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Painting project that captures Kilkenny's medieval charm through the lens of David Hockney using bright colour, patterns and textures.

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After looking at the works of Hockney identify his use of bright colours, textures and pattern, students got into groups of 4-5. They follow my instruction to fold their A3 page into a Zine . They get to experiment with watercolours by creating a wash of bright colour in each square. I get them thinking by asking questions 'What happens if you use too much/little water?" "How do you make the colours brighter, such as yellow?"

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Painting project that captures Kilkenny's medieval charm through the lens of David Hockney using bright colour, patterns and textures.

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Painting project that captures Kilkenny's medieval charm through the lens of David Hockney using bright colour, patterns and textures.

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Painting project that captures Kilkenny's medieval charm through the lens of David Hockney using bright colour, patterns and textures.

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Students went for a texture hunt around the school, identifying surfaces with high relief contrast that would make for a good rubbing. The students experimented with colour combinations with oil pastels and pattern by making repeated rubbings.

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Some classes wouldn't get all the squares painted by the end of the class, it would usually happen if the class engaged more in the discussion part of the class and would have less time for the zine making part. This worked out fine as the conversations were rich and insightful.

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I noticed some students in this class misinterpreted the instructions and tried to create pattern with the watercolour instead of a wash.

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After looking at the works of Hockney identify his use of bright colours, textures and pattern, students got into groups of 4-5. They follow my instruction to fold their A3 page into a Zine . They get to experiment with watercolours by creating a wash of bright colour in each square. I get them thinking by asking questions 'What happens if you use too much/little water?" "How do you make the colours brighter, such as yellow?"

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Students filled their zines with a variety or textures and patterns. They focused on the colour combinations David Hockney used in his paintings.

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Class 1E got very invested with the texture hunt process, they noticed things they never would have paid attention to before.

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Students used their understanding of the colour wheel to choose their pastels. They put thought into the colours they would choose in regards the colour of the wash on the square of the zine. It helped make the pattern pop!

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We made street dioramas after learning about perspective. Students could identify the focal point, perspective lines and how the houses got smaller with distance (diminution). They applied colour, pattern and texture inspired by their zines.

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We made street dioramas after learning about perspective. Students could identify the focal point, perspective lines and how the houses got smaller with distance (diminution). They applied colour, pattern and texture inspired by their zines.

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This group experimented with the shape of the perspective line and felt the rounded shapes looked suitable for trees. They could have use brighter, more unconventional colours rather than grey. It was still a very effective diorama.

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They students made the road markings bigger the closer they were towards the viewer to add to the illusion. These students used colour really well and emphasised their use of pattern by using it minimally.

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Rod Puppetry: using a range of wadding, fabrics and found materials to design and create a realistic / mythical form, expressing the character and personality of a

chosen animal head.

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Rod Puppetry: using a range of wadding, fabrics and found materials to design and create a realistic / mythical form, expressing the character and personality of a chosen animal head

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Fast pace gesture drawings of random animals generated from the website "Line of Action". This acted as a means of brainstorming animal ideas whilst getting the students to draw and use their sketchbook, which is important to a design process. Students in this group initially tried this exercise using pencil (also seen in picture) , but it meant they didn't work the exercise to its fullest potential as they were too hesitant. The next class I provided them with more specific materials of paint, marker and crayon, this improved the results tenfold. Students were more free, more confident and were happier with the look of the final aesthetic in their sketchbooks.

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Fast pace gesture drawings of random animals generated from the website "Line of Action". This acted as a means of brainstorming animal ideas whilst getting the students to draw and use their sketchbook, which is important to a design process. This group were not introduced to this activity using pencil. It definitely was more efficient.

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Students went home and thought about 3 possible animals they want to consider for their puppets. I got them to draw the animals using line to capture the animals basic organic shapes and textures, using what they learned from the previous weeks activity. This was step 1 of the development process. The students revisited this page after a learning activity that involved drawing more cartoonish characters, they added annotations with ideas as to how they could exaggerate the animals features. However, this annotating process seemed to be a bit jarring as students just ended up describing what they were seeing. I changed this up a bit for the other 2nd year group to see if it would help....

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Students went home and thought about 3 possible animals they want to consider for their puppets. I got them to draw the animals using line to capture the animals basic organic shapes and textures, using what they learned from the previous weeks activity.

These students were shown an example of how I wanted them to annotate their animals, except this time I told them they had to create a background story for their characters and experiment with their features on the side of the sketch. I felt it was a lot more useful this way. Students worked in pairs to brainstorm character traits, plots and looks.

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To explore our character design knowledge and skills we played a game. Students were given a prompt for a character on the board that was very silly and exaggerated. The students had 1 minute to draw from their imaginations. This particular group preferred to draw on paper. This activity encouraged students to consider how much freedom they have to exaggerate the features of their characters.

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Character design game with this group was preferred to be done digitally, using their whiteboard on their iPads. I like the variation of colour and mark making because of the variation of tools.

"Create a character with a massive, bloated head and exaggerated facial features, an extremely elongated, exaggerated nose that curves upwards towards the sky, but with an incredibly slim, almost non-existent body"

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Students decided on a character they want to continue with into 3D form. They did a draft drawing of the animal on a page in their sketchbook. I then set a huge variety of fabrics out on the table and allowed them to explore them. The students would get inspiration from the fabrics, they would then colour the fabrics textures and patterns into the sketchbook and support the drawing with descriptive annotations. I have a limited resource of fabrics so I will create a bundle of suitable fabrics for each student to use as they have no experience in puppetry before, the materials you choose to work with are essential to the success of your final product. The students can't really grasp this idea yet as they haven't worked with this type of craft before, but they will learn as they go. This is a baseline for them to begin, they will have full autonomy to change fabrics as long as they understand that it'll work/not.

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Students decided on a character they want to continue with into 3D form. They did a draft drawing of the animal on a page in their sketchbook. I then set a huge variety of fabrics out on the table and allowed them to explore them. The students would get inspiration from the fabrics, they would then colour the fabrics textures and patterns into the sketchbook and support the drawing with descriptive annotations. I have a limited resource of fabrics so I will create a bundle of suitable fabrics for each student to use as they have no experience in puppetry before, the materials you choose to work with are essential to the success of your final product. The students can't really grasp this idea yet as they haven't worked with this type of craft before, but they will learn as they go. This is a baseline for them to begin, they will have full autonomy to change fabrics as long as they understand that it'll work/not.