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 this lesson is: I can create a compositional plan for a response that realizes my artistic intentions.

Our keywords for this lesson are composition, balance, and focal point.

Let's explore each keyword in turn to find out what they mean.

Composition: how the elements of your artwork are arranged or put together.

Balance: the distribution of visual weight in an artwork, making it appear stable and well-considered.

Focal point: the main part of an artwork that draws the viewer's attention first.

So those are our key words for this lesson: composition, balance, and focal point.

Our lesson outline is around a personal response: plan a response.

So let's begin with our first learning cycle, which is to select appropriate materials and techniques.

Let's begin our creative journey.

The first question we need to ask is, what is a personal response? Pause for a moment here and think about this question, and just make a mental note.

So, according to Sofia, "A personal response shows your own ideas, feelings, and interpretation of the project.

It's the artwork you create to demonstrate what you have learned and how you have expressed your personal thoughts through your work." Your personal response is described in assessment objective number four, or AO4.

You are expected to present a personal and meaningful response that realizes intentions and demonstrates understanding of visual language.

So how can you achieve that? Let's take a look.

So, how do you make a successful response? Now Jun says, "It's all about having clear intentions, what do you want to do and why?" Sofia says, "I review my work and try to align my theme with the concept as well as the materials and the techniques." Izzy is exploring her work and reflecting on key questions.

Izzy says, "My early work helped me on my creative journey, but I won't use much of it now as I've developed a lot." Let's have a check-in here for understanding with this statement.

True or false? It is advised to ignore early work as it definitely has no purpose in the later response.

Is this true or false? Pause for a moment here and think about your answer and why, and we'll resume shortly.

What do you think the answer is and why? Let's take a look.

The statement is false, and why might this be? Mostly, you'll find you have better ideas later on, but that isn't always the case.

Be aware and look out for the small elements of the journey that you want to be reflected in the later response.

Okay.

So let's focus on this question: what is your intention or idea? So Izzy responds to this question.

"My idea is to design a net piece 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.

I want the colors and materials to feel very lush, exotic, and lavish to reflect her position." Your intention or idea should ideally have, let's look at the table below.

So the first part is a clear, defined idea, and in Izzy's case, it's to design a neckpiece for the production of "A Midsummer Night's Dream." And also, you need to think about a purpose or goal for the work.

And in Izzy's case, it needs to reflect the character of Hippolyta.

And the final part is an overall feeling or mood that you want to evoke.

And in Izzy's case, it's to evoke a lush, exotic, and lavish feel.

What firsthand sources will support this response? Let's take a look.

So Izzy states, "I took new photos of tropical greenery as firsthand sources to help me develop my response." Has Izzy chosen sources that reflect the lush, exotic, and lavish mood she wants to create? Selecting appropriate materials and techniques demonstrates that you can think critically about your work.

It shows you have a good grasp of the visual language and are able to manipulate materials and techniques purposefully to realize your intention.

What materials and techniques have you used so far? What textures, lines, or shapes could you include? So here on the images, we have some textile experiments with smocking.

Choosing key techniques will help you consider the eventual scale of the work and how achievable it'll be in the timeframe.

So Izzy says, "These smocking experiments will be really useful.

The last one best reflects the texture and organic shapes in my sources, so could be an appropriate technique to select for my response." How could a color scheme strengthen your idea? So Izzy says, "The vibrant greens reflect the Amazon, and the rich purple reflects Hippolyta's royal status as queen." So here on this image, you can see that the colors have been pulled out of the image, so they're really clearly defined.

How could a color scheme strengthen your idea? Color plays a big part in the overall mood of your work.

Think carefully about what you want it to feel like.

Surface decoration can be applied to create depth and variety.

Could you apply surface decoration with purpose to enhance your response? Izzy says, "I think these elements would make good intricate, textured embellishments." And she adds, "I might need to adapt the colors to suit my overall composition." You can make small adaptations to unify your response.

Consider which work no longer aligns with your current thinking and artistic intention.

So Izzy goes on to say, "I like all of these experiments.

I really want to include everything." It can be difficult choosing what not to use when you've worked hard, but overcomplicating your work can weaken the impact and the message.

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

What elements should you share when describing your intentions? Is it A, a clear, defined idea with strong links to your work, or B, what materials you can use, or C, a purpose or goal, "I want it to be, because," and D, a mood or overall feeling for the piece? Pause for a moment here and think about your answer, and we'll resume together shortly.

Okay, what did you think? Well, we have all options considered, all elements considered here, A, B, C, and D.

Sharing your intentions with others can help you to clarify your ideas.

Receiving constructive feedback and engaging in meaningful discussions can improve your work.

It allows you to communicate your vision, making your art more impactful for your audience.

Examples of artists who purposefully select materials and techniques include the following: Nour Jaouda recreates botanical elements through deconstructing cloth, which is dyed in earthen tones and resewn into sculptural tapestries.

Leonardo Drew's work often involves the layering of materials to create complex, textured surfaces that evoke a sense of history and memory.

Donald Rodney created large-scale oil pastels on top of his own X-rays.

He suffered from sickle cell throughout his life.

This meant persistent pain, regular invasive treatments, and increasing immobility.

Though these were extremely challenging experiences, Rodney often incorporated them directly into his work as metaphors for the illnesses and injustices of society.

Kiki Smith often incorporates layered materials like wax, paper, glass, and fabric to explore the human body, nature, and spirituality.

Her use of texture creates a sense of fragility and vulnerability.

Annette Messager has photographed body parts paired with handwritten texts that describe them in poetic and humorous ways.

Edwin Wurm is known for his inventive and humorous approach to art.

Wurm selects materials and techniques that challenge traditional ideas of sculpture.

He often uses everyday objects like clothing, furniture, and household items, combining them in unexpected ways to provoke thought and amusement.

Okay, let's bring our focus to Task A.

Number one, share your ideas and describe your intentions.

You could work with a partner, peer, teacher, carer, or relative.

You should describe your intention for your response, explain connections to your work and where your intention came from, describe the materials you plan to use to reflect your intention, describe the techniques you plan to use to reflect your intention, encourage feedback or suggestions.

So pause the video here whilst you undertake this creative task and resume when you are ready.

Okay, let's resume together and reflect on feedback.

So you were tasked to share your ideas and describe your intentions, and there are many ways to record your ideas, but you may have, according to Lucas, "I am planning a sustainable packaging design that are laser cut and screenprint.

The design needs to communicate the brand's environmental ethos and look modern and appealing to customers.

It should reflect sustainability, be visually attractive, and functional." Jun says, "I'll be interested to see which colors and fonts you use on this to create a modern and green aesthetic." Okay.

Let's continue our journey and focus on the second learning cycle: consider the composition carefully.

Let's continue.

Composition is the way you arrange the different elements in your artwork.

A good composition helps guide the viewer's eye and keeps the artwork balanced and makes it more interesting.

Thinking about composition helps you create a strong, eye-catching piece that communicates your ideas clearly.

What makes a composition/visual arrangement successful? Let's take a look.

So, according to Izzy, "When elements are arranged to guide the viewer's eye, create balance, and communicate the message clearly and effectively." Let's have a check-in here for understanding with the following true or false statement: composition doesn't apply when making things in 3D.

Is this true or false? So pause for a moment here and think about your answer and why, and we'll resume together shortly.

Okay, what do you think? Let's take a look.

And the answer is false.

Oh, why might this be? Composition is relevant to all areas of art practice as it is about deciding on the best arrangement for your work.

It will be dictated by your intentions for the piece.

In 3D, we consider the composition from all angles or in the round.

Okay, let's continue our journey.

So how can you create a balanced design? So Jacob says, "I think carefully about the visual weight and what effect I am trying to create.

If I want it balanced, I think about what draws my eye and if it's too heavy." How do you create focal points or interest? So Sofia says, "Use contrasting colors, bold shapes, or detailed textures to draw the eye.

Position elements carefully and use lines or patterns to direct attention.

Balance detail with simpler areas to ensure your focal point stands out effectively." So Lucas says, "It is important to plan your response and explore the materials and techniques that you intend to use." So Lucas says, "I'll make some small practice responses to test my materials and techniques.

Sometimes I use other easier or less expensive materials first." Let's have a check-in here for understanding.

What are effective ways to create a focal point in your artwork? Is it A, use contrasting colors and bold shapes to draw attention, or B, use lines and patterns leading in towards the focal point, or C, ensure surrounding areas are equally detailed? Pause for a moment here and think about your response, and we'll resume together again shortly.

Okay, what do you think is the answer? Let's take a look.

And the answer is oh, A and B.

So use contrasting colors and bold shapes to draw attention, and also use lines and patterns leading in towards the focal point.

Okay, so let's bring our attention to Task B: consider the composition carefully.

So make a compositional plan for your response.

You could make a design, plan, drawing, maquette, or model.

You could record your ideas using annotations, paragraphs, or verbally.

You should describe your intention and ideas, justify your material and technique choices, explore composition, explore your selected materials and processes.

So pause the video here and work through this task.

Resume when you're ready.

Okay, let's resume and focus on feedback for Task B, which was to make a compositional plan for your response.

And there are many ways to record your ideas, but you may have, according to Laura, "I drew out alternative designs and added annotations.

To show my intentions, I added color to my preferred design as this is the one I'll take forward." So what is your plan, and what elements are you going to include and develop from your initial intention? We have now arrived at our summary for personal response: plan a response.

Artists choose materials that align with their intention.

When planning a response, be critical about which ideas, materials, and techniques work and what doesn't.

Discussing your ideas and supporting others with theirs helps you develop as an artist.

Familiarizing yourself with the techniques relevant to your medium will ensure a smooth process.

Composition, balance, focal point, and flow can be used to guide the viewer's eye.

Well, I really hope that you have enjoyed this lesson and picked up some new ideas which will help shape your thinking when planning your composition.

Until next time.

Take care and bye for now.