It's important because the teacher said so.

It's important because we can learn about new artists and ideas.

So that way we can keep creating exactly the same ideas forever.

Where did Barbara Hepworth live for a number of years?

Some people have called Moore's sculptures:

Barbara Hepworth & Henry Moore

Key Stage 3

Art and design

3D sculpture: developing fine motor skills

When creating our work we had to consider:

Considering how balanced the positive and negative space is.

We can use Notan in our drawing and painting by:

We should be aware of the basic use of light and dark when we create an artwork.

We should consider the positive and negative space in our work because:

﻿- Welcome to art with me, Mr. Di Salvo. I hope that everyone's well today. Today we're going to be hopefully inspired, by the work of Barbara Hepworth and Henry Moore. So, we're going to be looking at their work and finding out a bit more information about them and creating some sketches of their work, so that we can use it in our future work. So to give you a bit of a heads up really, today we're going to be doing a bit of artist research. So, finding out about the artists, drawing some examples of their work, and then next lesson we're going to be creating a design for a sculpture. And then the week after that, we're going to be carving that sculpture as a soap carving. Okay, so nothing overly sort of fancy, that you need to get hold of, just a plain bar of soap, but that's not for a few weeks time, but today we're going to have the starting point of looking at some artists work, and researching those artists. Which leads leads me to my first question, why is it important to research artists? I'm going to give you a few seconds just to think about that and then we will sort of hopefully explain. So, you've had a bit of thinking time. And why is it important to research artists? I'm hoping that your thinking is along the same lines as mine. It's important because it allows us to find out about new artists past and present, it allows us to find out about new ideas, ways of working. If we didn't do those things, what would possibly happen would be that we would just continue making the same work or same type of work. And as we're still relatively young, we're still learning about different ways that we can work. So the more artists that we look at, the more possibilities, chances, inspiration we can find because by looking at one artist, it could lead us to another artist and such forth. You're never gonna run out of creativity. In fact, far from it, the more creative you are, the more you keep doing it, the better you get and the more kind of creative you become in your idea. So it's a really, really important skill to have. Now, the first artist we're going to be looking at is Barbara Hepworth. So you can see on the screen there are examples of her work. And she was a famous sculptor that was born in 1903. Her work became abstract, in that it did not attempt to be realistic. So first, Hepworth used to kind of create sort of sculptures that were perhaps more realistic or had more realism in them and later on, and then gradually she developed as an artist, her work became more and more abstract. So, but it's not attempting to be realistic in that it doesn't look like necessarily a particular thing. It has kind of the idea or it might remind you of something. And the materials that she used were wood, stone, and bronze to create her work. And she spent a number of years living in Cornwall. And some of her most famous work was was influenced by this landscape. So if you have been or know of Cornwall, you know, it's a beautiful place down, down by the sea. And so that landscape is what inspired her, which is quite fascinating. So I think that, for example, with this top right sculpture, its all ideal about, about it being inspired by a part of that landscape, this kind of shape here reminds me of a, of a, of a sort of crushing or rolling wave. Again, I'm not saying that it is that, but it just reminds me of the idea. And this, this piece here has elements of a sort of, of a seashell to it. And again, you can actually look through the landscape, which is great, another great thing about her work or sculptural work is that when they have these kinds of areas that have been carved out or sort of recesses and cavities, and you can look through them. So they're, they're of course they're 3D, they're not 2D. A wonderful kind of a quote by Hepworth was that she said that her work was a way of holding a beautiful thought, which is a great, it's a, it's a lovely, lovely idea isn't it that when she created work, she wasn't really trying to kind of carve a sculpture of a person, but the idea of something that she'd remember, a place that she'd been to, and again, it's, it's a lovely, lovely way of, of sort of working, the idea of what you're creating is a thought, a memory of something or a place or a time now, as I said, these aren't all of her works by any means they're just three examples that I've been able to find, please, please, please, like with our next artist, if you can, I would really encourage you to, to get onto the internet and look a bit more about Hepworth's work and sort of her sculptures you're bound to be able to find videos, so you can actually watch her working or talking about her work or, or seeing more of it. And again, the more you can do that, the more interesting your work can and will become. Our second artist that we're gonna be looking at is Henry Moore. So Henry Moore was a famous sculptor born in 1898, and like Hepworth with his work became more abstract. He used materials such as stone and bronze to create his work, and he was inspired by nature. So Moore, he took quite a lot of inspiration from when he was a youngster going out on walks and, and, and, you know, he would find things like interesting stones or animal bones and he would look at tree roots. And then he was equally inspired by the human figure. And then he took all of these elements and created his famous, what a bit of me called lumpy bumpy sculptures. And I can see that here, certainly there's kind of lumps and bumps that he's on, this example here and or here. And now I think this one here is, is the sort of, is less abstract in that I'm sure we can all make out that it's a human figure, you know, with the sort of shoulders and body and head there and the sort of the leg, the sort of bent knee of that. And again, just like with Hepworth's work, please, please, please. If you can have a look on the internet and see what you can find in regards to their work, because again, there a huge amount of images, videos, and more information about these artists. So if you, if you like their work, it's a great way to be independent. So rather than only being sort of told the information by, by me, the teacher go out yourself, and really look at it and find out a bit more about it and make it a bit more of a sort of deeper. Now, both of those artists were inspired by nature. So what would, I would normally kind of ask of you is if we could, if we weren't in lockdown right now, would be that, if you could get out and about, and look at elements of nature yourself, now again, it's not easy to do at the moment. So I'm going to ask that of you, but we're going to look at their work for inspiration, but both of them were inspired by nature and or landscapes. So it would be a great way for, for future work for yourself to, to go out into the landscape, into nature and look for things like stones and sort of elements of trees that are interesting and sketch them and photograph them. And so that's how you would take, again, inspiration from the artists. Now for today's lesson, you're going to need some plain paper, a pencil, a pencil sharpener, a rubber and a pen. If you could now, please go and collect those objects and then we can begin our work. So, hit pause now, please. And then we can carry on. Okay. So, welcome back. So, we're going to be drawing the artist's work, and we're going to look a bit about ideas that you've hopefully covered in the past in regards to art. So when we are drawing, look at the idea of shape, basic shape and our use of line. We're going to look at the idea of positive and negative space, which is something that's really important when we're looking at sculpture. So we're gonna look at their work and it will inspire our work. And we'll talk a bit about positive, negative space when we look at the examples again, in a few minutes now, with my example, if you miss something or didn't quite kind of get it the first time to remind you as ever, if it didn't stick in your mind, it's time to rewind. So that slide will come up during the course of my video. And when that, slide comes up, please hit pause and you can then do your drawings. So let us begin. Okay. So the two artists, so what I've got here are, I thought my video was going to play. Okay, so we've got the, the drawings that, sorry, the photographs that you've already seen on the slides. Now that first top left again, what you've got there is a circle, of course just a rough drawing. So simply we're going to, just simply draw that, and I'm not adding any tone to these drawings. I'm simply sort of sketching the form of them. So again, if we're out and about looking at nature, these would be very quick one or two minute sketches, that would allow us to kind of capture the form of an object. And I'm guessing that's probably what Hepworth and Moore would have done, they would have looked at things and created a series of sketches and not necessarily used every single one of them, but again, just constant looking for inspiration. So that's how, how kind of quick we've worked and all that, it was sped up. It was kind of about two minutes. So I would like to now to either draw the example that, that's on my PowerPoint slide show, or if you have found some more work of Hepworths, draw one of her sculptures or Moore's sculptures now. Okay, and once you've done that, please, it should take you two or three minutes at most, please come back and we'll go on to our next drawing. So welcome back. So second sculpture of piece of work from Moore this time, again, what's my basic shape. It's kind of rectangular oblong, oval type shape. Once I've got that, I'm now looking at the negative space. So to remember, those holes in the middle of the sculpture are the negative space, okay. So the positive space is the sculpture, the object, the negative space is the space around it and inside of it. So once I've got my basic shape right, of the positive space, I can then look at the negative space and then have a fairly accurate sense of what that sculpture is about. I've just added in a few extra lines of where there perhaps might be some sort of tone, dark, on the outer edges but I'm not going to add any tone because I'm going to treat it like that. And again, that's two drawings now, which although my video has been sped up, it's only been sort of sped up sort of twice as fast. So, should take us again two minutes now to draw either that sculpture or another one of the artist's work once you've done that, please hit play and we'll carry on. Okay. So the third one, again, looking at sort of basic shapes. So again, this research page, you're going to be the artist's work and then some information about them for us to use in the next lesson. So just looking at the form of it, which is, again, this is a human figure, but I'm just trying to get actually the basic shape just right, matching it at my points. So remember this is drawing the positive space, and then once I'm happy with that, I will then add in the negative space and get a sense of, of again, a form, so this is an idea of what the shape is. And again, I'm not going to add in any shading, I'm just going to have a sense of a series of, of, of formal kind of sketches or most, sort of dotting scenarios that are, possibly could be dark or lighter, to give me some sense of consideration for future. But again, just looking at their work human figures, possibly a seashell, possibly the water, and as an artist, we would, we would ideally like to get outside into nature and do that. So that's our next drawing, please now, I'd like you to attempt your third drawing. I think I'd like it a total of six drawings done today, but again, three or four minutes on each one would be fantastic. Once you've done that, please hit play and we will carry on. So welcome back. So forth drawing. So bottom left, again, I'm going to say an overall like square rectangle. Oh, that's our positive space. And then inside of that, looking at the elements of negative space, so we've got, it's been carved away. So a sense of a lower sort of layer. And then again, this sense of negative space. And if we can keep looking at those points, we should have some fairly accurate sketches today. And again, it shows that we've looked at their work and we can then use this as inspiration because if we simply just look at an artist and just write a bit about he or she, we're not actually going to learn anything or use it anyway that's valid. So if we are going to create artist researcher, and research artists, we make sure that what they are doing, that we then can use as ideas for our own work. So it's a really valid thing, if we just looked at what the artists did, and did nothing more with it, wouldn't it just be, be a sort of a, a bit of a writing and drawing task, but we actually have been inspired by their work. Okay. So that's already drawing number four, completed again, give yourself, by all means, give yourself longer time. If you take five minutes, that's absolutely fine. But the basic shape and understanding where the negative and positive form is once you've done that, please hit play. Welcome back. So, and that repeats itself ever so slightly. I'm really sorry about that. My video is kind of--- jumped sort of, forward of it. So I'm just going to move that to that. Okay. So that fifth drawing is going to be a circle I guess that's been split in half, is probably the best way to describe it and then ovals and circles to understand that the positive and negative space within that. And again, it's just, there's an idea that we can work within for our future work. That's now over to you once more for your fifth drawing. And again, please, if you're using your own images of their work, that's absolutely fine. The key thing is as you have a series of drawings of their work, that we can then use along with our small piece of writing today. Okay. So welcome back. And our next work, hopefully we'll be of our sixth drawing. It makes sense. Yeah sixth drawing. And from that, we're going to look at this kind of, sort of more complex one. I think that if you were, if you weren't sure how to begin this, I would say, I think, is that a trapezium? Is it that the right shape for any sort of math sense? You could even go with a rectangle if you wanted to. Okay, and then work from there because sometimes it is quite difficult to work all on that. So if you need to break this down into a sort of four-sided shape, and then you can then start to work out where the negative space is. So if we say that we draw an outline there, that would help us out. And then we can then kind of almost carve away at that shape where the negative spaces to reveal our drawing, if you can work from left through to right, it's entirely up to you and it's whichever way works best for you, but what about sort of options for you to work with and from so I worked from left to right, but as I said, whichever way works best for you. The key thing is to get the shape or shapes as accurate as we possibly can. Okay. And again, looking at these, I think as I remember to remind you, it was lumpy bumpy sculptures of Moore, now again, really sort of important. And if it doesn't fit on a page like mine doesn't please don't squash it onto the page. Let it go off the page its absolutely fine because we still get the idea of what it's about. It's much better to have your work going what's called a cut-off composition, going off the page, than it is squeezing it on and then it being inaccurate. Okay. And I'm just sort of dying in a few extra lines to show where the darker tones are but I'm not adding any tone to my work, but that is something by all means you could do, but this is really important. We have this sense of the form of shapes of our work. Okay, and it's really important we have that. So then from this, we can work next lesson, creating our, our designs for, for, for our soap carving inspired by both artists. And again, I'm just putting in a few more touches, details in the sort of plinths, which is what they would have sat on just to get a sense of, of their shape and orientation, but just a few lines again, because if we were working outside on, on, on looking at nature, we would just have these very sort simplified, shapes, as well as I've simplified on the example on the top right, It's not a person exactly, It's a simplified form. Now, once you have your six drawings or you may perhaps have more than that, then we're going to add, I'm going to ask you to add some information from our slides. So the information that I gave you on that last slide, I'm going to show you my sort of finished example now, I just want you to add that around there so that this page has a breakdown of the artists and their work. So I'm just going to sort of pause it there. And as you can see, I just, all I've got in, is that I've got the name of the artists. Their work is abstract, their date of birth, what they used and I've sort of pointed, I've got HM, if its a Henry Moore sculpture it should be H, if its Barbara Hepworth one then it was abstract. I've pointed this one and said, sea shell, person laying down, bones, because that's what I think they could have been inspired by It's not to say that it's kind of like the gospel truth. I'm saying that it's a sense of that. And then this page here, which again, please, you can, by all means, add some tone to your studies. But the key thing is that we've got this in place so that we can look at it next lesson. So I've put here what went well, even better if. So, what went well even better if, I think my even better if, for me, would be I would like to include some, perhaps some more information about the artists. I would like to include some actual photographs of their work or possibly on a second page. If we could do that thing, if we could be outside a bit more, getting outside and, and taking my own photographs or my own sketches of, of the landscape, I'm not necessarily saying Cornwall, but certainly of my kind of air around me, but what am I pleased with? I think I've got six really interesting formal forms to work from. I might use, not necessarily all of them next week, but certainly I've, I've what I've got there is six examples of my, from my two artists that I can then use next lesson to create a design for a soap carving. Okay. I would really like to see your research pages because you can lay out whichever way you want to. It doesn't have to look the same as mine by any means. And it would be fantastic to be able to see some sort of more research completed. So if you found some other work by Hepworth or some more interesting facts by Moore, it'd be great to have those included. Now we'd love to see your work as ever. You can share your work with those following details. And of course we always with hashtag learn with Oak. Okay, and that's it for today's lesson. So I would now like you to take the end of lesson quiz to see what stuck from today's learning. And I will see you all next week when we'll begin our designs based on this work. Thanks for your time today. And I will see you all next lesson. Goodbye.

Barbara Hepworth & Henry Moore

Barbara Hepworth & Henry Moore

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UnitArt and design / 3D sculpture: developing fine motor skills

Art and design