MVE1502_Study guide

Course in Music and Visual Arts Educator

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Study guide: Visual Arts Educator
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MVE1502

Department of Art and Music

This tutorial letter contains important information

about your module.

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CONTENTS

Page

INTRODUCTION......................................................................................................................................... 3
1. LEARNING UNIT 1: FUNDAMENTALS OF VISUAL LITERACY .................................................. 3
2. LEARNING UNIT 2: DRAWING ..................................................................................................... 9
3. LEARNING UNIT 3: PAINTING .................................................................................................... 18
4. LEARNING UNIT 4: COLLAGE AND MIXED MEDIA .................................................................. 28
5. LEARNING UNIT 5: PRINTMAKING ............................................................................................ 35
6. LEARNING UNIT 6: SCULPTURE, ASSEMBLAGE AND COMMUNITY ART INITIATIVES ..... 41

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INTRODUCTION

1. LEARNING UNIT 1: FUNDAMENTALS OF VISUAL

LITERACY

AIMS AND OBJECTIVES FOR UNIT 1:

After completing this unit, you should have a basic understanding of:
The elements of art and how they function
The creative process and how to plan an artwork
The formal analysis of artworks

BASIC VISUAL LANGUAGE

Why is visual literacy important and why should we include it as a subject in our teaching
curriculums? We live in a world where we are constantly bombarded by visual imagery, whether
we like it or not. The advances in technology means that we are having to deal with more and
more images every day, and the critical understanding of visual images is as important a life
skill as written and spoken language skills.
It is useful to think of visual images in the same manner as written texts. Visual images are
constructed out of ‘words’, ‘sentences’ and ‘paragraphs’. Visual images tell ‘stories’ or
narratives in a similar way. The trick is to understand the ‘grammar’ used in visual images. The
first step would be to get to know the basic building blocks of this visual language.
All visual images are created using the following building blocks or art elements:

ELEMENTS OF ART PRINCIPLES OF DESIGN

Line Balance
Shape and form Scale and proportion
Texture Emphasis or focus

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 Space Contrast
Colour Movement and rhythm
Value or tone Unity (harmony)

As the course progresses, the various units will deal with specific elements and principles in
greater depth. For this unit it is essential to obtain a broad understanding of the elements and
how they visually manifest. A short definition is therefore included, followed by the activity
which requires you to find suitable examples of each.

Line: A line is a mark that joins two points across a space. Lines have direction, width and
length.
Shape: A shape is a two-dimensional enclosed area. Shapes can be geometric or organic.
Form: Form refers to the three-dimensional volume of a shape, and includes depth, height and
width.
Texture: Texture refers to the surface quality of an object and may be actual (tactile) or implied
(visual).
Space: Space refers to the environment in which an object occurs, as well as its relationship to
other objects. Positive space refers to the area that an object occupies, while negative space
refers to the space surrounding the object.
Value: Value refers to the relative lightness or darkness of a colour and the difference in value
is called contrast.
Colour: Colour refers to the hues as in the colour wheel (eg. Primary: red, yellow, blue and
secondary: orange, green and purple) More about this in study unit 3.

LEARNING ACTIVITY
Watch the following video
The 7 Elements of Art
[Link]

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LEARNING ACTIVITY
Identify the various elements of art included in this image:
Identify the geometric and organic shapes
List the different lines used and their qualities
Name the various textures present
Explain how space is created

Vincent Van Gogh, Vincent’s Bedroom in Arles (1888). Pen drawing in a letter. Image source
[Link]
(Public domain)
The principles of design refer to the use of the various art elements in relation to each other.
Again, a short general definition is included. Return to the image above and identify the various
principles used.
Balance: refers to the visual tension or equilibrium between elements. Balance could be
symmetrical or asymmetrical.
Scale or proportion: form in relation to other forms or the relative size of objects against one
another. (eg the size of a person’s hand in relationship to their face)

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Emphasis or focus: elements are combined in a manner to produce a focal point which
stresses the importance of the specific area or object. It is usually very different to the rest of the
picture and thus stands out.
Contrast: refers to the difference in qualities of the elements. The greater the difference, the
more pronounced the contrast.
Movement and rhythm: often achieved with repetition or the careful placement of elements
that align or is grouped together to encourage the viewer’s eye to move through the image.
Unity (harmony): Ways of combining elements to emphasise their relative similarity.

LEARNING ACTIVITY
This will be an on-going activity throughout the course, and each unit will start with a section
dedicated to terminology. At the end of the course, you should have a comprehensive library of
examples illustrating the various art terms, which can be used in the classroom context.

Start a glossary of terms in your workbook. Include a definition for each term listed above, as
well as a visual example which best illustrates the term. Do this by collecting a variety of
images newspaper and magazines, or by taking your own photographs. Write short notes on
the use of these in the visual composition of each image. Ensure that you have at least ONE
example for each.

FORMALISM
Throughout the course, you will be exposed to the working methodologies of art history, which
include biographies/ autobiographies, formalism, iconography and iconology, feminism to name
a few. These are the methods used to interpret artworks, and are often used in combination
with one another. Overviews of the various methodologies are discussed in the following
source, which will be available on MyUNisa:
Adams, L.S. 2007. Art Across time. Third Edition. Boston: McGraw Hill, pages 1-25.
Formalism as a method for interpreting art relies on the analysis of the formal elements and
their arrangement in an aesthetic framework. The function, content or context in which the work
was made is not taken into consideration. The 19th century art movement associated with
formalism is often referred to as ‘art for art’s sake’, although a formal analysis of any artwork
can usually be done.

FORMAL ANALYSIS OF ARTWORKS

The formal or visual analysis of artworks is an investigation of how the visual elements have
been arranged in a specific image. By manipulating the visual elements, the meaning of the

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artwork can be enhanced. A formal analysis does not take into consideration the subject matter
or historical context, but rather only focusses on the visual aspects of the work.

LEARNING ACTIVITY

Watch the following video

How to do visual (formal) analysis in art history
[Link]

PORTFOLIO ASSIGNMENT 1.1

Choose one element from the list of art elements above. Find examples of visual images
containing this element depicted in different ways, e.g. lines that are thick, thin, harsh, soft etc.
Write short notes on how the difference in physical nature of the element influences the
meaning of the image.
You may follow these guidelines:
1. Find a picture
2. Identify the element, for example line.
3. Now use a clean page and draw a copy of the chosen element that you observe.
4. Now write a paragraph in which you describe the element that you have identified
and in a second paragraph write down the MEANING of the lines which you have
identified.
The assignment must contain:

• A copy of the picture

• The page on which you have drawn your chosen element

• Your TWO paragraphs.

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PORTFOLIO ASSIGNMENT 1.2

Write a short paragraph in which you do a formal analysis of the painting by Paul Cézanne
entitled The Large Bathers (1906). Discuss how the element of colour and the principles of
balance and repetition function in the image. You can find this image on the internet.
You may follow these guidelines:
1. Find a picture on the internet
2. Describe how colour is divided in two groups and how the colours relate to each
other. Describe the variations within each colour.
3. Once again, on a clean sheet of paper draw the forms that is responsible for the
balance in the composition. Write a paragraph in which you describe the balance.
4. Now draw the lines that help form the basis for repetition in the picture. Write a
paragraph that explains your observations of these principles.

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2. LEARNING UNIT 2: DRAWING

Introduction
This unit will serve as an introduction to the basics of drawing using portraiture as a starting
point by focussing on the use of line as visual element. The use of text in images will also be
investigated.

Aims and objectives for unit 2

After completing this unit, you should have a basic understanding of:

• Practical application of visual elements in creating compositions

• Traditional and non-traditional drawing materials and mark making possibilities
• Creative exercises associated with right/left brain thinking skills
• Basics principles of drawing human faces

VISUAL ELEMENTS AND DRAWING

Line is the visual element most often associated with the act of drawing. Lines are ‘pathways’
between two points, and can vary in width, direction and length. They often define the edges of
a form, enclosing objects. Line also functions as a way of conveying a sense of emotion and are
often expressive. For instance, a harsh, thick short line could relate to violence and anger, while
a soft, curling line could be more graceful and peaceful. Artists would choose line qualities to
express specific emotions in their artworks. Line is also commonly used in formatting text.
It is important to remember that lines are not always present in the image, but could be implied.
Implied lines are created by the manipulation of the visual elements to create a suggested
sense of line.
The activities and assignments in this unit will explore the use of line in drawing, culminating in
the drawing of a portrait. Beginners are often fearful of drawing portraits, believing that it is too
difficult to attempt. However, the act of drawing is based on the act of looking and seeing, and
if this skill is developed firstly, the act of drawing becomes easier.

WAYS OF SEEING
Betty Edwards in her book Drawing on the right side of the brain (2001:4) states: “Drawing is not
really very difficult. Seeing is the problem, or, to be more specific, shifting to a particular way of
seeing.” Her book is widely available and highly recommended as an introduction to drawing.
Edwards includes several exercises which are aimed at developing the student’s observation
skills. Many of these are available on YouTube as instructional videos, do a search using the
key words from the book’s title to find additional exercises.

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LEARNING ACTIVITY
Watch the following video
Drawing exercises by Christian Peterson
[Link]

Stop the video between exercises and do them in your workbook.

PORTFOLIO ASSIGNMENT 2.1

The following exercise suggested by Betty Edwards helps to reduce the mental conflict between
left and right hemispheres by copying the upside-down line drawing as it is shown. Allow
yourself approximately 40 minutes to do the exercise. Do not turn the image the right way
around until you have completed the exercise. Start at either of the top corners and
systematically work down towards the bottom of the drawing. It may also be advisable to cover
the sections not being focussed on with another sheet of paper.

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Pablo Picasso, Portrait of Igor Stravinsky (1920). As reproduced in Edwards (2011:58).

PORTFOLIO ASSIGNMENT 2.2

Add definitions and visual examples of the following terms to the glossary of terms in your
workbook. Remember to include different definitions relating to the progressive skills table for
each grade (see unit 1):

Contour line
Implied line
Contour drawing

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Mark making
Crosshatching
Foreshortening
Negative space
Picture plane
Expressive quality

Note: All terminology can be researched on the internet, however the following websites are
recommended for this purpose:
• Tate Art Terms [Link]/art/art-terms
• MoMA Learning [Link]/learn/moma_learning/glossary
• Visual Arts Cork [Link]

EXPLORING MATERIALS

Drawing can be done with a variety of materials, the simplest and most readily available is a
pencil and paper. Despite its humble nature, pencils can produce a myriad of visual effects.
Standard graphite pencils come in a range of lead quality from 2H (hard lead) to 6B (soft lead).
HB pencils mid-range pencils and are normally used in everyday writing. Hard leads produce
lighter and harsher marks, while soft leads produce darker, softer marks. Thus, a pencil should
be chosen for its suitability for the expressive quality to be conveyed. Drawings can be
produced using one type of pencil or a combination of pencils. Drawings can also consist of
combination of drawing media such as pens, charcoal, etc.

Take some time to explore the potential of each drawing implement. This can be done by
dividing a page into several squares as in the examples below. Do this exercise using a variety
of drawing media such as pen and ink, charcoal, pencils and any other materials.

Exploring different
pencil qualities

Not only does the choice of drawing tool influence the outcome of the drawing, but the line
quality also plays a role. Each drawing tool is capable of producing a variety of effects, and
combined with the most appropriate line quality, it can produce a meaningful expressive
drawing. Spend some time exploring the possibilities.

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Exploring mark
making using
pencils

EXTRA READING

While this unit focusses mainly on the use of traditional drawing media such as charcoal and
pencils, there are several alternatives which can be used. Explore this by viewing the list of art
media on Wikipedia: [Link]

METHODOLOGY

Biographical and autobiographical approaches to art interpretation assume that knowledge of

the artist’s life and personality are essential for understanding of their work.

The book The Lives of the Most Excellent Painters, Sculptors, and Architects was first published
in 1550, and was written by the Italian Giorgio Vasari. It is the first collection of artistic
biographies focussing mostly on the lives of Florentine and Venetian artists and has become an
invaluable resource for anyone studying art from the Italian Renaissance. Since then
biographies and autobiographies in all formats including video and television interviews, artist’s
websites and their social media accounts, have become essential resources for researching any
artwork. This approach is also associated with the notion of authorship. Refer to the section in
Adams page 16 for further information on authorship.

PORTFOLIO ASSIGNMENT 2.3

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Research the process Diane Victor uses to produce her ‘smoke drawings’. Although Victor
often uses charcoals and pencils to produce her drawings, here she uses an alternative media
(smoke) to produce her portraits.

Watch the video Diane Victor in the Studio for insight into how she produces these drawings.
[Link]

Images of her work can be viewed on David Krut Projects available at:
[Link]/artists/191/diane-victor
This website also contains information about the artist and her biography published as part of
the TAXI Art Book Series (TAXI-013 Diane Victor published in 2008).

Choose one or two artworks to discuss. Start with an overview of the artist and her working
methodology. Then include a description and formal analysis of the works that you have
chosen. Focus on the line quality, the mark making and expressive quality of the lines present.
Lastly, write up a short interpretation of the works, focussing particularly on the implied
metaphors of working with smoke as medium.

LINE AND TEXT

One way of exploring the expressive qualities of line, is to look at text. Compare the visual effect
achieved when changing the font (and line quality) of the word in the following example:

Happy Happy HAPPY Happy

Advertisers often consider the visual effects of the text in relation to the images to ensure that
their adverts have a unified visual message. Text is also important in branding, and many
companies have strict policies regarding the use of specific text fonts in their branding,
advertising and formal communications. Text can therefore be seen as part of the
organisation’s public persona or ‘character’.

LEARNING ACTIVITY
Collect several examples of adverts with images and text. Consider how the text and the image
relate. Paste examples in your workbook, noting how the line quality affects the ‘look and feel’ of
the advert and how it relates to the product being advertised.

PORTFOLIO ASSIGNMENT 2.4

Design a black and white logo for a community centre in your area. Your logo should include
text and image.
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Think about the purpose of the community centre, their supporters and role in the community.
Consider how the text and image can convey its purpose visually. Pay special attention to the
line quality of the text used.

DRAWING THE HUMAN BODY AND FACES \

For most beginners, the fear of having to draw a face or portrait could be overwhelming.
However, if one views the human body as a series individual objects in a specific relationship to
each other, the task is much less daunting. Initially one should have a good understanding of
the basic proportions of the body and face. Once the student is familiar with these, the next step
would be to adapt the generalised proportions to reflect those of the specific person being
drawn.

LEARNING ACTIVITY
Using the following diagram as a guide, use a pencil or similar instrument to measure up your
own face’s proportions (while looking in a mirror) or those of a friend. Take note of how your
proportions differ from the generalised formula to produce a likeness.

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PORTFOLIO ASSIGNMENT 2.5

Using the abovementioned guide, complete the portrait of yourself or your sitter.

Produce at least 4-5 drawings showing the head in various positions, such as a side view etc.
Try to capture some of the sitter’s unique features or emotional qualities. Each portrait should
be attempted using a different medium or combination of mediums.

EXTRA READING

Do a search to find information about full body proportions. There are many websites dedicated
to the development of basic drawing skills, but the following may be particularly helpful:

Web Art Academy ([Link])

This website offers a variety of free video lessons covering all aspects of drawing and painting.
You do however have to subscribe to their database, although free, to access the videos.

ArtyFactory ([Link])
This website features step by step instructions and photographs illustrating many of the
techniques covered in this course. These are also available as downloadable pdf documents.

WORKING ‘BACK TO FRONT’

Drawing does not always have to be an additive process, meaning that one starts with a blank
page and that the drawing is systematically built up with successive layers. Drawings can be
produced using a subtractive method too. The use of charcoal is particularly effective for this
exercise. Scraperboard also makes use of the subtractive method. Subtractive methods can be
combined with additive processes, resulting in interesting effects. The video in the activity
below demonstrates the subtractive process using an eraser on a charcoal surface.

LEARNING ACTIVITY
Watch the following video
The Virtual Instructor: Drawing with an eraser
[Link]

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PORTFOLIO ASSIGNMENT 2.6

Produce a portrait using a subtractive drawing method.

Cover a sheet of paper with charcoal and proceed to produce a portrait using the subtractive
method. Remember to fix the drawing with artist’s fixative or hairspray.

RESOURCES
Adams, L.S. 2007. Art Across time. Third Edition. Boston: McGraw Hill

Edwards, B. 2011. Drawing on the right side of the brain. London: Harper Collins.
MoMA Learning available at [Link]/learn/moma_learning/glossary
Simon, H (ed). 2001. Bridgman’s Complete Guide to Drawing from Life. Drawings and text by
George B Bridgman. New York: Sterling Publishing.
Tate Art Terms available at [Link]/art/art-terms
Visual Arts Cork available at [Link]

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 3. LEARNING UNIT 3: PAINTING

Introduction
This unit will serve as an introduction to the basics of acrylic painting, including colour theory.
Note that oil painting is not covered in this unit, although colour theory and basic principles are
relevant to both oil and acrylic painting. Acrylic painting is a cheaper and more accessible
medium for beginners, and the rapid drying times, lack of toxic fumes and affordability allows for
students to complete more works in a shorter period of time, making it ideal for teaching
environments.

Aims and objectives for unit 3

After completing this unit, you should have a basic understanding of:

• Colour theory
• Basic techniques of acrylic painting
• Application of paint to produce effects

COLOUR THEORY
There are several colour mixing theories, but the theory proposed by Johannes Itten (1888-
1967) is most widely used. In his colour wheel, the three primary colours (red, yellow and blue)
form the basis of all other colours. Primary colours cannot be mixed from a combination of any
other colours.
By mixing the primary colours, the following secondary colours are created: orange, green and
violet (purple). Mixing the primary colour with its adjacent secondary colour will result in
intermediary colours: red-orange, red-violet, yellow-green, yellow-orange, blue-green and blue-
violet. Colours opposite each other in the colour wheel, are complementary colours, and when
mixed will produce chromatic greys.

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Image source:
[Link]/~melacy/pages/2D_Design/Itten_ColorContrasts/[Link]
The addition of white to any colour will produce a tint, and the addition of black will produce a
shade. Warm colours are normally yellow, yellow-orange, orange, orange-red, red, and red-
violet. Cool colours are yellow-green, green, green-blue, blue, blue-violet and violet.
The section on Light and Colour in Adams, pages 21-23 provides further information.

ARTIST’S COLOURS
You would have noticed that Itten’s colour theory makes use of generalised names such as
blue, red and yellow for the colours on the colour wheel. However, when confronted with racks
of paint in the art store or stationery shop, one immediately notices the vast, and often
confusing array of colours. How does one know which colours to use?

Firstly, artist’s colours are labelled (named) according to the pigment used, for instance French
Ultramarine, Cobalt Blue and Cerulean Blue are all ‘blues’, each with their own characteristics
and undertones determined by their pigments. It follows that if one uses any of these blues to
create a colour wheel the result will differ according to the specific blue used, as well as the
other primary colours used.

Secondly, it is essential to take time to familiarise yourself with the various artist’s colours, their
properties and their mixing properties, which differs from brand to brand. This unfortunately
only comes with practice and observation. To aid colour matching in a specific painting, it is
advisable to keep a record of colour samples along with the ratios of colour pigments used as
reference.

The following is a list of basic artist colours which are recommended as a starter pack for
beginners:

Titanium White
Black (Charcoal or Ivory)
French Ultramarine (blue)
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Cadmium Yellow
Cadmium Red (orange/yellow undertone)
Alizarin Crimson (bluish red)
Sap Green

Optional:
Burnt Sienna, Burnt Umber, Raw Sienna, Raw Umber, Yellow Ochre, Payne’s Grey, Cobalt
Blue.

Optional speciality colours: (Note: Often very expensive, and not essential!)
Olive Green, Permanent Rose, Indian Yellow

COLOUR BIAS

When mixing colours, the beginner is often disappointed when the results do not reflect the
intended colours on a colour wheel. There are several reasons for this, but mostly they pertain
to the type and quality of pigments used in the paint, as discussed in the previous section.
Cheap paints often yield inconsistent results due to the low-grade pigments and fillers used.

However, the most common reason for problems encountered with colour mixing relate to the
type of pigment/s present in the paint, or the undertone present. Not all green or reds or blues
are equal. For instance, French Ultramarine is a ‘warm’ blue, while Cobalt blue is a ‘cool’ blue.

Winsor and Newton refers to this as ‘colour bias’, which is explained as follows:

Understanding colour bias is crucial to successful colour mixing. To get the brightest
mixtures, choose base colours with a similar bias, meaning those that “lean” toward each
other on the colour wheel.

For example, although yellow and blue are mixed to get green, which yellow mixed with
which blue will produce the cleanest, brightest green? This is where colour bias comes
in. To get the brightest green, choose a blue that leans toward yellow and a yellow that
leans toward blue. This ensures the mixture contains only two colours: blue and yellow. If
you were to choose a blue with a red cast instead of a yellow cast, you would introduce a
third colour, red, to your mixture, and red, which is the opposite or complement of blue,
will make the mixture muddy. Colour bias is sometimes also referred to as the colour
temperature, i.e., is it “warm” or “cool” in tone.

Read more about colour bias and view examples at:

[Link]
techniques/colour-bias-rather-than-munsell-ratings

COLOUR AND SYMBOLISM

Firstly, read the section on Expressive Qualities of Colour in Adams, page 23.

Certain colours are often associated with specific emotions or ideas. For instance, blue is often
associated with water (sea or sky) and implies calm, serenity and peace. Colours may also have
very specific symbolic meanings, often related to cultural practices such as marriage, death etc.
The use of a specific colour in a painting can directly influence its meaning and should be
considered beforehand.

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In when it comes to branding and advertising, colour choices are also important and can convey
a company’s ideology or reinforce its economic position. Think for a moment of the cell phone
companies or petroleum companies in South Africa. Each of them have a very specific colour
associated with their brand, despite the fact that they trade in the same product. The consumer
instantly associates a specific colour with their preferred brand, and will look out for the colour
template when needing to visit a fuel station or cell phone store.

PORTFOLIO ASSIGNMENT 3.1

Redesign the logo you created in unit 2 by adding colour to the design. Carefully consider the
choice of colours and the meaning they impart.

EXTRA READING
Read up on the colour theories proposed by Johannes Itten, Wassily Kandinsky and Joseph
Albers.

For those interested in the history of paint pigments, the following books are recommended:

Ball, P. 2001. Bright Earth: the invention of colour. London: Vintage Books.
Finlay, V. 2002. Colour: travels through the paintbox. London: Sceptre.

LEARNING ACTIVITY
Watch the following video
Making a colour wheel
[Link]

PORTFOLIO ASSIGNMENT 3.2

Create your own colour wheel based on Itten’s colour wheel, including tints and shades for each
colour.

PORTFOLIO ASSIGNMENT 3.3

Using the resources listed in unit 2 (and at the end of this unit), research the following. Add
definitions and visual examples of the following terms to the glossary of terms in your workbook:
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Implied texture
Hue, value
Saturation/intensity
Tint, tone
Primary, secondary and complementary colours
Monochromatic, achromatic
Wet on wet
Scumbling, blending
Transparent glaze, colour washes

EXPLORING MATERIALS
With painting, the final result is influenced by several factors, starting with your choice of
materials. The most obvious starting point is the choice of support. Just about anything can be
used as a paint surface as long as it is properly prepared. Traditional supports include paper,
hardboard or wooden panels, canvas boards and stretched canvases. Non-traditional supports
could include metal (e.g. signage, tins etc), plastic surfaces, photographs, organic material etc.
Non-traditional supports may need specialised preparation techniques to ensure that the paint
does not peel or damage the support. The best is to do an internet search before using non-
traditional supports.

The choice of brushes used will also influence the brushstrokes produced. Paint brushes are
available in a variety of sizes, bristle types and brush shapes. As a rule, the harder the brush,
the more prominent the brushstroke will be. Softer, more rounded brushes such as a filbert
shape would often be used for blending purposes. Take some time to explore the mark-making
potential of each type of paint brush, as well as alternatives to brushes such as palette knives,
sponges, organic material, plastic utensils etc. Do this in your workbook.

A selection of
brush types

Image source: [Link]

ACRYLIC PAINTS
Acrylic paints are water-based paints that are mostly non-toxic, quick drying and waterproof
once dry. Wikipedia’s entry on Acrylic paint contains a very useful classification of the various
acrylic paints available and their uses. See [Link]

The rapid drying time can be both beneficial and problematic for beginners who have not yet
mastered colour mixing. Using a spray bottle with water can keep paint moist, but will
eventually dilute the paint consistency and affect the end results. Several commercial retarders
are available which will allow for a slightly longer drying time.
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TIP!
Create your own moisture retaining palette by using a plastic container with a lid. It is important
to use a container that seals airtight. Line the bottom with a ‘shamy’ cloth or similar moisture
retaining cloth. (The yellow Handy Andy cloths available in the household section work well too).
Place a disposable paper palette on top of the moist cloth. Cover the paint with plastic wrap
and keep the sealed container in the fridge when not in use. Paint should stay workable for 1-2
days depending on weather conditions.

EXTRA READING
Read up on how to care for your brushes.

[Link]
and-cleaning-of-brushes

PORTFOLIO ASSIGNMENT 3.4

Create three portraits using the following colour schemes:

Achromatic (that is using white and black only)

Monochromatic (Using one colour, including its tints and shades)
Warm or cool colours

It is important to think about the emotional aspects associated with the colours you have chosen
in each case, try to match the emotional posture of the sitter with the colours you have chosen.

WHAT IS TEXTURE?
Texture refers to the surface quality of an object as determined by the sense of touch. Implied
or visual texture refers to the optical illusion of texture, created by the manipulation of marks
and colour on a flat surface. Textures can vary from smooth to rough, and imply surfaces such
as silky fabrics, shiny smooth glass or metal, rough wood and so forth. Textures are often
created by using the visual elements of line and shape, and the design element of repetition.

CREATING TEXTURE
Due to its rapid drying time, acrylic paint lends itself to creating textured surfaces.
Textured surfaces can be produced by imprinting objects in the wet paint (such as bubble
warp), the use of palette knives and other utensils, even allowing for materials such as sand etc
to be mixed into the paint to provide texture. The most important thing to remember is that
texture should be relevant and not used as ‘effect’. This means one should consider the reason
a texture is included and not just the visual effect it creates.

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LEARNING ACTIVITY
Investigate the various textures one can achieve by using objects such as leaves, sticks,
bubblewrap etc. Remember to note the process/objects used next to your samples. Obtain
examples of similar implied textures in visual images. Make notes on how the implied texture
was achieved using line, shape and repetition.

ART GENRES AND THEMES

Art genres refer to general categories of art or themes associated with art. A quick glance at the
Wikipedia page listing art genres shows more than 200 categories!
(Look at [Link] For the purposes of this study
guide, the focus will be on the more commonly known genres of portraits and self-portraits, land
and landscapes, still lives, community projects and installations, and public art.

A still life is a work of art depicting mostly inanimate subject matter, typically commonplace
objects which are either natural or man-made. This is often referred to as material culture.

Dutch painters in the 1600s and 1700s developed a style of realism which on the surface
appears hyper realistic but would often contain contradictory items such as flowers which bloom
in different seasons. The still life genre was highly popular in Dutch culture, and often included
elaborate arrangements of luxury items such as glass and silverware, fruit and flowers, as well
as objects such as skulls, timepieces and candles which all alluded to the brevity of life. Dutch
artists loved to ‘play’ with art, and artworks contain hidden messages and social commentary for
the viewer to discover. All the objects included in the still lives were associated with specific
meanings and symbolisms, allowing the viewers to contemplate alternative meanings for each
artwork. Research the Vanitas paintings of the 16th century Dutch culture and keep this in mind
for the next assignment.

PORTFOLIO ASSIGNMENT 3.5

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Pieter Claesz, Still Life with Salt Tub (c.1644). Oil on Board, 52.8 cm x 44 cm.
Image source: [Link] (Public
Domain)

With reference to the above image, discuss the artist’s use of colour and texture to achieve a
harmonious composition. Start with a short biography of the artist, followed by a description of
the work. Then consider how the artist used colour and textures in the work. Note that the
textures are all implied and vary from smooth, crisp surfaces for the linen and the glitzing metal
surfaces to the high ornate carved stem of the wine glass. Finally, write a short conclusion on
how the objects in the still life reflect the culture and society the artist lived in.

More information on the artist Pieter Claesz and the artwork can be found at:
[Link]

PORTFOLIO ASSIGNMENT 3.6

1. Create a pattern using found objects from your kitchen.
Look through your kitchen drawers to find objects that could produce a textured surface,
such as toothpicks, forks, paper doilies, plastic bags, cut fruits such as lemons or
potatoes. Take imprints of the objects by pushing them into paint and then onto your
paint surface. (Note: only use objects that you do not mind destroying in the process, the
paint may not be removable.) Consider layering imprints to produce a more complex
pattern. Also take into consideration the overall colour scheme of the pattern.

2. Produce a still life painting in which you incorporate some of the textural effects and
patterns you explored in the previous activities. In this exercise, it is important that the
texture should be considered, and should relate to the visual aspects of the objects you
are painting. For example, if the chosen object is a flat, shiny object, the texture should
correlate with this. So too if the object is roughly textured and irregular, the painted
texture should link with this.

25
 It is also important to consider the general composition and the objects you will be
including. Think about how these objects reflect your own personality, your culture,
society at large.

EXTRA READING
Due to the nature of this study guide, it is impossible to cover all aspects of painting in any
depth. The following additional topics need to be investigated for a more comprehensive
knowledge of painting:

Correct preparation of painting surfaces, priming canvas, use of gesso

Techniques such as scumbling, glazing with transparent colours
Use of paint mediums, extenders, retarders and fillers
Drying times and varnishing

The following websites contain useful videos / tutorials regarding the abovementioned topics:

[Link] (several videos specifically relating to acrylic painting)

[Link] (subscribe for free to their masterclass videos)
[Link] (Classical atelier painting techniques)

Again, you are referred to the following websites:

Web Art Academy ([Link])

This website offers a variety of free video lessons covering all aspects of drawing and painting.
You do however have to subscribe to their database, although free, to access the videos.

ArtyFactory ([Link])
This website features step by step instructions and photographs illustrating many of the
techniques covered in this course. These are also available as downloadable pdf documents.

RESOURCES
Adams, L.S. 2007. Art Across time. Third Edition. Boston: McGraw Hill

For terminology:
Art Resources available at [Link]
MoMA Learning available at [Link]/learn/moma_learning/glossary
Tate Art Terms available at [Link]/art/art-terms

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Visual Arts Cork available at [Link]/[Link]

For painting techniques:

Aristide Atelier available at [Link]
Daler Rowney available at [Link]
Winsor and Newton available at [Link]

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 4. LEARNING UNIT 4: COLLAGE AND MIXED MEDIA

Introduction
This unit explores the use of collage as creative tool and as art form. Activities are formulated to
provide additional opportunities to practice the implementation of the various art elements in a
final artwork. The topics covered in previous units, as well as the practical experiment done,
inform the activities set for this unit.

Aims and objectives for unit 4

After completing this unit, you should have explored the following:

• Collage as art form and creative resource

• Collage as tool for exploring colour
• The use of art elements in collage

COLLAGE AS ART FORM

The term collage refers to the French verb coller which means ‘to glue’. Originally the term
referred to the inclusion of mass produced paper such as cards, advertisements, billboards etc.
However, the practice quickly evolved to include any two or three dimensional objects pasted or
glued onto a surface. The additional use of traditional media such as pencils, charcoal, inks,
acrylic or oil paints may also be incorporated in the final artwork.
The Cubist artists Georges Braque (1882 – 1963), Pablo Picasso (1881 – 1973) and Juan Gris
(1887 – 1927) were highly influential in establishing the practice of collage as art form. Their
Cubist experiments resulted in the invention of a new medium which still forms part of
contemporary art practices. Initially the practice was met with much critique as it challenged the
conventional understanding of what art is ‘supposed’ to be. Collage rejected the traditional
medium of oil paint used by artists since the Renaissance, in favour of the incorporation of mass
produced objects. This act also questioned the role of the artist in the production of art objects,
and their subsequent status as ‘high art’ (Antcliff & Leighten 2001: 159-164).
Today, collage not only functions as art form, but is often used as part of the creative process
when exploring ideas during the initial stages of conceptualising artworks. The activities in this
tutorial have been formulated with the creative process in mind, and does not primarily focus on
collage as art form. Firstly, the activities allow for experimentation with alternative approaches
to artmaking which could incorporate the use of traditional and non-traditional media. Secondly,
the activities provide the opportunity of reviewing the use and implementation of basic art
elements. Lastly, the activities are open-ended with no set theme which allows for creative
thinking to originate from the possibilities inherent in this artistic process.

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PORTFOLIO ASSIGNMENT 4.1

Obtain an image of the following artwork:
Pablo Picasso, Still Life with Chair Caning. (1912). Oil on oil-cloth over canvas edged with rope,
29 x 37 cm. Collection of Musée Picasso.
Note: Due to copyright restrictions, we are unable to include an image of the work in the study
guide. You may however view it online at:
Pablo Picasso available at [Link]
Further information about the artwork can also be obtained from Khan’s Academy:
[Link]
with-chair-caning

After researching the work, formulate a description and interpretation of the artwork. Discuss the
use of formal elements and design principles in the work, and mention the significance of the
artwork in terms of its influence on contemporary art practices. Include a short biographical note
on the artist in the introduction.

EXTRA READING
Collage as art form is mostly associated with Dadaism and artists such as Raoul Hausman,
Hannah Hoch, Kurt Schwitters to name a few. Research this further.

PORTFOLIO ASSIGNMENT 4.2

Using the resources noted in previous units (and listed at the end of this unit), research the
following terms. Add definitions and examples to the glossary of terms in your workbook.
Collage
Photomontage
Found object
Impressionism, Post-Impressionism
Dadaism

EXPLORING VISUAL ELEMENTS THROUGH COLLAGE

The practice of collage allows for several experiments exploring the basic elements of art, as
well as the design elements.
In terms of colour in visual works, the act of tearing up magazine images into small scraps of
colour, and then sorting the colours into broad colour groups (e.g. yellow, red, blue etc), and
then resorting these scraps into different subgroups (e.g. similar tints or tones), can help to
further develop the understanding of colour.

29
The use of collage can also help students explore the implications of scale, texture, as well as
design elements relating to composition.

LEARNING ACTIVITY
Value relates to how light or dark something is. Create a tonal value scale by arranging scraps
of coloured paper from dark to light.

Create similar scales for the tints and tones for the primary colours (red, blue and yellow).

PORTFOLIO ASSIGNMENT 4.3

Create a monochromatic collage using colour swatches taken from magazines or other paper
products.

Explore the Impressionist and Post-Impressionist approaches to colour by recreating a work of

art or section of a work from these stylistic periods. Consider artists such as Paul Cézanne,
Claude Monet or Vincent van Gogh. The Google Art website contains several high resolution
images of artworks by these and other artists which allows for close scrutiny of the artworks,
available at [Link]

EXPLORING SCALE AND PROPORTION

Objects printed in magazines are of a predetermined size. Cutting or tearing out the objects and
removing the context allows for experimentation with scale and proportion.

Scale and proportion can firstly refer to the size of the artwork itself, relative to the display
environment, and secondly it can refer to the scale and proportion of the various visual
elements within the specific artwork.

PORTFOLIO ASSIGNMENT 4.4

Create a collage which explores the use of scale and proportion in architectural structures using
images of the human body. Create an imaginative structure by using collage elements not
normally used in buildings, e.g. legs as columns, etc. Consider how the normal scale and
proportions of the human body and buildings relate.

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EXPLORING TEXTURE AND PATTERN

Texture relates to the tactile qualities of a surface. Texture may be visually implied or may be
physically present. In printed media, textures are mostly implied and this allows for its
successful use in two-dimensional works such as collages. On the other hand, mixed media
collages can also incorporate physical textures into the work, such as the use of sand mixed
into paint to create a rough texture.

Organic materials such as sand, leaves, twigs etc. could provide interest and texture in mixed
media works. Organic material may be incorporated into the work itself, or may be used to
create marks.
It is however important to remember that organic materials are subject to deterioration and may
also cause decomposition of the support used, and the artwork as a whole.

PORTFOLIO ASSIGNMENT 4.5

Create a collage which explores the visual textures provided by printed materials only (implied
texture).

Create a mixed media collage which recreates the physical textures in the above-mentioned
collage, using organic materials and found objects.

METHODOLOGY
Semiotics, the study of signs, is associated with linguistics and is often used in the analysis of
visual images. If we view images as ‘language’, it makes sense to unpack their meaning using
semiotics. Read the section on semiotics in Adams, pages 16 and 17.

Signs are defined as the relationship between the signifier (that which carries or produces
meaning) and the signified (the meaning itself). The simplest way is to think of computer and
other icons such as these:

We are taught to associate specific meanings with the individual icons (or signs). The first sign
indicates ‘male’, the second ‘female’. These icons also become ‘short hand’ for navigating life,
for instance when looking for a toilet in a public space, these signs would indicate the location of
facilities.

However, there is a variable relationship between signs and meaning which is influenced by
amongst others, the individual’s own experiences and cultural beliefs. The way signs are
understood is also influenced by its relationship to other signs. For instance, a little girl holding a
dog can represent loyalty or friendship, but a dog surrounded by law enforcement officers it

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could indicate control or fear. Semiotics investigates the variable relationship between signs
and meaning.

Collage is an effective strategy to investigate the meaning of signs, as well as how meaning
could be affected by changing its relationship with other signs.

LEARNING ACTIVITY
The following images are works produced by teachers in previous workshops. Discuss how the
elements of art have been used in each case. Additional examples may be

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EXTRA READING
Due to the nature of this study guide, it is impossible to cover all aspects of collage and mixed
media in any depth. The following topics form part of further investigations into the use of
collage and mixed media:

The use of alternative support surfaces such as fabrics, as well as the preparation of these
surfaces.
Stretching paper.
Papermaking techniques.
Use of text in collage.
Use of photography in collage.
Digital collages and the use of software programmes for creating images.

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RESOURCES
Adams, LS. 2007. Art Across time. Third Edition. Boston: McGraw Hill

Antcliff M & Leighten, P. 2001. Cubism and culture. London: Thames & Hudson.
Shay, B. 2010. Collage lab: experiments, investigations and exploration projects.
Massachusettes: Quarry Books.
For terminology:
Art Resources available at [Link]
MoMA Learning available at [Link]/learn/moma_learning/glossary
Tate Art Terms available at [Link]/art/art-terms
Visual Arts Cork available at [Link]/[Link]

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5. LEARNING UNIT 5: PRINTMAKING

Introduction
This unit explores the use of printmaking as creative tool and as art form. Activities are
formulated to provide additional opportunities to practice the implementation of the various art
elements in a final artwork. The topics covered in previous units, as well as the practical
experiments done, inform the activities set for this unit.

Aims and objectives for unit 5

After completing this unit, you should have explored the following:

• Basic printmaking techniques

• Art elements and printmaking
• Use of alternative methods including Styrofoam printing, stencilling, rubbings, stamp
making and scraperboards.

PRINTMAKING AS ART FORM

Printmaking at its most basic is the process of producing images by applying one surface (often
paper) to another surface (often a hard, textured surface to which ink or paint has been
applied). By varying either the base surface (e.g. wood, metal) or the printing surface (paper) or
the process of applying texture (additive or reductive methods), one can produce an endless
variety of printed visual images.
Reductive methods such as relief printing, and especially forms which use wood cuts were
closely related to the invention of the letterpress and printing of books. Due to the popularity
and ease of digital printing, contemporary printmaking is mostly seen as an artform in the
production of limited editions of artists’ books and prints.
Woodcuts, photographic woodcuts (heliorelief), wood engravings and linocuts are considered as
relief printmaking techniques. In these processes ink is applied to the raised surfaces of a
printing block or plate and an impression is transferred to paper. The relief images are
produced by cutting or carving into hard surfaces to produce a raised surface onto which the ink
can be applied. Due to the lengthy nature of these processes, the techniques will only be
discussed by way of examples in the workshop. Please experiment with these processes at
home and discuss any issues during the next workshop’s feedback session.
Collographs on the other hand are created by adding textured objects to a substrate before
taking an imprint. Materials could include textured papers, fabrics and small objects. This
process may be combined with reductive processes such as scratching and carving depending
on the nature of the base plate. For this unit, you will be required to explore various collograph
techniques and to produce at least one final work. The experiments relating to texture and
pattern explored in the previous unit (collage) could inform this process.

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PORTFOLIO ASSIGNMENT 5.1
Obtain an image of the following artwork:
Azaria Mbatha, Royal Wedding (1982). Linocut on paper, 40 x 40cm, edition of 100.
After researching the work, formulate a description and interpretation of the artwork. Your
research should include an investigation into the Rorke’s Drift Art Centre. Discuss the
significance of printmaking as artistic medium associated with resistance art during the
apartheid era.

EXTRA READING
Research printmaking in South Africa, and the significance of the Rorke’s Drift Art Centre in the
following book:
Hobbs, P & Rankin, E. 1997. Printmaking in a transforming South Africa. Cape Town: David
Philip.

PORTFOLIO ASSIGNMENT 5.2

Using the resources listed in the previous units (and at the end of this unit), research the
following terms. Add definitions and visual examples of each to the glossary of terms in your
workbook:
Linocut Etching
Relief print Brayer
Intaglio print Reduction prints
Lithography Drypoint etching
Encaustic Engraving
Monoprint Artist’s proof
Collagraph Edition

CREATING THE IMAGE ON THE BASE PLATE

One of the most common mistakes beginners make with printmaking relates to lettering. Due to
the fact that images are reversed in the final print, lettering needs to be carved as a mirror
image to ensure that words are correctly readable in the final version. Today computer
programmes can be used to aid this process, and even general software programmes such as
Microsoft Word allows one to generate a mirror image of text or visual images which can be
used as transfers.
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 MVE1502_Study guide

The second difficulty often experienced relates more to reductive techniques than additive
techniques. Reductive techniques require proper prior planning of the image to ensure that the
final print ‘reads’ correctly. This includes identifying areas that will function as highlights in the
final printed image.

REMEMBER! Final images will always be the reverse of the print plate.
Another problem with reductive techniques is that mistakes are not easily correctable as the
base plate is ‘damaged’ by the cutting or carving process. Mistakes can often only be corrected
by either carving deeper into the base plate or by inserting an additional layer of the substrate
over the area (much like a plaster over a wound). This however is not recommended as the
printmaking process picks up all irregularities on the base plate, which will in turn reflect in the
final image.

EXPLORING LINE THROUGH PRINTMAKING

The practice of printmaking offers good opportunity for the exploration of line and line quality.
Please refer to previous exercises in which this art element was explored.

LEARNING ACTIVITY

Watch the following demonstration of how to create a Styrofoam print:

[Link]

PORFOLIO ASSIGNMENT 5.3

Create a monoprint using a Styrofoam base plate. Focus on exploring different linear qualities
by using a variety of tools.
(Hint: Kitchen cupboards contain a wealth of implements that could be used such as toothpicks,
forks, serrated knives etc.)

EXPLORING TEXTURE AND PATTERN THROUGH COLLOGRAPHS

Recycled materials such fabrics, cords, wool, mesh etc can be used to build up textured printing
plates from which prints can be taken. Collograph exercises allow for experimentation with
various textures and how these translate into visual components which constitute a final image.
It is essential to play around with various materials before attempting a final work. In this way,
one will become more familiar with the resulting printed texture associated with each material
(see image below).

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Image source: [Link]

This website for Boise State University also contains useful information on creating collographs,
as well as links to educational art videos produced by The Museum of Modern Art ([Link]).
Khan Academy of Art’s website can also be consulted.

LEARNING ACTIVITY
Watch the following video clip:

Printmaker Sarah Ross-Thompson demonstrating collograph printmaking.

[Link]

PORTFOLIO ASSIGNMENT 5.4

Create a collograph in which you explore the use of various textures in building up an image of
your choice. Remember to include examples of your print experiments in your workbook along
with notes about the materials used to achieve each effect.
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LEARNING ACTIVITY
Several traditional printmaking processes often require specialist equipment which may not be
available to schools. Safety issues also need to be considered with the use of sharp knives,
scalpels and carving tools etc. It is therefore imperative to investigate alternative printmaking
processes which are both inexpensive and safe. Brainstorm various alternative methods which
could be used for printmaking bearing in mind that the process of printmaking essentially
involves the transfer of an image from one surface to another. Note these in your workbooks.

LEARNING ACTIVITY
Scraperboard experiments are included in several visual arts activities in the curriculum.
However, scraperboard can be very expensive and not readily available in some areas with
limited access to art and specialist stationery shops. Scraperboards can be produced in the
classroom setting by learners themselves. These are made by covering a smooth piece of card
with white wax crayon or candle wax. Cover this with two layers of black poster paint (which
can be diluted with a drop of dishwashing liquid to aid fluidity). Allow to dry thoroughly before
use. Test samples should be made during the workshop.

EXTRA READING
Due to the nature of this study guide, it is impossible to cover all aspects of printmaking in any
depth. The following topics form part of further investigations into the use of various printmaking
techniques:

Linocut prints and woodblock prints

Intaglio
Etchings
Silkscreen printing

RESOURCES
Adams, LS. 2007. Art Across time. Third Edition. Boston: McGraw Hill
39
Smith, R. 2003. The artist’s handbook. London: Dorling Kindersley. (This is an excellent
handbook that covers all practical issues relating to all aspects of art making).
For terminology:
Art Resources available at [Link]
MoMA Learning available at [Link]/learn/moma_learning/glossary
Tate Art Terms available at [Link]/art/art-terms
Visual Arts Cork available at [Link]/[Link]

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6. LEARNING UNIT 6: SCULPTURE, ASSEMBLAGE

AND COMMUNITY ART INITIATIVES

Introduction
This unit explores sculpture and three-dimensional art as creative tool and as art form. Activities
are formulated to provide additional opportunities to practice the implementation of the various
art elements in a final artwork. The topics covered in previous units, as well as the practical
experiments done, inform the activities set for this unit.

Aims and objectives for unit 6

After completing this unit, you should have explored the following:

• Basic sculptural techniques

• Art elements and sculpture
• Use of alternative materials in the production of three-dimensional artworks

SCULPTURE AS ART FORM

Sculptural techniques are broadly divided into additive and subtractive methods. Additive
processes rely on the systematic addition of materials such as clay, to create a three-
dimensional form.
Subtractive processes occur when material is systematically removed by carving or chiselling
into a substrate to finally produce a three-dimensional form. Traditional materials used in this
process include wood and stone.
Casting is a sculptural process which involves the production of a mould into which liquids such
as bronze, copper, resins etc are poured to create sculptural forms.
Contemporary art forms often combine several of these techniques. The exercises in this tutorial
letter will focus mainly on additive processes.

LEARNING ACTIVITY

Much of sculpture depends on joining different, and sometimes disparate, elements to form a
completed work. Brainstorm various techniques that could be used for joining different
materials. Ensure that you keep notes of these in your workbook for future reference.

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LEARNING ACTIVITY
Watch the following video clips:
El Anatsui: Studio Process | Art21 "Exclusive"
[Link]
El Anatsui’s works are large scale works, consisting of various smaller ‘blocks’ made of recycled
materials. While watching the video, note how the recycled materials are folded and formed
into new shapes, as well as how these pieces are joined together to form the larger whole.

Mbongeni Buthelezi: The artist who 'paints' with recycled plastic

[Link]
While Mbogeni Buthelezi’s work is two-dimensional in nature, his process could easily be
adapted to produce three-dimensional works. Make notes on how this could be done.

PORTFOLIO ASSIGNMENT 6.1

Obtain an image of the following artwork:
Noria Mabasa, Union Buildings (1999). Wood and hide, dimensions unknown. Collection of the
Department of Arts and Culture, Pretoria.
Write a short essay in which you provide a brief interpretation of the work by Noria Mabasa, as
well as discussing the artist’s use of formal elements in the sculpture. Your research should
include a brief biography of the artist, as well as her approach to sculpture.

EXTRA READING
For further insight into the life and work of Noria Mabasa, as well as related information on the
art /craft debate, consult the following sources:
Press, K (ed). 2003. TAXI-007: Noria Mabasa. Johannesburg: David Krut Publishing.

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McInnes, J & Koseff, J. 2008. Compendium of TAXI art books: Educational supplements.
Johannesburg: David Krut Publishing. (This source is particularly handy for lesson planning,
and contains information relating to several artists included in the curriculum).

PORTFOLIO ASSIGNMENT 6.2

Using the resources listed in the previous units (and listed at the end of this unit), research the
following terms. Add definitions and examples of these to the glossary of terms in your
workbook:
Shape versus form
Relief (sculpture)
Free standing sculpture
Monumental sculptures
Public art
Lost wax casting
Sand casting
Plaster mould casting

EXPLORING FORM THROUGH SCULPTURE

The creation of three dimensional artworks differs from the two-dimensional processes
discussed in previous tutorial letters. Firstly, sculpture requires that one views the artwork from
various angles and positions. This means that the artwork must be planned and executed with
this in mind. Secondly, sculptural works occupy space. One would therefore have to consider
how it is placed in a particular space and how it will be viewed. In art galleries or museums,
sculptures are often placed on plinths to enable viewing, but also to protect the works from
passing traffic. Artists often create specific bases for their sculptures, which enhance the
presentation and meaning of the artworks. Lastly, it is important to consider the safety and
stability of sculptures. This is particularly important when producing larger scale works which
may cause injury if it topples over. Many sculptures are invite the viewer to touch and interact
with it, and this should also be considered when choosing materials, etc.

PORTFOLIO ASSIGNMENT 6.3

Create a face mask (full or partial) using paper maché. Dip strips of newspaper into a mixture of
two parts glue to one part water. Drape the wet paper strips over a base structure (e.g.
balloon). Coat object with cooking oil beforehand to assist with removing the sculpture from the
base once dry. Add at least 6 layers of newspaper to ensure a sturdy end result. Once
completely dried, the form can be painted with acrylics, and additional found objects may be
incorporated to provide interest.

For more detailed instructions and problem-solving tips, visit the following website:

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[Link]

EXPLORING METAPHORS THROUGH FOUND OBJECTS

The use of recycled and found objects in creating three-dimensional works opens up several
possibilities for the artist. Besides providing interesting ready-made objects for the artist to use,
these objects have their own associated meanings attached which artists often exploit in the
creation of their own work. For instance, a tin of fizzy cooldrink could represent anything from
consumerism, leisure activities, even bad eating habits as an example. The use of tins
therefore could become an extended metaphor when used in a sculpture relating to any of
these issues.
The artist Willie Bester is known for his use of recycled materials in his artworks, and the found
objects in his works often act as extended metaphors which add meaning to his works.

LEARNING ACTIVITY
Watch the following video in which the artist Willie Bester discusses his work:
Transition: Willie Bester
[Link]

Discuss how the found objects used by Bester add to the meaning of his works. Additionally,
view a couple of examples of his sculptural pieces.

PORTFOLIO ASSIGNMENT 6.4

Create a three-dimensional sculpture of an imagined time machine using only recycled

materials and found objects. Start by brainstorming ideas, sketch these in your workbook.
Identify possible materials for building the time machine. Spend some time thinking about the
meaning associated with each object, and how it would impact the understanding of your final
work.

Experiment with different ways of joining the various materials. Consider using techniques
which will allow for movement of individual parts.

Lastly, consider various options for displaying the time machine. This could include hanging it
from either the ceiling or an armature, displaying it on a base or if appropriate, hanging it from a
wall surface (for instance relief sculpture).

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EXTRA READING
Due to the nature of this tutorial letter, it is impossible to cover all aspects of sculpture in any
depth. The following topics form part of further investigations into the use of various sculptural
techniques:

Use of armatures
Casting and related techniques
Ceramics and related techniques
Glass making techniques

RESOURCES
Adams, LS. 2007. Art Across time. Third Edition. Boston: McGraw Hill

Slobodkin, L. 1973. Sculpture: principles and practice. New York: Dover.

Smith, R. 2003. The artist’s handbook. London: Dorling Kindersley. (This is an excellent
handbook that covers all practical issues relating to all aspects of art making).
For terminology:
Art Resources available at [Link]
MoMA Learning available at [Link]/learn/moma_learning/glossary
Tate Art Terms available at [Link]/art/art-terms
Visual Arts Cork available at [Link]/[Link]

This study guide was written by Catherine Terblanche and compiled and edited by Leana van
der Merwe.

© Unisa 2019.

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