It is important because we can change it when when we carve our sculpture.

It is important because we can ensure we have included inspiration from our artist’s work.

It is important because we have a design to work from.

Which one of the following is NOT a reason to create a design before we begin carving our sculpture?

It is important because the better the drawing is, the easier it is to follow when we carve our sculpture.

It is important because we can then add colour to our work.

It is important because we can then change the design when we carve our sculpture.

Why is it important to draw our design carefully?

We cut out the design so it looks better.

We cut out the design so we can add more detail.

We cut out the design so we can understand how our work looks in a 3D form.

How did we show different layers of height in our work?

We must be careful because it could weaken the structure.

We must be careful because it might be too difficult to do.

We must be careful to add lots of holes so as to ensure it looks like the artist's work.

If adding a hole through our work, why must we be careful where we put it?

Create a design for a soap sculpture inspired by the Work of Henry Moore and Barbara Hepworth

Key Stage 3

Art and design

3D sculpture: developing fine motor skills

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:

﻿- Welcome to art with me, Mr. DiSalvo, and I hope you're well today. Today, we're going to be looking at the work of Barbara Hepworth and Henry Moore, and they're going to be inspiring our work further from last week. So in today's lesson, we're going to be using the work we did last week, so the research which is here from last lesson to create a design for a soap carving. My question for you all is: why is it important to create a design before we begin our carving? So why is it important to do that rather than simply just begin carving? Okay. And the reason it's important to create a design before we begin our carving is for the following reasons: So we can see how our work will look. We have a designed to work from. We can change it if we're not happy. Obviously it's very difficult to change a carving once you've started it. And, in the past, I've sort of seen students who haven't done that and they have struggled or wasted a lot of soap. Making sure we've included inspiration from our artists work. So of course our work is inspired by Henry Moore and Barbara Hepworth, and we want to make sure that we look at the research that we did last lesson and use it with our work. So there's a number of reasons why we want to do this. Okay? So to remind ourselves of the work of Moore and Hepworth they both used organic shapes and forms in their work. Their work was quite abstract. They tend to use a lot of curve lines and shapes, and they include different heights and layers within their work. And there were often had holes or cavities running through it, not all of their work, but the examples that we looked at and we worked from certainly had those elements. So what we're going to try and do today is we're going to create a design that we can work from next week. But before we do that, we're going to create this kind of inspired design for us to be able to use for inspiration. Okay. So today you're going to need the following: some plain paper, a pencil, a pencil sharpener, a rubber and a bar of soap. If you don't have one today, don't worry, but you are going to need it for next week's lesson. Okay. So if you don't have your bar of soap with you today, don't worry, I'll explain during the lesson how we can get over that, but you are going to need that for next week's lesson. And I would highly recommend that you, if you can, before next week's shopping, try and get a really basic bar of soap. Okay? So I've done this lots of times with students at school and we always find it that the cheapest, the plainest soap that you've got, or can get, works best. Some reason that the fancier soaps and expensive ones tend to be too soft, or they have lots of strange designs on them. We want a really plain bar of soap. Okay? And so if you can try to get one for next week, please do. If you haven't got one today, don't worry, we'll, get over that. And when we are drawing, we need to remember what we've learned previously in art about how we draw , or certainly what we spoke about last week. So we need to think about shape, line, and of course positive and negative space. So remember positive space is the shape of the object, and negative space is the space around and inside of the object. And of course, with Henry Moore and Barbara Hepworth's work that was quite the important thing to have a bit of kind of cavities and holes running through them so you could look through them, and we're going to try and do that as well. This design will be used as a plan to create our sculpture and so the better the design Is, the easier it will be to follow when we create our sculpture. What I mean by that is, if you do a really, really quick scribble a drawing, and then when you come to make your, or carve your sculpture next week, it will be hard, because you'll be thinking, "I don't like that. I don't like that." So I would much rather you try and try your best today to really try and kind of get a really interesting, good quality design that you can work from and it'll make your work a lot easier. Okay. So as ever, when you see that slide, it means it's time to pause the video and for you to attempt it. And if you need to do it a number of times, please do that. If you need to rewind it, it's absolutely fine. And remember, if it didn't stick in your mind, it is time to rewind. So let's begin. Okay. So I'm just going to start off by showing you on my video, the bar of soap. So as you can see that it's a really, really plain bar of soap. K. And what I'm going to do is I'm going to- you're going to see me drawing around it on all sides. So we've got the front side, the back, another side, top and bottom. If you don't have a bar of soap with you, that's fine. You can just simply draw out a rectangle, okay. And then measure it so that you have these two are the same size. These two are smaller and then just add rectangles, but they are kind of more oval. Like, I guess if you see, if you imagine the bar of soap I'm drawing around, and equally, but a rectangle is fine for this, if you don't come with a bar of soap with you today, so don't worry. But that's the bar of soap that we're going to be working from, or I'm going to be working on next week. So I've just drawn around it quite kind of relatively kind of quickly, and you can see, it's a very plain bar of soap. So there's nothing fancy about it. As cheap as you can really buy. So we've got our sort of net design. So we've got all four sides talking about a total of six different sides that we can use to understand our 3D form. And why is it, why are we doing this again? Reason: rather than just drawing it out, we want to try and kind of carefully replicate the actual work that we're doing. So pause time. So this is what I'd like for you to do. I would like you to either, if you have managed to get a bar of soap, draw around it like I have, or if you haven't, you simply need to draw out 1, 2, 3, 4 rectangles or kind of curved kind of ovals, I guess, curved corners, I guess. These two are the same size. These two are the same size. And then the top and bottom are the same size. So a total of six rectangles. Okay. This is the same width as here, and the same width as here, all the same height so that we can work from that. Once you've done that, please hit play. Okay. So welcome back. So I'm just going to cut out my work. Why am I cutting it out, is because I want to be able to actually fold my design up while I'm working to see how it works. Okay. So the reason I'm cutting out, because I want to be able to actually see the 3D form. We could go to sticking it together, but I'm not really worried about that today. This is just about having a 3D shape that I can understand how my sculpture will work. Okay. So please cut it out neatly and carefully. And from that we can fold the sides up and work on the different sides and understand how our work works. That was a strange term to use. But the idea being that we can understand how our design flows from one side to another. And hopefully as we, as I'm drawing, you'll make some sense of that really as to why that's really important. Okay. So we're drawing it flat, but the idea is that we can fold it up so that when, as we are drawing, we can get things to flow from one side to a another. So, because this is 3D artwork, a sculpture, you're not simply looking at just one side. We want the object to be able to be kind moved around and looked at from different angles. So rather than simply drawing one design, and another design and another design, et cetera, what we'll want to try and do is have our design flowing from one side to another. I mean, we need to also be aware of limitations. So for example, this hole here, which obviously go through to the other side we need to be aware of the limitations. So we, what we couldn't have, is we probably couldn't have a hole there, another one there, another one there, all the way through. Because it's a bar of soap, and it will break eventually. So it has limitations. So by understanding where things are, we can start to work out- Okay, rather than that line I'm going to carve in, just finishing there, or finishing here, it could carry on to the other side. Okay. So please cut out your work and then follow on the edges, and then we can begin drawing. So, and welcome back once more. Okay. So I'm, I've got my research in front of me. So the ideas that we drew from last week, and I'm just going to start off by, I'm going to change the bar of soap, it's shape. Okay. So I don't want to have, is a bar of soap that's got some kind of carved lines into it. What I want to have is essentially, it's something of a sculpture that looks different from the actual original bar of soap. And of course, if I'm going to change the actual shape of the bar of soap, I need to do on both of those sides there. Okay. So I can't change this side, I can't draw this in a different shape and then that's a completely different shape. They have to be the same because of course, as I'm carving it, it does just that. So it's really important that we are aware of, with our design, that we can't have six different designs. We need to have be aware of where one side is, is going to another and you can just see there where I've just started to try, and I've just borrowed from that shape of- what am I- of Barbara Hepworth's work. Okay. So again, I'm not going to create, recreate a Barbara Hepworth or Henry Moore. I'm trying to use ideas from their work. And again, our limitations are that we've just got a bar of soap. But it still works really well because it has that beautiful kind of white kind of pure kind of stone like quality of it, like some of their work was. Okay. So what I've done then just to pause it for a second is I've just changed the shape of my bar, or, I'm going to be changing my bar of soap. So I began including some ideas inspired by our artists. Now, as I said, I'm going to try to mirror where one thing goes , so this, I want to be hole looking through our sculpture. So I need to make sure that again, looking at the artist's work, that I understand it's going to go on both sides. Okay. So just to recap so far, we have drawn out our template, we have cut it into a sort of 3D form that we can use. And we have now begun adding some design ideas. And again, the great thing about this is press lightly with your pencil. If you're not sure change it because this is great. If I'm not happy with this, I can easily make another one, and another one. With a bar of soap, though, obviously we'll have a limitation of only having one bar soap. So paper is an easy thing to do again and I can rub out these lines, but what I couldn't do is I can't carve this out and then add it back on. Okay. So it's great to be able to rub some of these lines out and change them if you're not happy, but if you're actually carving the sculpture right now without a design, you couldn't carve a great big hole and then think, "Oh, I'll rub it out," because of course you can't do that. So over to you now to begin your drawing, please. Okay. So welcome back. So I'm just going to begin adding different ideas. So I liked on Hepworth's sculpture that although it's metal, I believe, I might be wrong, and so, So I liked that it was a different surface. So this here is a really rough and metal, I think it's been cast and here it's been polished really smooth. So although we can't change the, the sort of texture of the soap, but what we'd like to do is try and create a different texture. So when it comes to carving it, I might just try and kind of have it very smooth here on the side, but then up here, maybe add some tiny little holes, or rough up the surface intentionally. Again, that little curve there inspired by this curve here and looking at some of these ideas, some of these holes. So from Henry Moore's work there looking at maybe, possibly having a hole rather than all the way through it, I'm adding some tone there. So what I'm beginning to do now, is by adding tone to my work, I'm showing that there is different heights and layers to my work. So this goes through. And so, yeah, this shows here that it's going to go through it, whereas this is sort of a deep cavity like hole. So by beginning to add tone to our work, what we're doing is we're showing that we've got different layers and also textures in our work, in fact. I didn't think about that, but yeah. So over to you guys now to keep looking at your Henry Moore designs, and also at your Barbara Hepworth's as well. And look at ideas of inspired shapes, or lines that you can see on their work. It doesn't have to be a recreation exactly of one of their works, but rather different elements of theirs. Once you've done a bit more of that, please hit play and we'll carry on. So, just looking here now, where else I can borrow some ideas from so looking idea of a shape that I could take from inside of Henry Moore's work and Barbara Hepworth so, Like the idea of having a sort of double layer in their work. So, again, the darker tone, what I'm saying is the really dark tone is the sort of deepest hole that I could carve into my work. Whereas, where having a lighter tone here, it shows that it's a bit lower down, but not as dark. So again, if you look at this photograph here, this is darker than here, so it's lower, but of course the darkest area would be we're going through it or deeper kind of cavity or, or recess or layer. So understanding that, and again, this kind of curve line here that I've added across three sides shows that there's going to be carved, quite dark, but I'm going to try and make sure that I stay away from anywhere that might kind of create a weakness. And here, I'm just adding some lighter tones there to my work, just to show that it will be at a slightly lower level in terms of the layers of relief, which we, you know, we spoke about before in our sculpt lessons. Okay. So I'm just folding in the edges now so I can start to understand what else I could add or need to add. And again, just taking some ideas from both of their work. So looking at what I could perhaps add to the bottom, and again, I was thinking about here trying to kind of carve out a shape, a sort of a symbol that sort of replicates this curve here and here. Okay. And again, taking some, some of those lines. So there's kind of pointed line, which could add that to the bottom and show that a bit by adding some tone to it. It has that darkened area. Okay. So there is my design and that's what I'm going to be working from next week. It is over to you now to finish off your design and to make sure that you've included the following ideas. So please make sure that your design travels from one side to another, that it is- if you're changing the shape of your bar of soap, you're going to, that you've done it on both sides. If you are going to try and put up a hole through your sculpture, which I'm going to try and do, it's got to go somewhere where it won't break the form. So if you can imagine that hole there means that it's quite strong around here, but if I'm too close to the edge, naturally is going to snap off. It's only a bar of soap. Okay. We want to have this design to work from because it's gonna make our life easier next week when we carve them, because we can literally, as I said, we can fold each side, as we start, we can start on one side and know where every component is going to go. And what went well, even better ifs, so for me, what went well, I'm pleased that I've got a design, which I think shows some really strong links to the work of both Barbara Hepworth and Henry Moore. That's why I'm pleased with, my what went wells. And even better ifs, I think I've got some areas here that I'm still kind of not sure about. I, for a second, when I look at this side here, I do wonder if this is a bit empty. I think that maybe I could have maybe either another line curve onto here, but I'd rather consider that I think later on. So I think what I'm going to do is I'm going to start carving it next week. And then if I think this is a tad empty, I might come back to my design and add in something on here first as an area to sort of develop, I think a bit further. That's what my thing is about. And at one point I forgot to mention was that this crosshatching that I've added here is just to show the sort of negative space. So anything that's crosshatched I didn't explain earlier, which to show that this is kind of essentially, you know, emptiness. So I haven't tried cutting around it. So I've just left it as the original bar of soap, but kind of shows how the form is going to be different. So this is all the negative space. So what went well? I'm pleased that I've got a link to both Henry Moore and Barbara Hepworth. Even better ifs, that I think some areas could be refined a bit further, but I'm happy to do that next week as I'm working on my sculpture and going back to this. Okay. Please, please please, if once you've done your design today, please, if you can ask a parent or care to share it with us at Oak National and with myself and with a hashtag #LearnwithOak, okay. And hopefully you have finished your design now, and it's time to take the end of lesson quiz to see what stuck from today's lesson. Okay. Thanks for your time today. And I look forward to seeing you all next week, ready to carve our sculptures. Goodbye.

Create a design for a soap sculpture inspired by the Work of Henry Moore and Barbara Hepworth

Create a design for a soap sculpture inspired by the Work of Henry Moore and Barbara Hepworth

No lesson available

Lesson appears in

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

Art and design