Development of Schools Programmes for Learners with Special Needs

Twenty students from Rutherford College’s Satellite unit visited the Gallery last term to participate in our Signs and Symbols (shape, pattern and colour) pilot programme – including a Gallery and Studio session.

We began with a quick impromptu tour of parts of the Gallery (I couldn’t not – the kids were so excited to be here!) They loved it! It was a good way to introduce the idea of symbols – particularly shape, pattern and colour and of course, the Gallery. It would definitely be good to do this each time they visit so we can reinforce ideas/experiences, give them opportunities to remember and draw on past experiences here and gradually extend their experiences, responses and understandings. I want them to feel at home here. Posing questions in each space gave them something to focus on.

We then spent time in one of the Gallery spaces, looking at these two artworks:

Sandy Adsett, Waipuna, 1978

Gordon Walters, Genealogy 5, 1971

We looked closely at the work and spoke about what we noticed. In small groups the children manipulated a selection of different coloured shapes to help them understand the work better. Then they made their own patterns using the shapes provided, which we compared to the artwork.

The art making session in the studio allowed everyone to feel proud of their work. Each student chose a symbol that said something about them (e.g. plane, computer, cat) and made a stencil which they drew around to make 8-12 identical shapes in a colour(s) of their choice. They experimented with pattern by moving the shapes around their chosen background paper. The use of more technical terms such as overlapping, reflecting and rotating then modelling what I meant was good for some of the students when making their patterns. They chose their favourite pattern and glued it in place.

They shared and reflected on their work. How can you tell who made this? What could it tell us about the person? Does this pattern/shape seem to match the person who made it? How? How do the colours tell us about the person who made it? Which patterns are similar? How? How could you describe the patterns?

Here’s some of the work made by the students in the studio session:

A focus on pattern, shape and colour seemed appropriate for this group. They were able to draw on prior knowledge and make connections with things they are familiar with. They could be successful but still had the opportunity to learn some new ideas through making comparisons, observing closely and participating in an activity related to the work.

Future considerations: 

I would like to visit the regular groups at their school so I can see how the teachers work and interact with them and the types of programmes they participate in. Also as a way of building my relationship with them, getting to know them and their needs better (and their teachers) and for my own professional development.

Where to now?

Five other schools have booked in to participate in this pilot programme over the next few weeks. Once I have taught everyone, received feedback from the teachers and made changes where necessary, I would like to make this programme part of our standard programmes permanently on offer to schools. Then on to the next pilot programme – Portraiture and Identity!

As the two artworks used above are no longer on show in the Gallery we will use the works below:

Jonathan Jones, untitled (sum of the parts), 2010/2014 

Michael Parekowhai, The Bosom of Abraham, 1999

– Mandy Jakich, Educator LEOTC

Image credits:

Sandy Adsett
Waipuna 1978
Auckland Art Gallery Toi o Tāmaki, purchased 1995

Gordon Walters
Genealogy 5 1971
Auckland Art Gallery Toi o Tāmaki
Gift of Dame Jenny Gibbs in honour of Chris Saines, Gallery Director (1996-2013)

Jonathan Jones
Kamilaroi / Wiradjuri people
untitled (sum of the parts) 2010/2014
Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, 2010
Courtesy the artist and Tim Melville Gallery

Michael Parekowhai
The Bosom of Abraham 1999
Edition 2/14
Auckland Art Gallery Toi o Tāmaki, purchased 1999

Encouraging Creativity through Art Making

Here in the studio at Auckland Art Gallery, I constantly ask myself these questions – how can I encourage children to be creative, to explore and experiment freely, to use their imagination, to show their individuality and to take risks, all within a programme that lasts for only 60 minutes? How can I adapt the thematic art making programmes in the studio – run alongside our Gallery sessions – to allow children to create their own ideas and responses but still within a framework that develops skills, techniques and understandings?

I’ve come up with a few ideas that seem to be working well and will no doubt continue to be modified and developed. Here’s one idea.

STORYTELLING:

Instead of starting with a story, create an artwork in which a story evolves (almost accidentally) as the artwork grows.

Create a setting

• Apply a liberal amount of colour (dye) into 3 horizontal bands inspired by Golden Cloud (Gretchen Albrecht 1974). Carefully tip the paper in different directions so the colours run together. Allow to dry. 

• Now look closely at the painting and describe the ‘setting’ created.
• What time of day, time of year does it remind you of and why?
• Does it remind you of a place you have been to before? A place you have read about or seen on TV/movies? Describe this place.

• Look closely into your painting. What can you see in the painting? 

• Can you make out some objects or shapes you recognize (e.g. trees, flowers, parts of the landscape, animals, people)? 

 The student who made this work could see something in his painting that reminded him of a bird like figure with large wings. From this idea he made the shape into a ‘phoenix rising from the fire’. He also noticed a bird shape with a beak shape which he turned into a Pukeko. He drew around these shapes with a black vivid, so other people could see what he could see. He could have added more shapes and objects if he wanted to but he decided not to. He didn’t want to over complicate it.

These ‘characters’ and this ‘setting’ formed the basis of his story.

This student could see a shape that reminded her of a monster. She added a face to this and drew around other shapes she could see, with paint. She also drew in some new shapes to add to her setting.

The children were encouraged to share what they could see with a partner. Can you see something different to your partner?

They walked around the room and looked at each other’s work, trying to identify the setting and guess the stories.

I noticed that none of the children felt threatened to make a work as it all happened ‘accidentally’ and didn’t reflect their ability (or perceived lack of ability) They enjoyed using their imagination without having too many restrictions. They took risks. They made their work their own. And they were proud of themselves!

These paintings made perfect beginnings for stories that the children could then tell or write back at school, displaying the painting alongside. It opened up opportunities for them to make comparisons, inferences, connections and draw on their prior knowledge. The activity catered well for children who might be reluctant to make up their own stories and use their imagination and gave them a great starting point for storytelling.

This idea has me inspired and I intend to develop it further, and try to think of other ways to explore and encourage creativity (in one hour!?) through art making.

I’ll keep you posted!

Professional Learning and Development

Learning Through the Creative Process
LINOCUT PRINTMAKING
JULY 2013

Teachers participated in another of our PLD courses on the first Monday of the July school holidays, lead by LEOTC Educator Mandy Jakich. This blog outlines the creative process we went through to learn the ideas and techniques of linocut printmaking.

EXPLORE:

We visited the back of house Gallery Print Room to learn about and make connections with linocut prints from the Gallery collection. Julia Waite, Assistant Curator, introduced the teachers to a selection of linocut prints from the Speed and Flight show, curated by Julia in 2012.



She explained the rise of the humble linocut in Britain in the 1930s and highlighted the techniques, styles and materials used by the artists.

 

Sybil Andrews

Haulers 1929

linocut

Auckland Art Gallery Toi o Tāmaki, gift of Mr Rex Nan-Kivell, 1953

Sybil Andrews
The Windmill 1930
linocut

Sybil Andrews
The Gale 1930
Linocut


We returned to the Gallery studio to explore other linocut prints (not from our collection) which have been made with more simple designs and processes. We tried to work out the steps and techniques followed by the artists.

EXPERIMENT:

The techniques for using the cutting tools and protective boards were introduced and the teachers were given a chance to experiment on softcut lino and compare with a firmer lino block, using the protective cutting blocks.


Examples of designs were supplied to help with ideas and participants were given an opportunity to experiment with their design ideas. Animals, patterns, cultural designs, nature or text are examples of design ideas that work well.

A variety of techniques for mixing and applying ink colours were trialled:



We experimented with a selection of different papers:

Tissue paper

Tracing paper

Cartridge paper

Baking paper

CREATE:

For those of you who have never tried linocut printmaking or for people who need a refresher, here's a step by step guide:

Materials:

• softcut A5 lino blocks
• lino cutters and standard blades
• protective cutting boards
• tracing paper
• tissue paper
• 170gsm cartridge paper
• baking paper
• other paper you want to experiment with (such as recycled papers)
• coloured paper/card
• A4 white paper
• pencils
• water soluable printing ink
• brayers (rollers)
• printing plates
• water and brushes
• newsprint for table

First cut, ink and print

• Draw the final design on to white A4 paper. Transfer it on to the lino block by rubbing graphite on to the back of the design paper, placing it on top of the lino block graphite side down, and drawing over the design with a sharp pencil. This transfers the image on to the lino block. You may need to go over the lines on the lino so the design can be seen clearly.
• Using a lino cutter and a protective board, cut over the outlines of the design.
• Squeeze a light coloured printing ink on to a glass or plastic plate. Using a brayer, roll the ink so the whole roller is covered.
• Roll the ink on to the lino, pressing lightly.
• Carefully hold the lino on the edges, turn it upside down and place on to chosen paper. Make at least 2 copies.
• Turn the paper over and roll with a dry brayer, applying hard pressure.
• Gently peel paper off the lino block and place the print on a drying rack.
• Wash the lino block with warm water.
  

Second cut, ink and print

• Go back to the table. Decide on what parts of the lino block you want to add more lines to, either through adding pattern, 'colouring in' shapes or adding extra lines.
• Etch the extra lines into the lino block with the cutting tool. The first lines made will remain the colour of the paper used. All the lines cut this time will remain the colour of the previous inking. Everything else will become the colour of the second inking.
• Repeat the inking and printing process, but this time use a darker colour.
• When printing on top of the first print, make sure the paper is carefully aligned.
• Dry work on a rack. Some inks take at least 3 days to dry (white ink even longer!)

SHARE:

 As a group, we looked at all of our artworks and discussed:

• What worked, what didn't?
• What problems did we have and how did we resolve them?
• What modifications did we have to make and why?
• What effects did we like/not like?

Then we talked about how we could apply this technique in our classrooms:

• Polystyrene blocks and pencils could be used instead of lino for juniors.
• Woodcut printmaking could be a good follow on from linocuts for senior children.
• Parent helpers would be good!
• The teachers went away from the course feeling like they could take this process on with their classes.

Some of their feedback :

• 'Something new I could understand so I could get the kids to have a go and experiment. Coming to this course has given me confidence and a whole lot of different ideas.' Year 1/2 teacher, Prospect School.
• 'Would strongly recommend this course to others.' Deputy Principal working with year 4-8 children, St Joseph's School Otahuhu..
• 'The hands on approach allowed us enough time to experiment and explore.' Year 1 teacher, Henderson School.
• 'I achieved my goals beyond expectation!' Year 1 teacher, Richmond Road School.
• 'Excellent. I couldn't have asked for more. I like the casual, non threatening approach.' Teaching year 1-8, St Joseph's Otahuhu.

Next PLD at Auckland Art Gallery is Learning Through the Creative Process - WIRE FIGURE SCULPTURE on the first Monday of the next school holidays: 30 September, 10am–3pm. Cost: $40

Professional Learning and Development

Search no more! Auckland Art Gallery Professional Learning and Development art making courses are now being offered every school holiday.

Learning Through the Creative Process -

WOODCUT PRINTMAKING

APRIL 2013

Eleven teachers participated in our latest PLD art making course on the first Monday of the term 1 holidays. As for the screen printmaking course earlier in the month, we learnt through the creative process. We began by exploring woodcut prints from our collection in the printroom, with Assistant Curator Mathew Norman, then exploring other examples of woodcut prints from our collection in small groups back in the studio.

Some examples of woodcut prints from our collection: 

Crayfish 1953
May Smith
Auckland Art Gallery Toi o Tāmaki



Kingfishers 1953
Robert Gibbings
Auckland Art Gallery Toi o Tāmaki



Philip Clairmont: Tribute 1984
Nigel Brown
Auckland Art Gallery Toi o Tāmaki



Kowhai 1930s
John Moore
Auckland Art Gallery Toi o Tāmaki

We experimented with woodcut tools and techniques to create a variety of styles and effects, explored and experimented with a selection of design ideas (pattern, animals, text, shapes, portraits, etc) and finally created a design and then a woodcut block for printing.

We inked up the printing blocks, experimenting with colour mixing and texture.

We shared our design ideas, use of colour and cutting techniques.

Some of the work produced:

At the conclusion of the course we discussed:

• how we could implement these new skills and processes in our own classrooms
• how we would adapt the materials, skills and techniques to suit the age level and needs of the children we teach?

How would you teach this process in your classroom?

Useful links:

• Read our blog from the Auckland Art Gallery screen printing course
• View woodcut prints in our collection
• Learn about woodcut tools and where to get them
• Another blog, outlining the woodcut printmaking process

Next PLD at Auckland Art Gallery is Learning Through the Creative Process - LINOCUT printmaking on Monday 15th July