Lesson video

Hello, everyone.

How are you today? Hope you're feeling really good, and I'm so pleased that you're here.

My name is Miss Afzal, and I'll be your art teacher for this lesson, something I'm feeling very happy about.

Today's lesson is called: "Personal Response: First-hand Resources." This lesson comes from the unit of work: "Second Sustained Project: Working From a Theme - Changing Perspectives." So I hope you are ready with some focus, energy, and enthusiasm.

And if you are, we'll begin our lesson now.

The outcome for today's lesson is: "I can select appropriate first-hand resources for my personal response." We have some keywords in our lesson.

Let's go through them: "first-hand resource," "juxtapose," "concept," and "contrast." So what do these keywords mean? First-hand resource is a primary source that can be used to develop a response, such as a photo or sketch.

Juxtapose: to place different things side by side to see how they compare or contrast.

Concept: the main idea or theme behind your artwork.

And contrast: when you have differences in elements, i.

e.

, light/dark, to make parts of your art stand out.

These are our keywords: "first-hand resource," "juxtapose," "concept," and "contrast." Let's look out and listen out for them.

They'll be coming up in our lesson today.

Today's lesson is called "Personal Response: First-hand Resources," and it has two learning cycles: "Select first-hand resources" and "Reflect and refine your choices." Let's begin with: "Selecting first-hand resources." And let's zoom ahead to the end of our lesson and take a look at what some possible outcomes for today might include.

Pause here while you take in these outcomes.

Thanks for taking a look at those.

Now we'll continue with our lesson.

What sources will you use to create your personal response? Pause here and share with somebody nearby.

Thanks for sharing.

And how will you select them? Pause here while you consider this.

Thanks for your consideration.

First-hand resources are original materials or references you gather yourself.

They can come from anywhere, but are more meaningful if they have a personal link.

They could be sketches, photographs, prints, or objects which directly relate to your personal experiences or observations.

Let's have a check for understanding.

What is an example of a first-hand resource? Is it A, a magazine article about a different artist's work? B, a photograph you took of a personal object from home? C, a printed image from the internet that inspired you? Pause here while you decide what's an example of a first-hand resource.

Well done if you selected answer B.

Indeed, a photograph you took of a personal object from home is an example of a first-hand resource.

Laura isn't sure this relates to her project.

"My project is about abstracting shapes and forms in 3D.

How can I use personal first-hand resources?" And Jacob responds, "You must have found the inspiration for the forms and shapes from somewhere.

You could include shapes, objects, or textures from your surroundings that are meaningful to you, or photos or drawings." Some great ideas.

What first-hand resources do your peers have? Pause here and share with each other.

Thanks for sharing.

Why aren't secondary sources used at this stage? Pause here while you consider this and share with someone nearby.

Perhaps you said something like this.

Here's Sam: "Using primary first-hand resources makes your response more genuine.

Rather than just copying or repeating other people's ideas, it shows your way of seeing and responding, rather than just copying someone else's ideas." Think of a time when you've seen original artwork.

Pause here and reflect on this for a moment.

What do you think distinguishes an original piece of art from a copy, and how does this affect its meaning? Pause here, and you reflect on this and share with someone nearby.

Thanks for sharing.

Here's Izzy: "An original artwork is made with the artist's own ideas and skill, making it unique and personal.

A copy is just a reproduction, so it feels less meaningful because it lacks that originality and personal touch." Jacob is reviewing his project.

"I'm looking at the key moments to see what resources I have." Pause here, and share with someone your impressions of Jacob's project so far.

Thanks for sharing.

So intriguing, such variety.

So, as Jacob is reviewing his project, what questions can he ask himself? Pause here and share with someone.

Thanks for sharing.

Let's hear some ideas.

What connections can he see in his work? Does anything stand out and feel really resonant or personal? What is he trying to say about his theme, and what is his concept or idea? He could think about why the resources he used and made are important to him and what they mean.

Some really fantastic questions there for Jacob.

Your own work can be a first-hand resource.

Here's Jacob: "My work's quite experimental.

I don't have photos that would help me, but I have my own work that I want to combine into a larger response.

I'll make sketches and work bits together visually, then use these drawings as my resource." You could also make new resources, especially for this response.

Here's Sofia: "I took new photos.

I'll use these to develop drawings to prepare for my response." Let's have a check for understanding.

True or false? Marks for A04 are rewarded if your work is personal and meaningful.

Pause here while you decide, is this 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: A04 asks you to: present a personal and meaningful response that realizes intentions and demonstrates an understanding of visual language.

Let's take a look at some examples of artists using first-hand resources.

Iman Issa is driven by her intense interest in history.

She uses personal photographs and objects from her environment to evoke memories.

Keith Piper draws on his personal experiences, often using photographs, objects, and environments from his life to explore identity, race, and history.

Eugene Delacroix traveled extensively, sketching people, animals, and landscapes, which he used as references for his historical and exotic scenes.

Uta Barth incorporates her own observations of light, space, and everyday scenes through photographs.

She explores perception and the experience of looking.

The work reflects her fascination with how we see our world.

So these are just some examples of artists using first-hand resources.

And now it's time for your first task.

I would like you to review your work and select first-hand resources.

Use the questions on the next slide to help you.

After that, I would like you to list any new resources you might need: drawings, designs, or composition ideas; new photographs or photo shoots; edits of existing images; objects such as still life, natural forms, found objects, et cetera.

Let's take a look at those questions to help you review your work and select first-hand resources.

"Does this reflect my own experiences or interests? Does it connect to the message or idea I want to communicate? Is this original and meaningful to me? Does this help me understand my theme better? Would including this make my work more personal or unique? Is this something I created myself, photographed, or collected? Would I feel proud to include this in my final work? How well does this show my own voice or experiences?" So pause here while you have a go at this two-part task: reviewing your work and selecting first-hand resources, and then listing any new resources you might need.

I'll see you when you're finished.

It's good to be back with you.

How did you get on with that first part of your task: reviewing your work and selecting first-hand resources? Here's Izzy: "I'm going to take these elements forward into my final design for a theatrical costume." And how did you get on with the next part of your task, listing any new resources you might need? Here's Izzy: "I need some new photos of exotic plants, things that feel really lush and varied.

I also need to rework my designs, as I don't think any of my previous designs are suitable.

I now know I need a design for a production of "A Midsummer Night's Dream." I know my work needs to reflect the character Hippolyta and emphasize her regal and powerful nature as queen of the Amazons." And now we're onto our next learning cycle: "Reflect and refine your choices." How can manipulating or adapting our resources challenge viewers to see things differently? Pause here while you share about this.

Thanks for sharing.

Let's hear from Sofia.

Putting different resources together can create new meanings or feelings that make the work more interesting.

Let's have a check for understanding.

True or false? Choosing how I use my resources can make people see things differently or question what they think.

Pause here while you decide, is this 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.

Once you've selected your resources, you need to carefully consider how they fit your idea and what they might communicate when used together.

Grouping resources can activate certain ideas and feelings.

This helps us make meaning and communicate our ideas.

Iman Issa poses questions using certain evocative combinations of objects, materials, and images.

What meaning might we interpret from this group of resources? Pause here and share with someone.

Thanks for sharing.

Here's Andeep: "Age, loss, memories, the war, grandparents, lost love, secrets?" I wonder if you interpreted any of these meanings.

Uta Barth uses partial images and juxtaposition to encourage reflection from her audience.

Concealing something can make viewers intrigued and encourage them to look closely.

Juxtaposition creates a direct comparison and draws our attention to any differences.

What do you think about when you see these elements juxtaposed? Pause here and share with someone.

Thanks for sharing.

Here's Sam: "It makes me compare the hustle and bustle of the city with the quiet of nature." Pause here and share with someone, which of these two environments are you more drawn towards: the hustle and bustle of the city or the quiet of nature? Thanks for sharing.

Let's have a check for understanding.

Which sentence best describes "juxtaposition?" Is it A, putting a group of images together to communicate an idea? B, placing two or more images side by side to show their differences? Or C, creating a photo montage using found images from magazines? Pause here while you decide which sentence best describes juxtaposition.

Well done if you selected answer B.

Indeed, placing two or more images side by side to show their differences is a great description of juxtaposition.

Andeep reflects on his resources to see how he might group, conceal, or juxtapose them.

"These pieces all feel like they connect together.

They link to the idea of looking beyond." What new narratives or meaning can you see emerging? Pause here and share with someone.

Thanks for sharing.

What could Andeep do to strengthen the concept of looking beyond in his work? Pause here and share with somebody.

What do you think? Wonder if you had an answer like this? "I think I could edit my work in layers to create more depth and more space in the image to enhance the feeling of looking beyond the frame.

What new or developed narratives might emerge in your work? Pause here while you reflect on this.

Thanks for your reflection.

Remember, meaning isn't fixed.

Everyone sees and understands things differently.

Our personal experiences, culture, and personality shape how we interpret art and the world around us.

So the same piece can mean different things to different people.

Gaining feedback helps us see how others experience our work.

Pause here and share with someone, what are you taking from the artwork you can see on the screen? And share this with someone nearby.

And notice how similar or different your responses are.

And now it's time for your next task.

I would like you to manipulate your first-hand resources to explore new or unexpected meanings.

Consider the connections between your chosen resources.

Experiment grouping, concealing, and juxtaposing them.

Reflect on what new narratives, themes, or feelings emerge.

Pause here while you have a go at this task, manipulating your first-hand resources to explore new or unexpected meanings.

Enjoy your task, and I'll see you in your finished piece.

It is good to be back with you.

How did you get on with that task of manipulating your first-hand resources to explore new or unexpected meanings? You might have considered your resources and said.

Here's Jacob: "I juxtaposed an original stencil with an artwork.

It looks more like windows now and makes me think about the difference between open and confined space." You might have considered your resources and said.

Here's Andeep: "By grouping the lighting and rectangular frame from this image with real scene in a quick digital edit, I realized I can create a disorientating frame that feels surreal.

I now need to reshoot it without the extra objects." I love all the layers of what's happening here.

You might have considered your resources and said.

Here's Alex: "I realized the subject doesn't need to be present in my images.

By concealing their identity, it makes my work feel more about the movement than the person or the skill.

I could even shoot the two elements separately, ready for my final response." Next, I'd like you to share and develop your ideas.

Work with a partner, teacher, friend, or family member.

Explain your findings.

Do they agree? What new connections or meanings might they see? Pause here while you have a go at this part of your task: sharing and developing your ideas.

I'll see you when you're finished.

It's good to be back with you.

How did you get on with sharing and developing your ideas? You might have discussed something like this.

Here's Jacob: "I found by juxtaposing the stencil and the artwork, I thought about inside, outside, and feeling confined.

What do you think?" Looks like Aisha agrees.

"Yes, I agree, and the dark colors and sharp lines do make me feel uneasy.

The contrast between light and dark areas makes it seem mysterious.

It makes me think about feeling trapped." So helpful to share our work and our ideas with somebody else.

I hope you found that was the case for you as well.

In our lesson "Personal Response: First-hand Resources," we've covered the following: A meaningful source that connects to your ideas or experiences adds emotional or conceptual significance to your work.

Resources can become more meaningful when grouped, concealed, or juxtaposed.

Relationships between resources can create new ideas, evoke emotion, or highlight contrast that deepen the message or concept behind your work.

Critically reflecting on resources can ensure they communicate your message, your artistic voice, and your idea.

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

It was really great to explore your personal responses, first-hand resources, sharing ideas, pushing our work further, deepening our message.

And I hope you found this a helpful and enjoyable lesson.

I really enjoyed teaching you, and I'm looking forward to seeing you at another art lesson soon.

Until then, stay creative.