Lesson video

Hello, my name is Ms. Badru.

I hope that you are all doing well.

I'm really looking forward to teaching and learning with you today.

Our learning outcome for today is, I can develop my personal response using different layers and processes.

Okay, we have several keywords today, which are process, layers, and create.

Let's look at each word in turn and find out what they mean.

Okay, process, the series of steps an artist goes through to develop and complete an artwork.

Layers, different stages or parts of an artwork built on top of each other.

And create, to bring something into existence by using your ideas, imagination, and skills.

So those are our keywords, process, layers, and create.

Okay, so our lesson outline is around personal: response layers and processes in different endorsements.

So let's start with our first learning cycle, layering techniques to express your own theme.

I'm really excited and looking forward to teaching you and learning with you on this creative journey today.

Okay.

Right, let's focus on layering techniques to express your own theme.

So we're going to start with this question.

How does a background affect the impact of an artwork? Let's take a few moments here just to pause and have a look at each image in turn, and for you to assess the impact of the background in each of the following pieces.

Okay, let's continue.

Can a background change the emotion, narrative, or atmosphere for the viewer? Let's explore.

Okay, so according to Izzy, "The green background has a calming effect on me.

My eyes are drawn to the floaty, mottled colours.

The artist has created a composition that is balanced." Okay, let's take a moment to look at this image.

How do the colours of the background make you feel? Okay, so according to Alex, "This background gives the overall composition of a gothic, spooky atmosphere.

The layered colours and shapes in the background remind me of Halloween." Okay, so let's take a look at this image.

What do you think about the background in comparison to the foreground? Let's take a look.

Okay, so according to Andeep, he says, "I don't think the trees are the best background for this composition.

The colourful and textured trees create too much contrast, and the layered background ends up competing with the building." Can you see this for yourselves? Can you see that the background is really intruding on the foreground? Okay.

Let's look a little bit deeper.

So why do composition and background choice matter in art? So composition controls how the viewer sees your work.

A strong composition guides the viewer's eye, creates balance, and communicates a mood or message.

The background should be part of the message and not just left over space.

Okay, so let's take a look at this image here, which is a cyanotype.

A blank background can make something feel isolated or symbolic, whereas a textured or drawn background can add depth, setting, or contrast.

Okay, so which processes could support and express textiles effectively? Okay, let's see what Sofia says.

And she says, "For my textiles project, I could explore printed surfaces or built up embroidered layers." Okay, so that's one way.

Let's see what Jun says.

Jun says, "I'd like to explore textured, layered surfaces, possibly incorporating threads into an acrylic pour or handmade felt base." Two very different ways of exploring process and also exploring the idea of building up layers and textures by using different kinds of media.

Really exciting.

Okay, so here in this image we've got an example of textile-based processes.

Okay, let's continue.

Okay, so we can use a number of different kinds of processes.

So applique is one of them, which involves stitching fabric shapes onto a base fabric.

We've also got weaving, which is interlacing threads to form fabric or patterns.

Dyeing, colouring fabric with techniques like tie-dye, batik, or dip-dye.

And we also have embroidery, decorating fabric with stitched patterns or imagery.

And also printing, transferring design onto fabric.

So here from this list alone, we've got some really different kinds of textile-based processes that you can use independently or in combination to create a new kind of layering and new processes.

Okay, so let's check in for understanding with this question, which of the following is a reason to use mixed-media in textiles? Is it A, to simplify the design? Or B, to combine materials for texture and contrast? Or C, to make fabric waterproof? What do you think? Let's pause here and check in with someone next to you.

Okay.

The answer is B, to combine materials for texture and contrast.

Okay, let's continue exploring our processes.

So which processes could support and express graphic communications effectively? Aisha says, "I'd like to explore text styles looking at transparency and contrast in my layers.

I could collage words too." And Laura says, "Don't forget, you could also try digital layering and editing.

You could combine drawings and photos as well as experimental samples." Two very different ways of exploration, which also offers many possibilities of combining traditional techniques and more digital layering opportunities.

Okay, graphic communications based processes include: typography, designing and arranging type of visual impact; photo editing, which is around manipulating images digitally; stencil work, cutting and printing layered designs or repeat patterns; and digital illustration, using a range of software.

So you've got a number of different processes that you can use independently or combine to create new outcomes.

Okay, so let's move on.

Which processes could support and express 3D design effectively? Let's take a look.

Sam says, "I could incorporate layering or construction techniques using materials such as clay, modroc, or card." And Lucas says, "You could even consider using surface layers with papier-mache or wire or add painted textures onto a model or structure." The possibilities to work in 3D are equally as endless as the previous processes we've looked at just now.

Okay, so 3D processes include: sculpting, shaping materials like clay, plaster, soap, or paper; or casting, which involves pouring liquid material, e.

g.

plaster, resin, or metal, into a mould; assemblage, which involves combining found objects or materials to create a 3D form; or an installation piece, which involves creating an environment or large-scale immersive work.

Okay, so which processes could support and express fine art effectively? So Jacob says, "I'm interested in creating layered surfaces to show water.

I could use washes of paint in rhythmic brushstrokes to reflect movement." Or Andeep says, "I want to focus on expressive mark-making with oil pastels and maybe other interesting layered surfaces.

I could try different types of paper collaged as a background to work onto." So fine art processes include: collage, layering and combining cut or torn images, textures, and materials; painting, applying colour with brush, sponge, or other tools; or perhaps experiment with mixed-media, combining materials or techniques; and mark-making, using experimental tools or gestures to create expressive visual language.

And again, we've got so many different kinds of processes here, which you can use independently or you can have a bit of experimental time trying and testing out new ideas by combining them.

Okay, let's continue our journey.

Which processes could support and express photography effectively? Let's take a look.

So Lucas says, "I could make layered pieces through double exposures, photo montage, or mixed-media editing." And Alex says, "I could combine visual and conceptual elements within one frame.

I could explore combining images from the communities where I take my photos." So here we've got two very different approaches, which are equally rich, and also starting to indicate sources of inspiration, sources of interest, that will be the theme for this work.

Photography processes include: altering surfaces with tape, wax, charcoal, or stitch; combining two or more photos into one frame; printing on acetate, tracing paper, or fabric; exploring techniques, such as scratching into negatives or smearing ink onto printed photos.

Many artists explore a range of processes to develop personal expression in their work, including: Althea McNish, who uses screen printing and fabric design, often depicting flowers, plants, and landscapes, but seen through Caribbean-inspired colour palettes.

And we also have Stefan Sagmeister, known for conceptual, handcrafted approaches to typography and layout.

He has designed many album covers in a poetic, personal style.

And we also have Prabhavathi Meppayil, who engages in experimental materials like embedding copper wire in gessoed panels, which she then partially erases or layers over.

Okay, let's continue our journey of layering techniques to express your own theme.

Okay, so the first step in creating an artwork can be challenging, especially when your work is linked to a specific theme.

The material, technique, and texture you choose all say something, whether you intend them to or not.

Art isn't just one decision, it's a process, a conversation between what do you plan and what happens.

The first layer is just a start of that journey.

Artists consider and carefully select the materials and process for creating an artwork to support and communicate their chosen theme or concept.

Okay, let's explore layering techniques to express your own theme further.

Artists can use layering techniques to express a theme.

Layers can be added but also partially removed or destroyed, leaving remnants of the previous layer exposed.

This removal process can help to strengthen the expression of certain themes, such as decay or time.

This artwork uses layering techniques to express a theme.

What theme might be explored in this artwork? Let's take a few moments to observe a little closely this artwork and see what themes there might be evident to you.

Okay, let's have a check in for understanding.

True or false? Artists never remove layers once applied; they only add more.

Is this true or false? Let's pause here for a moment and then find out what the answer is and why.

Okay.

The answer is false.

But why? What do you think? Okay, so some artists remove, sand, cut, or destroy sections of a layer as part of their process to communicate a theme or concept.

Okay, so for a nature-themed textiles response, it might look like felting to mimic moss, lichen, or clouds; wearable art, like a cape, headdress, or textile panel, that explores the connection between humans and nature; stitching into hessian or canvas f or a tactile, earthy feel; or perhaps manipulation techniques, like gathering, pleating, or quilting, to create textures resembling bark or terrain.

Okay, so for a messages-themed graphic communications response, it might look like: texture and depth, old paper, envelopes, handwritten notes, or printed text; or collage, with stamps, typewriter fonts, or letter fragments to evoke nostalgia and communication; or community, language, symbols, imagery from different cultures; or ancestry or forgotten stories, black and white or vintage-style photos, vintage magazines, and letters.

For a fine art landscape response, it could look like: layered textured surfaces, using cardboard, paper pulp, or modroc; or contour lines or topographic patterns, drawn or carved to suggest elevation and depth; installation, e.

g.

walkthrough-landscape environments; drawing or painting from life or photographs, urban or rural.

Okay, so for a 3D identity response, it could look like: fragmented or layered forms, layering, cutting, stacking, or joining to represent complexity; or symbolic sculpture, words, phrases, or images that reflect beliefs, culture, or personal experiences; wearable sculptures, masks, headpieces, or costume-like structures; or figurative forms, such as sculpt parts of the body, silhouettes, or abstract shapes to represent physical or emotional self.

For a photography buildings response, it could look like: architectural details, texture, pattern, and structure; decay and history, abandoned or ageing buildings; or abstract and experimental, reflections, angles or multiple exposures; or digital layering, blend multiple images with transparency, layer masks, or overlay modes.

Okay, let's have a check in for understanding.

Okay, so which of the following are possible 3D responses to the theme of identity? Is it A, a wearable sculpture such as a mask? Or B, a mixed-media portrait using watercolour and collage? Or C, a sculptural cast of body parts to represent emotions? Let's take a moment here to think about the answer and we'll come together again shortly.

In fact, there are two answers to this question.

A, a wearable sculpture such as a mask, and C, a sculptor cast of body parts to represent emotions.

Jun is creating a base layer to support his developing artwork inspired by looking at 3D cells.

Okay.

"I considered layers of acetate, tracing paper, or cellophane, to mimic cell membranes, but chose the pouring process.

This is a good surface to build 3D cell structures onto as it has a complex pattern.

Okay, our first task is to create a base layer to support your chosen theme.

So consider the following.

A structure.

It could be wire armature, wooden frame, or cardboard support.

Softness: fabric, paper, felt.

Chaos or control: random layering versus pattern or repetition.

What do you want someone to feel or think when they see it? Is your process helping to convey the right concept? Okay, so continuing to create a base layer to support your chosen theme.

Fine art with a transformation focus could look like.

Can you see the different kinds of materials that's used in this image? So what does Jacob say about it? "I'm focusing on sea pollution as part of my transformation project.

I wanted to create organic textures and shapes to suggest the sea and flowing water patterns.

I used several processes including sponge painting and layering thread." So your base layer may be a combination of different processes to communicate your concept.

Okay, so let's continue.

For a mechanisms inspired photography theme, it could look like.

Let's see what Lucas has got to say about this idea.

"For my photography project, I wanted to make some bases to have as backdrops.

I've created collage backgrounds using card relief, which I covered with foil.

I wanted an industrial, metallic look." Okay, and again, you can see that Lucas has used several processes just to create the base part.

Okay, so we're going to continue with our lesson outline of personal response: layers and processes in different endorsements, by now looking at our second cycle, introduce imagery for a personal response.

When creating a composition, artists build upon layers to create complexity and depth.

The selected imagery further supports the theme.

Okay, so let's introduce imagery for a personal response.

This is our focus.

The base layer is the foundation of your artwork.

Look at what you have made so far and ask yourself, does your first layer already suggest something? What shape or image belongs to the story? What mood or idea does your base layer already show? Do the symbols, memories, objects, or feelings relate to the theme? Reconnect with why you chose a particular theme and make the next steps part of your creative process.

What do you want people to feel, understand, or notice? Introducing imagery for a personal response is a crucial step where you begin to embed your own ideas, memories, or emotions into the work.

Here at this point, you are really starting to include your personal choices that makes up your own unique response.

Okay, so Jacob is developing his personal response by introducing imagery to his base layer.

Okay, so this is Jacob's response.

"I created floaty, organic shapes using string dipped in paint for the base layer.

I have worked into the shapes to make coral imagery.

I am pleased with the results." Okay, so if we just have a look at the first image where he started, to build his base layer, he's using the process of paint and string to create these really beautiful, sort of very floaty images.

And then he has actually started to work back into the spaces in between the images he's created in his base layer.

And you can see the detail and you can see that he can add even more detail if he chose to.

So you can see that process and how it's building.

So what imagery could you add to enhance your theme? Okay, so let's take a look at this example.

Okay, so Jacob's response here says, "I need to think about which sea creatures I want to include in my pollution piece.

I've painted fish and will try a turtle and seahorse next." Okay.

All right.

Let's check in for understanding.

What's the purpose of the base layer in a mixed-media artwork? Is it A, to act as a foundation for further layers? Or is it B, to give a neat finish? Or C, to decorate the surface? Let's pause here for a moment and see what you think.

The answer is to act as a foundation for further layers.

So remember with the base layer, you're gonna be building upon that.

That's your starting point.

Okay, so let's look at what Sofia says and also observe this wonderful sketchbook page.

"So I've been creating mixed-media surfaces to build a textile heart and flowers onto.

My intention is to create a 3D fabric heart." Now, if you take a closer look at the sketchbook page, not only are there images, but there are also notes, which we call annotations, to describe our thoughts, our ideas, what we've included, what we've rejected, and that's all a part of the process in creating your own personal response.

You can also see the range of media being used, the drawing and the fabric, the mixed-media response so far.

Okay, so let's look at Lucas's response.

"For my theme inside, I'm enjoying creating layers and textures.

I photographed a coffee cup and added extra imagery, including the heart and wood.

I love the process of combining images." And what's great about creating your own personal response is that you make the choices and you make the decisions as to what to include or exclude, but also you start to find out what you actually enjoy doing, what processes you feel are successful.

Artists and designers make creative choices and personal responses based on what they know, where they come from and what matters to them.

We all have our own valuable knowledge, cultures, and experiences to draw from.

We are in effect our own resource of our own ideas and imagination.

Art and design isn't just about visiting galleries and museums. In this subject, we build knowledge, inspiration, and creativity by: learning about diverse artists, cultures, and movements, e.

g.

studying work from different countries, backgrounds, and time periods.

Also, understanding symbolism, identity, storytelling in both historical and contemporary contexts.

Also, exploring personal and community experiences and how they influence creative choices.

How could you draw on your life and experiences with your imagery or creative choices? Let's have a look.

Jacob says, "I could find out about local environmental issues or waste in my own community." And Aisha says, "For my messages theme, I could explore how art has been used in local protests or campaigns." Lucas says, "I could explore how different cultures view the body and health in varied ways, e.

g.

Ayurvedic systems, Chinese medicine, or indigenous views of body-spirit connection.

This supports my theme of inside." "Within my identity theme, I could discuss diaspora, migration, or hybrid identities of people in my community." Okay, let's check in for understanding, at this true or false statement.

Okay.

Ideas for making a personal response in art and design only come from visiting galleries or museums. Is this statement true or false? And why? Let's take a moment here to pause and continue when you are ready.

The answer to that statement is false.

Why? Everyone has their own personal, valuable, and interesting experiences to draw from.

Artists who explore imagery in unusual ways include: Susan Aldworth, who explores identity, neurology, and the mind-body link.

She often works in medical and clinical environments, observing scans, dissections, and talking with scientists and patients to gather ideas through drawing and note-taking.

Abdullah Qureshi, whose work spans watercolour, film, and abstract painting.

His use of colour washes, splattered paint, and repetitive shapes allows the image to suggest emotional states rather than depict literal scenes.

And we also have Erik Johansson, who creates surreal photographic landscapes using composite photography, blending real elements through digital manipulation into logically impossible scenes.

Okay, let's continue our journey, create the next stage of your personal response by introducing imagery.

Consider the following.

Don't rush your work.

Add one piece or section at a time.

Step back and reflect throughout the process.

Is anything missing? Does it need more detail or layering? Do any areas feel too empty or too busy? What would make the artwork feel more complete? So this little list of checking in to consider your thoughts, stepping back and reflecting, adjusting, maybe some more experimentation, is all a part of the process.

So enjoy it.

Okay, let's continue.

So there are many possible outcomes and it might look like, according to Alex, "To create this piece, I painted a building from my community onto a collaged map surface.

Rather than fully covering the background, I tore sections of the map and layered them over a colour wash to show the communities of the past.

I chose to use muted shades of purple and grey." So you can see from the image it's got quite a lot of depth and it has different layers that gives the image space.

You've got the business of the map, and then you have the more muted background scenes in the background to show the aspect of time within his theme.

Okay, so let's continue.

There are many possible outcomes.

It might look like what Jun's response says, "I have created clay cell structures and painted them.

They'll be attached to the acrylic pour that I made previously.

I really enjoyed the process." And looking at that page of experiments, you can see his journey.

You can see also the annotations that supports his decision-making and his exploration of ideas to arrive at his own unique clay cell structures and also express his enjoyment of the process too.

Okay, let's look at our summary now of personal response: layers and processes in different endorsements.

So artists build on their base work by adding new layers of imagery, shape, and meaning to further develop a personal response.

It is important to reflect on ideas and experiment with materials to explore how to visually create meaning.

Focusing on process, making thoughtful decisions, and letting the artwork evolve through refinement is the next step in developing a personal response.

I really hope that you enjoyed this lesson and see you next time.

Thank you.