Movement overview class tasks 2016

Lesson 1
Crit. of summer work- Students present the work from their Summer Task.
L.O: Understand how artwork can be approached in a variety of ways and materials and learn how
to come up with their own “next steps”

Lesson 2/3
• Overlapping figure drawing. Students stand on table for 5 mins
each in different sports poses-boxing, tennis, running, javelin
etc. The rest of the group draw the figure in 5-10mins in
different materials. Overlap each drawing…..
• L.O: Learn to draw from life and understand the nature of
expressive drawing to reflect the theme of Movement

LESSON 4/5
A3 Overlapping portraits –profile/ face on /3/4turn in charcoal
L.O: Learn how to use charcoal and chalk (tonal blending) to create a blurred
image suggesting movement

Lee has related how these works were inspired by the
experience of looking at the sky through lots of autumnal
leaves which created an obscured moving image.
Lee began to adapt images from mass media and art,
applying them to sheets of paper and then burning
through them with incense sticks or soldering irons. This
created mesh fields, which, when laid over each other,
produced the doubled, pointillist effect he was seeking.
Lee has employed a variety of images in his work, always
seeking combinations that express such dualities as
materialism and spirituality, division and wholeness, East
and West.

HOMEWORK
Homework :Research on Anton Bragaglia and Edward Muybridge
(2 pages in sketchbook)

Lesson 6/7: Looking aT colour
L.O: learn and understand how colour affects
an image
Colours affect us in numerous ways, both mentally and physically. A strong
red colour has been shown to raise the blood pressure, while a blue colour
has a calming effect.
Being able to use colours consciously and harmoniously can help you
create spectacular results.
The Colour Wheel (Make your own colour
wheel in your sketchbook)
The colour wheel or colour circle is the basic tool for combining colours.
The first circular colour diagram was designed by Sir Isaac Newton in 1666.
The colour wheel is designed so that virtually any colours you pick from it
will look good together. Over the years, many variations of the basic design
have been made, but the most common version is a wheel of 12 colours
based on the RYB (or artistic) colour model.
Traditionally, there are a number of colour combinations that are
considered especially pleasing. These are called colour harmonies or
colour chords and they consist of two or more colours with a fixed
relation in the colour wheel.

Primary, Secondary and Tertiary Colours
In the RYB (or subtractive) colour model, the primary colours are red, yellow and
blue.
The three secondary colours (green, orange and purple) are created by mixing two
primary colours.
Another six tertiary colours are created by mixing primary and secondary colours.
Warm and cool colours
The colour circle can be divided into warm and cool colours.
Warm colours are vivid and energetic, and tend to advance in space.
Cool colours give an impression of calm, and create a soothing impression.
White, black and grey are considered to be neutral.
Tints, Shades, and Tones
These terms are often used incorrectly, although they describe fairly simple
colour concepts. If a colour is made lighter by adding white, the result is
called a tint. If black is added, the darker version is called a shade. And if
grey is added, the result is a different tone.

Tints - adding white to a pure hue:
Shades - adding black to a pure hue:
Tones - adding grey to a pure hue:

Colour Harmonies
- basic techniques for creating colour
schemes
Below are shown the basic colour chords
based on the colour wheel.
__________________________________
______
Complementary colour scheme
Colours that are opposite each other on
the colour wheel are considered to be
complementary colours (example: red and
green).
The high contrast of complementary
colours creates a vibrant look especially
when used at full saturation. This colour
scheme must be managed well so it is not
jarring.
Complementary colour schemes are tricky
to use in large doses, but work well when
you want something to stand out.
Complementary colours are really bad for
text.

Analogous colour scheme
Analogous colour schemes use
colours that are next to each other on
the colour wheel. They usually match
well and create serene and
comfortable designs.
Analogous colour schemes are often
found in nature and are harmonious
and pleasing to the eye.
Make sure you have enough contrast
when choosing an analogous colour
scheme.
Choose one colour to dominate, a
second to support. The third colour is
used (along with black, white or
grey) as an accent.

Lesson 4
Work into overlapped drawings with paint/ ink,and finish the
background.Photograph and stick in sketchbook. Link to Balla/
Gary Hume
L.O: Learn how to refine an image by selecting areas to keep
and highlight and adding complementary colour to a background

Futurism
Giacomo Balla “Girl Running on BalconyWhat is this painting technique called?
the work
does not
have a
central
point of
focus

Dynamism of A Dog on a Leash (1912) Giacomo
Balla

Homework:
• Research the work of Balla. Draw a section of “Girl Running on
Balcony” Use the analysis question sheet to help you to
question and analyse the work
• Research Gary Hume and copy one of his Water Paintings

Questions to help you analyse
Make sure you cover the following points:
A. What is the artwork? What materials have been used to make it?
B. What is the title of the artwork? Does this give you any clues as to what the artist is trying to show?
C. What is the size of the artwork? Would the size affect how you viewed it?
D. When was it made?
E. Describe what you can see in the artwork. Does the imagery remind you of anything?
F. What is the artist trying to show? Use the formal elements listed below to explain how the artist has achieved this:
Line
Tone
Colour
Composition
Perspective
Pattern
Texture
G. How have the materials been applied and how does this affect the way you see it?
What type of brushstrokes have been used?
Does it look like the piece was made quickly and spontaneously or meticulously over a long period of time?
Has the artist built up layers?
Has the artist included much detail?
H. Would you consider the artwork to be representational (realistic) or abstract?
Explain why
I. What do you consider to be successful or unsuccessful about the artwork and why?

Other
analysis sheet
to help:-
How to Analyse Artwork
Do’s and Don’ts:
1. Do always include the ‘what, how and why’: What is shown in the artwork? How is it made?
Why has the artist created it in this way? This will help you to understand the meaning behind
the piece and cover each important aspect of your analysis. You must cover all 3. Consider why
the artist has given it that title.
2. Do use the appropriate art language. Write about how has the artist uses the formal elements
(line, tone, shape, form, colour, composition, perspective, pattern, texture) What effect do these
have on what the artist is trying to show?
3. Do include your personal opinions about the artwork. Does it remind you of anything? What do
you consider to be successful or unsuccessful about it? Why?
4. Do research relevant information about the artist’s life, ideas, use of materials and techniques.
This will help you to learn about the context in which the work was made. Where is the artist
from? Was their artwork influenced by what was happening in their personal lives or by the
political or social situation at that time? Were they part of an art movement?
5. Do read a range of reviews of their work from the internet, newspapers and magazines to gain
a number of different opinions. These will help you to form your own thoughts and develop a
balanced understanding.
6. Do explain how this artist’s work links to yours. Is it through the materials and techniques used
and/or the idea behind it?
7. Do be concise in your analysis. No waffling
8. Do type up written analysis or hand write very clearly
9. Do not include only biographical information especially when just copied from the internet
10. Do not just be descriptive eg. ‘ Here the artist has used black and white’. WHY? You must
comment on the qualities the artist achieves. Eg. Is it to create a dramatic expressive quality?
Does it give the artwork a graphic quality?
11. Do not repeat yourself again and again. Comment on different aspects of the artwork and
vary your vocabulary
12. Do not waste time researching lots of different artists when you could be doing practical
work. On average 2 or 3 relevant artists per project is sufficient. In depth and specific research
into fewer artists is better than lots of brief looks at loads.
13. Do not waste time on unnecessary presentation. Keep it simple and easy to read. This time
is better spent developing your practical work
The process of critical analysis in art involves writing and talking about artworks. You need to
look at the artwork in detail and discover what the artist is trying to show and how and why they
have used certain materials and techniques to show this. You also need to make connections
between their artwork and your own work. This process will give you ideas for your work and help
you to build up your knowledge of historical and contemporary art.

Lesson 8 Experimental Drawing
Techniques
• Create “Blind” portraits using fine liner pens.
• Create Alternative hand drawings (non dominant hand
• Create portraits of another student using a pencil attached to a
long ruler
• Create drawings while keeping your arm completely straight
• L.O: Understand how to make drawings in different ways and
the value in achieving different mark making

Lesson 9: Experimental Painting
L.O: Understand how to create a
portrait using different painting
techniques/ mark making to suggest
movement.
Before the lesson: all students need
a portrait photo of themselves to
work from Mix up black ready mix
paint and Pva glue (50/50)
Place a piece of A1/A2 paper on the
floor
Using the end of your large brush
dip in to the paint and hold a metre
above the paper. Drip the paint on
to the paper and try to draw your
portrait (looking a your portrait
photo)

Giacometti’s portraits
emerged from an intense
scrutiny of his subjects, and
a process of continually
reworking the image in order
to record his shifting visual
impressions

LESSON 10/11
• Using your blind drawings
create a 3d version from
wire. You must also ensure
that it stands up!
• L.O: Understand how to
create a 3D structure from a
2D image

LESSON 12/13
Draw your hands in 3 different positions
L.O: Understand how to draw from life and apply tonal values using 2B/4B pencils

Homework (to be completed and checked each week for 8 weeks)
Cut open an apple, and
store it at home in a
lunchbox for 8 weeks.
Draw your apple each
week as it decays. Use the
same materials for each
image. Either coloured
pencil or watercolour paint
L.O: Improve your ability
to create observational
drawings from life and
learn how to study/look at
a source in detail and
reflect this in your work

Lesson 14
MonoPrinting
Hand out A4 photo of man walking down the stairs (see above)
Introduction of Mono-printing. All students mono-print image and stick in
sketchbook alongside their Duchamp homework
L.O : Understand what a mono-print is and how it can be used in your Art
work

Homework
Research and draw “Nude descending a Staircase” –Marcel Duchamp
using the analysis sheets

Lesson 15/16 MOVEMENT AND
DISTORTION -Francis Bacon Response
Take photos of students with either
faces swashed against glass or with
sellotape distorting their faces.
Print out photos A3 size on
cartridge paper.
Using impasto technique –with only
glue spreaders and acrylic
complete painting in Bacon style.
L.O : Understand what Impasto is
and how to apply this technique
using a glue spreader/palette knife.

HOMEWORK
HOMEWORK
Francis Bacon/Research See worksheet on Weebly
Bring in 2 A4 photos of a celebrity of your choice for next lesson. .

Lesson 15
Using your 2 images of a celebrity A4 size. Stick one of the images into your
sketchbook. Chop the other one into pieces /shapes/squares and put back
together as a mixed collage. Stick this in your book.
Make a detailed drawing/painting of your new mixed and distorted celebrity
collage in your sketchbook.
Stick in these images of Jim Shaw’s work into your sketchbook . Find out
some information on Jim Shaw –how does he create these pieces and why?.
Homework sheet available on Weebly

Photocollage Homework: David Hockney
1. Create your own photo-collage made up
of lots of different photos like Hockney’s
here. Your overall image must be out of
your sketchbook and be no smaller than
A3 in size. Your image must be a portrait
like the image on the left.
2. When you have created your
photocollage, copy a section of it onto a
page in your sketchbook, and paint this
section in detail. You can use coloured
pencils as an alternative to paint if you
like.
3. Cut out and stick in these David Hockney
images into your sketchbook. Then put
the information on the reverse side of
this sheet into your own words.
Homework sheet for this task on Weebly

David Hockney Photo-collage
This is called a photocollage rather than a photomontage, because it is more three-dimensional
than a montage tends to be.
Hockney has always been interested in photography. He first used it as preparation for his
painting, but during the 1970s photography gained an independent role in his work. Using
35mm commercially processed colour prints, Hockney created photocollages, which he called
“joiners” until the mid 1980s. He compiled them to create a 'complete' picture from a series of
individually photographed details. In the 1980s, Hockney primarily experimented with the
Polaroid camera, making composite images of photographs arranged in a rectangular grid. His
collage technique explores the mysteries and nuances between natural and camera vision.
Although, his subject matter ranges from portraiture to still life, his style from representation to
abstraction, Hockney uses photography to examine our perception of reality. Family, friends,
and collaborators and his own residence, the pool, his dogs, and the California and Arizona
landscape are seen in many of his photocollages.
Hockney's works have strong links with Cubism. Hockney reflected extensively on this process
as connecting to the Cubist sense of multiple angles and especially of movement. These
"multiples" convey a strong sense of movement, Hockney argued, in that you the viewer keep
adjusting your imagined viewpoint as your eye travels from print to print. And of course by this
means you can build up a single image that is many times wider in angle of view than the
camera lens. The portrait of his mother here illustrates the technique at close range. We see
her at lots of different viewpoints all at once as our eye moves from print to print.

Photo-Collage on A2
mountboard

Lesson 16
Photograph the student
photocollages and print
each one A4.
Mono-print from photo
collage (from A4 printout)

C&C Lesson 17:Cubism
Pablo Picasso-Weeping Woman

Mise en Scene
(“Setting in Scene”) Look carefully at the picture and write a paragraph
explaining what is going on in the scene from an objective/impartial
viewpoint. Imagine you are trying to explain the art work to someone over
the telephone
Process
What has the artist used to make the art work? Consider the materials
and media. Has it been presented in a special way I.e. as an installation?
Keywords
Write down a list of 5-10 keywords in response to this picture:
Image Analysis: Writing Frame
TITLE: Weeping Woman
DATE: 1937 ARTIST: Pablo Picasso
Title:
How does the title of the work contribute to your understanding of the work?
Connections
How does this work connect with either the overall theme of the project or your
own work? You may be inspired by the artist’s concept, use of media, subject,
location, composition etc…

Source 1
• Pablo Picasso was born on October 25th 1881 in Spain and died on April 8th 1973 . The Weeping
Woman series is regarded as a continuation of the tragedy in Guernica.
• The model for the painting was Dora Maar, who was working as a professional photographer when
Picasso met her in 1936. She was Picasso's mistress from 1936 until 1944
This picture was painted because Picasso responded to the bombing of the Spanish town, Guernica
by painting the huge mural Guernica, and for months afterwards he made paintings based on one of
the figures in the mural: a weeping woman holding her dead child.
• The main feature of the painting is a woman. She is quite obviously distraught as she is grimacing
and crying. It is like her face has melted away because she is so sad and it has just left bone there.
It is also like the handkerchief she is holding is like broken glass because her world is shattered.
The painting is an oil on canvas and is 60 х 49 cm in size. The first thing I notice in the picture is the
broken glass and the bone because it is a different colour to the rest of the painting and is all sharp,
jagged lines.
Picasso has used sharp, jagged lines to exaggerate the woman's grief as in the handkerchief, it
looks like broken glass. He has used green and yellow in the picture because they clash and make
you feel uncomfortable when you look at it. The painting is not realistic at all because he distorted
the model's face to make her look grief-stricken and exaggerated her chin by making it look skeletal
and painting it a different colour to the rest of the picture.
The mood of the painting is bitter and scared. It makes me feel uncomfortable and awkward
because it is a woman weeping and I don't like looking at people crying. The broken glass and
bones are strange things to see in a painting but Picasso had his own unique style and it just adds
to the grief of the woman

Source 2
• Picasso returned to the theme of the Weeping Woman, first seen in Guernica clutching the body
of her dead child, in a series of drawings, etchings and paintings made in September and
October of 1937. These unsettling, emotive works are often read simplistically as mere
descriptions of Dora's fiery temperament and the volatile nature of her relationship with Picasso.
They are, however, far more complex and explore the fascinating dynamic between the works,
the artist and the model.
• While the Weeping Women series embodies the essence of Picasso's beloved muse, Dora, it can
also be read as a self–portrait revealing the inner torment of a man haunted by horrific images of
the massacres taking place in the Spanish Civil War. In the artistic partnership between Dora and
Picasso we again see the special empathy between the lovers, where Dora is not simply a model
but an impassioned political accomplice committed to conveying a powerful, universal message
condemning war. Dora willingly submits her features to be brutally distorted and deconstructed by
Picasso who contorts her beauty into a harsh ugliness to arouse raw human emotions of anguish,
compassion and despair.
• While the Weeping Women vary enormously in colour and technique, the intensity of the
expression in her eyes in each painting remains unchanged. In the image the woman’s eyes are
staring out of their sockets. Picasso used this in his work as a symbol of awkward pain. In this
particularly bold version Picasso has used an unsettling combination of acid greens and vibrant
mauves exaggerated by thick black outlines. The startled eyes, rimmed with black eyelashes like
Dora's, are popping out of giant boat–like sockets tilted slightly to suggest crying. The triangular
nose and sharp, pointed handkerchief express raw grief, while the confined space in which the
woman finds herself seems to suggest the stifling claustrophobia of war and an inability to escape

Source 3
• This is a study of how much pain can be communicated by a human face. It has the features of a
specific person, Dora Maar, whom Picasso described as "always weeping". She was in fact his
close collaborator in the time of his life when he was most involved with politics.
• Let your eyes wander over the sharp surface and you are led by the jagged black lines to the
picture's centre, her mouth and chin, where the flesh seems to have been peeled away by corrosive
tears to reveal hard white bone. The handkerchief she stuffs in her mouth is like a shard of glass.
Her eyes are black apertures. When you are inside this picture you are inside pain; it hits you like a
punch in the stomach.
• Picasso's insistence that we imagine ourselves into the excoriated face of this woman, into her dark
eyes, was part of his response to seeing newspaper photographs of the Luftwaffe's bombing of
Guernica on behalf of Franco in the Spanish civil war on April 26, 1937. This painting came at the
end of the series of paintings, prints and drawings that Picasso made in protest. It has very
personal, Spanish sources. In May 1937 Picasso's mother wrote to him from Barcelona that smoke
from the burning city during the fighting made her eyes water. The Mater Dolorosa, the weeping
Virgin, is a traditional image in Spanish art, often represented in lurid baroque sculptures with glass
tears, like the very solid one that flows towards this woman's right ear. Picasso's father, an artist,
made one for the family home.
• This painting takes such associations and chews them to pulp. It is about the violence that we feel
when we look at it, about translating the rawest human emotion into paint. Its origins lie in the
tortured figures of Picasso's Guernica (1937), whose suffering is calculated to convey you beyond
the photographs of the bombing to sense momentarily what it was to be there. In Guernica there is a
screaming woman holding her dead baby, her tongue a dagger pointing at heaven. The baby's face
is a cartoon of death. Picasso followed Guernica with his series of Weeping Woman paintings in
which the woman's mourning continues, without end. She cries and cries. In different versions the
Weeping Woman's face is crushed to an abject lump, twisted out of recognition.

Content
What do you think are the artist’s intentions? There may be
more than one. ‘PEC’ each intention.
The artist intended to…
He / she did this by… (describe something in the image)
He / she wanted us to think / react …
What wider social, political or cultural issues is/was the artist
addressing?
______ is considering ______ in this piece of work.
This is shown by _____
The artist wanted to explore _____
How do the materials and techniques used by the artist support
the work and the artist’s intentions?
(This could include scale, composition as well as the particular
process.)
The artist has used ______ in creating this work.
This creates a ______ effect.
This helps to support the artist’s point about _____
P
E
C
P
E
C
P
E
C

HOMEWORK
On an A3/A2 piece of mountboard
create a self portrait using only cut
up sections of colour/texture from
magazines
Complete 1 page of research in
your book on Jonathan Yeo’s
collages (include images) or Gabi
Trinkaus

Students take 20 photos of a figure or themselves
(direct a friend to take them for you?) . In these photos
you must take some:-
Close ups of facial features/sections of the body or
pose/close ups of hands or sections of clothing. Each
photo must be taken from above, the side and below to
give an all round impression of he 3D figure. Try to
make sure the subject is involved in an activity, like
eating, drinking, reading, playing a game etc so the
images look natural. You don’t need lots of images of
the background but some objects could be included.
Stick to mainly the face and body.
Bring in the set of 20 images to your next lesson. You
do NOT need to make a photo collage with these.
Also : Buy and bring into school your canvas for your
Final piece: A1 size minimum
HOMEWORK

If your photos were put into a collage they may look like these….

Every week you will complete a different painting from your photos
using a different painting style. Try to choose which images suit a
certain painting technique. Look at the textures and shapes in your
images to decide.

Experimental painting techniques (Lessons 18-20)
L.O: Understand how to create different mark making effects using different techniques and/ or implements.
Understand how and why these different techniques can change your perception of an image-How can these be
useful in a painting? What effect can they have on the subject/background/foreground?
Blur
Choose one photo and try to blur this using brushes/sponges/acrylic/fan brushes.

Dripping
LESSON 19:
Choose another photo and experiment with dripping paint. Hold your wood upright. Paint a new
section of your painting using thick acrylic. Paint very quickly before paint dries. Drip water
down the work and let it run.

Flat colour
• LESSON 19: Choose another section and complete using flat
Pop Art painting style. Choose the dominant colour in each area
and complete the section using very flat tones.

Dragging/finger painting
• LESSON 20: Choose another section and paint using only
fingers/hands and dragging the paint across the board. Mix
colours first!

IMPASTO,SCUMBLING,SGRAFFITO,TRANSLUCENT LAYERING
(lesson 21)
Demonstration of each technique
Write up an explanation of each technique in your books and underneath
demonstrate the technique
Scumbling: The practice of applying paint on top of another given colour. The aim
is to allow some of the underlying paint to show through the final painting
Impasto: a technique used in painting, where paint is laid on an area of the
surface very thickly, usually thickly enough that the brush or painting-knife strokes
are visible. Paint can also be mixed right on the canvas
Sgraffito: Made by scratching through a surface to reveal a lower layer of a
contrasting colour, typically done in plaster or in slip on ceramics before firing. Also
used in painting.
Translucent Layering/Glazing: In oil painting, the simplest form of a glaze is a
thin, oily, transparent layer of paint spread over the top of an opaque colour that
has dried..The thin oily layers of a glaze can help to create details that would be
more difficult with opaque paints—e.g. the complexities of skin tones.

Practicing Techniques:
Lesson 22
• Hand outs:
Cut up sections of
different textures
from
magazines./images
from internet. (see
on Weebly)
Students: Take 3
cut up sections and
stick these in your
book. Replicate
these using the
appropriate
techniques you
have looked at

Painting tips for Photorealism Effect:
When painting an area where you want solid colour load up the paint on
the brush. When painting an area that you want to glaze, make sure the
paint is a lot thinner and more watery on the brush.
In general, don't apply the paint too thickly or heavily when you are trying
to achieve Photorealism. One aim of Photorealism is to replicate the
smooth surface of a photo... therefore keep your paints thinned!
Begin with a bigger brush and block in all areas with the overall colour
required. Ignore the highlights and shadows for now. You can add these
in afterwards
Pure black from the tube has an artificial quality to it that you usually
want to avoid. Try to use a mixture of Cadmium red and Phathalo or
Ultramarine Blue
After you paint your underpainting in which you mapped out all the
important areas of colour, begin working on your glazes or your lighter
/darker tones and then your detail.

After underpainting the face with a mid-tone flesh colour, there are three distinct
steps that should be followed in painting the skin:
•applying the dark tones
•applying the light tones
•refining the tone, colour and texture
The dark and light tones applied in the first two stages are finally heightened for
dramatic effect by increasing their contrast and smoothing out any irregularities in
their paint surface.

Look at the eyes above and see the stages of the painting.

During the next
experimental painting
lessons, you will choose
your best 10 images.
Draw or project each photo
on to a different piece of
board.
Sometimes you may choose
to crop a photo even more

Paint each section using different
techniques:-
Photorealism
Blur
Dripping
Dragging
Impasto
Sgraffito
Flat Colour

Once you have finished all ten mini paintings, Begin to put your pieces together in
different compositions.
Photograph 3 different compositions and stick these images in your book explaining
why you would like to present them in this way.
Richard Patterson, ‘Culture Station’

Year 10 Movement Checklist 2015
Please make sure you have the following work completed for this project. Most of this work should be in your sketchbooks
and presented neatly and explained carefully. Try to explain how each piece of work links to the theme of movement and
how your own work relates to the artists that you have studied.
 Movement Summer work
 Overlapping charcoal portraits (classwork)
 Research on Anton Bragaglia/ Muybridge
 Classwork painting of figure moving
 Blind pen/experimental drawings of the portrait
 Wire sculpture (photographed)
 Mono-print of man walking down the stairs
 Copy of Marcel Duchamp “Nude descending a Staircase” plus research
 Colour Theory workshops
 Apple project
 Gary Hume /Balla research and images
 Watercolour painting of man walking away
 Francis Bacon style distorted portrait and research
 Mono-print/drawing of your distorted face
 Glue spreader painting of face
 3 detailed studies of the hand
 David Hockney style photo collage (Portrait)
 David Hockney research
 Analysis of Picasso’s Weeping Woman
 Jim Shaw drawing and research
 Your own Jim Shaw style celebrity collage with drawing
 Black and white test painting of your photo-collage (in acrylic/section))
 Painting techniques/ brush techniques
 Portraits inspired by Giacometti using acrylic and PVA drippy paint
 Jonathan Yeo/ Gabi Trinkaus inspired collage and research/images on the artists
 Your final piece paintings. (10)
Due in __________________________________________

Extra ideas for Extensions to project

Lesson
Research on Henry Moore

Homework
Take photos of a figure
in different positions

Lesson
• Create an abstract
figure drawing from
your photos

Lesson
Create your
abstract figures
in clay

Movement overview class tasks 2016

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