Show a link to our theme of 'War and Conflict'.

Show our technical skills and can be of any subject we like.

Once we have completed our final piece the project is finished.

Our final piece must include which of the following:

A final piece can have no mistakes in it.

Final piece (Part 2)

Key Stage 3

Art and design

War and conflict: those who cannot remember the past are condemned to repeat it

To help with us with our final piece we created:

All the different medium/media we have used in the project.

The medium/media we are most comfortable with.

It is OK to change areas of your final piece from your composition ideas.

When drawing out our final piece, we always begin by:

We are happy that the basic shapes are accurate.

We can begin adding tones and texture only when:

﻿Hi everyone and welcome to art with me, Mr. Di Salvo I hope that you're well today. And today with our project of War and Conflict, we're going to be completing our final piece. So what do you need to do to improve and complete your final piece? So hopefully at the end of last week's lesson, we spoke about what we need to do to complete and complete it well. So do you need to add more details or tone? Do you need to refine areas? Do you need to edit or revisit areas, or if there's an area that you're not happy with? Okay, but hopefully you know that. You may have written that down. The key thing today is not just getting it complete, but completing it well. So you're going to need really all of the following that you had last week. So pencil, paper, your actual final piece, your chosen medium or media, and the objects or images that you're working from. And please make sure that you have those objects or images that you're working from at hand. Don't guess what they look like, but actually look at those images or objects. If you could get those now please, and then we'll be ready to start our lesson. So, as ever, our aim is to finish our work and not just finish it, but complete it to the best of our ability. Okay remember this is the final piece of our project over a number of lessons. And so it's really important that we don't just get it done, but do it well. And if you need to pause the video at any point, please do that. And during the lesson, I'll make sure to pause the video for you to complete the task, and please make sure that you do just that. Don't just watch my video. Make sure that you're working alongside me. And so let's begin. So I'm just going to open up my video. And we're going to start off first of all, I'm just going to very quickly speed up through what we did last week. So just to remind you so very quick time, where you looked at the images I was going to use my composition idea. I then began my drawing, tracing out the areas that I was going to use. So to remind you, I was using a mixture of collage of my photography collage and also coffee and- going to be using some pen today. And so this is a very quick time now showing you as far as we got last lesson. So I blocked in areas using a base colour of brown coffee, and I then began adding some darker tones. And there's the actual image there that kind of curved U-shape is what I was actually looking at as well to make sure that I could try and get some accurate tone in. So please whatever area you're going to be working from have that at hand and it's great as well to have your composition idea with you, and this I believe is about as far as we got last week, or just about before we finished. And so today we're going to be completing our final piece. I would like you to sort of just see what I'm doing here. So I began adding some pen and what I did was where my excuse me. Where my photograph meets my actual work. I actually took the coffee and the pen onto the photograph as well. So rather than it just completely stopping, photograph and then my medium of coffee and pen. I've actually, and you can't see it that clearly, but I actually took some of the coffee onto it. So if you are using a combination of media, it's worth, rather than just stopping and starting, but trying to actually make them almost flow from one into the other one okay. And that's really an important sort of thing to consider. So how you could do that. And here again, I'm just beginning to add some tone, so I'm going to pause it there. And I would like you now, please, to spend again, five or 10 minutes on your work now, beginning now to make sure that you have all of the elements there and where we can refine and improve our work. And once you've done that hit play and we'll carry on. Welcome back. So what we're doing now is I'm just looking at again, adding some more finer detail. So the idea of blocking in that colour in Brown. And so with some paint, we could then use as a base, underpainting most of them and add to it if you darken areas as we see fit with- I'm using pen, but you might be using a different media. I'm using a sort of scribbled line, which I've used previously, which I really enjoyed because I thought that that hard, harsh use of line almost adds to what a gas mask is for, you know, as part of war, which is a harsh thing. And again, going to kind of keep prompting you today to spend again now, five or 10 minutes now, improving and adding to your work. And once you've done that, please hit play and we'll carry on. Welcome back. So just looking at, again, darkening areas, making sure that I can sort of get a sense of, of tone or texture within my work. I then chose as you'll see in a few minutes to, to add some crosshatching, cause I've tried to replicate the kind of texture of that, of that kind of tube or pipe. I'm not really sure what the wording is to use, a hose I guess, could be used. And so please, whatever you are drawing right now, make sure that you're looking at that object or image as carefully as you can. Okay. And trying to get into the tone and texture. And that's really important. So once again, pause for a moment, over to you now, five minutes or so on your work, looking closer to the image or object and improving and refining your work once you've done that, hit play and we'll carry on. Welcome back again. So yeah, so just looking at where we can do those parts that are so- what we need to do to, to improve, refine our work. So is it a case of adding more tone, more texture, if you haven't got that? I'd always say that it's better to press too lightly than it is too hard because of course you can darken it, but it's a lot harder to lighten the areas. You can do it, but it's just a lot harder work. So, I went in with some darker coffee now and just sort of add some more textile work and you can see now just beginning and I'll hit pause there and just say, I'd like you now to please carry on with your work and for five minutes. And once you've done that, please, hit play and we'll carry on. So yeah, just to sort of recap, there really, I was about to say before I hit pause, was that, looking at the idea of adding texture your work. So it's really important to do our tone and texture. And especially if you can add those together so you can have the texture getting dark. I might do it as that. And again, at times you might barely see the depending use or you can just make it on camera. Now, I'm just using that crosshatching line, which was, I found quite successful in that past. And there you have that. I'm done. Now, what I've got here now are those other elements. And although I have my composition idea that I was working from, and I think the ring was the bottom left hand corner, I'm just looking now or where I could put those. So you might have been using collage or your own photography, but if you are, it's really important just to again, look back at the composition idea and think, okay. What have I got where? Am I happy with them? Because once they're stuck down, if they can't be removed, so now is the time to consider if they are right where you think. So what I'm doing here is I'm just looking at where, if I'm happy with what I said, but not it's worth considering because there's nothing wrong with changing your mind and thinking, you know, could I put it here instead? And if it works. And what I found interesting was that when I did this now, how by layering the text almost across the image and also onto my gas mask work, it creates like kind of like what we call an Anchorage, which is a media term. So the idea of it pulls in together, the images. So by having those words, it almost kind of like anchors it. It weighs down the image into the artwork. And so, yeah, it's really worth just considering that before you're happy. And if you, at this point, if you, if you haven't have a camera at hand, it's really worth, like we've been in the past- past that competition ideas, photographing your work and seeing if, if you're happy with where it goes. And so again, love wasn't on my actual original composition idea, but that seemed like that I found that out. So I found these other images that I really liked. And so I decided to choose. And so looking at how you read the artwork, so love is there as a sort of secondary note. And if the gas mask, the show of strength, could it be the strength of the soldier, show strength in terms of love? And the idea of the person has gone to war. There's lots of stories that can be sort of considered, or told, or interpreted by how you position the images and all the text. So really important thing to consider. Don't just stick it down and getting . We're not just getting it done. We sit, we think about how it, how balanced is the composition, you know, is it too busy on one side? I think this, this seems to work now. And I think this is why I was really happy with, towards the end with it, because I felt that the space meant that the nemesis rolled onto the side of the gas mask filter, but it was necessary. It kind of runs from, it kind of the connects, the pipe, almost, the tube, the hose that wording and the word where love is going to sit, almost from one to another. So how your eye kind of reads that artwork. It's really, really important to do that. And as I said, and you can see that there's one or two things have changed, but essentially we get an idea of, of that plan and has worked. And as I said, it's over to you now to make sure that you complete your work and to a good standard. So I'm just going to hit pause there for a second. So I would like for you now, please, to spend as long as it takes on a sleek to get that done, and done really, really well. So you're happy with your work and pleased with how it looks. I'm just going to exit out my video and just going to go back to our presentation. So what went well even better? So what went well even better? So I'm really pleased with the fact that I have used not just, I really liked the collage work, but I liked the fact that the gas mask is actually my own photograph. And I know that was easy for me to do because there was so many kind of lend me one for this project. But I like the fact that I hadn't just used photographs off the internet. I found that one of the soldier character that was, was from a magazine, the photograph of the lady there is actually one of my own photographs I've indicated in a previous lesson. So I like, I like that I've got these elements of, of some found imagery, and text that show of strength, love, but it was necessary. A nemesis and that kind of soldier-like character. But I also liked that I've got my own photography that's been used with the lady and the gas mask and then also the pen drawing of the ring and the gas mask. So yeah, I think that's where I'm really, really pleased with that. I'm pleased with that. There's a sense of a story to be read in this artwork. And then it doesn't link back to our thing is really important. And it tells perhaps the gas mask is an obvious link to war, but then the other elements give them something of a sort of balance to the story of a soldier and, and who that person is. Even better if, I think I would still like the hose to have some more tone to it. The more I look at it now, I like the texture on it. I really like that cross-hatching. I think it works really, really well. But I think that it could still have some more elements of some darker tones added to that. In terms of extending your learning independently and further, what could you do next? Okay. And what would a professional artists do? And there are always good questions to ask yourself. So what would you do next? You could create a second version of this and with those improvements, if you, if you've got those, you could consider maybe telling a whole story of this, or like idea of, this is a story of a soldier. Maybe the next piece could be showing the wife and her story, you know, not showing her on her own, or of the child of this soldier, this dad, and how they're affected by it. So you can almost tell this kind of story of a whole family and how they've been affected by war. What would a professional artists do? Well, a professional artist would look at the work of other artists or think like, I really liked that media. How much further could I take it? Can I take that coffee stain in and create another artwork or some new techniques? So there's still lots that you can do if you want to. Now, it'd be great to see your work. And if you can share it with Oak National, Please do on any of those social media networks. It'll be fantastic to see your work. And that's it for today's lesson. And for the end of today's final piece of work. So it's time to take the end of lesson quiz and see, hopefully what stuck from today's lesson. And again, thank you for your time. And I look forward to seeing you again, next lesson. Goodbye.

Final piece (Part 2)

Final piece (Part 2)

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UnitArt and design / War and conflict: those who cannot remember the past are condemned to repeat it

Art and design