biology and have a wonderful day out

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The Zoological Society of London is incorporated by Royal Charter - Registered Charity in England and Wales no. 208728.
Principal Office England - Company Number RC000749 - Registered address Regent's Park, London, England NW1 4RY

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ZSL Whipsnade Zoo - the Uk's biggest zoo. Buy tickets, view visitor information, find out what's on and meet some of the world's most exotic animals. Sat nav: LU6 2LF

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Natural History Museum in Tring
Bring a sketchbook and draw some animals, pay attention to scale and proportion, textures and patterns. Don't forget to send me the results, I would love to see your drawings!!

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Welcome to the Natural History Museum at Tring, Hertfordshire

Open Tuesday-Sunday and bank holidays
10.00-17.00 (last entry 16.00)
Closed 24-26 December

Tickets

Book a free ticket to skip the queues and guarantee entry. We only have a limited number of walk-up spaces available so book your free ticket to avoid disappointment.

We're having some work done

We are restoring the roof of our Grade II heritage listed Rothschild Building from March-December this year. No public areas will be closed however there will be scaffolding around the building throughout the year and there will be noise from the construction works.

The Akeman Street car park will be closed so visitors should use the Hastoe Lane car park.

Schools

Inspire your students' curiosity about the natural world and explore the variety of life on Earth.

Our hands-on workshops and gallery activities are closely tied to the National Curriculum.

Volunteer Programme

We have volunteer opportunities to interact with visitors in the galleries or to help out with our gardens.

Share your expertise through, hands-on interactions and help us create a dynamic and usable space for our visitors.

Filming

Choose the Museum at Tring as the backdrop for your next film project or photography shoot.

It houses an extensive collection of mounted specimens and the wide variety of mammal, fish and bird specimens, together with the Victorian architecture, make Tring a unique location for shoots.
Find out more about filming at Tring

Don't miss a thing

Receive email updates about our news, science, exhibitions, events, products, services and fundraising activities. We may occasionally include third-party content from our corporate partners and other museums. We will not share your personal details with these third parties. You must be over the age of 13. Privacy notice.

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Get your free ticket to visit us in Tring. Our Hertfordshire museum has free events, activities and galleries suitable for the whole family.

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This is a park in Milton Keynes, it has 11 pieces of fantastic public sculptures. There is information about the sculptures and the artists on the website above. Discuss the Art with your children, do you like it? Why? Why not? This is a fantastic opportunity to develop oracy skills and improve vocabulary.
Below is a guide to the different artworks and a proposed list of key words and some discussion points.

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Eleven pieces of public art and sculpture are based in Campbell Park, and it is possible to tour around and view all the pieces in one go by following one of our self-guided trails.

The collection has been added to in recent years with the most recent addition being the Milton Keynes Rose completed in 2014, as a central space for celebration, commemoration and remembrance. Discover more about MK Rose here and by visiting dedicated website http://miltonkeynesrose.org.uk.

Discover our parks

Located at the heart of Milton Keynes, Campbell Park hosts many of Milton Keynes' major festivals and events. Its imaginative mix of formal gardens, water features, woodland and open pasture mean it's an ideal spot to enjoy the changing seasons.

The Milton Keynes Rose located in our central city park Campbell Park, is a public space designed for commemoration, celebration and contemplation. Developed in partnership by The Parks Trust and the Cenotaph Trust, with support from Milton Keynes Council, the Milton Keynes Rose was created as a central civic space to host events significance and occasions of remembrance.

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Eleven pieces of public art and sculpture are based in Campbell Park, and it is possible to tour around and view all the pieces in one go by following one of our self-guided trails. The collection has been added to in recent years with the most recent addition being the Milton Keynes Rose completed in 2014, as a central space for celebration, commemoration and remembrance.

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I'm Ioana Avram, fashion designer. Welcome to my Fashion teaching channel where you will find design videos starting from basic, easy level ( for beginners ) until advanced level. Follow my advices regarding the hand draw: anatomy studies, fashion poses, figures and croquis, learn about style and craft, fabrics and how to create garments.

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Every summer Brooklands organises an Art Exhibition where we invite other schools to send in their work and we will exhibit it in our reception. We have an open evening where we open the exhibition up to the public and celebrate the wonderful Art which have been created by students from lower, middle and upper schools all around Leighton Buzzard.

Here I have added some pictures from previous exhibitions to showcase what a great event this is.

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(under 3minutes read)

Mark making is the action of producing marks on a surface such as paper, canvas, textiles, walls and floors or objects.

To create marks a mark-making tool is used. For a painter, the most familiar forms are pencil, pen, brush, palette knife and charcoal. More experimental tools such as found objects produce great results too, for instance, twigs and feathers.

When your mark-making tool touches the surface and leaves a trace a mark is made. Marks you can make are dots, lines, shapes, textures and patterns.

The type of marks you choose to use make up the building blocks of your artwork. Part of the journey of becoming an artist is finding the tools, materials, preferred surface, marks and subject matter that represent you and what you wish to express.

A variety of marks adds interest to your work and helps the viewer's eye move around the surface. This encourages the viewer to engage in your work and become emotionally connected.

Artists that are known for the way they produce their marks create a signature style. A signature style is important as it helps an artist work stand out and become recognisable.

Over time an artists work becomes more refined as their confidence in their skill, materials they use, the way they use it, and how they express themselves grows.

How to make marks?
You don't need loads of tools to make marks, a brush held at different angles can be effective. A variety of marks can be created by using the tip, end, flat or side of the brush. Sometimes limiting your tools can force you to get more creative.

Here are different types of marks you can make and experiment with:

When creating your artwork think about how you want to combine your marks, whether similar, contrasting or a mixture as this will influence the overall feel of the artwork. For example, are you aiming for a calming, lively, dramatic or fluid style?

Calming marks could be flowing, slow, spacious, smudged and light. Dramatic could be heavy, textured, quick, jagged and dense.

For example, you can see in the above painting how I have mixed dense at the bottom and airy and lively at the top. This helps create differences and the artwork is more interesting because of it.

Make your mark.
What marks are you drawn to when you are creating or looking at art? Spending a bit of time to reflect on this is helpful.

I created a Pinterest board to collect artworks I liked and by doing this I began to see my preferences. I noticed I liked free-flowing, fine, light, spacious and random and this fed back into my artwork.

If you are going to do a Pinterest board or even an analogue inspiration board I recommend just giving yourself about 30minutes otherwise you could end up with information overload. Then experiment to see which marks you like, feel comfortable with, and want to explore more of.

Happy mark-making!

(under 3minutes read)

Mark making is the action of producing marks on a surface such as paper, canvas, textiles, walls and floors or objects.

To create marks a mark-making tool is used. For a painter, the most familiar forms are pencil, pen, brush, palette knife and charcoal. More experimental tools such as found objects produce great results too, for instance, twigs and feathers.

When your mark-making tool touches the surface and leaves a trace a mark is made. Marks you can make are dots, lines, shapes, textures and patterns.

The type of marks you choose to use make up the building blocks of your artwork. Part of the journey of becoming an artist is finding the tools, materials, preferred surface, marks and subject matter that represent you and what you wish to express.

A variety of marks adds interest to your work and helps the viewer's eye move around the surface. This encourages the viewer to engage in your work and become emotionally connected.

Artists that are known for the way they produce their marks create a signature style. A signature style is important as it helps an artist work stand out and become recognisable.

Over time an artists work becomes more refined as their confidence in their skill, materials they use, the way they use it, and how they express themselves grows.

How to make marks?
You don't need loads of tools to make marks, a brush held at different angles can be effective. A variety of marks can be created by using the tip, end, flat or side of the brush. Sometimes limiting your tools can force you to get more creative.

Here are different types of marks you can make and experiment with:

When creating your artwork think about how you want to combine your marks, whether similar, contrasting or a mixture as this will influence the overall feel of the artwork. For example, are you aiming for a calming, lively, dramatic or fluid style?

Calming marks could be flowing, slow, spacious, smudged and light. Dramatic could be heavy, textured, quick, jagged and dense.

For example, you can see in the above painting how I have mixed dense at the bottom and airy and lively at the top. This helps create differences and the artwork is more interesting because of it.

Make your mark.
What marks are you drawn to when you are creating or looking at art? Spending a bit of time to reflect on this is helpful.

I created a Pinterest board to collect artworks I liked and by doing this I began to see my preferences. I noticed I liked free-flowing, fine, light, spacious and random and this fed back into my artwork.

If you are going to do a Pinterest board or even an analogue inspiration board I recommend just giving yourself about 30minutes otherwise you could end up with information overload. Then experiment to see which marks you like, feel comfortable with, and want to explore more of.

Happy mark-making!

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What is mark-making and how is it important to your artwork? - Angela Terris

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(under 3minutes read) Mark making is the action of producing marks on a surface such as paper, canvas, textiles, walls and floors or objects. To create marks a mark-making tool is used. For a painter, the most familiar forms are pencil, pen, brush, palette knife and charcoal.

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Marie Bortolotto | Contemporary Abstract Artist

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I am a visual artist with a Bachelor of Fine Arts degree from NSCAD University, Halifax, Canada. Currently I live on the west coast of Canada. My mixed media paintings and drawings are explorations into the fundamental language of nature.

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Through collaborating with a research team from the Smithsonian American Art Museum (SAAM) and delving beneath the surfaces of two paintings by Alma Woodsey Thomas (1891-1978), NMWA gained vivid new insight into beloved works by a Washington, D.C., artistic icon.

Conservators from the Lunder Conservation Center at SAAM visited NMWA in 2019 to examine two paintings in the museum's collection by Thomas. Led by Amber Kerr, chief of conservation at SAAM, conservators undertook their study of Thomas's art in preparation for an upcoming exhibition of her work organized by the Columbus Museum in Georgia and the Chrysler Museum of Art in Norfolk, Virginia. An exhibition scheduled to open at SAAM in 2021 prompted Kerr and her team to examine and plan treatment for several works, and they decided to dig deeper. They reached out to NMWA as well as other institutions, including the National Gallery of Art, the Baltimore Museum of Art, and the Phillips Collection, to look closely at additional examples.

Smithsonian American Art Museum conservator Sydney Nikolaus images Alma Woodsey Thomas's Iris, Tulips, Jonquils, and Crocuses (1969) at NMWA; Photo by Gwen Manthey

The researchers performed multispectral imaging of the paintings Iris, Tulips, Jonquils, and Crocuses (1969) and (1973). Through this safe method of measuring light at different spectral channels, they hoped to learn more about Thomas's work process. They shared imagery and some initial findings from their peek below the paintings' surfaces.

Thomas gained renown late in life for a signature abstract painting style featuring colorful rows or circles of lozenge-shaped brushstrokes. She emphasized nature as her primary source of inspiration. Titles such as Iris, Tulips, Jonquils, and Crocuses reflect her never-ending fascination with the colorful interplay of flowers and other natural phenomena outside her window. Orion, named for the constellation, is part of a series of paintings sparked by her wonder and enthusiasm for space exploration.

One aspect of Thomas's process that piqued the conservators' curiosity was her use of guiding pencil lines. Many of her works in this style-the artist's so-called "Alma stripes"-show faint graphite lines that Thomas placed on her canvases, providing a structure for her colorful marks. To investigate her use of pencil lines, the conservators used infrared reflectography to differentiate carbon-containing mediums, like graphite, from other art materials. They found distinct lines in one work: "In developing Iris, Tulips, Jonquils, and Crocuses, Thomas charted each section of color by scribing the vertical lines with a sharp graphite pencil...[indicating] the use of a straight edge."

A second technique the conservators used was ultraviolet (UV)-induced luminescence, which can cause certain materials to "'fluoresce' and emit light," the researchers explain. This exposed an unexpected and powerful sign of the artist's presence: a partial handprint glows on the surface of Orion. The research team believes that this "may be an artifact of Thomas contacting the work (possibly for support) while her hand was coated with red-lake paint, during reworking of the fluorescing sections."

Many details of artworks are invisible to the naked eye. For these paintings by Alma Woodsey Thomas, collaboration and examination illuminated their fascinating history.

About the Author
-Elizabeth Lynch is the director of publications at the National Museum of Women in the Arts.
(Text adapted from "Alma Woodsey Thomas: Reading Between the Lines," in the Summer 2020 issue of Women in the Arts magazine.)

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Alma Woodsey Thomas: Hidden History | Broad Strokes Blog | NMWA

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Through collaborating with a research team from the Smithsonian American Art Museum (SAAM) and delving beneath the surfaces of two paintings by Alma Woodsey Thomas (1891-1978), NMWA gained vivid new insight into beloved works by a Washington, D.C., artistic icon.

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Tate Modern’s exhibition on Alberto Giacometti focuses on his distinctive elongated figurative sculptures, the influences that shaped Giacometti and the experimental way in which he developed his practice

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Paul Cezanne Complete Artworks Reproductions | paul-cezanne.org

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Find out the Paul Cezanne handmade oil painting reproductions. Observe the superb style of the artist online, high-resolution images and ratings. | paul-cezanne.org

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Julian Beever is known all over the world for his pavement drawings, more especially his 3D illusions, drawn in a special distortion to create an impression of 3D when seen from one particular viewpoint.

In order to appear really 3 dimensional however, they need to be viewed either through a camera (which he has to set up on a tripod for people to look through) or on a mobile phone, ipad or other screen. They do not look 3D to the naked eye.

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Julian Beever is known all over the world for his pavement drawings, more especially his 3D illusions, drawn in a special distortion to create an impression of 3D when seen from one particular viewpoint.

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Overview

The Dutch artist Maurits C. Escher (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary work was as a printmaker. Born in Leeuwarden, Holland, the son of a civil engineer, Escher spent most of his childhood in Arnhem. Aspiring to be an architect, Escher enrolled in the School for Architecture and Decorative Arts in Haarlem. While studying there from 1919 to 1922, his emphasis shifted from architecture to drawing and printmaking upon the encouragement of his teacher Samuel Jessurun de Mesquita. In 1924 Escher married Jetta Umiker, and the couple settled in Rome to raise a family. They resided in Italy until 1935, when growing political turmoil forced them to move first to Switzerland, then to Belgium. In 1941, with World War II under way and German troops occupying Brussels, Escher returned to Holland and settled in Baarn, where he lived and worked until shortly before his death.

The main subjects of Escher's early art are Rome and the Italian countryside. While living in Italy from 1922 to 1935, he spent the spring and summer months traveling throughout the country to make drawings. Later, in his studio in Rome, Escher developed these into prints. Whether depicting the winding roads of the Italian countryside, the dense architecture of small hillside towns, or details of massive buildings in Rome, Escher often created enigmatic spatial effects by combining various-often conflicting-vantage points, for instance, looking up and down at the same time. He frequently made such effects more dramatic through his treatment of light, using vivid contrasts of black and white.

After Escher left Italy in 1935, his interest shifted from landscape to something he described as "mental imagery," often based on theoretical premises. This was prompted in part by a second visit in 1936 to the fourteenth-century palace of the Alhambra in Granada, Spain. The lavish tile work adorning the Moorish architecture suggested new directions in the use of color and the flattened patterning of interlocking forms. Replacing the abstract patterns of Moorish tiles with recognizable figures, in the late 1930s Escher developed "the regular division of the plane." The artist also used this concept in creating his Metamorphosis prints. Starting in the 1920s, the idea of "metamorphosis"-one shape or object turning into something completely different-became one of Escher's favorite themes. After 1935, Escher also increasingly explored complex architectural mazes involving perspectival games and the representation of impossible spaces.

Since 1964 the National Gallery of Art has formed the preeminent collection of Escher's art outside Holland through the generosity of many donors, including Cornelius Van S. Roosevelt and Lessing J. Rosenwald, both of whom knew Escher. The Gallery's collection includes more than 400 works by Escher: drawings, illustrated books, technical materials, and impressions of 330 of the artist's 450 prints.

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Overview The Dutch artist Maurits C. Escher (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary work was as a printmaker. Born in Leeuwarden, Holland, the son of a civil engineer, Escher spent most of his childhood in Arnhem.