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:

Notan collage

Key Stage 3

Art and design

3D sculpture: developing fine motor skills

A building that attempts to look old fashioned.

Valued objects and qualities created in the present day.

Valued objects and qualities that have been passed down from generations.

It is an artwork that features all of the main colours.

It is an artwork that features at least five different colours.

It is an artwork that features only one colour.

It is an artwork that features only one object.

Sir David Adjaye designed the London 2012 Acquatics centre.

Sir David Adjaye is best known for designing sculptures.

Sir David Adjaye was born in Dar es Salaam, Tanzania.

Sir David Adjaye's artwork is heavily inspired by truffles.

Which statement about Sir David Adjaye is correct? 

﻿- Hello everyone, and welcome to Art with me with Mr. Di Salvo. And I hope everyone's well. Today we're going to be creating a Notan inspired cut paper collage. So, on the right you can see my example, and I've used positive and negative space to create my work. My question for you is, what is positive and negative space? So, I have a bit of thinking time for you there and we'll discuss that in a second. So, positive and negative space. With my work on the right hand side, this is a white piece of paper and I have just used the remainder of a brown envelope that I got for the mail. And so I've cut out the parts of envelope and flip them over, and this is our positive. And of course where I've cut out from that, that leaves a negative. And again, I've cut a section out of here, flipped it over, so these are the positive pieces. But they've also kind of created an artwork by what what isn't there. So positive is what is there, and the negative is what isn't there, the space around the artwork or the object. Okay, what is Notan? It's probably a question you're probably wondering. And it is a Japanese term, which describes the balance between light and dark, or as we call it positive and negative space. So light and dark meaning, dark and light, but we're gonna call it positive and negative space. On the left-hand side is the Yin Yang symbol of which I think is Chinese rather than Japanese, might be wrong I hope not, but you can see that there is a balance between what is dark and what is light. On the right hand side, a student's work. So this was originally a black square, and they've cut out the pieces and then again flipped over or inverted those and that's a positive thing, but what was cut out leaves a negative. And this lovely example here, this very high end example. Again, it's a digital version, but you can see these sections here are actually kind of cut out digitally out of here, so it's kind of flipped out of that. So you have what was there equally leaves a balance. And I think Notan, I think it actually just refers to at the harmony, so this idea of balance. And yin-yang, this obviously Chinese always say, this idea of bad between light and dark or positive and negative, and that's what we're going to be looking at today. Now, what you're going to need need for today's lesson. Is a piece of plain white paper, a contrasting colour paper, and I'll explain that now. So, you probably haven't got any black paper around, perhaps you have it. If you have got black paper, wonderful. I didn't have any. So for my example, I just used a brown envelope, okay? You could also use some wrapping paper, if you've got a piece of dark colour wrapping paper. If you've got some, possibly the back of it or something like a cereal box if there's a very kind of dark colour to that. And ideally with no sort of writing on it, but a plain square. What else could we use? If we don't have those things, we could try painting some papers with some really dark coffee. So you get a sort of brown and black is the best one for this, 'cause you get a real extreme, dark and light, but we perhaps haven't got that at home. So, if you've got any of those things, that'd be fantastic. Your gonna need some scissors and some glue. If you get those resources guys, and then come back to me and then we will carry on. Okay, so welcome back. So, when we are cutting our shapes, please, please, please, it's not difficult, I'm gonna call it intricate. So the kind of patterns and shapes we cut are kind of quite kind of delicate. And so this is all about carefully cutting shapes, and then using these and creating artwork, which starts off quite small, but then you'll see ends up being quite a large piece. And it's a great exploration of media because you learned to look at the idea of dark and light spaces and how we can use those in our work. Not just in what we're doing today, which is going to be a cut paper collage, but also when we're looking at the idea of drawing or painting what is or isn't there. So it's a great skill to develop with our artwork. Okay, as is ever, please when that poor slide comes up it's time for you to then have a go at it. Please don't just watch my video all the way through, but try and and pause when I pause. It's time for you to have a go and do that, and be aware of that. Okay, let's begin. So I'm just going to get my video and play it. Okay, you'll see here at the very beginning of my video, that I will show you what I had. So that was a brown envelope just what I found in the cupboard, and from that we're just gonna take a square out of that. I think I measured mine, it's about 10 centimetres when I cut out the square. And the reason I pause there, so, hopefully you have your paper or you've got sense now, and you could just use an envelope from the poster if it's a contrast in colour. So, again the idea of being a very dark in comparison to the white paper. Okay, so when you have that and I'll just explain now. And again, this hopefully makes sense now. Whatever we've cut out of here, we can't cut out a huge area from the top of it. Because when we flip it over, it won't fit on the page. So, the limitations are there. This is an A4 piece of white paper. Whatever we cut out, we want to be able to stick onto this part of the paper. So, if you cut out a huge section and you flip it over it doesn't fit, that's a real shame. So you have to be aware of limitations. If you might just find a really big envelope and you've got some A3 paper, wonderful. The bigger the paper, the easier this is, but you have to be aware that if I cut out a huge shape from this size, so you can imagine, I can only cut out that distance there from here. We cut out this whole area and flip it over. I wouldn't have to stick up my paper, okay? So it's a bit of a sort of logistical thing to be aware of. Okay, with our cutting I'm just gonna show you, I've cut my paper down into a square as well. And I'm just going to sort of, without drawing anything, I will just start cutting a shape. So you can start to understand how that works. So, as I cut a piece out, I flip it over, I invert it, and there we have an example of the positive shape and then the negative shape, so that's what we've cut out. But we're using the negative what's not there to equally use in our artwork, okay? So just to go things you can kind of can't do it. So, if I cut a piece out, I then have to flip it back over again to show where that came from. So again, cut it, flip it, and that creates another part of it. Now, every piece that you cut out, you must use, okay? So, you must use every piece of that. So, what you can't do, is you can't cut a shape out, and then trim bits off it. Because all the bits that fall off so to speak, they have to be stuck down. So we cut a shape out, okay, and then that whole piece is then flipped over. You can't trim it up because the idea doesn't work, because everything is stuck down. So you will notice that whatever I cut out is stuck down. I don't cut it and then cut bits off it because it won't work. As an artwork we got to see where the positive and the negative piece was. So again, the idea is very simple. We cut, and then we we flip a piece over. I haven't glued anything down at all, 'cause when it's glued down, we can't of course change it there. I'm just going to keep cutting, and looking at that. Again you see that as you flip out a piece, how far it reaches across the page, okay? I'm trying to work out how to move the pieces around without making themselves a mess. So I used a few of those sort of sections. So, I have paused there. So, hopefully you've got your own square of paper, and you've got some scissors, and I would now like you to spend some time. I didn't draw mine out because I didn't wanna have a pencil mark on the paper. You could draw very geometric shapes, so very angular shapes, or you could go for more organic curve shapes, and we've used those two words before in the past. So, I just did my free hand and just chose any shapes. You can try and draw, sorry. You could try and cut out particular things, it's all up to you. Please cut out your first two or three pieces, and then hit play. So, welcome back, okay. So, I've now got myself a piece for each side. And all I'm doing now, is kind of adding smaller pieces and just trying to work a bit more, a bit finer. So, some more intricate shapes. So, rather than just one big shape, I'm just trying to work out now if I can cut, and then that's how a smaller piece from within that. So again, just sort of up in the skill level of that. If you've got a really big square and a big piece of paper, this is great, because you can of course work easier with a bigger piece of paper. If it's too small, it is kind of hard work. And again, and sometimes when you can cut a piece out, like you notice that you have to try and consider if you go the right way round, if you've sort of flipped or inverted it the right way round. And again, wherever I've cut out, it will be used. So, we'll go from sort of trim trimming the piece that I'm not gonna actually use. Again, as you can see all pieces of it and then work out. But if that piece goes there, I then have to then flip the other things. So, it's a great way like I said, because, all we had was a 10 centimetre square to start off with. But what we then end up with is of double the size even if you can imagine that, you know, we've doubled the size of our artwork because we're using both the positive and the negative space. So, it's a really good room to, to sort of use. I found that using a pen lid was really great to move things around with. And so, again a pause moment for you, please so from your initial shapes, I would now like you to cut out some smaller shapes and try seeing how carefully you can cut those out. And once you've done that please, I've not glued anything down just yet, 'cause we're still looking to make sure our composition looks balanced. But once you've done that please hit pause and we will continue, okay? So, welcome back. So, I'm just going through now and just going to look at glueing it down. So, you'll notice that, no, I'm wrong, I'm sorry, I'm not glueing it down at all. I'm just going to add a few more cut pieces. But you'll see that once I do begin glueing it down, how I try to avoid glueing on top of the paper that I'm working on because it makes a mess. I'm sure you've seen the past that if you put lots of glue, and I'm just moving my pieces to one side. So, rather than, I will just correct it but I'm really sorry there, so rather than pushing all the pieces to one side, try to be a bit organised, I've just matched up with that. I pushed all the right hand pieces to one side all the left hand pieces to one side, all the top pieces above and below. So that way, they're not all sort of jumbled together, That's just all a practical way of working. But you'll notice that as I start glueing what I don't do, I don't glue them to my paper because I'll make a mess. So I'm glueing it on the table and on the mat next to it, but try to avoid glueing on the paper because you get all that glue residue which looks really really not particularly pleasant, okay? And so, position that in the centre, and,please the thinner the pieces are that you've cut, the harder, no, sorry, not the harder, but the more careful you have to be with the glue cause I'm sure you're aware that if you quite aggressive with a glue stick, you'll tear the paper. And again, if it, if it, if it tears or rips a piece off, it's really hard work to try and make this work as it should do. Okay. So, it's really important that, you're really careful now with your glueing . And again, and there's no sort of, we're not this time looking at composition that we have than perhaps in the past of where to put things. They have to go in a certain way. So you can, place one piece and put it on the opposite side of where it actually came from. It can only go, flipped over from where it was cut from. So you can't try and sort of change things around, we're not looking at the composition in the sense of it being, where, could I put things, they have to go opposite to whatever they were cut from. And it's really important we do that. And again the the great thing about this is that skill-wise what we're looking at, we are, using very simple idea of just one rectangle or a square of paper, and a simple skill of cutting. But what we are doing is it's gonna be our understanding of positive and negative space. Okay. So again in these fundamental art skills is great because, what seems very simple to start off with, and it is as an idea, is a very kind of clever use of, okay, well, where can I use little, but the creates of almost double impact because remember when we already cut out, a number of shapes . It's double the size of our artwork. Okay. And there is my finished example. And again, it's now over to you to, to stick your work down. And again the only thing you have to make sure of is that you're sticking to the right place, which is, is easier, said than done sometimes. A couple of questions for you. As you finish your work, I'm, gonna sort of ask you about kind of what went well, even better if questions. So for me, what went well and I'm really pleased with the balance. I think that I've kind of managed to kind of use majority of that square. I think that it looks quite bad, is it? Just kind of, quite a lot lot of positive and or negative about 22. What I'd like to do I think next time, some I even better as does, I think I would like to try and cut some to more intricate patterns or maybe rather than it being abstract, like it is today. And you try and do something more literal. So something more real. So maybe trying to do, perhaps with a tree or, you can perhaps even cut an animal, can you hear a series of animals and then flip modes, it looks like a reflection of the animal. So rather than being abstract, next time you actually kind of working to more of a plan, that's my, what went well, even better if you have any, you'd have that conversation with yourself and think to yourself, okay, well, what have I done well today? You know, I've hopefully, you know, trying a new artwork for the first time and that's always a positive. And then how can I make it better the next time? Okay, and what would I love to see from everyone is, if you can please, asking your parents or carer, to share your work with us at Oak National and with me, Adriano Di Salvo, and equally with a hashtag LearnwithOak. It'd be fantastic to see you do that please. That's it for today. I would really like you now, please, to take the end of lesson quiz, to see what's stuck from today's learning. Thanks for your time today. And I'll see you all next week. Goodbye.

Notan collage

Notan collage

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

Art and design