Recapping... Can you remember what Tim Okamura's  backgrounds make references to...

When representing his subjects what is he celebrating?

the figure with collage, spray paint and mixed media.

the figure with patterns and handwriting.

Tim Okamura's unique method of painting combines...

His backgrounds show imagery inspired by...

To suggest empowerment the figures in Tim Okamura's paintings are holding...

And on a practical note... when planning your backgrounds it is key to find and record...

Tim Okamura: Shading and planning grid portraiture

Key Stage 3

Art and design

Empowerment and equality

Empowering portraits... Can you remember the name of the series Tim Okamura developed?

Can you complete this quote from the artist? My work has challenged people's ideas of..

What is the subject of interest in Tim Okamura's work?

On a practical note... when measuring a grid the horizontal & vertical units have to be...?

What is the term used for the initial measuring of space and key points in a drawing?

﻿Good morning and welcome to art with Ms. Corral on our last lesson Tim Okamura, looking at Empowerment and Equality. We are going to be adding shading to our grid portrait drawing. We're going to be recapping on our empowering elements and concept. So I'm going to add a new text, backgrounds, any secondary components. And we are going to be preparing ourselves for colour and finish, which will be covered next lesson. You are going to need a computer, tablet or phone to search for imageries, images sorry or art and edit imagery. Your finished pencil outline which we're going to work on. And if you have a range of pencils from soft to hard, HB, 6B for shading, brilliant. If not, we just work with the HB. I'm not going any up in my pencils. Pause the video, gather any equipment or materials that you need and then just press the start button when you're ready to continue. Now, we're going to go back to looking at the work of Tim Okamura. We already understand the concept. We know what he's celebrating regarding race and identity and equality and empowering people that normally wouldn't be empowered in museums and fine art. That is a line of concept, that's going to continue on a next artist as well. So both artists work in very similar ways. They're looking at black culture, but Tim Okamura really pulls from the graffiti, whereas the other artist pulls from something else which is very different. And I wanted to include this picture here again, so that you have a feel for sometimes the scale of an artwork because the size of an artwork like I said, when we looked at chipped ferry in the very first lesson when you see those images towering on murals, the size impacts your perception of a piece of art. Now, what are the key features that we are going to try to absorb in one way or another? I particularly love this image here. And I was waiting to show you this image during the techniques section because it's basically where you can see all of those wonderful techniques that Tim Okamura use coming to life from an academic approach to the figure. You've got to be really talented to paint in such a way and get the likeness of the face. He uses collage on his backgrounds and lots of mixed media, spray paints, scribbles, graffiti all sorts. Sometimes he works on canvases, it can be on board, those little things that you can consider and start planning for your next stages of development. The colour palette, what would you say? I would use the word earthy, the very much browns and the greys and darks, but that's my perception of it. Secondary components that is clearly a narrative for each one of his subjects. And begin transmission seems to be right now the one on the outlook thing. So, this is just a quick recap of what we achieved last lesson, this is my outline drawing and this outline drawing could go into lots of different places now. It could go into a very much itching, illustration outline world. But what I'm going to try to do is meet the shading in the middle and not go full throttle in shading, but develop a shading version of this drawing which you're going to see in this demo that I want to show you now. Let's have a look at how we added the tone to the drawing. I am speeding it a little bit first. I always tasked just going over what would be considered the dark outlines. So around the nostrils. Then I start lifting the area around the mouth the cubic bone, underneath the chin and inside the eye sockets. That gives me the triangular composition, which is going to be the centre of attention. Now I want to emphasise the fact that in my drawing the eyes are looking at the view, whereas in a photograph I'm looking down. Then I started going over gently the roots of the hair the back, because in shading around your face, or defence you are framing. And again, given the main emphasis to the triangular eyes nose, and mouth and the key expression, the corners of the mouth. So the face, the eyes, the eyebrows, the nose are the most explosive aspects. So they need to be, everything has to work towards enhancing those areas. Now I'm touching up what I needed which was the underneath the chin which looked to be big. And immediately, as soon as you start adding those dark tones that drawing just lifts up from the paper. It's very important not to overdo it though. Notice how the way I am shading is very much almost like an etching or an illustration whereby I am following the same line direction. You may have your style. The one thing personally I never recommend to any of my students is smirching. 'Cause when you smirch the natural oils in your hands are going to be wrapped against the paper. And then paper when you rub out, it gets very oily and that's when you start getting those stains funny stains, so key things here are build gradually. Don't push too hard. If you only have a an HB pen, pencil, normal pencil or even one of these, there's only so much darker values that you're going to be able to attend. You're going to have to perhaps work with outlines. If you've got a lovely range of pencils at home from H to HB, to maybe a 6B then you can use a softer brushes for the darker tones. I have a tendency to draw in a very illustrative way. It's quite interesting to see what your style would be. Now I'm observing that I am now working on the areas of shadow around the neck gradually. Still have another things like eye lashes or tremendous amount of detail, the only thing that I emphasise is always the corner of the mouths and the inside of the eyes, the eyebrows and as I said, the roots of the hair, because that frames triangle. I have sped the drawing process. So this overall possibly can take you a good 20 minutes if not the whole lesson. Now here, I moved to a slightly blunter and softer HB pencil. Each going over because my outlines are quite thin. The ones that I've used for creating the composition. Now I'm going over the pencil and gradually the outlines will be less prominent. And also, after I pushed the darker values and going into the middle tones always so far maintaining the same direction some of you will favour crosshatching, I tend to leave that for the end, it depends on the day. My drawing style changes with my moods, as a very gentle, very, very gentle going over and over and over, don't rush it. The more you build, the better you'll get. With the hair now, I'm moving away from the outline. Very illustrative way of drawing that I did before into more of serving the darker tonal areas. So if I've got a long curl the curl at the bottom is projecting the shadow. If you have a fringe, your fringe will be projected in shadows over your skin. Your hair is a mass, it's texture is not, don't try. as I said last lesson draw individual hair at a time. Normally and I try to embellish my drawings a little bit. I tend to always attends to making the nostrils a little tad smaller. If you think when I draw my face is always look really ugly, watch the nose. nostrils, I don't know. Also it is really, really hard to draw teeth. If you have to draw a smiley face, try to shade gently. Don't go tooth by tooth either. Now here working with the at him, I am building a little bit of the background so that the face pops out. And I mean, harnessing the halo around it. And finally, when I'm quite happy, I just sort of start going on in circles to create an element of texture. And this is where you can choose to prefer style. If you want to be the crosshatching turn around and change the direction of your pencil you may then want to go into spit of smirching although I personally never recommend it. The areas that you block, because drawing is all about is a composition after all, whether it's a drawing or is a magazine cover, it's all a conversation is what are you directing the eye towards. The areas that are the lightest and the ears that other darkest are the ones that the eye is going to notice. So in a portrait generally speaking, you want to emphasise the gaze and then the mouth. The nose not particularly, especially if you want to be flattering. And then finally now here is that little extra detail for my hair. And this is the time when now you can go into, I think the lashes getting a little and add a little bit of shine in the eye. If you've lost the shine of the eyes those little techniques and make your eyes about and here I am, two pencils, sometimes I go even three and I do exactly the same when I paint. I end up with my hands holding four or five brushes. And I'm also trying to add a bit of the ageing marks. Then it's going to be a little bit at the end. Which is where I link data for . I don't know how you are, but I do think with my hands. So this concept of empowerment from the moment we started the lesson with my demos has been glaringly coming into a sharper focus. And I am normally very much retaining the imagery that I see. So for me, that Rosie, the Riveter, we can do it is lingering on my mind in this artwork that I am producing at the moment. That is, I have finished drawing. You have now seen the demo pause the video 20 minutes and try to add shading and finish to your drawing. If you need to replay parts of the demonstration, please do so. I will be here waiting, please restart when you finished. My empowerment idea now has definitely grown and evolved as the project has been evolving. And this is the array of images that as I mentioned during the demonstration have been imprinted on my brain. You would have been doing a research, you must have imagery that now you're ready to absorb within your work. And this is the time to press the pause button. Not literally on your video, but mentally and ask yourselves, what are you going to go here? Clearly, there's still more stages to come. But at this moment in time, have you thought about adding text? Have you thought about what's going to happen with your backgrounds? Are you pleased with your image? Naturally you're working from home. So, if you wanted to redo any aspects, you can. These are skills that are building up. What I would like to do in the next lesson and this is already observing at the backgrounds is, I'd like to develop some variations of this image using different techniques. And I have been pondering about how to do this considering that many of you will be limited in terms of the art material that you had home. So I'm going to try to meet you all in the middle and do the range of mini demonstrations or native by the inch and half and have one with pencil one with charcoal, one with oil, one with water colours. But clearly, these artists use oils and it uses a lot of mixed media. Oils can not be recreated other than with oils. What a colour would give you a completely different effect. So, the outcome that you come up with may not look exactly like the imagery that you're looking at. But that is absolutely okay. That's something that I wanted to say because there would be perhaps elements which you will struggle following. Now, just quickly going over the quote, the celebration of community was the key thing with Tim Okamura. So who or what are you going to be empowering? Think about that. Discussing textures of texts. When I observed the work of Tim Okamura I went around the block and at the moment I am in a fairly not urban actually area in the outskirts of a city and there are lots of houses which are not precisely well kept or maintained. And what do you see here are just such a selection and collection of photographs that I took. I've got loads of them now. And I also took some photographs for the next lesson. Now, I could use digital art to over lap my drawing or any other colour development that I do with this photographs to see and to test. And if you are comfortable doing so, I strongly recommended it. You've had already a few sessions using Photopea, so the same as you did with the Gabriela Garcia in terms of drawings you can drop it background onto a picture and just rub out parts of the background of the front of your drawing so that you can see how it works. But if you want to do that, that's great. If you don't it's not a problem but you could also try collaging and cutting out. It very much depends on whether you have a printer. You got means of reproducing your image several times. What I'm thinking about doing is tracing the outlines and then dividing the drawing into different sections. What I'm going to do now, is I'm going to show you because it would be nice if our next lesson you have played with whatever materials you may have at home to create some building grounds so that you can maybe work with your drawings on top. This one has been created using ink, but if you don't have ink, just pick creative, even a pencil rubbing it, smudging it. Think about what could you use to create a surface that has got colour? Because what Tim Okamura is trying to do is represent a graffiti. When you're painting on a wall, if you imagine the Bronx is very rarely, it's going to be a blank, clean wall, it's going to be a wall with texture. So I'm going to play you this video. And then we're going to discuss the type of graphing. Now that you have seen these techniques or these techniques I should say, take 10, five to 10 or 10 to 15 minutes to think about your theme and your background imagery. If you want to press the pause button and go and photograph something, if you've got any material in mind, this is the time to do so because we're going to reach the end of the lesson. When you're ready, press the start and we should continue. This is optional I like to always add a little bit of extension. I use this font site a lot. There are loads of them. But what I've done is I've screen grab a section, I apologise it's seen as Spanish, but when you type here, the preview, you can enter a name or a tag or the word or a quote. So my, what did say? My affirmation last lesson, when I was doing the Truman became Queen Of Quiet speaker. So I have tied to Queen Of Quiet size, that's the menu, that's big. And then MBI is sent, so this is a preview. If you type what you want here on this little box, select the large size and press enter you will get a preview of different fonts. Now, when I was on the font, which is the font website that I've used, I typed graffiti in the search bar. And these are some of the graffiti fonts that I found but it may well be that you want a different style of typography altogether. Think about that. If you want to, I would recommend that you on your phone or on your tablet, on your computer, you type the font you will find the font website and then try to see what text feels like, because then you could trace over it or you could draw it freehand. This is a digital extension of the work that I don't. What I've just tried to see how the graffiti text would work. Personally here, the text is on a straight line just like here. Here, the text is round in the head. I think if I was to do this, I would like to do this large scale, I'd like to work with a canvas that is standing up so that as I paint the paint drips, and I would like to work freehand and use my own mark making to create my font, because I think it's more personal. Consider what would you do. This is now the end of our lesson. On our next lesson, we're going to look at Kehinde Wilde. We're not going to really go into great detail about the concept because it's so similar to Tim Okamura's but what is dramatically different is, what is it do you think? It is the backgrounds for the start? Lots of floral patterns, lots of bright colours, very different to that style from Tim Okamura. Again, it's a personal choice. When we finished the Kehinde Wilde block, you will then have some time to digest and consider you personal choices and then develop your own personal artwork from what you've learnt. What I really think that you need to do is, if you're going to spend some time doing homework finish your shading if you haven't, then consider backgrounds because we're going to spend some time painting and experimenting. If you've got add materials or you could cover some that would be brilliant. If you want to have a go at doing some of the ink backgrounds or any wet work norm. Whatever you have at least try and do it before the lesson. Obviously, if you have to transfer the drawing onto those, don't make them too dark. Definitely, have something like white chalk. If you have a printer, which you can also do is print, scan or photograph your drawing that you've done, print it several times and then work on it. That is maybe not great quality, but it will give you a sense of experimentation. And that is the end of the lesson. So please, it's time to take the end of the lesson quest to see what stuck from today's learning. And as always again, a great pleasure teaching you. And I will see you for our next lesson on backgrounds, textures and colour, goodbye.

Tim Okamura: Shading and planning grid portraiture

Tim Okamura: Shading and planning grid portraiture

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UnitArt and design / Empowerment and equality

Art and design