Lesson video

Hello, everyone! How are you today? I hope you're feeling good.

My name is Ms. Afzal, and I'll be your art teacher for this lesson.

I'm very pleased about that because I love teaching art and I'm really interested in today's topic.

We're going to be looking at textiles.

In fact, we're going to be developing a unique concept for a textile project.

Oh, yes, that's what we're doing.

Our lesson comes from the unit of work, "Finding your artistic voice: an introduction to the creative process." So, I hope you are ready with some unique ideas, concepts, and some enthusiasm and focus.

If you are, then we'll begin.

The outcome for today's lesson is, I can develop a unique concept by adapting and manipulating motifs into repeated pattern designs.

We have some keywords in our lesson.

Let's go through them.

Concept, motif, unique, and adapt.

Well, what do these words mean? Concept is a central idea or theme that drives the visual direction and message of an artwork.

Motif.

This is a repeated shape, image, or idea used in a design.

Unique, the quality of being new, original, or different from others' work.

And adapt.

To change or adjust something to suit new purpose or idea.

These are our keywords.

Let's look out for them.

Let's listen out for them.

They'll be coming up in our lesson today.

Our lesson is called "Developing a unique concept for a textile project," and it has three learning cycles.

First of all, define a concept.

Next, select and develop a motif.

And then, create a unique pattern.

Oh, yes, we are getting so creative in this lesson.

Let's begin now by defining a concept.

And what could an outcome for today be? Wow! Maybe something like this.

What we can see on the left or maybe something like this on the right.

Whoa! So intriguing, so mesmerising.

What is a concept? Pause the video and share with someone what do you think? Thanks for sharing your ideas.

A concept is the central idea or theme that guides your creative choices.

In textiles, concepts give direction to your use of motifs, materials, and techniques.

And we can see an ink spill that has been developed into an imaginative concept on the screen there.

What makes a textile design feel original or memorable? Pause the video and share with someone.

Thanks for sharing.

Here's Jun.

"I'm drawn to the pattern, colours, and textures." And Sofia, "For me, it's the feeling I get when looking at it, especially if I know there is a personal meaning behind the design." Same, Sofia.

And we can see a textile pattern using a digital app.

Check for understanding.

True or false? A concept only affects the colours you use.

Pause here and decide if this is true or false.

Well done if you selected false.

And now I'd like you to say a little more about your answer.

Pause here while you do this.

Perhaps you said something like this.

A concept can guide materials, motif, pattern, and composition.

A strong concept helps communicate meaning and makes your work more original.

A concept can relate to a message, a feeling, or a story you want to tell.

Which concept might have inspired this print? Pause here and share with someone.

Thanks for sharing your ideas.

This print is inspired by local flora for a fashion collection.

A concept for this print might be "growth." I wonder if that's what you came up with.

Can you think of any local artists with strong concepts in their work? Pause the video and share it with someone.

Thanks for sharing.

A unique concept goes beyond aesthetics.

It communicates something authentic.

Designing with meaning makes your work more original, personal and memorable.

A unique concept can push the boundaries of your research by combining elements in new, unexpected ways.

This pattern uses primary observational drawing to explore shells as symbols of place, time, and personal connection to the sea.

Types of concept in textile design might include environmental concerns, sustainability, nature, climate change.

Cultural or historical themes, heritage, tradition, folklore.

Personal stories, memory, identity, emotions.

Contemporary influences, technology, fashion, pop culture.

Abstract ideas, distortion, repetition, transformation, balance.

Discuss your knowledge of concepts in textile design with a partner.

Pause here while you do this.

Thanks for having that discussion.

You might visually develop your concept by primary source photographs.

Secondary source images.

Textile artist inspiration.

Swatches.

Sketches, drawings, or motifs.

Check for understanding.

True or false? A unique concept for a textile project can push the boundaries of your research by combining elements in new, unexpected ways.

Pause here and decide if this is true or false.

Well done if you selected true.

And now I'd like you to say a little more about your answer.

Pause here while you do this.

Perhaps you said something like this.

Pushing boundaries and experimenting with unexpected combinations is key to developing a strong, personal concept.

And now it's time for your first task.

I would like you to, first of all, pair and share.

Which concepts are you drawn to? Cultural or historical themes.

Environmental concerns.

Personal or emotional narratives.

Contemporary influences.

Abstract ideas.

How might they connect to your own work? Pause here while you have a go at this first part of your task, sharing what concepts are you drawn to, and how might they connect to your own work? Okay, great to be back with you.

So how did you get on with that? You may have said something like this.

Here's Aisha.

"I'm drawn to environmental concepts because I've seen how plastic waste builds up on the beach.

I want to use the image of a shell in my textile design to show how pollution affects nature." And Alex, "I think abstract ideas are interesting, even though they're harder to explain.

I like the idea of distortion to show how memory fades or changes over time.

I might use stretched or layered motifs to show that in my work." Next, I'd like you to gather and review visual stimuli in connection to your concept.

This may include photographs, objects, swatches, artist research.

Pause here while you have a go at this part of your task.

Good to be back with you.

How did you get on with gathering and reviewing visual stimuli in connection to your concept? So let's look at this example.

So the concept is a shell as a symbol of time and place.

And inspiration's been taken from William Morris, use of repeated natural forms. And now we're on to our next learning cycle.

Select and develop a motif.

What is a motif? Motif is a decorative image, shape, or symbol used in a design.

Motifs are often repeated to form surface patterns in textiles.

And we can see some repeated rose motifs on the screen now.

Artists have long used concepts to guide motif, colour, and composition, creating unique patterns with deeper meaning.

Charles Rennie Mackintosh used repeated rose motifs to link design elements like textiles, lighting and furniture.

His concept focused on unity across decorative interiors.

William Morris believed design should reflect nature and be accessible.

His patterns use hand-drawn floral motifs arranged in flowing, symmetrical repeats to bring natural beauty into the home.

We can adapt artist inspiration to create new and personal textile concepts.

To select a motif, consider.

What shape or image stood out in your research? What feels personally meaningful? Can it be adapted or repeated? Pause here while you consider these questions.

And you can adapt motifs from your research or invent your own.

Let's have a check for understanding.

True or false? Your textile concept has to look like an artist's work.

Pause here and decide if this is true or false.

Well done if you said false.

And now I'd like you to say a little more about your answer.

Pause here while you do this.

Perhaps you said something like this.

A strong response adapts inspiration to create something new and personal.

So what makes a strong motif? Pause here and share with someone, what do you think? Let's gather together some ideas.

Simple but meaningful imagery.

Recognisable details.

Scalable shapes.

Clear outlines.

I wonder if you came up with any of these ideas.

Let's have a check for understanding.

Which is most important for a motif to be effective in a pattern? A, being large and repeatable.

B, being detailed and repeatable.

C, being clear and repeatable.

D, being colourful and repeatable.

Pause here while you decide what's most important for a motif to be effective in a pattern? Well done if you selected answer C.

Indeed, being clear and repeatable is going to be helpful and important for a motif to be effective in a pattern.

And now it's time for your next task.

I would like you to sketch or circle one or two motifs from your research that feel visually and conceptually strong.

Consider.

What shape or image stood out in your research? What feels personally meaningful? And can it be adapted or repeated? So pause here while you consider these questions and then sketch or circle one or two motifs from your research that feel visually and conceptually strong.

I'll see you when you're finished.

It's good to be back with you.

So how did you get on with that task, sketching or circling one or two motifs from your research that feel visually and conceptually strong? Your work may have looked like this.

Okay, here we go.

The concept is growth.

Or like this.

Concept is ink spills and hidden creatures.

And now we're on to our next learning cycle.

Create a unique pattern.

What do you notice about this pattern? Pause here and share with someone.

Perhaps you notice the repetition of shape.

Mirrored imagery.

Symmetrical.

Limited colour palette.

Motifs can be cropped, adapted, and repeated, either digitally or by hand.

Motifs can be repeated to create unique patterns.

We could use digital mirroring or hand tessellating.

There are many ways to create unique pattern designs.

Each artist brings their own style, cultural influences, and materials to their work.

Let's take a look at some contemporary textile artists who use repeated motifs to reflect concepts, themes, emotions, or cultural identity.

Boshudhara Mukherjee creates layered textiles using botanical forms to explore memory, femininity, and environmental change.

Nilda Callanaupa Alvarez preserves traditional Andean textile motifs, such as sacred geometric and floral patterns through weaving.

Zandra Rhodes is famous for her theatrical designs, particularly her innovative use of prints and unconventional motifs and silhouettes.

Duro Olowu mixes his Nigerian and Jamaican heritage with modern designs, exploring cultural identity through intricate patterns.

So we can see there are a number of contemporary textile artists using repeated motifs to reflect concepts, themes, emotions, or cultural identity.

Let's have a check for understanding.

True or false? There are limited ways to create a successful pattern design.

Pause here and decide if this statement is true or false.

Well done if you selected false.

And now I'd like you to say a little more about your answer.

Pause here while you do this.

Perhaps you said something like this.

There are many ways to create a successful pattern design.

Each artist brings their own unique style, cultural influences, and materials to their work, showing that pattern design is diverse and creative.

Mirroring is when you flip or reflect your motif to create symmetrical patterns.

One quick and effective way to create this effect is to use a digital app to mirror, rotate, or layer your motif.

And we can see an example of a mirror effect app on the screen there.

To make a mirror pattern using a digital app, select a motif from your camera or saved photos.

Adjust the repetition and angle to create your mirror design.

Tessellating is when you repeat your motif in a way that fits together like a puzzle.

Something very satisfying about that.

This example shows a hand-based process where you repeat and rotate your motif.

To make a tessellation pattern using a hand-based process, photocopy or trace your motif onto a square piece of paper.

Draw lines from corner to corner along two opposite sides.

The lines can be any shape you like, wavy, zigzag, or curved.

Next, cut along your drawn lines.

And then move the cut shapes to the remaining straight edges of the square.

Turn over and tape in place.

As we can see on the screen.

Photocopy your tessellated shape.

Cut and repeat your pattern.

So we can see how our shape can fit together now and create a wonderful pattern.

Play with experimenting with media and colour.

Love that tealy colour that's being used.

Check for understanding.

Which action best shows a unique development of a motif? A, copying a motif exactly.

B, using someone else's motif.

C, combining motifs in new ways.

D, keeping your motif pattern simple.

Pause here while you decide which action best shows a unique development of a motif.

Well done if you selected answer C.

Indeed, combining motifs in new ways is a great way of showing a unique development of a motif.

I'd like you to consider, what makes a strong pattern? Pause here and share about this.

Thanks for sharing your ideas.

Think about your concept and what you are designing it for.

Consider.

Scale.

Placement.

Balance.

And now it's time for your next task.

Creating a unique pattern.

So first of all, I would like you to adapt your motif to create a unique pattern that links to your concept.

Choose one of these techniques.

Rotate or mirror your motif digitally.

For example, using an app.

Or photocopy or trace your motif and tessellate by hand.

So pause here while you choose one of these techniques.

I'll see you when you're finished.

Good to be back with you.

So how did you get on with adapting your motif to create a unique pattern that links to your concept? Your work may have looked like this.

So there's our source material.

Selecting the motif and then mirroring it using the app.

And there's our finished product, that mirrored motif looking very, very fine.

Next, I'd like you to photograph or stick samples into your sketchbook with brief annotations about what worked and why.

First of all, I'd like you to answer this question.

Have you created something unique to your concept? Pause here while you consider this.

Thanks for sharing your ideas.

Next, I'd like you to consider how does your design communicate your concept? Pause here while you reflect on this.

It's good to be back with you.

How did you get on with photographing or sticking samples into your book with brief notes about what worked and why? You may have said something like this.

Here's Sam.

"My concept was to design fabric for a fashion collection called 'Growth' based on local flora.

I digitally mirrored and repeated motifs, which formed star and cross shapes.

You can still see petal and bud details in the pattern.

The soft warm and cool tones help create contrast and a gentle, natural mood." I am feeling that gentle, natural mood, Sam.

It's really coming across.

Pause the video and share with someone what are your impressions of Sam's concept and repeated motifs? Thanks for sharing.

And now I'd like you to share with someone else nearby your concept and your motifs, and to gain some feedback from each other and what you think is working in each other's designs.

Thanks for sharing and offering that feedback.

In our lesson "Developing a unique concept for a textile project," we've covered the following.

A strong concept gives your textile design direction and helps communicate meaning.

Selecting a meaningful motif allows you to build surface pattern with visual and emotional depth.

You can adapt motifs by changing their scale, form, layout, or material to explore new outcomes.

Combining techniques and ideas in unexpected ways leads to a more unique and personal textile response.

Well done, everyone, for joining in with this lesson.

It was great to explore developing a strong and unique concept for this textile project.

I loved how you selected your motifs and then adapted them, using mirroring and tessellation, and in coming up with your own unique designs.

I hope you're really proud of what you've created.

I'm certainly proud of you, and I'm looking forward to seeing you at another art lesson soon.

Until then, stay creative.