SS3 VISUAL ARTS LESSON NOTES

FIRST TERM

WEEK 1: DRAWING AND PAINTING

1.1 INTRODUCTION: THE FOUNDATION OF ART

Drawing and Painting are the foundational pillars of visual arts.

 Drawing is the process of creating an image on a surface (like paper) by making lines,
marks, and shapes. It is often (but not always) monochromatic and is primarily concerned
with form, line, and value (light/dark).
 Painting is the practice of applying pigment (colour) suspended in a medium (like oil or
water) to a surface (like canvas). It is primarily concerned with colour, tone, and texture.

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1.2 MATERIALS AND TOOLS FOR DRAWING

1. Pencils: Graded from 9H (very hard, light line) to 9B (very soft, dark line). HB is
standard. H-grades are for technical drawing, B-grades are for artistic shading.
2. Charcoal: (Vine or Compressed): Creates deep, rich blacks. Excellent for large,
expressive drawings and shading.
3. Pastels: (Chalk or Oil): Sticks of pure pigment. Allow for painting-like effects.
4. Pen and Ink: Provides strong, permanent lines. Used for hatching and cross-hatching.
5. Erasers: (Kneaded, Gum, Vinyl): Used for correcting, but also as a "drawing tool" to lift
pigment and create highlights.
6. Stumps & Tortillons: Rolled paper tools used for blending and smudging graphite or
charcoal.
7. Surface (Support): Drawing paper, cartridge paper, newsprint, toned paper.

1.3 MATERIALS AND TOOLS FOR PAINTING

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 1. Pigments & Medium:
o Watercolour: Transparent. Pigment in a water-soluble binder.
o Oils: Pigment in drying oil (e.g., linseed oil). Slow-drying, allows for rich
blending.
o Acrylics: Pigment in an acrylic polymer emulsion. Fast-drying, versatile, water-
soluble when wet, waterproof when dry.
o Gouache: Opaque watercolour.
2. Brushes: Come in various shapes (Flat, Round, Filbert, Fan) and materials (Sable,
synthetic). Different brushes create different marks.
3. Support (Surface): Canvas (stretched or board), wood panels, watercolour paper.
4. Palette: A flat surface (wood, plastic, or glass) used for mixing paints.
5. Palette Knife: Used for mixing paint, and can also be used to apply paint (impasto).
6. Easel: A stand used to hold the canvas upright.
7. Mediums: Liquids (like linseed oil for oils, or water for acrylics) used to thin paint or
change its properties (e.g., flow, drying time).
8. Varnish: A final protective layer applied to a finished (and dry) oil or acrylic painting.

1.4 OBSERVATION: THE KEY TO REALISM

 Observation is the skill of "seeing" as an artist, not just "looking." It involves analyzing:
o Form: The 3D shape of an object.
o Value (Light/Shadow): Where the light hits (highlight) and where it doesn't
(shadow, core shadow, reflected light). This is what creates the illusion of 3D
form.
o Proportion: The size and scale of one part of an object relative to another.
o Texture: The surface quality of the object (rough, smooth, shiny, fuzzy).
o Negative Space: The empty space around and between objects. Drawing the
negative space can help you accurately place the positive space (the object itself).

1.5 NATURE COMPOSITION DRAWING

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  Nature Composition involves drawing or painting natural objects (e.g., fruits, flowers,
leaves, shells, skulls, landscapes).
 Composition: The arrangement of these objects on the page. Good composition is
balanced, has a clear focal point, and leads the viewer's eye through the artwork.
 Applying Colour to Natural Objects:
o Local Colour: The "true" colour of the object (e.g., a lemon is yellow).
o Observed Colour: The colour as it is actually seen. The "yellow" lemon will
have highlights (white, light yellow), mid-tones (yellow), and shadows (dark
yellow, brown, or even purple, as it reflects the shadow colour).
o Colour Theory: Use knowledge of complementary colours (e.g., red/green) to
make objects "pop" or to create more natural shadows.

EVALUATION

1. Differentiate between Drawing and Painting.

2. List three drawing tools and three painting tools, explaining their specific functions.
3. What is "Negative Space," and why is it important in drawing?
4. Explain the difference between "Local Colour" and "Observed Colour."

PRACTICAL ASSIGNMENT

1. Set up a simple nature composition (e.g., a piece of fruit, a leaf, and a cup).
2. Create a detailed pencil drawing, paying close attention to highlights, core shadows, and
cast shadows to show form.
3. Create a full-colour painting (watercolour or acrylic) of the same composition. Focus on
blending colours to show the observed colour, not just the local colour.

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WEEK 2: HISTORY OF ART (WESTERN ART)

2.1 INTRODUCTION

Western Art history traces the development of visual art in Europe and regions that share its
culture. This week, we examine the art produced after the fall of Rome, which was dominated by
religion.

2.2 EARLY CHRISTIAN ART (c. 200–500 AD)

 Context: Before Christianity was legalized (313 AD), art was secret, found in the
catacombs (underground tombs) of Rome.
 Focus: Art was for storytelling (salvation, miracles) and symbolism, not realism.
o Symbols: Fish (Christ), Shepherd (Christ and his flock), Chi-Rho (monogram of
Christ).
 Characteristics: Simple, flat, 2D figures. The message was more important than the
beauty.
 Media: Frescoes (painting on wet plaster) on catacomb walls.
 Architecture: After 313 AD, Christians adopted the Roman Basilica (a long hall) as the
model for their churches.

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2.3 BYZANTINE ART (c. 500–1453 AD)

 Context: The Eastern Roman Empire, with its capital at Constantinople (Byzantium).
 Focus: Deeply religious and formal. Art was a "window" to the divine, not a picture of
the real world.
 Characteristics:
o Icons: Stylized, formal portraits of Christ, Mary, and Saints.
o Gold Backgrounds: Symbolized the divine, heavenly realm.
o Elongated Figures: Flat, "floating" figures with no sense of weight or body.
o Not Realistic: Realism was seen as pagan (Greek/Roman).
 Media: Mosaics (images made from tiny pieces of coloured glass or tile) and egg
tempera (pigment mixed with egg yolk) on wooden panels for icons.
 Architecture: The Hagia Sophia in Constantinople. Its key innovation was the
pendentive, which allowed a massive circular dome to sit on a square base.

2.4 ISLAMIC ART (c. 7th Century Onwards)

 Context: Spread rapidly from the Middle East, across North Africa (influencing Nigeria)
and into Spain.
 Focus: Religious art is Aniconic (avoids depicting human or animal figures, as this is
seen as competing with God's act of creation).

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  Key Characteristics:
1. Geometric Patterns: Complex, repeating, interlocking patterns that represent the
infinite nature of Allah.
2. Calligraphy: The use of beautiful Arabic script (often from the Qur'an) as the
central art form.
3. Arabesque: Stylized, flowing, "scrolling" patterns of leaves and vines.
 Media: Tilework (mosaics), carpets, metalwork, illustrated manuscripts (for non-
religious subjects).
 Architecture: The Mosque, characterized by minarets, domes, and courtyards.

2.5 RENAISSANCE ART (c. 1400–1600 AD)

 Context: A "Rebirth" of classical Greek and Roman ideals, art, and learning, starting in
Florence, Italy.
 Key Idea: Humanism - A shift in focus from a purely divine world to the achievements
and potential of human beings.
 Characteristics (A REVOLUTION):
1. Realism & Anatomical Correctness: Artists studied human anatomy.

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 2. Linear Perspective: A mathematical system (invented by Brunelleschi) to create
the illusion of 3D depth on a 2D surface.
3. Chiaroscuro: The dramatic use of light and shadow (light/dark) to model 3D
forms.
4. Patronage: Art was commissioned by wealthy families (like the Medici) and the
Pope, not just the Church.
 Artists:

o Early Renaissance: Masaccio (perspective), Donatello (realist sculpture, David).

o High Renaissance (The "Giants"):
 Leonardo da Vinci: Mona Lisa, The Last Supper. The ultimate
"Renaissance Man" (scientist, inventor, artist).
 Michelangelo: David (sculpture), Pieta, the Sistine Chapel ceiling
(fresco).
 Raphael: The School of Athens (a perfect blend of classical and Christian
ideals).
 Media: Oil on canvas (a new, flexible medium), Fresco, Tempera, Marble (sculpture).

EVALUATION

1. Why was early Christian art symbolic and not realistic?

2. What is an "icon," and what art period is it from? Name two characteristics of Byzantine
art.
3. Islamic art is "aniconic." What are the three main decorative elements it uses instead?
4. What was "Humanism," and how did it change the subject of Renaissance art?
5. List the three "giants" of the High Renaissance and one masterpiece for each.

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WEEK 3: IMPRESSIONISM ART MOVEMENT

3.1 INTRODUCTION (THE "REVOLUTION")

 Impressionism was a 19th-century art movement (c. 1870s-1880s) based in Paris. It is

often considered the first truly "modern" art movement.
 The name was originally an insult. A critic, Louis Leroy, mocked Claude Monet's
painting Impression, Sunrise (1872) as just a "sketch" or an "impression," not a finished
painting. The artists adopted the name with pride.

3.2 CONTEXT: REBELLING AGAINST THE "SALON"

 The "Salon" was the official, government-sponsored art exhibition in Paris.

 It celebrated Academic Art: Traditional, "finished," polished paintings of historical,
religious, or mythological scenes.
 The Impressionists were "rebels" who were rejected by the Salon. They held their own
independent exhibitions.
 Two Inventions: Their style was made possible by:

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 1. Pre-packaged Paint Tubes: Artists could now leave the studio and paint
outdoors.
2. Photography: Photography could capture a realistic "copy" of the world perfectly.
This "freed" painters to do what photography couldn't—capture subjective,
fleeting moments of light and colour.

3.3 CHARACTERISTICS AND STYLE

The core idea was to capture the fleeting, sensory impression of a moment, especially the effect
of light.

1. Painting En Plein Air: (French for "in the open air"). They painted outdoors, directly
observing their subject.
2. Visible, Short Brushstrokes: They did not blend their colours smoothly. They used
thick, quick, visible strokes to show the texture of the paint and the speed of the moment.

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 3. Focus on Light: Their real subject was often the light itself and how it changed the
appearance of objects (e.g., Monet painted the same cathedral 30 times at different times
of day).
4. Ordinary Subject Matter: They rejected "grand" subjects and instead painted everyday
life: landscapes, cityscapes, cafés, dance halls, and domestic scenes.
5. Bright, Unblended Colours: They applied pure, bright colours directly to the canvas,
often side-by-side, letting the viewer's eye "mix" them from a distance. (e.g., blue and
yellow strokes next to each other "mix" to look green).

3.4 ARTISTS INVOLVED (EXPONENTS)

1. Claude Monet: The "leader." Famous for Impression, Sunrise, his water lilies, and
haystacks.
2. Edgar Degas: Famous for painting ballet dancers and racehorses, known for his unusual,
"snapshot-like" compositions.
3. Pierre-Auguste Renoir: Famous for painting joyful social scenes, with dappled light
filtering through trees on people (Luncheon of the Boating Party).
4. Camille Pissarro: A key organizer and mentor. Painted rural and urban landscapes.
5. Berthe Morisot & Mary Cassatt: Leading female Impressionists who brought a unique,
often domestic, perspective to the movement.

3.5 FUNCTIONS AND INFLUENCE

 Functions: To capture the reality of modern life as it was lived; to explore the science of
optics and how we see; to break free from the "dead" rules of the Academy.
 Influence: Impressionism "broke" the rules of art, paving the way for all of modern art. It
directly led to Post-Impressionism (Van Gogh, Cézanne) and, eventually, to total
abstraction.

EVALUATION

1. What is the origin of the name "Impressionism"?

2. What does it mean to paint "en plein air," and what invention made it possible?

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 3. List three main characteristics of the Impressionist style.
4. Name three key Impressionist artists and their typical subject matter.
5. How did the invention of photography influence the Impressionists?

PRACTICAL ASSIGNMENT

1. Find a window in your home or go outside.

2. Using paints or pastels, try to paint a quick "impression" of the scene (10-15 minutes).
3. Do not focus on details. Focus on capturing the light, colour, and feeling of the moment
using visible, quick brushstrokes.

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WEEK 4: NIGERIAN CONTEMPORARY ARTISTS

4.1 INTRODUCTION: THE BIRTH OF MODERN NIGERIAN ART

Contemporary (Modern) Nigerian Art refers to the art produced in Nigeria from the 20th century
onwards. It is not traditional, "tribal" art. Its history is the story of Nigerian artists blending their
deep cultural heritage with Western techniques to create a new, unique, modern identity.

4.2 THE PIONEER: AINA ONABOLU (1882–1963)

 History: Onabolu is the "Father of Modern Nigerian Art." He was a self-taught artist
who, in the early 1900s, was determined to master the Western academic style of realism.
 Contribution: The colonial government believed Africans were incapable of realistic art.
Onabolu went to London, trained at St. John's Wood Art School, and returned as a master
portraitist.
 Area of Specialization: Realism / Portraiture.
 Legacy: He proved that Africans could master Western art, and he single-handedly
fought to have art included in the Nigerian colonial school curriculum.

4.3 THE FIRST INTERNATIONAL STAR: BEN ENWONWU (1917–1994)

 History: A student of Onabolu's, Enwonwu became the first Nigerian artist to gain
international fame.
 Contribution: He was a brilliant painter and sculptor. His painting Tutu (a portrait of an
Ife princess, the "African Mona Lisa") became a national symbol.
 Area of Specialization: Sculpture and Painting. He blended European techniques with
African themes, particularly the dynamic, "dancing" forms inspired by Igbo spirits
(agbogho mmuo).
 Legacy: He was an "ambassador" for Nigerian art, proving its vitality to the world.

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4.4 THE ZARIA ART SOCIETY ("ZARIA REBELS")

 History: A group of art students at the Nigerian College of Arts, Science and Technology
(now ABU, Zaria) in the late 1950s.
 The Problem: They were being taught a purely Western art curriculum by their British
lecturers.
 Their Solution: "Natural Synthesis." This was their philosophy. They decided to
synthesize (combine) Western techniques (like oil painting, printmaking) with the forms,
myths, aesthetics, and traditions of their own African cultures (Igbo Uli designs, Yoruba
carvings, etc.).

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  Key Artists and their Specializations:
1. UCHE OKEKE: A leader of the group.
 Contribution: Pioneered the "Uli" style, adapting the fluid, elegant lines
of Igbo body and wall painting into his modern art.
 Legacy: Founded the "Nsukka School" (at UNN), a major art movement.
2. BRUCE ONOBRAKPEYA:
 Contribution: A master printmaker. He invented new printmaking
techniques like "Plastograph" (using araldite on a board) to create deeply
textured, intricate prints.
 Area of Specialization: Printmaking. His work is full of Urhobo
mythology and folklore.
3. DEMAS NWOKO:
 Contribution: A painter, sculptor, and architect. He blended Nok
terracotta forms with modern abstraction.
 Area of Specialization: Painting, Sculpture.
4. YUSUF GRILLO:
 Contribution: Though a member, his style was different. He used
geometric forms and a famous "cool blue" colour palette to create lyrical,
elongated figures, often based on Yoruba themes.
 Area of Specialization: Painting.

4.5 THE "GRAND DAME": LADI KWALI (1925–1984)

 History: She was a traditional Gwari potter from Northern Nigeria.

 Contribution: In the 1950s, the British potter Michael Cardew recognized her genius
and invited her to work at his new pottery training centre in Abuja.
 Area of Specialization: Ceramics. She blended her traditional Gwari techniques (coiling,
incising) with Western ceramic techniques (glazing, wheel-throwing) to create world-
famous, unique pottery.

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  Legacy: She broke barriers as a female artist and became a global symbol of Nigerian art
(she is the woman on the Nigerian 20 Naira note).

EVALUATION

1. Who is known as the "Father of Modern Nigerian Art," and what style did he champion?
2. What was the philosophy of the "Zaria Rebels" called, and what did it mean?
3. Name three members of the Zaria Art Society and their area of specialization.
4. Who is Ladi Kwali, and what two traditions did she blend in her work?

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WEEK 5: CUBISM

5.1 INTRODUCTION (THE SECOND "REVOLUTION")

 Cubism was a revolutionary art movement of the early 20th century (c. 1907-1914),
created by Pablo Picasso (Spanish) and Georges Braque (French).
 It is considered the most influential art movement of the 20th century.
 Core Idea: Cubism abandoned the 500-year-old tradition of linear perspective (art as a
"window"). Instead of painting an object from one fixed viewpoint, it showed the object
from multiple viewpoints at the same time, breaking it down into geometric planes.

5.2 THE INFLUENCE OF AFRICAN ART

 A key inspiration for Cubism was traditional African art.

 In 1907, Picasso visited the Trocadéro Museum in Paris and saw African masks (e.g.,
Fang masks). He was "shocked" by their power.
 He realized African artists did not care about "visual realism." They carved what they
knew (the concept of a face), not what they saw.

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  Picasso's "revolutionary" painting, Les Demoiselles d'Avignon (1907), which is the first
"Cubist" painting, features faces directly inspired by these "primitive" African masks.

5.3 TYPES AND STYLES

1. ANALYTICAL CUBISM (1907–1911):

o The "early" phase.
o Style: The artists would "analyze" a subject (like a person or a guitar), breaking it
into fragmented geometric planes.
o Characteristics: Monochromatic (using only browns, greys, and blacks),
complex, abstract, and difficult to read.
o Exponents: Picasso and Braque.
2. SYNTHETIC CUBISM (1912–1914):
o The "later" phase.
o Style: The artists "synthesized" (built up) an image from simpler shapes.
o Characteristics: More colour, simpler forms, and the invention of Collage—the
practice of gluing non-art materials (like newspaper, rope, or wood) onto the
canvas.
o Exponents: Picasso, Braque, Juan Gris.

5.4 CHARACTERISTICS OF CUBISM

 Geometric: Objects are reduced to basic shapes (cubes, spheres, cylinders).

 Multiple Viewpoints: You see the front, side, and back of an object at the same time.
 Flat (2D): Rejects the illusion of 3D depth; the painting is a flat object.
 Monochromatic (at first): Colour was secondary to form and structure.

5.5 INFLUENCE OF CUBISM ON AFRICAN ART

This is a two-way street:

1. African Art -> Cubism: African masks gave Picasso the "permission" and inspiration to
break free from European realism.

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 2. Cubism -> African Art: Later, modern Nigerian artists (like the Zaria Rebels) were
influenced by Cubism's geometric abstractions. They saw in Cubism a "re-connection" to
the conceptual, non-realistic nature of their own traditional art.

EVALUATION

1. What is the core idea of Cubism?

2. Who were the two founders of the Cubism movement?
3. Explain the "two-way" influence between African Art and Cubism.
4. What is the difference between "Analytical" and "Synthetic" Cubism?
5. What new technique did Synthetic Cubism introduce to the art world?

PRACTICAL ASSIGNMENT

1. Take a simple object (like a cup or a bottle).

2. Draw it in the Cubist style. Do not draw it from one angle.
3. Try to show the top opening (a circle) and the side view (a silhouette) at the same time.
Break the forms into sharp, geometric planes.

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WEEK 6: FURNITURE

6.1 INTRODUCTION

Furniture refers to movable objects (like chairs, tables, beds, cabinets) intended to support
human activities, provide storage, or hold objects at a convenient height.

Furniture Design is a specialized field of art and design that combines aesthetics (how it looks)
with ergonomics (how it functions for the human body).

6.2 FUNCTIONS OF FURNITURE

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 1. Support (Ergonomics): To provide safe and comfortable support for the human body
(e.g., chairs, beds, stools).
2. Storage: To hold and organize objects (e.g., cabinets, shelves, wardrobes, chests).
3. Surface: To provide a flat surface for work or display (e.g., tables, desks, counters).
4. Aesthetic: To enhance the beauty and style of a space.
5. Social: To define a space and status (e.g., a "throne" or oba's chair is a symbol of power).
6. Multi-functional: Modern furniture often combines functions (e.g., a storage "ottoman"
that is also a seat).

6.3 MATERIALS IN FURNITURE DESIGN

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  Wood: The most common material (Hardwoods: Iroko, Mahogany; Softwoods: Pine;
Manufactured: Plywood, MDF).
 Metal: (Steel, Iron, Aluminium): For frames, legs; durable.
 Plastic/Polymers: Can be moulded into any shape; cheap, versatile.
 Glass: For tabletops.
 Upholstery (Coverings):
o Leather: Durable, high-status, easy to clean, expensive.
o Fabric: (Cotton, Linen, Synthetic): Huge variety of colours and patterns,
comfortable, can be harder to clean.

6.4 PROCESSES OF FURNITURE MAKING (A BASIC OVERVIEW)

1. Design: Sketching the idea, creating a technical drawing with exact dimensions.
2. Sourcing Materials: Selecting the appropriate wood, fabric, foam, etc.
3. Construction (Joinery): Cutting the wood and joining the pieces together (e.g., using
nails, screws, glue, or complex joints like Mortise & Tenon).
4. Finishing: Sanding the wood smooth, then applying a finish (e.g., stain, varnish, paint).
5. Upholstering: If it's a soft furnishing, this involves adding foam padding and covering it
with the chosen fabric or leather.

6.5 MARKETING AND OUTLETS

 Local Workshops: The most common outlet in Nigeria. Carpenters make furniture to
order.
 Showrooms: Large stores that display and sell pre-made furniture.
 Online Stores: E-commerce sites (e.g., Jumia, specialist stores).
 Interior Designers: They commission or select furniture for clients.
 Niche/Art Furniture: High-end, one-of-a-kind "art" pieces (like those by Demas Nwoko)
sold in galleries.

EVALUATION

1. What is "Ergonomics" in furniture design?

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 2. List the five main functions of furniture.
3. Compare the use of Leather vs. Fabric in upholstery (one pro and one con for each).
4. List the 5 basic steps in constructing a piece of furniture.
5. Name three different "outlets" for selling furniture products.

PRACTICAL ASSIGNMENT

1. Design a piece of furniture on paper.

2. Item: A multi-functional "student stool."
3. Requirements: It must be a seat, but also include storage (e.g., for books) and be easy to
carry.
4. Deliverable: A clear sketch of the design, with labels indicating materials (e.g.,
"Plywood," "Foam top," "Fabric cover").

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WEEK 7: MIDTERM BREAK

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WEEK 8: ORIENTAL AND OCEANIC ART

8.1 INTRODUCTION

 Oriental Art: A broad term for the art originating from East Asia (China, Japan, Korea)
and South Asia (India).
 Oceanic Art: The art of the indigenous peoples of the Pacific Islands (Polynesia,
Micronesia, Melanesia) and Australia.

8.2 ORIENTAL ART: CHARACTERISTICS

A. CHINESE ART

 Philosophy: Deeply influenced by Taoism, Buddhism, and Confucianism. Emphasizes

harmony with nature.

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  Subject: Landscapes are considered the highest form of painting. Figures are often tiny,
showing humanity's small place in the vastness of nature.
 Media: Ink and Wash Painting on silk or paper.
 Characteristics:
o Calligraphy is a high art form; the brushstroke is paramount.
o "Less is more" - empty space is as important as the painted areas.
o Porcelain (Ceramics): Highly advanced; "china" (e.g., blue and white porcelain)
was a major export.

B. JAPANESE ART

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  Philosophy: Influenced by Chinese art, but adapted with a focus on Zen Buddhism and
Wabi-Sabi (the beauty of imperfection, transience, and simplicity).
 Media:
o Ukiyo-e (Woodblock Prints): "Pictures of the Floating World." Mass-produced
prints of actors, courtesans, and landscapes. The Great Wave off Kanagawa by
Hokusai is the most famous.
o Ceramics: Raku ware (used in tea ceremonies).
 Characteristics: Focus on line, flat areas of colour, asymmetrical balance.

C. INDIAN ART

 Philosophy: Deeply religious, serving Hinduism and Buddhism.

 Subject: Deities, religious narratives, and spiritual figures.
 Media: Stone Sculpture (on temples) and Bronze Casting.
 Characteristics:
o Vibrant, ornate, and full of sensual figures.
o Symbolism: Every pose (mudra) and object has a specific religious meaning.
o Example: Bronze statues of the Hindu god Shiva as Nataraja (Lord of the
Dance).

8.3 OCEANIC ART: CHARACTERISTICS

 Context: Art is not "art for art's sake." It is deeply spiritual, functional, and connected
to ancestors.
 Materials: Natural, perishable materials (wood, shells, feathers, bone, plant fibres).

A. POLYNESIAN ART (e.g., New Zealand, Hawaii, Easter Island)

 Focus: Ancestor worship, genealogy, and mana (spiritual power).

 Examples:
o Maori (New Zealand): Intricate curvilinear carvings on canoes and meeting
houses; Moko (facial tattoos).

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 o Rapa Nui (Easter Island): The giant stone statues (Moai), believed to represent
ancestors.

B. MICRONESIAN ART (e.g., Caroline Islands)

 Focus: Practicality and function, especially for seafaring.

 Examples:
o Carved boat prows.
o "Stick Charts": An amazing form of "art" showing ocean swell patterns for
navigating the open ocean.

C. MELANESIAN ART (e.g., Papua New Guinea)

 Focus: Highly spiritual, vibrant, and expressive.

 Examples: Elaborate and colourful masks, canoes, and "spirit houses" used in rituals.

EVALUATION

1. What is the highest form of painting in traditional Chinese art, and why?
2. What is a "Ukiyo-e" print? Name the most famous example.
3. How does the subject matter of Indian art (e.g., a Shiva statue) differ from Chinese art?
4. What is the general function of Oceanic art (e.g., in Polynesia)?
5. What are the Moai of Easter Island?

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WEEK 9: SCULPTURE (RELIEF)

9.1 INTRODUCTION

Sculpture is the three-dimensional branch of visual art. Relief Sculpture is a type of sculpture
that is not free-standing (sculpture-in-the-round). It is attached to a flat background (a "ground"),
and the image projects from this ground. Examples are found on walls, monuments, and coins.

9.2 TYPES OF RELIEF

1. Bas-Relief (or Low Relief):

o The design projects only slightly from the background.
o The "depth" of the carving is very shallow.
o Example: The profile of a person on a coin.
2. Alto-Relief (or High Relief):
o The design projects significantly from the background, by at least half its natural
depth.

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 o Some parts (like a hand or a head) may be completely "undercut" and detached
from the background.
o Example: Many monumental Greek and Roman wall sculptures.
3. Sunken Relief (or Intaglio):
o The design is carved into the background.
o The highest points of the sculpture are level with the original surface.
o Example: Widely used in Ancient Egypt.

9.3 MATERIALS AND TOOLS

 Clay (Additive):
o Materials: Earthenware clay.
o Tools: Modeling tools (wood/wire loops), spatulas, rolling pins, water.
 Plaster of Paris (POP) (Subtractive or Casting):
o Materials: POP powder, water, hessian (jute) for reinforcement.
o Tools: Chisels, scrapers, rasps, sandpaper (for carving).
 Wood (Subtractive):

30
 o Materials: Wood (e.g., Obeche, Mahogany).
o Tools: Chisels, gouges (U-shaped), V-tools, mallet.
 Cement (Casting):
o Materials: Cement, sand, gravel, water, armature (metal frame).
o Tools: Trowels, spatulas.
 Metal (Repoussé/Chasing):
o Materials: Thin metal sheet (copper, brass).
o Tools: Hammers, punches.

9.4 PROCESSES OF CREATING A RELIEF

This example uses Clay (Additive/Modelling):

1. Prepare the Ground: Roll out a flat, even slab of clay to serve as the background.
2. Transfer Design: Lightly sketch your design onto the clay slab.
3. Build Up Forms: Add coils, pieces, and slabs of clay to "build up" the design, starting
with the largest forms.
4. Model Details: Use smaller tools to model the fine details (e.g., facial features, textures).
5. Refine: Ensure the highest points are (for example) 2cm high, and the lowest points
blend smoothly into the background.
6. Dry & Fire: Allow the clay to dry (leather-hard, then bone-dry) before firing it in a kiln
to make it permanent.

9.5 FINISHING

 Clay: Can be glazed (painted with liquid glass) before the final firing for a colourful,
glossy finish.
 POP/Cement: Can be sealed (with PVA glue) and then painted (with acrylics or oil).
 Wood: Can be sanded smooth and then stained (to show the grain) or varnished.

EVALUATION

1. What is the main difference between a relief sculpture and a sculpture-in-the-round?

31
 2. Explain the difference between "Bas-Relief" and "High-Relief."
3. What is "Sunken Relief," and which ancient civilization famously used it?
4. Is modeling in clay an "additive" or "subtractive" process? Why?

PRACTICAL ASSIGNMENT

1. Create a Bas-Relief Plaque (15cm x 15cm).

2. Material: Clay (or a substitute like salt dough, or even soap carving).
3. Theme: A traditional African mask.
4. Process:
o Create a flat, square base.
o Build up the forms of the mask, ensuring it projects no more than 1-2cm from the
base.
o Carve and incise details (e.g., scarification marks, patterns) into the surface.

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WEEK 10: PHOTOGRAPHY

10.1 WHAT IS PHOTOGRAPHY?

 Definition: The word comes from Greek: photos ("light") and graphé ("drawing").
Photography is the art, science, and practice of "drawing with light."
 It involves creating a durable image by recording light (or other electromagnetic radiation)
onto a light-sensitive material (like film) or an electronic sensor (in a digital camera).

10.2 OPERATING A CAMERA: THE "EXPOSURE TRIANGLE"

To create a good photograph, you must control the amount of light that reaches the sensor. This
is controlled by three settings:

1. Aperture:
o What it is: The opening in the lens.
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 o Measured in: f-stops (e.g., f/1.8, f/4, f/16).
o Effect: Controls Depth of Field (DOF).
 Large Aperture (e.g., f/1.8 - "wide open"): Lets in more light, creates a
shallow DOF (blurry background - good for portraits).
 Small Aperture (e.g., f/16 - "closed down"): Lets in less light, creates a
deep DOF (everything in focus - good for landscapes).
2. Shutter Speed:
o What it is: The time the shutter stays open, exposing the sensor to light.
o Measured in: Seconds or fractions of a second (e.g., 1/1000s, 1/60s, 1s).
o Effect: Controls Motion.
 Fast Shutter Speed (e.g., 1/1000s): Freezes action (a running person, a
water droplet).
 Slow Shutter Speed (e.g., 1s): Creates motion blur (shows the movement
of a car's taillights at night, makes waterfalls look silky).
3. ISO:
o What it is: The sensitivity of the camera's sensor to light.
o Effect: Controls "noise" or "grain."
 Low ISO (e.g., 100): Low sensitivity, for bright light. Creates a clean,
high-quality image.
 High ISO (e.g., 3200): High sensitivity, for dark situations. Creates a
grainy, "noisy" image.

A good exposure is a balance of all three.

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10.3 TERMINOLOGIES IN PHOTOGRAPHY (COMPOSITION)

 Rule of Thirds: A composition guide. Imagine your frame is divided by a 3x3 grid. The
most interesting points to place your subject are on the intersections of these lines, not in
the centre.
 Leading Lines: Using natural lines in the scene (a road, a fence, a river) to "lead" the
viewer's eye towards the main subject.
 Framing: Using elements in the foreground (like a doorway or a tree branch) to create a
"frame" around your main subject.
 Depth of Field (DOF): The area of the image that is in sharp focus.
 Bokeh: The aesthetic quality of the background blur (not just the amount of blur).

10.4 FILM MAKING

 Film Making (Cinematography) is a related but distinct art form.

35
  It uses the same principles of exposure and composition, but it involves capturing moving
images (e.g., 24 frames per second).
 It also involves other elements: narrative (story), sound (dialogue, music), and editing
(montage).

10.5 RELEVANCE OF PHOTOGRAPHY IN VISUAL ARTS

1. An Art Form in Itself: Fine Art Photography (e.g., portraits, landscapes) is exhibited
in galleries just like painting.
2. A Commercial Tool: Essential for Graphic Design, Advertising, and Fashion Design.
3. A Documentation Tool: Used by artists to document their work (e.g., taking a photo of a
sculpture or painting) for portfolios or reproduction.
4. A Reference Tool: Painters and sculptors often use photographs as a reference for their
work.

EVALUATION

1. What is the "Exposure Triangle"? Name its three components.

2. If you want to take a portrait with a very blurry background, what kind of aperture would
you use (large or small)?
3. If you want to "freeze" the motion of a fast-moving car, what kind of shutter speed would
you use (fast or slow)?
4. What is the "Rule of Thirds" in composition?
5. List two ways photography is relevant to a painter or sculptor.

PRACTICAL ASSIGNMENT

1. Using any camera (a phone camera is perfect), find three examples of Leading Lines in
your environment (e.g., the edge of a road, a fence, a pattern on the floor).
2. Take a photo of each, trying to place the subject at the end of the line.

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WEEK 11: REVISION

 General review of all topics covered during the term. This week is for consolidating
knowledge from all previous weeks, from practical skills (Week 1) to art history (Weeks
2, 3, 5, 8) and specialized arts (Weeks 4, 6, 9, 10).

REVISION QUIZ

1. What is the main difference between oil paint and acrylic paint? (Week 1)
2. What was the "Rebirth" of in the Renaissance? (Week 2)
3. Who painted "en plein air" to capture light? (Week 3)
4. What was "Natural Synthesis"? (Week 4)
5. What non-European art form inspired Picasso's Cubism? (Week 5)
6. "Ergonomics" relates to which function of furniture? (Week 6)
7. Ukiyo-e is a form of art from which country? (Week 8)
8. A coin is an example of what kind of sculpture? (Week 9)
9. A slow shutter speed creates what effect? (Week 10)

37
SS3 VISUAL ARTS LESSON NOTES

SECOND TERM

WEEK 1: CULTURAL AND CREATIVE ARTS

1.1 INTRODUCTION: VALUING AND APPRAISING CCA

Culture is the total way of life of a group of people, including their beliefs, language, customs,
and art. Creativity is the act of using imagination and skill to produce new and original ideas or
objects.

Cultural and Creative Arts (CCA) is a broad, interdisciplinary field that encompasses all
artistic and cultural expressions of a society. It is the "soul" of a nation, reflecting its identity,
history, and values. Appraising CCA means learning to understand, critique, and place value on
these diverse art forms.

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1.2 COMPONENTS OF CULTURAL AND CREATIVE ARTS

CCA is a "family" of related disciplines, which includes:

1. FINE ART: This is the "art for art's sake" category, created primarily for aesthetic,
intellectual, or emotional expression.
o Examples: Drawing, Painting, Sculpture (in-the-round, relief).
2. APPLIED ART: This is art that applies aesthetic design to functional, everyday objects.
It has a practical use.
o Examples: Graphic Design (posters, logos), Textile Design (fabric), Ceramics
(pottery), Fashion Design (clothing), Furniture Design, Jewellery.
3. MUSIC: The art of organizing sound and silence in time. It includes vocal (singing) and
instrumental (e.g., drums, piano, guitar) forms.
o Examples: Traditional/Folk, Classical, Pop, Afrobeat.
4. DRAMA (Theatre Arts): The art of performance, storytelling, and acting. It involves
role-playing, movement, and speech.
o Examples: Stage plays, traditional masquerades, festivals, filmmaking
(Nollywood).
5. DANCE: The art of using the body's movement, often rhythmically to music, as a form
of expression.
o Examples: Traditional ethnic dances (e.g., Atilogwu, Bata), contemporary dance,
ballet.
6. MEDIA ART: Modern art forms that use technology.
o Examples: Photography, Filmmaking, Animation, Digital Art.
7. LITERATURE: Written or oral art forms.
o Examples: Poetry, prose (novels), oral folklore, proverbs.

1.3 FUNCTIONS OF CULTURAL AND CREATIVE ARTS IN SOCIETY

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Art is not just "decoration"; it is essential to the functioning of a society.

1. Cultural Preservation & Identity: Art (especially festivals, crafts, and dances) is the
primary way a society's history, myths, and values are preserved and passed to the next
generation.
2. Communication: Art communicates ideas, beliefs, and emotions that words alone cannot.
(e.g., a protest song, a political sculpture, a warning mask).
3. Social Commentary & Critique: Artists often act as the "conscience" of society, using
their work to criticize government, expose social problems (like corruption or poverty),
and provoke thought.
4. Religious & Ritualistic Function: In traditional societies, art is central to religious
practice (e.g., shrines, masks, masquerades, religious music).
5. Aesthetic & Decorative Function: Art provides beauty to our environment, enhancing
our quality of life (e.g., a beautiful building, a decorated pot, a painting).

40
 6. Economic Function: CCA creates a massive industry. It provides employment for
millions as artists, designers, musicians, actors, curators, and craftspeople. It also drives
tourism.
7. Therapeutic & Emotional Function: Engaging with art (creating or observing) can be
therapeutic, helping to relieve stress, process emotions, and improve mental well-being.

1.4 DIFFERENCE BETWEEN FINE ART AND APPLIED ART

This is a fundamental concept in visual arts.

Feature FINE ART (e.g., Painting, Sculpture) APPLIED ART (e.g., Graphic
Design, Ceramics)
Primary Aesthetic / Expression: "Art for art's Functional / Utility: "Art with a
Purpose sake." To be looked at and function." To be used.
contemplated.
Focus Self-expression of the artist, emotional Solving a practical problem (e.g., a
impact, conceptual ideas. comfortable chair, an eye-catching
logo).
End A unique, "one-of-a-kind" object (e.g., Often mass-produced (e.g., thousands
Product a single painting, a bronze sculpture). of copies of a poster, a set of dishes).
Value Based on aesthetic quality, originality, Based on usability, craftsmanship, and
and the artist's reputation. aesthetic appeal.
Example A painting of a soup can by Andy The label design for the soup can
Warhol (Fine Art). (Applied Art).

EVALUATION

1. Define Cultural and Creative Arts (CCA).

2. List the five main components of CCA.
3. Explain three (3) major functions of art in society.
4. What is the primary difference between Fine Art and Applied Art? Give one example of
each.

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ASSIGNMENT

1. Look around your home or school. Identify five objects. Classify each as either "Fine
Art," "Applied Art," or "Craft," and write one sentence justifying your choice.

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WEEK 2: IMAGINATIVE COMPOSITION

2.1 MEANING OF IMAGINATIVE COMPOSITION

Imaginative Composition is the art of creating a drawing or painting from the artist's
imagination, memory, or knowledge, rather than from direct observation of a live model,
landscape, or still life setup.

It is a test of the artist's total skill: not just how to draw, but what to draw. It requires mastery of
perspective, human anatomy, colour theory, and, most importantly, the principles of design
(balance, unity, etc.).

2.2 THE PICTURE PLANE: GROUNDS IN COMPOSITION

To create a convincing illusion of depth and space in an imaginative composition, the artist must
organize the "picture plane" (the 2D surface) into distinct "grounds" or "planes."

1. FOREGROUND:
o This is the area of the picture that appears closest to the viewer.
o Characteristics: Objects are drawn largest and at the bottom of the picture.
They have the most detail, sharpest focus, and strongest, warmest colours.
2. MIDDLE GROUND:
o This is the area between the foreground and the background.
o Characteristics: It is typically the main area of interest where the primary
subject or action is happening. Objects are mid-sized, with good detail, but less
than the foreground.
3. BACKGROUND:
o This is the area of the picture that appears farthest from the viewer.
o Characteristics: Objects are drawn smallest and at the top of the picture. They
have the least detail, softest focus, and lightest, coolest colours (this is called
Atmospheric Perspective).

2.3 THEMES (NOT "TYPES") OF GROUNDS IN IMAGINATIVE COMPOSITION

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The scheme of work lists "types of grounds" (market scene, etc.). These are more accurately
described as common themes or subjects for imaginative composition.

1. Market Scene: A classic and complex theme.

o Opportunities: Shows crowds, perspective, vibrant colour, cultural details (goods,
clothing), and interaction.
2. Festival Scene:
o Opportunities: Shows movement (dancing), elaborate costumes (masquerades),
energy, and cultural traditions.
3. Village Scene:
o Opportunities: Shows atmosphere (e.g., quiet, rustic), landscape, traditional
architecture (huts), and daily life (e.g., women at the stream, elders under a tree).
4. Still Life (from imagination):
o Opportunities: A good way to practice composition and shading without a real
setup. The artist must imagine the light source and how it hits the (imagined)
objects.
5. Other Scenes: "A political rally," "A naming ceremony," "A football match," "A busy
bus stop."

2.4 MATERIALS AND PRODUCTION

 Materials: Standard drawing and painting materials (pencils, charcoal, pastels,

watercolours, poster colours, acrylics, canvas, paper).
 Production Process (Organising the Composition):
1. Choose a Theme: (e.g., "Market Scene").
2. Research & Brainstorm: What elements belong? (Sellers, buyers, children,
animals, stalls, goods like yams, peppers).
3. Thumbnail Sketches: THIS IS THE MOST IMPORTANT STEP. Make 3-5
small, rough sketches to plan your composition. Decide on your focal point (the
main action) and how to arrange the figures and objects.

44
 4. Establish the Grounds: Draw the full-size version. Start by drawing the main
figures/objects in the foreground, middle ground, and background to establish
scale and depth.
5. Add Details: Fill in the composition, ensuring all parts relate (unity).
6. Apply Colour & Value: Use colour and shading to enhance the mood and depth.
Remember: warm colours advance (come forward), cool colours recede (go
back).

EVALUATION

1. What is imaginative composition?

2. Name and describe the three "grounds" of a picture plane.
3. What is "Atmospheric Perspective"?
4. Why is it important to make "thumbnail sketches" before starting a final composition?

PRACTICAL ASSIGNMENT

1. Choose one of the following themes: "A Busy Bus Stop" or "A Naming Ceremony."
2. Create three (3) different thumbnail sketches (no bigger than your palm) for your chosen
theme.
3. Select the best sketch and produce a full-page, finished pencil drawing, paying clear
attention to the foreground, middle ground, and background.

45
WEEK 3: CRAFT IN NIGERIA

3.1 MEANING OF ART AND CRAFT

 Art: A broad field, often focused on the expression of ideas and emotions (e.g., a
painting).
 Craft: A specific field that emphasizes skill, utility (function), and tradition. A craft is
a skilled trade involving making things by hand, often using indigenous materials and
techniques passed down through generations.
 Distinction: All craft requires art (design, aesthetics), and all art requires craft (skill,
technique). However, "Craft" prioritizes the skill and the functional object.

3.2 MATERIALS AND TOOLS FOR CRAFT

Each craft has its specialized tools and materials.

 Ceramics (Pottery):
o Materials: Clay, Water, Glaze, Firewood/Gas (for firing).
o Tools: Coiling/pinching hands, spatula, wheel, kiln.
 Textiles (Weaving & Dyeing):
o Materials: Cotton/yarn, Indigo (elu) dyes, wax (batik), raffia (adire).
o Tools: Loom (horizontal for men, vertical for women), shuttle, calabash, stencils.
 Metalwork (Bronze Casting):
o Materials: Beeswax, clay (mould), bronze/brass, fire.
o Tools: Crucibles, forge, files.
 Leatherwork:
o Materials: Animal hides/skins (Goat, Snake), Dyes.
o Tools: Knives, awls, needles, punches.
 Wood Carving:
o Materials: Wood (Iroko, Mahogany, Obeche).
o Tools: Axe, adze, chisels, gouges, mallet.

3.3 ORIGIN/LOCATION OF CRAFT PRODUCTION IN NIGERIA ("CRAFT MAP")

46
Nigeria has a rich and diverse craft heritage, localized by resources and tradition.

 Textile (Weaving):
o Iseyin (Oyo): Famous for Aso-Ofi (men's horizontal loom).
o Okene (Kogi): Famous for their unique woven cloths.
o Akwete (Abia): Famous for Akwete cloth (women's vertical loom).
 Textile (Dyeing):
o Abeokuta (Ogun): The "home" of Adire (indigo-dyed cloth).
o Kano: Famous for its ancient indigo dye pits.
 Bronze/Brass Casting:
o Benin City (Edo): World-famous for its lost-wax (cire-perdue) brass plaques and
heads.
o Ife (Osun): Famed for its highly naturalistic brass heads.
o Bida (Niger): Known for brass casting and glass beads.
 Pottery (Ceramics):
o Abuja (Suleja): Home of Ladi Kwali and the Gwari pottery tradition.
o Ilorin (Kwara): A major centre for pottery.
 Wood Carving:
o Benin (Edo): Famous for its carved tusks and wooden heads.
o Awka (Anambra): Famed for its carvers and blacksmiths.
 Leatherwork:
o Kano, Sokoto, Maiduguri: The "Sudan" region is famous for tanned leather
goods (puffs, bags, slippers).
 Calabash Decoration:
o Oyo & North-East: Known for carving, scraping, and burning designs onto dried
gourds.

3.4 FUNCTIONS & CHARACTERISTICS OF CRAFTS

 Functions:
o Utility: Most crafts start as functional items (a pot for water, cloth for wearing).
o Religious/Ritual: (e.g., carved Egungun mask, a shrine pot).

47
 o Status Symbol: (e.g., royal Aso-Ofi, Benin bronze heads).
o Economic: Provides a livelihood for the craftspeople and trade for the community.
 Characteristics:
o Hand-made, not industrial.
o Uses local, natural materials.
o Techniques are passed down (apprenticeship).
o Designs are often traditional, symbolic, and culturally specific.

3.5 RELATION TO MODERN ART

Traditional crafts are the "root" of modern Nigerian art. The "Zaria Rebels" (Bruce Onobrakpeya,
Uche Okeke) based their "Natural Synthesis" philosophy on using the motifs, myths, and
techniques of traditional crafts (like Uli painting, Urhobo carving) in their modern, contemporary
art.

EVALUATION

1. What is the main difference between "Craft" and "Art"?

2. Name three (3) craft centres in Nigeria and the specific craft they are famous for. (e.g.,
Benin - Bronze Casting).
3. What is the lost-wax (cire-perdue) method used for?
4. List three functions of traditional crafts.

ASSIGNMENT

1. Choose one Nigerian craft (e.g., Adire, Aso-Ofi, Benin Bronze). Write a short paragraph
describing its materials, its traditional function, and how it is used in a modern way today.

48
WEEK 4: ART TERMINOLOGIES

4.1 EXPLANATION

Art Terminologies are the specialized vocabulary, or "language," that artists, art historians, and
critics use to describe, analyze, and interpret works of art. To "speak" about art, you must know
the correct terms.

4.2 KEY ART TERMINOLOGIES (GLOSSARY)

This is a foundational list of terms, essential for both theory and practical work.

A. ELEMENTS OF ART (The "Building Blocks")

1. Line: A mark with length and direction. (e.g., horizontal, vertical, curved, implied).
2. Shape: A flat, enclosed, 2D area. (e.g., Geometric: square, circle; Organic: leaf-shape).
3. Form: A 3D object, or the illusion of a 3D object. Has height, width, and depth. (e.g.,
cube, sphere, pyramid, a person).
4. Colour: The visual property derived from reflected light.
o Hue: The name of the colour (e.g., red, blue).
o Value: The lightness or darkness (e.g., red + white = pink).
o Intensity: The brightness or dullness (e.g., pure red vs. reddish-brown).
5. Value (or Tone): The range of light to dark in a work. This is what creates Chiaroscuro
(the illusion of 3D form).
6. Texture: The surface quality of an object.
o Actual Texture: How it really feels (e.g., a rough sculpture).
o Implied Texture: How it looks like it feels (e.g., a painting of soft fur).
7. Space: The area around, between, or within objects.
o Positive Space: The subject itself.
o Negative Space: The "empty" area around the subject.

B. PRINCIPLES OF DESIGN (How the "Blocks" are organized)

1. Balance: The visual "weight" of a composition.

49
 o Symmetrical: The same on both sides (like a human face).
o Asymmetrical: Not the same, but "feels" balanced (e.g., one large object
balanced by two small ones).
2. Rhythm / Movement: The visual "path" or "beat" that your eye follows, often created by
repetition.
3. Emphasis (Focal Point): The area that first attracts the viewer's attention.
4. Unity / Harmony: The feeling that all parts of the composition "work together" and
belong.
5. Variety: The use of different elements (shapes, colours) to create visual interest and
avoid boredom.
6. Proportion / Scale: The size relationship of parts to a whole (e.g., the size of a head in
relation to the body).
7. Repetition / Pattern: An element (e.g., a motif) that is repeated.

C. MEDIA & TECHNIQUES

1. Medium: The material an artist uses (e.g., clay, oil paint, charcoal).
2. Mixed Media: Using more than one medium in a single artwork.
3. Chiaroscuro: (Italian: "light-dark") The dramatic use of value (light and shadow) to
create the illusion of 3D form.
4. Perspective: The technique used to create the illusion of depth on a flat surface.
o Linear Perspective: Using vanishing points and converging lines.
o Atmospheric Perspective: Making distant objects lighter, bluer, and less detailed.
5. Impasto: Applying paint very thickly, so that the brushstrokes are visible (e.g., Van
Gogh).
6. Motif: A repeated design, shape, or element.
7. Collage: (From French: "to glue") An artwork made by gluing various materials (like
paper, fabric) onto a flat surface.
8. Assemblage: A 3D collage, made by joining "found objects."

EVALUATION

50
 1. List the seven (7) Elements of Art.
2. List the five (5) Principles of Design.
3. What is the difference between "Shape" and "Form"?
4. Define "Chiaroscuro" and "Perspective."
5. What is the difference between "Collage" and "Assemblage"?

ASSIGNMENT

1. Find a picture of a painting in a book or online (e.g., the "Mona Lisa"). Write a single
paragraph describing it using at least five terminologies from this week's lesson. (e.g.,
"The artist uses chiaroscuro to model her face... the focal point is... the value of the
background is...").

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WEEK 5: MIDTERM EXAMINATION

This week is for the Midterm Examination, covering all topics from Weeks 1-5.

 Focus Areas: Fine vs. Applied Art, Functions of Art, The 3 Grounds of Composition,
Nigerian Craft Map, Art Terminologies (Elements & Principles), 2D vs. 3D.

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WEEK 6: GENERAL TERMINOLOGIES IN 2D AND 3D ARTS

5.1 EXPLANATION

All visual art can be broadly divided into two categories: two-dimensional (2D) and three-
dimensional (3D). Understanding this division is the most basic step in classifying and analyzing
art.

5.2 TWO-DIMENSIONAL (2D) ART

 Definition: An artwork that is flat and has only two (2) dimensions: Length and Width
(or Height).
 Key Concept: It exists on a flat surface (the picture plane). While it can create the
illusion of 3D depth (using perspective, chiaroscuro), the artwork itself is flat.
 Items/Disciplines in 2D Art:
1. Drawing: (Pencil, charcoal, ink on paper).
2. Painting: (Oil, acrylic, watercolour on canvas or paper).
3. Printmaking: (Linocut, etching, Ukiyo-e)
4. Photography: (A print or a digital image).
5. Graphic Design: (Posters, logos, book covers).
6. Textiles (Surface): Adire (dyeing), Batik, and textile printing are 2D.
7. Collage: (Gluing flat items to a surface).

5.3 THREE-DIMENSIONAL (3D) ART

 Definition: An artwork that has three (3) dimensions: Length, Width, and Depth (or
Height).
 Key Concept: It occupies real physical space. You can walk around it (or in it). It has
mass and volume.
 Items/Disciplines in 3D Art:
1. Sculpture:
 In-the-Round: Free-standing, can be viewed from all sides (e.g., a statue).
 Relief: Attached to a background (e.g., a carved wall).

53
 2. Ceramics (Pottery): (e.g., a pot, a vase).
3. Architecture: (e.g., a building - the ultimate 3D art).
4. Fashion Design: (e.g., a dress - it has form and exists in space).
5. Furniture Design: (e.g., a chair).
6. Assemblage: (A 3D sculpture made of found objects).
7. Installation Art: An artwork that transforms an entire room or space.

5.4 DIFFERENTIATION (2D vs. 3D)

Feature TWO-DIMENSIONAL (2D) THREE-DIMENSIONAL

(3D)
Dimensions Length, Width Length, Width, Depth
Space Exists on a flat surface. Occupies real space.
Depth Illusion of depth (using perspective). Actual depth (has real
volume).
Examples Painting, Drawing, Photography. Sculpture, Pottery,
Architecture.
"Grey A Relief Sculpture is a hybrid. It's a 3D object on
Area" a 2D ground.

EVALUATION

1. What are the two dimensions of 2D art?

2. What are the three dimensions of 3D art?
3. Is a photograph 2D or 3D? Why?
4. Is a clay pot 2D or 3D? Why?
5. What is the difference between "implied depth" (in 2D) and "actual depth" (in 3D)?

ASSIGNMENT

1. List three 2D art forms and three 3D art forms that were practiced in traditional Nigerian
society. (e.g., 2D - Uli wall painting, 3D - Benin bronze head).

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WEEK 7: MIDTERM BREAK

This week is for the midterm break.

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WEEK 8: CONTINUATION OF TWO- AND THREE-DIMENSIONAL ARTS (MIXED
MEDIA)

8.1 ANALYSIS OF 2D AND 3D ART (ADVANCED)

In SS3, we move beyond simple definitions to see how artists combine 2D and 3D concepts.

 2D art that thinks like 3D: When a painter uses impasto (thick paint), the paint creates
an actual 3D texture (a low relief) on the 2D canvas.
 3D art that thinks like 2D: When a sculptor (like El Anatsui) creates a massive, flexible
"hanging" from 3D bottle-tops, but it is hung flat on a wall like a 2D tapestry.

8.2 EXPERIMENTING WITH MIXED MEDIA

Mixed Media is the use of more than one medium or material in a single artwork. This is a key
technique in contemporary art.

A. 2D MIXED MEDIA

This involves working on a flat surface but incorporating multiple materials.

 Collage: The most famous 2D mixed media. Invented by Cubists (Picasso, Braque).
o Process: Gluing materials like newspaper, fabric, photographs, and wallpaper
onto a drawing or painting.
 Photomontage: A collage made specifically from photographs.
 Wet + Dry Media: Using "wet" media (like watercolour, ink) with "dry" media (like
charcoal, pastel) on the same paper.

B. 3D MIXED MEDIA

This involves creating a 3D object using a variety of materials.

 Assemblage: The 3D version of collage. It is a sculpture made by joining (assembling)

various "found objects."

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 o Example: A sculptor welding together scrap metal, car parts, and plastic bottles
to create a figure.
 Installation Art: This is an extreme form of 3D mixed media. The artist uses an entire
room or space as their "canvas," filling it with objects, light, sound, or video to create an
immersive experience.
 Contemporary Craft: Many Nigerian craftspeople use mixed media (e.g., decorating a
calabash (3D) with beads and fabric).

8.3 APPLYING KNOWLEDGE IN PRACTICAL WORK

The goal of mixed media is to use the unique properties of each material.

 Why just paint a picture of a newspaper when you can glue an actual newspaper to the
canvas?
 Why try to carve the texture of a tin can from wood when you can just use a real tin can
in your sculpture?
 Key Artists:
o Pablo Picasso (Cubism): Pioneered collage ([Link], Still Life with Chair Caning).
o Robert Rauschenberg (Pop Art): Famous for his "combines" (half-painting,
half-sculpture).
o El Anatsui (Nigeria/Ghana): Uses bottle-tops, copper wire, and wood.
o Bruce Onobrakpeya (Nigeria): His "Plastograph" prints are mixed media,
incorporating found objects and epoxy.

EVALUATION

1. Define "Mixed Media."

2. What is the difference between "Collage" and "Assemblage"?
3. Name one Nigerian artist who is famous for working in mixed media.
4. How can a painting (a 2D art form) have 3D properties?

PRACTICAL ASSIGNMENT

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1. Create a 2D Mixed Media Collage.
2. Theme: "My Environment."
3. Materials: A piece of cardboard (as your base), glue, scissors.
4. Find and use at least FOUR (4) different materials: e.g., newspaper (for text), magazine
photos (for images), fabric (for texture), leaves/sand (for natural texture), plastic (for
man-made texture).
5. Arrange and glue these items to create a unified composition.

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WEEK 9: PRACTICAL PROJECT WORK

9.1 INTRODUCTION

This week is dedicated to a supervised, self-directed project. The goal is to synthesize all the
knowledge and skills you have learned (in SS1, SS2, and SS3) into a single, high-quality
"examination-standard" artwork.

This project is a rehearsal for your SSCE (WAEC/NECO) practical exam.

9.2 PROJECT BRIEF: DEMONSTRATING CREATIVITY

You will choose ONE project from the following options, based on your area of strength and
interest:

1. Project A: Imaginative Composition (2D)

o Task: Create a detailed, full-colour imaginative composition painting.
o Theme (choose one): "Election Day," "A Crowded Clinic," "The Day My Team
Won," "My Local Festival."
o Skills: Composition (foreground/middle/background), perspective, human/figure
drawing, colour theory, and paint application.
2. Project B: 3D Mixed Media Assemblage (3D)
o Task: Create a 3D sculpture using "found objects."
o Theme (choose one): "Urban Decay," "Technology," "A Spirit Figure."
o Skills: 3D form, balance, texture, and construction (joining different materials).
3. Project C: Applied Art / Craft (2D/3D)
o Task: Produce a high-quality "applied art" object based on Nigerian craft.
o Examples: A large, highly-detailed Adire (Batik/Tye-Dye) wall hanging; a
Plastograph (low-relief print); a large, decorated ceramic pot.
o Skills: Craftsmanship, mastery of a specific technique, and original design.

9.3 PROJECT PROCESS

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 1. Proposal & Sketches (Day 1): Choose your project. Produce at least 3 thumbnail
sketches and a final, detailed preparatory drawing. Get this approved by your teacher.
2. Execution (Days 2-4):
o Gather your materials.
o Begin the final artwork, following your sketch.
o Focus on craftsmanship, neatness, and finishing.
o Manage your time.
3. Presentation (Day 5):
o The project must be "finished" (e.g., paintings must be "window-mounted" on
cardboard; sculptures must be stable and clean).
o You will present your work to the class.

9.4 PRESENTATION AND DEFENSE (CRITIQUE)

When you present, you must be prepared to "defend" your work using the correct art
terminologies (from Week 4). Be ready to answer:

 "What was your objective?"

 "Why did you choose this composition?"
 "What is your focal point, and how did you create it?"
 "What challenges did you face, and how did you solve them?"
 "How does this piece communicate your chosen theme?"

EVALUATION

 This week is entirely practical. Evaluation will be based on:

1. Creativity & Originality: (15%)
2. Composition & Design: (25%)
3. Skill & Technique (Craftsmanship): (30%)
4. Finishing & Presentation: (15%)
5. Verbal Defence/Critique: (15%)

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WEEK 10: APPRECIATION OF NIGERIAN CRAFTS AND ARTS

10.1 VALUING INDIGENOUS CRAFTS AND ARTS

To "appreciate" art is to understand its value. The indigenous (traditional) arts and crafts of
Nigeria are "priceless" because they are:

 Our Identity: They are a unique and tangible record of our ancestors' beliefs,
philosophies, and daily lives.
 Our History: They are "history books" (e.g., the Benin plaques record the history of the
Oba's court).
 A Library of Skill: They represent thousands of years of human innovation and mastery
over materials (e.g., Adire, Lost-Wax casting).
 A Source of Inspiration: They are the "artistic DNA" for all contemporary Nigerian art.

10.2 PRESERVATION OF NIGERIAN CRAFTS

Many Nigerian crafts are endangered and at risk of disappearing.

 Threats:
o Globalization: Cheap, mass-produced plastic and imported goods (e.g., a plastic
bowl is cheaper than a hand-made pot).
o Changing Tastes: Younger generations may see crafts as "old-fashioned."
o Loss of Knowledge: When an old master-craftsman dies without an apprentice,
the knowledge is lost forever.
 Methods of Preservation:

1. Documentation: Museums, scholars, and artists must photograph, film, and write about
these craft processes.
2. Education: Teaching crafts in schools (like this class) and universities to give them
status.
3. Museums: Acquiring and protecting the "masterpieces" of the past (e.g., The National
Museum, Lagos).

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4. Adaptation & Innovation (The Best Method): Craftspeople must adapt their traditional
skills to create new products for a modern market. (e.g., using Adire patterns on high-fashion
dresses, sneakers, or laptop bags).
5. Patronage: We must buy and use locally-made crafts to keep the craftspeople in business.

10.3 INFLUENCE OF TRADITIONAL CRAFTS ON CONTEMPORARY NIGERIAN

ARTS

This is the most important theme in modern Nigerian art history. Contemporary artists are not in
competition with crafts; they are inspired by them.

This influence is the core of the "Natural Synthesis" philosophy (from the Zaria Art Society).

 Uche Okeke (Painter): Took the fluid lines and abstract symbols from Igbo Uli (a
female body/wall painting craft) and used them as the basis for his modern paintings and
drawings.
 Bruce Onobrakpeya (Printmaker): Drew inspiration from Urhobo carving, folklore,
and mythology. He even invented his "Plastograph" technique to mimic the low-relief
feel of a carved door.
 Ladi Kwali (Potter): She was a literal bridge. She was a traditional Gwari potter (a
craftswoman) who was "discovered" and began working in a modern studio (as an
"artist"), blending her traditional coiling and incising techniques with modern glazes and
a potter's wheel.
 El Anatsui (Sculptor): Inspired by the patterns and "fluidity" of Kente cloth (a craft), he
created his monumental, flexible sculptures from "waste" materials (bottle-tops).

EVALUATION

1. Give two reasons why we should value and preserve indigenous Nigerian crafts.
2. List three (3) major threats to the survival of traditional crafts.
3. What is the best way to preserve a craft tradition?
4. Explain "Natural Synthesis."

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 5. Give a specific example of a contemporary artist and the specific craft that influenced
them.

ASSIGNMENT

1. Visit a local market (or look online) for a traditional craft (e.g., a woven mat, a calabash,
a leather puff). Write a short "appreciation" (1-2 paragraphs) about it. Discuss its
materials, its (likely) function, and the skill you think was involved in making it.

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WEEK 11: REVISION

 General Review: This week is dedicated to a comprehensive review of all topics covered
this term, with a strong focus on preparing for the SSCE (WAEC/NECO) examinations.
 Key Exam Focus Areas:
o Theory (Paper 1):
 Distinguishing Fine vs. Applied Art (Week 1).
 Knowing the Nigerian "Craft Map" (Week 3).
 Mastering ALL Art Terminologies (Weeks 4 & 5).
 Understanding the influence of crafts on artists (e.g., Uli, Ladi Kwali)
(Week 10).
o Practical (Paper 2 & 3):
 Imaginative Composition: Your ability to draw from imagination, using
foreground, middle ground, and background (Week 2).
 General Drawing / Still Life: Your ability to observe and record (revisiting
earlier terms).
 Crafts: Your mastery of a specific craft (e.g., Adire, Pottery).

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