For my final piece I decided to borrow a pattern by...

What did I use to stick the fabric pattern onto my cardboard?

What app did I use to visualise the pattern against my drawing?

Can you remember the name of the "transparency panel effect" in the Layers panel that enabled me to change the transparency settings to achieve different cool effects?

Which of the "transparency effects" did I use to make the dark outlines of my drawing pop out?

And on a final note... what did I use to speed up the process of transferring my drawing onto my primed surface?

Final Piece (Part 1)

Key Stage 3

Art and design

Empowerment and equality

Can you remember the name of the sport I chose to try a personal empowerment theme?

Interview relevant people engaged in the theme.

Search for visual representations of your theme.

When developing your empowerment theme visually what should you do?

Go over the outlines with a pencil to not lose the drawing.

Go over the outlines with a permanent pen to not lose the drawing.

Start painting with thick black marks straight away.

After transferring our image onto our primed surface what is recommmended?

During my painting demo what did I do first?

Go over the detail with a thick brush anyway.

Unless you have a good fine paintbrush to work on the dark areas detail, what should you do?

﻿Good morning, welcome to art with Ms. Corral. To lesson nine of empowerment and equality. We're going to be looking at final designs. What will you learn this lesson? We're going to be evaluating our final compositional idea. What next stages? So thinking about what we're going to do. Planning and preparing all of the necessary ingredients for your final composition. And the development of your final response, incorporating all the ingredients between this lesson and next lesson. So what will you need? Of course as always, computer, or a tablet, or a phone if you need to do any further research; if you need to edit any imagery. Your dried primed surfaces. Your finished drawings, all of the materials. Gouache, I'm going to be using, plus plastic cups, and brushes for water. Kitchen towel, toilet paper, or anything absorbent to dab paint and to clean. Pencils, sharpeners, perhaps scissors if you need to cut any equipment. And I'm going to be using some flower patterned fabric. I don't know if you've got something ready to do some work. Let's pause the video, gather any materials that you're planning on using this lesson. And when you're ready, restart. So quick recap on the three main artistic links that we have followed. Gabriel Garcia Roman, Tim Okamura, Kehinde Wiley. These three artists have inspired and built my skills and techniques. And I hope so have yours. In this process of working, also my ideas have been shaping and changing. And so far, out of all of my responses, as I said, and I keep saying, the ones that I'm happiest with are the ones of the close-up of the face. So those are the ones I'm focusing on. And in this lesson, I'm going to work with this. Let's see what I did and how I developed my final idea. Now, for the purpose of time and execution, because each task, take it or leave it has taken me about 30 minutes. And I have been working fast. So it may be that you just stick to one. You're more than welcome to look at my two examples. And then depending on what equipment you have, your abilities, your time allowance, you can make a decision. So in one of them, I'm going to use collage techniques, and then I'm going to paint on top. This is the first example. First, just simply a collage, I did this before this lesson. Cut out my head from the grid drawing that I have manipulated in Photopia. I found a patterned fabric that I used. And then I glued it all on my primed board. This is how I did these two exercises, have a look. So first, I cut out a circle out of my fabric. Reshaped it to give the halo with a bit of PVA glue. Stuck the cut-out or cutouts. And then with a liquified glue, that is glue with a bit of water, I covered it up. Ensure you put a bit more on the fabric surfaces. Then I cut out another bit of cardboard. This was for my second idea development, which I haven't completed. If you're going to be a sticking fabric onto a cardboard surface, use a little bit of liquified glue and a teeny-weeny bit more once the surface is primed and done. Flatten, cover with a liquified PVA glue. So that is PVA glue with a bit of water, maybe half and half. And then stick the cut-out on top. I wasn't sure about the halo. I left it out in the end just to have a break so that both designs for instance is similar. Please pause the video. And it's time for me really to see the next stage. Now, this was the second composition idea. I didn't quite take it any further because it's very similar to the first one you will see. But in my , I would probably tell you that I'm going to have a go when I have a bit of time later on to see what I can do with it. But what I tried to do is repeat the process with fabric. So pause the video for another five minutes to start your second composition developments. And when you're ready, restart. Now, this was the result of my final collage. There was a crease on the paper, which is why I decided not to use it. Then I decided to go for another collage. And for that, I did a digital manipulation in Photopia applying a background, which then I used the method that I showed you to trace onto a board. Let's see how I did this manipulation in Photopia. And think if that is something that you would like to try yourselves Let's start by opening at Roman. This is the one I saved last lesson after I adjusted the brightness and contrast. So that was a photograph that I mentioned and I showed you last lesson. Hard to edit it, and make it cleaner, and neater. Now, I looked for some patterns. I decided to use a William Morris pattern with birds. That's my pattern folder. And that isn't my pattern. You do Edit, Transform, Scale, and click in the boxes. You can enlarge it and make it fit. Just watch out for the symmetry so that it's all nicely aligned with your compass. I clicked on the background and it duplicated the layer to put it on top. Now, what I'm doing is I've clicked on the pattern layer and I have adjusted saturation and the brightness and contrast, image adjustment, hue, saturation; image adjustment, brightness, and contrast to try to even out the pattern with my drawn image. The next stage is I'm going to be removing the background in order to see that. I want to see how the image looks. I've lowered the opacity first. I have clicked on the mask. Let's just pause for a second. Now, what I've done now is on this layer where my drawing is, I clicked on that tool there. It looks almost like a camera. It's a rectangle with a circle. And that is the masking tool. I showed you all this time because it's a tricky one to remember. You could of course use the eraser, provided that you are controlling the size of the brush and the softness of it. But the mask is a completely different ball game. It's much more versatile. The way it works is when you are painting over the area in black, it'll appear as if you are deleting, but you're not. If you look on the little square there, that is a mask, you will see the areas in which you are painting. If you cover those areas back with white, your image will appear again, which does take a little bit of time to get used to for some. That's my experience doing this for awhile. So that is what's going to happen now. Let's move on. Now, I'm doing it quite loosely. It doesn't have to be a refined exercise since I'm going to be tracing over it anyway. It's not a final outcome. Now here, what I've done is I've right-clicked and duplicated the layer. You can also click and drag that layer onto there and that will give you another layer copy on top. And when you click on that layer and you go to the blend modes, the blend modes are here where it says Normal. I've changed it to multiply. And will make the colours, again, I like say pop out. It makes some areas darker. And that's a really nice effect. Now, in this next stage, what I've done is I've sandwiched if you like between the two layers with the drawing and the blend modes. And the pattern of the canvas, a blank new layer. And I'm going to be painting with white so that it doesn't show as much of the pattern on the area around my face. Okay, so I'm using white. I'm making my brush bigger. And I'm just dabbing with about 40% of opacity to hide the pattern on the flesh skin. Export file, export as a JPEG. And if you want to save a BSD, file saved as BSD. When you're ready, pause the video for about 10 minutes. If you need to replay the video again and try to do it yourselves, be my guest. And restart when you're ready to move on to the next task. Now, that's the image from this board here, which again, is just a little test of an idea that I didn't develop. So that's why I called it testing. I used a printout, as I said it could be traced or transferred. All in all, this would take you about perhaps five minutes, no more. And transferring the drawing will take you a little bit longer, maybe another five minutes, okay? Let's have a look very quickly at how I did this. Water dumping here. The print-out from the Photopia manipulation. Glue over the top. I tried the halo, cut a little bit more. And put a little bit of extra glue for fabric, that's it. If you want to have a go at this third composition development. Or if you want to try it out or embed it in part as part of your process, then pause the video again. And when you're ready to move on, restart. And this is the final compositional idea. What I decided to do in the end is to use a Photopia print-out and transfer it onto one of my specialty primed boards. This will be the final outcome. And you'll see me painting it in our next lesson. I will be playing the demonstration for this video so you can see how I did it. It's going to take you about 10 minutes to do. You will also see that I improvised on the surrounding areas so that I could build areas around here just using flower patterns, about 10 minutes. Once you've transferred your image onto the primed board, you will notice it's lacking detail. So you will need to use a fine liner or a pencil to refine and go over the bits that you've lost as part of that tracing. It tends to be that when you trace, you lose quality. Try to regain that quality. Five minutes at least if not more, making sure that you're ready to move on. For this stage, I used a metallic pen that you saw me using to draw. And write in the Gabriel Garcia Roman lesson to go over the outline and highlight with a bit of silver, some of the areas of my image. This will get covered up later on, but it keeps it really nice. I like to call it the pop-in effect. This is the final composition of this lesson and the final demo. And this is the one that I will carry on working and develop in next lesson. Let's have a look how I did it. So instead of pencil this time I use charcoal because I had some and it's quicker. If you don't, use a pencil instead. You can see how I went over all the key outlines. And I only put masking tape at the top so that I can keep on checking. It's not, nothing is more annoying than to remove a bit of paper and realise that you've missed out an eye. So it's always good to keep on checking that all of your areas have been traced. This is where I'm tracing the pattern, just the outlines. Although I did block some of the dark areas of colour. As I said before, it's very important that you allocate and invest time refining your drawing prior to painting so that there's no area for doubt or confusion. Don't see the tracing exercise or aspect of it as a boring part. You should always try to refine and improve the work that you did so to speak. I know it's a completely different meeting. Now, what you see here is me going free agent. And just trying to make up some flowers, and patterns, and leaves because I didn't just want to have the whole William Morris pattern, silver pen. And then the fine line, just like I did with the Gabriel Garcia Roman. To refine areas of the drawing, areas where the silver pen is and add a little extra detail. As I said, I do like the freshness of quick exercises. With a bit of paper and rubber you can then remove if you need to the charcoal or pencil. End of theme. Now again, if you now need to pause video for another 10 minutes, you have seen these three composition developments. Lots of many techniques plus the Photopia task. The beauty of this medium is that you can rewind and watch them again. Take this as a bit of a pick and mix lesson. Develop your ideas, start preparing your material. Next lesson for me is going to be about painting the two final outcomes, which will look like this. So that is what we're going to be doing. Completing our last composition ideas. And developing and finalising our personal response. I'm going to now let you go. It's a shorter lesson, but you need that time to develop and refine your work. And get ready for the final painting session next. So if you're finished, take the end of the lesson quiz and see what stuck from today's learning. I look forward to that final development of your ideas. Have a good day, goodbye.

Final Piece (Part 1)

Final Piece (Part 1)

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UnitArt and design / Empowerment and equality

Art and design