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• unit 1:Still Life and Nature

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Explain the elements of art.

  ⦿ State the difference between dry and wet media.

  ⦿ Draw and paint objects in composition.

  ⦿ Paint a landscape.

  ⦿ Draw from a human figure.

  ⦿ Respect the opinions given by others about my own

  work.

  Introduction
  

  In Senior One, you were introduced to different materials used in

  drawing and painting. You also practiced with the elements of art such

  as shape, line, tone, colour and texture. You also observed and drew

  objects in composition as still life, as well as single objects picked from

  nature.

  Remember, still life is the study of objects in composition, in relation to

  their immediate background. Yet nature is the analytic study of objects

  from the natural environment.

  Based on your past experience, do Activity 1.

  Activity 1
  

  1. Visit your surroundings and pick a twig with three

  leaves.

  2. Using a pencil and paper draw the twig.

  3. Exchange your drawing with your neighbour.

  4. Discuss each other’s drawing by pointing out the

  strengths and weaknesses that you are able to observe.

  (Assessment is done in terms of use of space, shapes,

  tones and texture).

  5. How can such weaknesses be improved for a better

  drawing?.

  Observation of the drawings
  

  I hope you were able to observe that in some drawings from

  Activity 1, the object was too small for the paper. In some

  drawings still, the object could not fit on the paper. The two

  cases usually happen if you have not taken time to compare

  the size of the object with that of the paper. Space should be

  used comparatively, to make sure that the object drawn fits

  well on the paper.

  Observe the two pictures in Figure 1.1 and answer the

  questions in Activity 2.

  
  

  Figure 1.1: Studies of plants
  

  Activity 2
  

  1. Identify the different types of lines used in the two

  pictures.

  2. Mention the colours that were used in the two pictures.

  3. Describe the types of shapes in the pictures.

  4. Describe the kind of texture in the work.

  Elements for drawing and painting
  

  Remember, in order to draw and paint well, you need the

  building blocks to follow. These are the elements of art. They

  include space, line, shape, tone, form, structure, colour and

  texture.

  (a) Space

  When you look around you, you can see different objects, and

  people including your neighbour. But at the same time there

  are areas you can see which are occupied by nothing. All

  these are part of space. Therefore space is simply emptiness.

  However, in drawing and painting, we have both negative and

  positive space. For example, look at how space was used in

  Figure 1.2

  

  Figure 1.2 : A still life composition of fruits
  

  The area occupied by objects in the composition is called the positive

  space. The area around the objects is what we call negative space.

  We always begin drawing and painting by identifying the space in

  which to create our compositions. After identifying space, we use

  other elements to form our drawings and paintings.

  Observe the compositions in Figures 1.3 and 1.4 and work out

  activity 3.

  

  Figure 1.3: A still life composition in colour

  

  Activity 3

  Space in a still life composition

  1. Identify the positive and negative spaces in the two

  pictures above.(ie Figure 1.3 and Figure 1.4)

  2. Comment on how space was created in the two

  compositions.

  3. Mention the objects and the colours used in the two

  different pictures.

  Take note:

  The paper you are given for drawing or painting provides you

  with the space in which to fit your drawing or painting.

   In drawing and painting, a good composition balances space.

  The picture you draw has to fit within the space provided.

  Never cut off parts of the object drawn or painted in a given

  space.

  Leave same space on the left and right side of the paper. The

  upper space should be bigger than the lower space left on

  the paper, thats how negative space is balanced in drawing

  and painting.

  Space is controlled in order to create a feeling of depth in the

  composition.

  (b) Line and shape
  

  In Senior One, you identified the different materials used in

  drawing. After identifying what to draw in a given space and

  the suitable materials to use, we use lines to draw or paint.

  Lines play a vital role in drawing different shapes of objects.

  Remember, shapes can be either geometric or natural

  (organic).

  Geometric shapes are more regular, they include circles,

  squares, rectangles and triangles. Natural shapes are irregular

  such as a shape of a stone, tree or leaf.

  (c) Tone and form

  After drawing the required shapes of objects in the composition,

  then you can apply tones according to the light direction. It is

  the tones that bring out the forms of objects in the composition.

  As light fall on an object, it casts a shadow on the opposite

  side.

  Therefore tone refers to the variation from light to dark on the

  surface of an object as light falls on it. On the other hand form

  is the roundness of an object.

  For example, look at the effect of light on the drawing of a

  tomato in Figure 1.5.

  

  Activity 4

  Responding to light and shade

  1. Arrange three objects from your surroundings to form a

  composition.

  2. Using a pencil and paper, draw the composition; first in

  lines and then shade the composition to create forms

  and shadows.

  3. Display your work and discuss it with your friends

  regarding the use of tones to create the forms in the

  composition.

  (d) Textural patterns

  During the process of trying to draw the forms of objects

  in a given composition, there is need to show their surface

  quality (texture). Are the objects smooth, rough or coarse?

  This question is answered by using textural patterns that fit

  the objects being studied. Textural patterns depend on the

  shading technique used. For example, look at the textural

  patterns on the objects in Figure 1.6.

  Hence, textural patterns refer to the appearance of the surface

  of an object according to the shading technique used.

  

  Activity 5

  Dealing with textural patterns

  1. Pick three objects with different texture, from your

  surroundings and arrange them to form a composition.

  2. Draw the objects on a piece of paper and use different

  shading techniques to capture the different surface

  qualities of the objects.

  Take note:
  

  · Texture varies with the form of a given object.

  · Where the tone is light, the texture is light and vice versa

  Types of colour application

  In Senior One, you studied about colour and you looked at

  primary and secondary colours. Primary colours are basic and

  are only three ie. Red, Yellow and Blue. Besides, secondary

  colours are got after combining two primary colours. Secondary

  colours include orange, green and violet. When you combine

  a secondary colour with a primary colour, you get a tertiary

  colour. For example, study the colour combinations in Figure

  1.7 and Figure 1.8.

  

  

  Activity 6

  Colour mixing

  Mix the different colour combinations. Remember to always

  use equal amounts of the different colours in order to come

  up with the right mixture.

  Colours can be used to capture objects in a still life composition.

  Colour can be classified under different properties such as

  hue or purity, value and intensity. A hue refers to a colour in

  its purest state. The common hues include yellow, red, blue,

  green and purple as they appear on a colour wheel. Look at

  Figure 1.9.

  

  Figure 1.9: Colour Hues

  Value refers to the darknes or lightness of a colour; if a colour

  is dark, its value is low and if a colour is light, its value is light

  for example, look at Figure 1.10.

  

  Figure 1.10: Colour Value

  On the other hand intensity refers to the brightness or dullnerss

  of a colour, for example look at Figure 1.11 Intensity also

  refers to saturation.

  

  Colour can also be classified as being (colour temperature)

  hot, cool, complementary and supplementary/analogous. Hot

  colours strike the eye; these include red, yellow and orange.

  Cool colours do not strike the viewer’s eyes; they include;

  brown, green and blue. Supplementary colours appear next to

  each other on the 12 part colour wheel eg; yellow and orange

  or blue and purple. Complementary colours appear opposite

  each other on the colour wheel such as; green and red or

  yellow and purple.

  In painting, black is considered to be a shade, a colour

  darkens when it is added with black. On the other hand white

  is consider to be a tint. A colour becomes lighter when added

  with white.

  In order to paint a good picture, select colours according to the

  natural appearance of the objects being studied. For example

  look at Figure 1.12 and observe how colours were used to

  reflect the natural appearance of the objects

  

  Figure 1.12: A painting of flowers

  .Activity 7

  Observation exercise

  Observe the picture in Figure 1.12 and do the following:

  1. Identify the objects in the composition by their colours.

  2. Mention the primary colours, secondary colours and

  tertiary colours that you can see in the composition.

  The Principles of Art

  As you follow elements of art while drawing and painting, you

  need to follow guidelines. These guidelines or rules are referred

  to as the principles of art. They include balance, rhythm,

  pattern, perspective, unity/harmony and proportionality.

  1. Balance: This refers to a state of equilibrium when all

  elements in an artwork are well arranged. Balance can be

  symmetrical, asymmetrical or radial.

  (i) Symmetrical balance is also called

  formal balance. This is achieved when

  the opposite parts in an artwork are

  exactly or nearly the same in respect to

  a vertical / horizontal axis. For example,

  look at the symmetrical balance on the

  human face in Figure 1.13.

  Figure 1.13: The human face

  (ii) Asymmetrical balance is also

  called informal balance. It

  refers to balance by visual

  weight. It can be achieved

  when a work of art is looked

  at in totality when all parts of

  the work seem to agree with

  each other even if they are not

  equal with each other. For example

  look at Figure 1.14

  Figure 1.14: A painting showing asymmetrical balance

  (iii) Radial balance is a type

  where elements are

  equally distributed from

  the center. For example

  Figure1.15

  Figure 1.15: A painting showing radial balance.

  Activity 8

  Look at the works of art from your surroundings and

  identify those where symmetrical, asymmetrical and radial

  balance has been achieved.

  2. Rhythm is a principle of art which focuses on visual

  movement in a work of art. It is achieved when there is a

  feeling of movement from one part of the work to the other.

  For example, look at the design in Figure 1.16

  3. Pattern refers to repetition of elements such

  as line, colour texture over and over to create

  an impression work of art. For example,

  the design in Figure 1.16 consists of curved

  patterns.

  Figure 1.16: A design showing rhythm and pattern

  Activity 9

  (i) Choose one geometric shape (eg circle, triangle and

  square) draw and repeat it several times on a piece of

  paper to form a pattern with rhythm. You are free to

  use any colours of your choice.

  (ii) Display your work and discuss it with your fellow

  students to judge which pattern is more rhythmic.

  4. Perspective: In Senior One, you were

  introduced to linear perspective, where

  you focused on the use of lines to show

  perspective in landscapes. As a principle

  of art, perspective refers to the variation

  in size, tone and colour of objects with

  distance. Near objects look bigger/brighter

  compared to those seen at a distance. For

  example look at Figure 1.17.

  Figure 1.17: Animals seen at different points.

  5. Unity/harmony: This

  principle is achieved

  when all, elements

  in given work of

  art (such as lines,

  colour and texture)

  agree with each

  other. For example,

  look at Figure 1.18.

  Figure 1.18: A painting showing unity/harmony

  6. Proportionality: This refers to the relationship of different

  parts of an object in terms of size. Naturally, there are sizes

  which are considered normal and when such sizes change

  compared to others, they are considered abnormal. For

  example the size of human hands is small compared to

  that of legs. Or a passion fruit is considered smaller than

  a pumpkin. Therefore when drawing or painting, always

  consider the right sizes of the objects or parts of the objects

  in order to achieve the right proportions.

  Take note:
  

  In drawing and painting some

  objects which are known to be

  small may appear bigger than

  those which are known to be

  big, due to perspective. For

  example look at the drawings

  in Figure 1.19.

  Figure 1.19: Passion fruit appearing bigger than a pawpaw

  Working with dry and wet media in drawing and painting

  What we use to draw and paint pictures (such as pencils,

  crayons, pastels and water colours) is often referred to as a

  medium. When there are many different materials, they are

  referred to as media. Media can either be dry or wet.

  Drawing with dry media

  Pencils are commonly used in drawing. These are part of the

  dry media. Dry media refer to materials which do not flow.

  Other dry media include crayons and coloured pencils. For

  example, look at the two drawings in Figure 1.20. One was

  drawn using crayons and the other one by use of coloured

  pencils.

  
  

  Activity 10
  

  Drawing with dry media

  1. Look at Figure 1.20 and identify the picture drawn with

  crayons and the one drawn with coloured pencils. What

  is the difference?

  2. Using either coloured pencils or crayons draw a

  composition of three objects picked from your

  surroundings.

  Take note:
  

  Coloured pencils usually give a clear picture compared to

  crayons.Crayons differ from pencils as shown in Figure 1.21

  
  

  Drawing or painting with wet media

  Wet media refer to materials which can flow. Using such

  materials requires you to add a liquid in order to make it

  flow well. You may need a brush in order to paint a given

  composition.

  These materials include inks, water colours and powder

  colours. Observe Figures 1.22 and 1.23, and work out the

  questions that follow.

  

  Activity 11

  1. What is the difference between the two drawings in

  Figure 1.22 and 1.23?

  2. Using a pen and ink draw a twig of a plant from your

  school compound.

  3. Display your work and discuss it with your friends,

  regarding how the materials have been used to create

  tones and form.

  Take note:
  

  When you are going to draw or paint with wet media, always

  begin with a sketch in pencil. This helps you to draw the right

  shapes and the proper arrangement of the objects in a given

  composition. Pencil work can easily be adjusted by rubbing

  out. Ink and water colours cannot easily be changed.

  Study of a landscape
  

  Our environment is a rich resource for the study of landscape.

  A landscape is the natural scenery. Such sceneries include

  plants, houses, etc. You will enjoy your studies by moving out

  of your classroom and observe the surroundings. Look at the

  landscapes in Figure 1.24 and try out Activity 12.

  
  

  Activity 12
  

  Study the landscapes in figure 1.24 and do the following:

  1. List the different objects in the four landscapes.

  2. Identify the materials that were used to draw or paint

  these landscapes.

  3. Discuss how space was used, how the shapes of different

  objects were painted/drawn and the sizes of objects were

  varied to achieve depth.

  Much as your environment is rich for your studies of a

  landscape, you do not have to include everything that you see.

  You need to select the best view. This can be done by using

  a view finder. A view finder is made by cutting a rectangular

  shape on a cardboard, as shown in Figure 1.25.

  

  Figure 1.25: A view finder

  How to use a view finder to study a landscape

  You hold your view finder in one hand and through its space,

  observe the landscape ahead of you. You then you sketch only

  those objects which appear within the view finder’s space.

  Look at the Figure 1.26.

  

  Take note:

  The closer the view finder is to your eyes the bigger the area

  of study and vice versa.

  Keep the distance between the view finder and your eyes

  uniform throughout your study of the landscape

  Activity 13
  

  Study of a landscape

  1. Using a cardboard and cutter, prepare your view finder.

  2. Go outside your classroom and use your view finder to

  select a suitable view from your surroundings.

  3. Draw or paint the landscape.

  4. Display your work and discuss it with your friends.

  Human figure drawing
  

  In Senior One, you were introduced to human figure drawing

  and you learnt that human figures can be drawn either from

  observation or imagination. You also learnt that getting the

  right posture (the way the human figure is sitting or standing)

  of the human figure is important. This demands for continuous

  practice with different studies of the human figure with

  different materials. Now study the images in Figure 1.27 and

  work out activity 14.

  
  

  Activity 14
  

  1. Study the seated figures in Figure 1.27 and discuss how

  lines, shape, colour, tones texture and space were used to

  bring out the posture.

  2. Draw one of these pictures on a piece of paper.

  3. Share your work with your neighbour and discuss it

  regarding the posture and use of space. How do the

  different parts of the body relate to each other in your

  drawing? (Proportions).

  How to get the right proportions

  In the examples above, you note that the artists tried to get the

  right proportions of the human figures. You can always check

  the proportions of your human figure drawing by comparing

  the size of the head to the rest of the body parts.

  Activity 15

  Stand up, look at each other and discuss the following:

  1. Compare the size of the arms to the rest of the body.

  2. Compare the size of the legs to the rest of the body.

  3. Lastly compare the size of the head to the rest of the body

  parts (i.e. the hands, legs and the torso).

  A fully grown human being is believed to have about eight

  head-lengths in height. Figures 1.28 and 1.29 show the

  relationship between the head-length and the rest of the body

  parts of the female and male human figures.

  

  

  You can observe that the elbow is at the same line with the

  navel for a standing posture. The lower leg matches with the

  upper leg and the torso in height. There are two head-lengths

  for the lower leg and the same applies to the upper leg and

  torso each. The height of the head matches with the length

  of the foot of the human figure. For example, observe the

  relationship of the body parts in Figure 1.30.

  

  Activity 16
  

  1. The following drawings were made by Senior Two

  students. Observe the human figures in Figure 1.31 and

  discuss the challenges with their proportions.

  
  

  2. Following the right proportions draw a human figure in a

  standing posture.

  3. Display your work and discuss it with friends, regarding

  proportions and posture.

  Assessment

  1. What is the difference between dry and wet media?

  2. Using materials of your choice, draw an insect or animal from

  your surroundings.

  3. Draw or paint a standing boy, dressed in a short sleeved shirt

  and a pair of shorts.

  Glossary

  Head-length: the size of the head from the chin to the end of the

  forehead.

  Imagination: using one’s mind to create ideas.

  Negative space: area around the objects in a drawing or painting.

  Observation: using eyes to look at something in details.

  Posture: the way a human figure appears to the viewer, either

  standing, sitting of sleeping.

  Positive space: the area occupied by objects in a drawing or painting.

  Proportions: relationship of different body parts of a given object.

  Resource: a set of things from which an idea is developed.

  Torso: the middle part of the human figure excluding the

  hands, legs and head.

  Landscape: a natural scenery which may include, plants houses,

  animals etc.

  Element of art: building blocks followed while making and talking

  about a work of art.

  View finder: a card with a square or rectangular space used to

  select a particular area in a landscape for study.

  Dry media: materials which do not flow such as pencils and

  crayons.

  Wet media: materials which flow as they are used in drawing

  such as painting.

  Still life: a study of objects in composition in reflection to their

  immediate background.

  Nature: a study of objects picked from the natural

  environment.

  Principles of Art: guide lines or rules followed while making or

  talking about a work of art.

  File: 1
• UNIT 2:Motifs, Patterns and Design Process

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Identify patterns from the surroundings.

  ⦿ Develop a motif for printing.

  ⦿ Print patterns on surfaces using stamping and stenciling.

  ⦿ Share ideas with others about own work.

  Introduction
  

  In Unit one, we explored objects from the environment for

  drawing and painting. But the same objects can be used

  in a different way. Look at the different objects from your

  surroundings (such as shirts, dresses, skirts, carpets and

  curtains). What patterns can you see? Now look at the examples

  in Figure 2.1 and do activity 1.

  
  

  Figure 2.1: Objects with different patterns
  

  Activity 1
  

  Identifying patterns

  1. Look at the designs on the works in Figure 2.1. Identify

  the shapes that were used to develop the patterns.

  2. Find some other patterns including some which look

  really Rwandan, either traditional or modern.

  3. Identify the shapes that were used to develop the

  patterns.

  4. Which shapes are natural and which ones are

  geometric?

  5. Mention some natural objects from which these patterns

  might have been gotten from.

  Indeed such interesting patterns can be got from objects from

  our environment. These include both natural and artificial

  objects. You may pick interest in their shapes, texture and

  colour in order to create your own pattern. Now look at some

  of the possible sources of patterns from the environment in

  figure 2.2

  

  

  

  Figure 2.2: Objects with patterns

  How to make a motif

  The process of making a motif (pattern) is what we call a

  design process. In order to make your pattern, you go through

  several steps and changes. For example, study the following

  steps of creating a motif from a frog.

   Step 1

  Identify an interesting

  object from your

  surroundings. This is

  often called a source

  of inspiration. Draw

  it on a piece of paper

  as shown in Figure

  2.3.

  Figure 2.3 A toad

  Step 2

  Simplify the shapes into outlines. You could join two of these

  shapes facing and touching each other, to create a pattern

  as shown in Figure 2. 4. This can be done with the help of a

  tracing paper

  

   Step 3

  Shade these shapes into

  black patches to create

  positives as shown

  in Figure 2.5. The

  remaining white space

  is called negative.

  
  

  
  

  Step 4

  This could be repeated

  and joined as a reflection

  on the same paper, as

  shown in Figure 2.6.

  Look at the pattern being

  formed.

  Figure 2.6: Repeating the patterns to enrich the design

  Step 5

  The design can be repeated to create an interesting pattern

  for your motif. Look at Figure 2.7. The black patches form the

  positives and the white space forms the negatives.

  
  

  Activity 2
  

  1. Choose a different natural object, animal, flower or plant

  (not a toad).

  2. Follow the steps above and develop your own pattern for

  printing.

  3. Display your work and discuss it with your friends

  regarding its attractiveness and movements.

  Take note:
  

  ·· When you are creating a pattern for printing, try to balance

  the positives with negatives.

  ·· There is no particular way of organising the shapes for your

  pattern. The arrangement largely depends on your creativity.

  ·· While creating a motif, it is very important to follow rhythm

  (Movement and balance).

  After developing a pattern on a piece of paper, it is your duty

  as a designer to transfer it on to another material where it

  can be used for other purposes. This can be done by printing.

  Printing is a process of reproducing a pattern or design on a

  given surface. Printing is done in several ways, but at this

  moment we are going to look at impression, stamping and

  stenciling.

  Printing by impression
  

  Sometimes you can transfer a pattern from one source to

  another by impression. In order to use this method, you need

  a pattern from a hard surface, such as a stone, tree bark, a

  coin, shoe sole, etc. Then you use this pattern to create an

  interesting design in colours of your choice. For example, you

  can develop a pattern by following the steps below.

   Step 1

  Get a surface from

  your surroundings,

  with an interesting

  pattern. For

  example, look at

  the surfaces in

  Figures 2.8 and

  2.9.

  Figure 2.8: Texture of a

  chair seat

  Figure 2.9: Texture of a

  wire mesh

  Step 2

  Put the piece of paper on top of the object with the pattern

  and rub the surface with a pencil so that the pattern is seen on

  the paper. For example, the pattern in Figure 2.10 was taken

  from a wire mesh.

  

  Step 3

  Repeat this several

  times until you cover

  the whole space with

  the pattern. You could

  use different coloured

  pencils to enrich your

  pattern as shown in

  Figure 2.11.

  Activity 3

  Creating a pattern by impression

  1. Pick an object with a pattern from your environment and

  create a pattern using the impression printing technique.

  Use different colours of your choice.

  2. Display and discuss your work with your classmates.

  Focus on the choice of colours, neatness and

  attractiveness of the pattern.

  Take note:
  

  ·· Printing by impression is used to create designs on a small

  scale and it is better used on paper.

  ·· Using different colours makes the pattern look more attractive.

  Printing by stamping
  

  Probably you have seen stamps with letters and images, used

  in different places such as schools, post offices and hospitals.

  These are sometimes circular, square or rectangular. Such

  stamps are used to pass on the same message to many

  sources.

  Observe the pictures in Figure 2.12,as well as Figure 2.13

  and answer the questions in activity 4.

  
  

  
  

  Activity 4
  

  Creating a pattern by stamping

  1. What is unique or special about the letters and images

  on these stamps?

  2. How do these stamps operate?

  You may have observed that these stamps have images which

  stick out but they are inverted, that is the reverse of the stamp

  you want. When a stamp is pressed on to an ink pad, it picks

  up ink and when it is pressed on a piece of paper, it releases the

  ink following the protruding or sticking out images.

  The same idea can be used to create patterns through a process

  called stamping. This was briefly introduced to you in Senior

  One. You can use soft materials such as irish potatoes, or

  sweet potatoes and a cutter. You need the following materials;

  materials for printing, photo cutter, printing ink as shown in

  Figure 2.14.

  

  Consider the following steps.

  Step 1

  Draw a simple pattern on paper as shown in Figure 2.15. This

  can be developed from objects from your surroundings.

  
  

  Step 2

  Slice the sweet

  potato into two parts

  as shown in Figure

  2.16. (Make sure

  the sliced part is

  flat)

  Step 3

  Sketch the pattern on

  the flat surface of the

  potato with a pencil.

  Look at figure 2.17.

   Step 4

  Then use a cutter to

  cut away the negative

  space to retain the

  pattern on the surface.

  Your pattern should

  be left protruding as

  shown in Figure 2.18.

  Figure 2.18: Cutting the pattern on a potato

  Step 5

  Dip the pattern in

  colour or ink as shown

  in Figure 2.19. Make

  sure that it is only the

  pattern which touches

  the colour and the rest

  of the potato remains

  clean.

  
  

  
  

  Step 5

  Print your pattern on another

  surface (such as cloth or

  paper). The printing is repeated

  to form a complete design on

  the surface as shown in Figure

  2.20.

   

  Figure 2.20: The printed pattern

  The final work appears as shown in figure below

  

  Figure 2.21: The printed pattern

  Activity 5

  1. Follow the steps above and create your own design.

  2. Display your work and discuss it with your classmate.

  Printing by stenciling
  

  Stenciling as a printing technique, comes from the use of

  a stencil to transfer a given design on a given surface. A

  stencil can be made from a hard material (Figure 2.18) such

  as manilla paper or transparences. You need the following

  materials in place, then follow the steps given to make your

  print.

  
  

  Step 1: The design process

  Making a print usually begins with the design process. At this

  stage you make sketches of an object which inspires you from

  your surroundings as studied in Unit 1. The process continues

  until you prepare your motif or design on a piece of paper

  such as the one in Figure 2.23. Remember always to develop

  a well-balanced motif.

  

  Step 2: Fixing the stencil on to the motif

  If your stencil is transparent, use a masking tape to fix it on

  top of your motif on paper, along a flat surface. This can be on

  top of a table or desk as shown in Figure 2.24. This is done

  so that you can observe the design from underneath. If you are

  using an opaque stencil such as a manilla paper, use a tracing

  paper to transfer your design on to the stencil.

  

  Figure 2.24 Fixing a stencil on the motif

  Step 3: Cutting out the

  positives

  Use a cutter to cut out

  the pattern on the stencil

  as shown in Figure 2.25.

  When cutting the stencil,

  you should only cut out

  the positives and leave out

  the negatives. Take care to

  avoid hurting yourself

  Figure 2.25 Cutting the pattern on a stencil

  Step 4: Stretching out the

  cloth

  Stretch the cloth on top of the

  table. You can use tacks to fix

  it in the same position. Look

  at Figure 2.26. Remember

  before printing the cloth has to

  be washed, dried and ironed

  in order for your printing paste

  to register well.

  Figure 2.26 A cloth stretched on a table ready for printing

  Step 5: Fixing the stencil on

  the cloth

  Place your stencil on the

  surface of the material you

  are going to print on as shown

  in Figure 2.27. You could use

  pins to fix the motif in position.

  Figure 2.27: Fitting the motif on the cloth for printing

  Step 6: Printing with a sponge

  Use a sponge to print your design

  as shown in Figure 2.28. Repeat

  the process until the whole cloth

  is covered with the design. Take

  care as you print; when you apply

  a lot of force, the printing ink can

  easily spread beyond the intended

  lines. On the other hand, if you

  print with too gently, the design

  becomes faint.

  Figure 2.28: Printing the pattern on a cloth with a sponge

  

  Activity 6

  1. Design your pattern on cloth by following the steps

  given.

  2. Display your work and discuss it with friends regarding

  balance, rhythm and neatness.

  Assessment

  1. Get a source of inspiration from your surrounding and

  develop a motif.

  2. Choose a method of your choice (either stamping or

  stencilling) and print your motif on a cloth of half a square

  meter.

  3. What is the use of a stencil in the process of printing?

  4. What is the difference between stamping and stenciling in

  printing?

  Take note: Your design should be balanced and flowing.

  Glossary

  Balance: a state of equilibrium where elements of art are seen

  to agree with each other in a work of art.

  Design process: steps taken to develop a design or motif. This usually

  involves sketching of the ideas as they are developed.

  Flow: movement of patterns in a design.

  Motif: a set of patterns in a design.

  Pattern: a repeated form or design mainly used to decorate

  something.

  Rhythm: repeated art elements to form an interesting movement.

  Source of inspiration: something from which an idea is got.

  Stencil: a thin material with a design cut into it for printing

  purposes.

  Design: the art of making arrangements or patterns to produce

  a decorative work of art.

  Stamping: a technique of creating patterns by pressing a motif

  with ink on a given surface.

  Stenciling: creating a design by use of a stencil.

• UNIT3:Letter Styles, Illustration and Design Technology

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Explain the basic elements of design.

  ⦿ Write using calligraphy.

  ⦿ Design a magazine cover.

  ⦿ Communicate through designing.

  ⦿ Share ideas about own work and that of others.

  Introduction

  In Senior One you studied about letter construction and made

  designs with letters. You also learnt that neatness is important

  for producing attractive designs. In this unit, we are going

  to look at other designs that can be made with letters. Look

  at the designs in Figure 3.1 and answer the questions that

  follow.

  

  Figure 3.1: Different designs of cards

  Activity 1
  

  1. What messages do you read ifrom the four different

  cards?

  2. Describe the colours that were used in the four different

  designs.

  3. What type of letters were used in the designs?

  The major aspects of a design

  I hope you were able to note that letters play a very important

  role in bringing out the message for each card. Letters must

  be carefully designed to look neat and legible.

  Therefore, the key aspects which must be considered while

  designing cards, posters and book covers include the following:

  ·· The layout: this refers to a particular plan or outline acceptable

  for a given design. Each design has a particular layout. This

  has to be spread out for clarity.

  · Message: the design has to communicate to the observer.

  · Lettering: the choice and construction of letters in a design.

  Letters have to be legible so as to bring out a clear message

  to the observer.

  · Balance: space has to be wisely distributed throughout the

  design.

  · Neatness: a design has to be clean and attractive to the

  observer.

  · Colour choice: the colours used must relate to the

  message being communicated. Dull colours tend to kill the

  attractiveness of the design. Contrast is often followed when

  applying colours in a design.

  Activity 2

  Discuss how the aspects discussed above were achieved

  in the works presented in Figure 3.1

  Different letter styles in design
  

  We have already seen that letters play an important role in

  conveying a message in many designs. In Senior One you

  practiced letter construction and you were introduced to

  different letter styles. By now you know the difference between

  upper case and lower case. The choice of letters depends on

  the nature of the design you want. There are two major types

  of letter fonts; i.e. formal letters and fancy letters.

  Formal letters are not so decorated. They are easy to read and

  are often used to pass on important messages to the viewer.

  Look at the fonts in Figure 3.2.

  

  

  Formal letters are good for designing posters and book covers

  which carry formal information. Look at the following examples

  in Figure 3.3

  

  On the other hand, there are fancy letters. These look

  complicated and more difficult to construct and read. They are

  often used to design works which are more decorative such

  as cards and fancy magazines. For example look at the letter

  fonts in Figure 3.4.

  

  Figure 3.4: Fancy letters

  You can use a grid while constructing different letters, for

  example look at Figure 3.5.

  

  Activity 3

  1. Practice with letter construction by following the guide

  lines you learnt in Senior One. These include; the base

  line, mid line and cape line for the upper case, and the

  ascender, mid line, base line and descender for the lower

  case in addition to a grid.

  2. Try it out with the formal and fancy letters.

  How to design a magazine cover

  For any design work, it is important to plan for it by going

  through the design process. You must know the proper lay out

  and the main features of the work you are going to design.

  Activity 4
  

  1. Look at the magazines in Figures 3.6, 3.7, 3.8 and 3.9,

  and discuss the features common to all the magazines.

  2. Write the title for each magazine.

  3. Mention the author for each magazine.

  
  

  
  

  You may have observed that the examples presented have

  many words and images. However, in designing you have to

  make your work simple and attractive. A magazine has the

  following important components;

  · A front cover; with a name of the magazine, the different titles

  of the articles found inside, and an illustration or illustrations.

  Titles can be arranged in any way that is interesting to the

  observer as long as balance is achieved.

  · A back cover which usually has an image of the author and

  publisher.

  Look at the layout in Figure 3.10.

  

  Take note:

  · Any design you make must fit within the particular

  measurements (dimensions).

  · The front and back cover of a magazine share the same

  dimensions (A × B) where “A” is the length and “B” the

  height .

  · The choice of colours should match with the message on the

  magazine.

  · The illustration should add to the meaning of the title of the

  magazine. This has to be simplified to avoid confusing the

  reader.

  Activity 5
  

  1. Design a magazine cover with a title “The Beauty of

  wild ld Life” written by Peter Kayibanda. The magazine

  should have dimensions 15cm by 20cm. Use only three

  colours.

  2. Display your work and discuss it with your classmate.

  Assessment

  Using letters of your preference, design an invitation card for

  Senior Two students. The card should invite students for a

  nature talk to be held at your school on a date of your choice.

  Glossary

  Author: an individual who writes a book.

  Balance: a state of equal distribution of elements in a

  given design.

  Design process: the stages of making sketches for a given design

  Fancy letters: the type of letters with decorations.

  Feature: character of a given work of art.

  Formal letters: the type of letters with no decorations. These are

  often easy to read and construct.

  Illustration: an image or a set of images which accompanies

  a design to add to its meaning.

  Layout: the spread out or general outline of a design

  presented on a flat surface.

  Lettering: the art of letter construction regarding type, size

  and neatness.

  Message: the ability of a design to communicate.

  Neatness: the appearance of a design with minimum

  mistakes.

  Publisher: the organisation which organises, proofreads

  and prints out a particular book or magazine.

• UNIT 4:Methods of Modelling Clay Figures and Forms

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Describe the process of preparing clay.

  ⦿ Make a sculpture in clay.

  ⦿ Decorate the surface of a clay piece.

  ⦿ Make a mask and decorate it.

  ⦿ Share ideas with others about modelling.

  Introduction

  Modelling is a very old activity which has been done by

  different cultures. It includes both pottery and sculpture.

  There are many figures which have been formed using clay.

  For example look at the ceramic wares from Gatagara Pottery

  in Figure 4.1.

  

  Activity 1

  1. Look at Figure 4.1 and mention the different objects in

  the picture.

  2. Identify the patterns used to decorate these objects.

  3. Which materials were used to make these products?

  In Senior One you studied about modelling where you learnt

  about clay and its uses. You also studied about the different

  methods of making ceramics (such as pots, cups and bowls);

  these include pinch, coil and slabs. You studied about the

  different methods of decorating ceramic articles. You learnt

  that clay was used as the basic material for ceramics. Clay

  can further be used in other ways.

  In this unit, we are going to learn more about modelling in clay

  by exploring additive and subtractive methods. For example,

  look at the two sculptures in Figure 4.2.

  

  Figure 4.2: A male and female sculpture made out of clay

  Activity 2

  1. Observe the sculpture in Figure 4.2 and identify the

  activites represented.

  2. Discuss the sculptures in terms of form and use of clay.

  3. Look at the surface of these sculptures and discuss how

  their texture was made.

  Clay preparation
  

  In Senior One you learnt about clay preparation. You studied

  about four different methods of clay preparation namely;

  The plastic method: The method is often used in brick

  making. The available moisture in clay

  is used to prepare it.

  The wet method: Where clay is dissolved in water to

  form shap. Then it is wedged to loose

  moisture and prepare it for use. It is

  good for making pottery.

  The dry method: Clay is dried, pounded and crushed

  into powder form. It is often used in

  factories for making tiles.

  The semi dry method: Combines both dry and plastics

  methods.

  Each method has got advantages depending on where it

  is being used. However, it is always important to get rid of

  unwanted materials such as stones, plant roots from clay

  during its preparation. Grog is always added in clay for

  sculpture in order to make it stronger and to ease the firing

  process.

  Remember, clay has to be kneaded and pressed during its

  preparation in order to get rid of air pockets. This is also done

  in order for the clay to become more plastic.

  Activity 3

  1. Discuss the four different methods of clay preparation.

  2. Which method is more suitable for preparing clay for

  pottery?

  3. Which method is more suitable for the preparation of

  clay for sculpture?

  4. Follow an appropriate method and prepare your clay.

  Keep it in a safe place.

  Take note:
  

  · The quality of clay determines the quality of the object

  formed. When clay is well prepared, it can be used to form

  fine objects.

  · Objects can easily break if they are made from poorly prepared

  clay.

  · Ready clay should not crack when pressed, it should be even

  such as the one in Figure 4.3.

  
  

  Moulding different clay figures

  Your hand is the basic tool while moulding clay. This applies

  to both additive and subtractive methods of forming art works.

  Clay figures can be made by use of the following methods:

  · Using coils

  · Using slabs

  · Additive method

  · Subtractive method

  Activity 4

  Discuss the four methods above and write how each one of

  them can be applied for making clay work.

  make clay figures such as masks. As you may have observed,

  these methods are commonly used to make pottery and

  ceramic sculpture. You can make a sculpture using the additive

  method, by putting together small pieces of clay until you get

  the whole sculpture desired. For example, the sculptures in

  Figure 4.2 were made using the additive method.

  Substractive method is where you begin with a big piece of

  material which you keep reducing until the required sculpture

  is got. Subtractive method commonly applies to such materials

  as wood and stone. However, it could be used in clay. For such

  a method, you pile up a lump of clay, then you keep removing

  pieces until you get the required form.

  How to make a mask from a mold

  Remember, a mask is an object which is normally put on the

  face to disguise one’s identity. Since it is to be worn on the

  face, a mask is usually made of light materials such as wood,

  plastic and paper. For example, look at the masks in Figure

  4.4.

  

  Figure 4.4: Local masks

  You can make a mask of your own using a mold. A mold is a

  form which is used to give shape to another softer material. In

  this unit we shall use clay to make a mold.

  In order to make a mask using a mold, you begin by thinking

  about the purpose of your mask. From the purpose you can

  develop a title for your mask. For example, your mask could

  be used to entertain people on a festive occasion. You need

  the following materials in place.

  · Clay

  · Waste papers

  · Glue

  · Polythene material

  · Vaseline

  · Colours

  · Brushes

  · Small stones or seeds

  · Raffia and threads

  Then you follow the steps below:

  Step 1

  Develop sketches for

  your mask as shown

  in Figure 4.5. Making

  a sketch helps you

  to develop and put

  ideas together and it

  acts as a guide while

  forming your work.

  Figure 4.5: Sketches for a mask showing the front and side view

  Step 2

  Use clay to make your mask

  mold. Look at Figure 4.6.

  Avoid creating pockets on

  your mold. These are areas

  with depressions within

  the mold. Such pockets

  make it difficult to remove

  the mask off your mold.

  Figure 4.6: Forming a mold for the mask out of clay

  Step 4

  Use a tool to create a smooth

  finishing on your mold as

  shown in Figure 4.7. This

  could be a table knife or a

  smooth stick. This would

  further help you to remove

  your mask so easily. Never

  allow your mold to get

  dry. Always cover it with a

  polythene material whenever

  you break off.

  Step 4

  When you are done

  with the mold, smear

  its surface with

  Vaseline. (Figure

  4.8). This eases the

  removal of the mask

  after completion

  Figure 4.8: Smearing the clay mold with vaseline

  Step 5

  Tear small pieces of paper

  and carefully use glue to

  fit them on your mold

  as shown in Figure 4.9.

  When you are done with

  the first layer, apply glue

  and add another layer.

  Whenever you add three

  to four layers expose your

  work to get dry.

  Figure 4.9: Applying papers on the clay mold

  Step 6

  When you are done and

  satisfied with the thickness

  of the mask, carefully get

  it off the mold. This can be

  done by scooping clay out

  and you remain with the

  image in papers. Then turn it

  around and work on its inner

  parts. Look at Figure 4.10.

  The inner part of your mask

  should be as smooth as the

  outer part

  Figure 4.10: Finishing the inner part of the mask after

  Step 7

  Then cut out the

  provision for the eyes

  as shown in Figure

  4.11. Prepare colours

  and paint your mask

  according to your plan

  or sketch. Add a string

  for holding your mask in

  place.

  Figure 4.11: Cutting out the provision for the eyes

  Step 8

  Your mask could be

  decorated further by

  adding more colours,

  raffia and a rough texture

  with small stones or

  seeds. For example look

  at Figure 4.12.

  Activity 4

  1. Follow the steps above and make your mask to be

  used on an occasion. Decorate it using the available

  materials.

  2. Display your work and discuss it with classmates

  Decorating clay surfaces

  Clay naturally has its texture. But this can be changed by use

  of different tools to improve the appearance of the art work.

  Consider the following techniques of decorating clay

  surfaces:

  · Smoothening: the article is made smooth with a tool, then it

  is fired.

  · Glazing: glaze is applied to the surface of the article at bisque

  level, the article is then fired for the second time. Glazing can

  be done in one uniform colour or with patterns.

  · Painting: a technique where colours are applied to an article

  after firing. Such colours are applied following particular

  patterns.

  · Incision: this is done by using a tool to cut patterns into the

  surface of an article.

  · Building: the surface of an article is decorated by adding small

  pieces on the surface while following a particular pattern.

  Activity 5

  Observe the clay pieces in Figure 4.13 and 4.14, and

  mention the technique which was used to decorate its

  surface. (Choose from these; building, incision, painting,

  glazing and smoothening).

  
  

  
  

  Assessment

  1. Use clay to prepare a mold of your choice. Don’t let your

  mold dry up.

  2. Using waste papers and glue, prepare a mask and decorate

  it.

  3. Display and discuss your skills regarding creativity and use

  of materials.

  4. Describe four techniques of decorating a pottery article.

  Glossary

  Grog: crashed fired clay which is usually added in

  clay to make it stronger and to ease its firing

  process.

  Additive method: a method of making clay works by putting

  together smack pieces of clay.

  Subtractive method: a method of making artworks by removing

  small bits off the original shape until the

  required form is got.

  Glaze: a coating of coloured, opaque, or transparent

  material applied to ceramics before firing.

  Mold: a hollow form or matrix for giving a particular

  shape to something in a molten or plastic

  state.

  Kneading: a processing of folding, pressing and stretching

  a soft substance such as clay, and making it a

  smooth uniform mass.

  Pressing: exerting force on a substance such as clay to

  flatten it.

  Pocket: depressions within a given surface.

• UNIT 5:Weaving using Basic Local Materials

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Identify materials and tools used for weaving.

  ⦿ Describe the techniques of weaving with raffia.

  ⦿ Identify the decoration techniques for weaving.

  ⦿ Share ideas with others about own work.

  Introduction

  Weaving is practiced by many different cultures in the world. It

  refers to the process of interlacing strands of a given material.

  The practice usually involves the use of natural materials such

  as palm leaves, sisal, raffia, different plant stems and plant

  fibers. For example look at raffia in Figure 5.1. Raffia is a type

  of a natural yarn. Have you ever seen and touched it before?

  

  Figure 5.1: Raffia

  In Rwanda, there are many local products woven from Raffia.

  Raffia can be dipped in dyes to change its colour according to

  the products to be made, for example look at Figure 5.2.

  

  Activity 1

  1. List objects from your local area which are made from

  raffia.

  2. Which other materials are used together with raffia to

  make these objects?

  3. Visit your local area and get raffia (coloured and

  uncoloured).

  There are many products made by weaving raffia. For example

  look at the different products in Figure 5.3.

  

  Figure 5.3: Products made from raffia

  Activity 2

  1. Observe the objects in Figure 5.3 and discuss their

  purpose.

  2. Discuss how these products were made. What style was

  used?

  Weaving techniques
  

  The appearance and texture of a woven work depends on the

  weaving techniques used. There are many types of weaving

  techniques that can be used to make raffia products. These

  include; plain weave, twill weave, satin weave and Ghiord’s

  knot.

  (a) The plain weave:

  This is the simplest

  weaving technique. The

  weft weave goes under

  one warp at a time.

  The process is repeated

  as one weaves. For

  example, look at Figure

  5.4. This type of weave

  is also known as a 1/1

  weaving style.

  (b) Twill weave:

  For this style, a weft

  goes over several warps

  before going down and

  then under two warps. The

  most common twill weave

  is shown in Figure 5.5.

  This is a 2/2 twill weave.

  Figure 5.5: Twill weave (2/2 pattern)

  Twill weaves often look

  heavier and stronger and

  therefore are used to make

  long lasting works.

  (c) Satin weave:

  This is a more delicate and

  fancy weaving technique. For

  this style the weft goes over

  four or more warp before going

  down. Then it goes under only

  one warp as shown in Figure

  5.6.

  Figure 5.6: A 4/1 satin weave

  (d) Ghiordes Knot:

  This is a type of knot

  where a yarn is passed

  over two warp yarns and

  is then pulled through

  between these two

  warps. Then the knot

  is cut to form a pile as

  shown in Figure 5.7.

  This type of knot is often

  used to finish edges of

  certain woven work such

  as carpets.

  Twinning weave

  This is the type of weave where two left strands are twisted

  or interlaced as they are made to pass over the left as shown

  in Figure 5.8. Twinning is often used in making baskets and

  mats

  

  Activity 3

  1. Study the weaving techniques above and try them on

  your own using raffia.

  2. Display weaves to your friends and discuss it with them.

  Design Patterns for weaving

  The weaving techniques discussed can be used to make such

  products as carpets, table and door mats. The patterns of

  the woven work largely depends on your creativity. In some

  patterns you may include words yet in others you simply deal

  with different colours of raffia. Observe Figures 5.8 and 5.9,

  and work out activity 3.

  Activity 4

  Observe Figures 5.8 and 5.9 and do the following;

  1. What weaving technique was used in the two works?

  2. Identify similar work from your surroundings.

  
  

  
  

  Coming up with such quality work may be difficult for you this time.

  However, simpler activities would make you improve on your skill with

  continuous practice. In the next activity, you need raffia in different

  colours (where possible) and a pair of scissors or a cutter.

  You can weave a square or rectangular table mat by following the

  steps below. You could join two or three pieces of raffia for one strand

  depending on the strength required.

  Step 1

  Get pieces of raffia and trim them to about 30cm. Look at

  Figure 5.11.

  

  Step 2

  Using either a plain weave

  or a twill weave, make your

  table mat. Begin with two

  strands at right angles and

  then keep adding on the two

  adjacent sides. Leave raffia

  of about 5cm on either side

  of your table mat as shown

  in Figure 5.12. Follow an

  even number for both the

  warp and weft in order to

  ease the finishing.

  Figure 5.12: Trimmed pieces of raffia

  Step 3

  After weaving the required

  size of the table mat, seal

  off the edges by tying the

  first strand with the third

  in the row. Look at Figure

  5.13. Remember, your

  table mat must be kept

  tight.

  Figure 5.13: Sealing the edges

  Step 4

  Using either a cutter or a pair

  of scissors, cut off the excess

  raffia on all sides. This is what

  we call “finishing” the article.

  Look at the finished table mat

  in Figure 5.14.

  Figure 5.14: A finished table mat.

  Activity 5

  1. Use raffia to weave a table mat by following the steps

  above.

  2. Finish the table mat by cutting off excess raffia.

  3. Display your work and discuss it in terms of the weaving

  pattern used and the neatness of the woven work.

  Assessment

  1. Collect raffia and dye it in two different colours.

  2. Weave a small piece (15cm by 15cm) using a satin weave.

  the warp should be in a different colour from the weft?

  3. Finish your art piece by cutting off all unnecessary pieces of

  raffia.

  4. What is the difference between twill weave and plain

  weave.

  Glossary

  Finishing: trimming off unnecessary yarn from a woven

  piece.

  Ghiorde’s knot: a Turkish knot where a piece of yarn is tied and

  twisted along two warps to form a pile. It is

  usually used in making carpets.

  Pile: upright loops of strands in a weave.

  Plain weave: a type of weave where the weft goes over and

  under one warp during the weaving process.

  Satin weave: a weaving technique where a weft goes over four

  wefts and one weft under.

  Strand: fibers or yarn combined to form one piece for

  weaving.

  Twill weave: a weaving technique where the weft goes

  over and under two warps during the weaving

  process.

  Warp: vertical strands in the weaving process.

  Weave: interlacing threads/yarn to form an article.

  Weaver: a person who weaves.

  Weft: horizontal strands which go over and under

  warp in the weaving process.

  Strand: a single thin length of something such as fibre

  especially twisted together with others.

• UNIT 6:Motifs, pattern in embroidery, batik, tie and dye and design technology

  My goals

  By the end of this Unit, I will be able to:
  

  ⦿ Describe the materials and tools used for designing

  textiles.

  ⦿ Create motifs using different tools for textile decoration.

  ⦿ Make patterns using batik technique.

  ⦿ Create a pattern using tie and dye.

  Introduction

  In Unit two you made patterns using different printing

  techniques. The techniques you used are referred to as surface

  resist. There are other methods of resisting a liquid (colour or

  dyes) from entering a cloth or another surface. In this unit we

  are going to study about batik and tie and dye methods of

  textile decoration. These are called bound resist techniques.

  For example look at the patterns in Figures 6.1, 6.2, 6.3 and

  6.4.

  

  Activity 1

  Identifying patterns

  1. Look at Figures 6.1 to 6.4 and differentiate batik

  designs from tie and dye designs.

  2. What makes the two patterns different?

  3. Identify the colours used.

  4. Look for similar patterns from your local area and

  discuss them with your classmates.

  You may observe that patterns made using batik technique

  are bolder than those made using tie and dye. However, one

  has to plan the patterns in advance before using either batik

  or tie and dye

  Making motifs and patterns for batik

  In batik, we use wax to resist dyes from occupying certain

  areas in your pattern. Whenever you are applying dyes, begin

  with light colours, then add dark colours as you complete the

  work. These colours mix with each other to create interesting

  tones.

  In order to make a batik article, you need the following

  materials:

  · Pencil and paper

  · Cloth (A cotton cloth works better). Remember, you should

  wash and iron the cloth before using it in any design work.

  · Wax (this can be either bee wax or paraffin wax)

  · Brushes of different sizes

  · Dyes of different colours

  · Containers for mixing dyes

  · A heating source

  · A source pan

  · Rough papers, such as news papers

  · Iron box or flat iron

  Then follow these steps to make your batik article.

  Step 1

  Using a pencil, sketch your pattern

  on paper. Your pattern should be

  simple as the one shown shown in

  Figure 6.5. A complicated pattern

  will give you a hard time to work

  on. Mix the dyes in water, following

  the instructions for mixing which

  appear on these dyes.

  Figure 6.5: Sketches for a batik work

  Step 2

  Spread your cloth on a table. Then

  transfer the sketch on to the cloth

  as you follow the proportions of your

  sketch. Look at Figure 6.6.

  This can be done by re-drawing it with

  a pencil or you may use a stencil if the

  sketch does not need enlargement.

  Figure 6.6: Transferring the sketch on to the cloth

  Step 3

  Put wax in a source pan and heat it

  until it melts into liquid as shown in

  Figure 6.7. Use little heat when the

  wax melts, to keep it in liquid form.

  Figure 6.7: melting wax

   Step 4

  Dip the brush bristles in the molten

  wax and block the sketched lines on the

  cloth as in figure 6.8. Never leave the

  brush in hot wax for long, it could easily

  get burnt.

  You should put a paper or papers below

  the cloth in order to stop it from getting

  stuck on the table.

  Figure 6.8: Applying wax on the clot

  Step 5

  Using a relatively big brush, paint

  your cloth with a light colour. Then

  let the cloth dry. Never dry the cloth

  under hot sun because it melts the

  wax put on earlier. See figure 6.9.

  Figure 6.9: Painting the cloth with dyes

  Step 6

  Apply wax to places where you want

  to maintain the first colour. Then

  paint the cloth with another colour

  (darker than the first).

  Look at figure 6.10

  Figure 6.10: Painting the cloth with wax

  Step 7

  When you are done with the colours you wanted, apply wax

  on the entire cloth. Let it dry up and then crackle it (create

  cracks through the wax).

  Step 8

  Paint the cloth with

  the darkest colour as

  shown in Figure 6.11.

  Let it dry up.

  Figure 6.11: Painting the cloth with the darkest colour

  Step 9

  Crease the cloth to remove

  the wax as shown in Figure

  6.12.

  When you are done, remove

  the excess wax by putting

  the cloth between papers

  and ironing it as shown in

  Figure 6.13.

  Figure 6.12: Creasing the cloth to remove wax

  

  

  Activity 2

  1. Follow the steps given to make your own batik article.

  2. Display and discuss your work with your classmate.

  Take note
  

  Melting wax and making batik work requires a well ventilated

  place.

  Be careful as you work with hot molten wax. It can easily burn

  you.

  Making patterns for Tie and dye

  The process of making patterns for tie and dye begin with

  tightly tying the cloth, and dipping it in boiling dyes before

  bringing it out to dry. Therefore the name comes from the

  process of making the patterns, “first tie the cloth and then

  dye it in dyes”.

  To make tie and dye patterns, you need the following

  materials:

  · Cloth

  · Raffia or nylon threads

  · Dyes

  · Water

  · Heat source

  · Cutters

  · Wax

  ·· Salt (this is usually added in the dyes as they are boiled)

  Patterns for tie and dye largely depend on how the cloth is

  treated before dyeing it. The cloth is tied in order to resist

  dyes from going to unwanted areas. After tying the cloth, it is

  dipped in dyes and boiled for about 30 minutes (or according

  to the instructions on the tin for a given dye).

  It is then removed from the dye and made to dry under shade.

  The tying should be tight in order to limit dye from going to

  places they are not supposed to.

  You can use different colours to dye your cloth. But before

  dyeing the cloth in another colour, the first colour should be

  dry. Then more tying is done to preserve the first colour. The

  threads are not removed until the cloth is totally dry.

  Activity 3

  1. Look for tie and dye patterns from your local area.

  2. What shapes can you see in these patterns?

  There are several ways of treating the cloth, these include:

  1. Folding and gathering

  2. Stitchery

  1. Folding and gathering

  There are several ways of folding and gathering the cloth

  these include pleats, strips, circles and spirals. These are

  demonstrated in Figure 6.14. In all the styles shown, the cloth

  is twisted first, then it is tied to form a given pattern.

  

  Figure 6.15: Ways of making patterns for tie and dye

  After folding and gathering the cloth, its is then tied and

  emersed in dyes as shown in figure 6.16. The cloth is boiled

  for some time as indicated on the dyes, look at Figure 6.17.

  After dyeing the cloth it is left to dry under a shade if you are

  to use several colours, the process is repeated. You add more

  ties after drying the cloth and dip it into the second colour.

  Then when you are done with all colours, the cloth is unfolded

  and ironed and the patterns of final work appear as shown in

  figure 6.18

  

  Activity 4

  1. Observe the patterns in Figure 6.14 and try them out on

  a piece of cloth.

  2. Dye the cloth to see the outcome.

  Now take a look at how the patterns look like on the final work

  in Figure 6.18, after dyeing the cloth.

  

  2. Stitchery

  For this technique, you need a needle and threads (preferably

  nylon threads or raffia). For example the pattern in Figure 6.15

  was a result of stitchery. You begin by sketching the patterns

  on the cloth, then you sew them with a running stitch. But

  you leave threads of a reasonable length hanging. These are

  the threads used to tie the cloth when it comes to dyeing it.

  Figure 6.19 A pattern made using stichery techniques. You

  can now look at the pattern made by use of threads on a cloth

  in figure 6.20.

  

  

  While using the stitchery technique, threads are pulled and

  tied at intervals depending on the planned design and colours.

  Then the cloth is dipped in dyes following the same process as

  the one you used in folding together on page 83. Your pattern

  may come out as shown in the figure 6.21.

  

  Take note:

  · Just like the case of batik works, the process of dyeing the

  cloth should always begin with light colours.

  · You need to know the colour combinations before doing tie

  and dye. These were studied in Unit one.

  Activity 5
  

  1. Draw a pattern for stitchery on a piece of paper.

  2. Sew the stitch on a piece of cloth.

  3. Dye the pattern and observe the outcome

  Assessment

  Create a pattern on a cloth (1/2 square meter) using one of the

  techniques discussed in this unit.

  1. Get a piece of cloth (1/2 square meter) and create patterns

  by folding it into either circles or pleats

  2. Tie the cloth into different values and dip it into a light dye

  3. Repeat the processes in ‘2’ atwith different parts in the

  second dye.

  4. Unfold the cloth and let it dry. Then iron your cloth and

  display it.

  Glossary

  Bound resist: a technique of decorating cloth in which dyes

  are stopped from going to certain areas on a

  cloth by either tying, or using wax.

  Surface resist: a technique of decorating a cloth in which

  printing ink is limited to particular areas by using

  a stencil, or graphic film or photo emulsion.

  Crackling: a technique used to create rugged lines on a

  batik work when it is completed.

  Stitchery: a tie and dye method in which threads are used

  to create patterns on a cloth.

  Dye: a material which is used to change the colour

  of another materials either directly or by use of

  heat.

  Crease: a process of squeezing a cloth in order to remove

  excess wax.

  Pleats: folds created in a pieces of cloth as a process of

  creating patterns on it before dipping it in dyes.

• UNIT 7:The Development of Art Through different eras in the World

  My goals

  By the end of this Unit, I will be able to:
  

  Identify the characteristics of art in some African and

  European regions.

  ⦿ Describe the characteristics of works by renowned artists.

  ⦿ Appreciate the value of culture in the society.

  ⦿ Discuss the major art sites in the world.

  ⦿ Appreciate modern and abstract art.

  Introduction

  Art reflects people’s way of life. This is majorly because people

  create art according to their social, economic and political

  background. Therefore, by studying the history of art from

  different regions and periods, we can understand the nature

  of different societies in the world. This helps us learn about

  the works they produced, their methods and techniques, and

  the materials they used, in order to boost our creative abilities

  as we produce our own art.

  For example, look at the change in style of the art works in

  Figures 7.1, 7.2, 7.3, 7.4 and 7.5.

  

  

  

  

  Activity 1

  Observe the art works in Figures 7.1, 7.2, 7.3, 7.4 and

  7.5, and do the following:

  1. Discuss their differences regarding the following aspects;

  (a) use of space

  (b) subject matter

  (c) the light effect in the composition

  2. Identify the colours used in these compositions.

  3. Mention any paintings from your local area with some of

  these characteristics.

  The paintings in Figures 7.1 to 7.4 and the sculpture in

  Figure 7.5 show the trend of art from the pre-historic, the

  renaissance, to the modern and abstract art. Indeed art has

  greatly changed and a number of materials discovered to date

  in painting, sculpture, pottery, the graphic arts, textile designs

  and architecture. But in this unit, we are going to look at

  Modern and Abstract Art.

  What is Modern Art?

  The word modern has been used to refer to the most recent

  things as opposed to the past. Sometimes the past is related

  to what is traditional. For example in your community, what

  do you consider to be the past and what is modern?

  Modern art can be traced from the period of industrial

  revolution (18th and 19th century). This was a period with

  many changes in manufacturing, technology and transport.

  These changes greatly affected the cultural, social and

  economic conditions of the western world.

  Before the 18th century, the church was the major consumer

  of art and therefore artists painted compositions from biblical

  stories. But as the industrial revolution progressed, people of

  the high class begun demanding for art works. Besides, as

  people’s way of life changed, artists became more interested

  in painting about the people and places which interested

  them. Therefore the subject matter changed. For example look

  at the painting in Figure 7.6.

  
  

  Activity 2
  

  Observe the painting in Figure 7.6 and discuss the following

  questions:

  1. How many people are in the composition?

  2. From which direction is light coming from in the

  painting?

  3. What is the story presented in the composition?

  4. From which setting is the action taking place?

  5. Draw this composition on a paper and paint it while

  trying to copy the colours as they appear in this

  painting.

  6. Display and discuss your paintings with other groups

  Well, some scholars believe that modern art is likely to have

  begun with the work of the French painter, Jacques Louis David,

  the founder of the style called Neoclassism. He was born in

  1748 and died in 1825. He painted various compositions

  from stories around French politics and Figure 7.6 is one of

  them.

  The painting presents a dramatic composition in which three

  brothers are saluting toward three swords held up by their

  father. At the extreme corner, there are women in grief behind

  the father, an indication that they were not in support of their

  sons’ joining the army.

  A number of art schools had been started and they trained

  artists following ideas that were developed in the Renaissance.

  Modern art was started by artists who kept working against the

  norms learnt from these art schools. Therefore, other scholars

  consider modern art as the style of art which existed between

  1870 and 1970.

  What are the characteristics of modern art?

  1. New types of art were formed during this period, for

  example; collage art, animation, performance art and kinetic

  art.

  2. New materials were discovered and used in painting, such

  as fixing objects on canvas paintings. Also, found objects

  were used in sculpture in form of assemblages.

  3. Colour was extensively used for expressive purposes. In

  many compositions, colour was used to express the artist’s

  ideas.

  4. New movements of art were formed, especially in painting.

  Activity 3
  

  Discuss the following questions.

  1. What is meant by the term Modern Art?

  2. What are the common characteristics of Modern Art?

  3. Mention four artists’ paintings and four artists in Modern

  Art.

  A number of art movements were formed as part of “Modern

  Art”. These include: impressionism, Fauvism, cubism, pop art,

  Dadaism, surrealism and abstract art. We shall discuss some of

  these styles as follows.

  1. Impressionism

  This is a style of painting which was developed in the 19th

  century by French artists, such as Edgar Degas, Claude Monet,

  Edouard Manet and Auguste Renoir. It is characterized by the

  use of short brush strokes, using bright colours with the effect

  of light. For example look at Figure 7.7.

  

  2. Fauvism

  This is a style of painting which was developed in the 20th

  century by a group of French artists who referred to themselves

  as “the wild beasts”. The style was based on colour effects and

  light with big parches of colour. For example look at Figure

  7.8.

  

  3. Cubism

  This is another modern art style which was developed in

  the 20th century. The style is focused on presenting figures

  whose natural forms are simplified into geometric shapes. A

  prominent artist who followed this style is Pablo Picasso, one

  of his paintings is presented in Figure 7.9.

  

  Activity 4

  1. Sketch a composition of an activity of your choice on a

  piece of paper.

  2. Paint this composition by following any of the styles

  discussed so far.

  3. Display your paintings and discuss them with the rest of

  your classmates.

  4. Surrealism

  This is a modern art style in which the artist portrays what

  seems to be a dream into reality. It was developed during the

  20th Century. There is a lot of rearrangement of ideas which

  from the natural point of view looks unreal. For example look

  at the painting in Figure 7.10.

  

  5. Pop art

  This is the type of modern art which is nonrepresentational. It

  was developed in the 1950s in Britain and the United States.

  It depicts objects and scenes from everyday life. For example,

  look at the painting in Figure 7.11.

  

  Figure 7.11: Pop Art

  Activity 5

  1. Sketch a composition in either surrealism or pop art.

  2. Using colours of your choice, paint this composition.

  3. Display the paintings and discuss them with friends.

  What is Abstract art?

  This is a type of modern art which focuses on using forms,

  shapes, colours and texture. It does not represent objects as

  they appear in nature but according to the artist’s expressive

  abilities. For example look at Figures 7.12 and 7.13.

  

  

  Figure 7.13: Abstract sculpture by B.J. Las v

  In Figure 7.12, the artist focused on the use of colour to

  create rhythm in the painting. Then in Figure 7.13, the artist

  uses geometric shapes to create harmony and unity in the

  composition.

  Therefore, in abstract art, objects are deformed, simplified

  and rearranged to come up with a work of art.

  Activity 6

  Look at Figures 7.12 and 7.13 and discuss the following:

  1. Identify the colours that were used in the abstract

  painting.

  2. What shapes were used in the sculpture? Relate these

  shapes to any natural object from your surroundings.

  3. How does abstract art differ from cubism? (refer to

  Figures 7.9 and 7.12).

  World renowned artists

  There are a number of artists who have made significant impact

  in the field of art. These include; Michelangelo, Leonardo da

  vinci, Pablo Picasso and O’Keeffe. Some of these and their

  work, you studied about in Senior One. Let us summarise their

  contribution in the following section.

   

  Michelangelo (1475-1564)

  An Italian Renaissance artist

  who was a painter, sculptor and

  architect. He is known for his

  mastery if the body structure. He

  painted great works in the Sistine

  charpel such as creation of Adam

  in Figure 7.16.

  

  Leonardo da vinci (1452-1519)

  An Italian Renaissance artist who

  was a painter and ceramicist. He

  is known for his style of making

  paintings with no strict outlines

  (chiaroscuro). One of his painting is

  the monalisa shown in figure 7.17.

  

  

  Pablo Picasso

  A Spanish painter, ceramicist,

  sculptor and poet. He is one

  of the renowned artists in

  the 20th century who is the

  founder of cubism. He made

  many compositions and

  portraits such as Figure 7.20.

  Georgia o’Keeffe

  An American modern artist who is

  known for her paintings depicting

  nature. She mainly painted

  plants with emphasis on flowers

  in brilliant colours for example,

  look at Figure 7.19.

  

  Activity 7

  1. Discuss the characteristics of art works of the renowned

  artists presented in the previous section.

  2. Identify some art works from your local area with

  characteristics similar to those of the famous artist

  discussed.

  Major art works in the world

  Many art works have been produced by different artists from different

  regions of the world. Such works have characteristics which have

  influenced the production of art in the world. Some of these art

  works include; the fertility goddess (Figure 7.22), The Monalisa

  (Figure 7.3), the Sistine charpel (Figure 7.24) and the kangaroo

  hunt (Figure 7.23).

  

  Figure 7.22: Fertility goddess

  

  Activity 8

  7.24 and discuss the questions that follow:

  1. Identify the objects and compositions presented in these

  works.

  2. List the different colours used.

  3. What materials were used in these works?

  Major art sites

  You studied about the major art sites in the world in Senior

  One and discussed some of the art works found in these

  places. These places include Altamira in Spain, Lascaux in

  France and Olduvai Gorge in Tanzania.

  Activity 9

  Observe the paintings in Figure 7.25, 7.26 and discuss

  the general characteristics of the two paintings.

  1. What do you think are the materials used to make these

  paintings?

  2. Mention the colours that were used in the paintings.

  
  

  
  

  In your discussion, you may have come up with theses

  similarities in the paintings at Altamira and Lescaux:

  1. Both paintings were made during the Pre-historic period.

  2. The painting were done on rocks.

  3. The paintings were done in cave ceilings.

  4. Animals are the main subject matter of both paintings.

  5. Lines were used to draw the shapes of the animals and

  filled with colour.

  6. The colours used are similar, basically browns and yellow

  ocre.

  At Olduvai Gorge, it is believed that the oldest man on earth

  lived here and his major tools were made of stone. These

  tools were discussed in Senior One. Therefore, the similarity

  between Olduvai Gorge, Altamira and Lescaux is that the

  people who lived in these places used stone as the major tool.

  Assessment

  1. Discuss five styles that existed in the modern art period.

  2. Mention three world renowned artists and state one art

  work made by each of them.

  3. In which period does Leonardo da vinci belong.

  Glossary

  Rhythm: a strong, regular repeated pattern of movement

  observed from an artwork.

  Portrait: a likeness of a person, especially of the face, as

  a painting or drawing.

  Ceramicist: a person who makes ceramic pieces.

  Poet: a person who writes or makes poems.

  Architect: a person who designs and supervises the

  construction of buildings or other large structures.

  Chiaroscuro: an Italian artistic term used to describe the

  dramatic effect of contrasting areas of light and

  dark in an art work, particularly paintings.

  Neoclassism: this refers to a period where there was a revival

  of a classical style or treatment in art, literature,

  architecture and music.

  Renaisance: this a period which started in Italy and spread

  to the rest of Europe. It’s a period when artists

  revised the style of the classical period in ancient

  Rome and ancient Greece.

  References

  Arnason H.H. (1986). A History of Modern Art. (Third Edition).

  Thames and Hudson

  Brommer, G.F. & Kinne, N.K. (1995). Exploring Painting. Davis

  Publication inc. Worcewster.

  Canaday, J. (1987). Mainstreams of Modern Art. (2nd Edition).

  Harcourt Brace Jovanovich College Publishers.

  Getlein, M. (2008). Living with Art. (Eighth Edition). McGraw-Hill

  Companies inc.

  Gombrich, G. W. (1995). The Story of Art. Phaidon Press.

  Proctor, R.M. & Lew, J.F. (1995). Surface Design for Fabrics.

  (Revised Edition). University of Washington Press.

  Tansev, R., Kleiner, F. S., De La Croix, H., (2004). Gardner’s Art

  through the Ages. (14th Edition). Thames and

  Hudson

  Tebenkana, T. (2013). Insights into the History of Art. (Volume 3).

  Astro Book Binding Center, Kampala

  Tebenkana, T. (2013). Crafts and Studio Technology. (A revised

  Edition). Astro Book Binding Store. Kampala.