Art Curriculum Guide - Intermediate 1

INTERMEDIATE ART
TEACHING GUIDE
Foreword
The development of an art curriculum

in Newfoundland and Labrador involved a
number of unique considerations. The most
important consideration was that few
educators in this Province have a
background in art education and therefore
may feel neither competent nor confident
teaching art. The program was developed to
meet the needs of art educators and
classroom teachers and to provide a well-
defined, workable, valuable, and enjoyable
intermediate school art education experience
for all.
This guide has been designed to give

teachers every possible assistance in the
teaching of the intermediate art program.
Concepts and activities have been limited in
number; objectives are clearly defined.
Teachers who wish to expand the program
beyond the concepts and activities contained
in this guide are encouraged to do so.
Acknowledgements
The Department of Education would Katie Parnham

like to thank the members of the Junior High Textile Instructor
Art Committee who prepared this guide: Avalon Community College
St. John's Campus
Ian Carr
Teacher Heather Pocius
MacPherson Junior High Teacher
St. John's Gonzaga High School
St. John's
Alex Hickey
Education Consultant, Art Bill Rose
Department of Education Teacher
Memorial University of
Jeanette Laaning Newfoundland
Teacher
St. John's Michael Wotherspoon
Teacher
Colleen Martin-Ward Prince of Wales Collegiate
Teacher St. John's
Holy Heart of Mary Regional High
School Bernadine Kehoe
St. John's Word Processing Operator II
Department of Education
Margie MacDonald
Teacher The Department of Education extends
Gander Academy its appreciation to the Manitoba Department
Gander of Education for the Art Hazards Appendix,
the Glossary, and Introductions to Modules
Heather Moore adopted in whole or in part from the 7-9 Art
Former Education Consultant curriculum guide, 1983 and the Design
Department of Education Elements and Principles section from the K-6
Art curriculum guide, 1983, and also
Mitzi Pappas-Smythe to the Alberta Department of Education for a
Teacher portion of the Evaluation section taken from
MacDonald Drive Junior High the Art, 7, 8, 9 curriculum guide, 1985.
St. John's
ii
The Department of Education would Finally, thanks also go to Louise
also like to thank the following artists and Nugent and Jude White, Instructional
artists' representatives who gave permission Materials Section, Department of Education;
to photograph and duplicate their work, and Pat Grattan and Staff, Memorial University
in some cases lent original transparencies for Art Gallery, with special thanks to Bryan
duplication: Anne Meredith Barry, Martin Murphy; Susan Campbell, National Gallery
Barter, Louise Belbin, Bruno Bobak, Gerard of Canada; Fay van Horne, Art Gallery of
Brander a Brandis, Jennifer Browne, Sid Ontario; Don Peckham, Department of
Butt, Martha Cahen-Egglefield, Dik Public Works; Emma Butler, Spurrell
Campbell, Joe Carter, Evelyn Chaffey, Gallery; Christina Parker, Contemporary
Donna Clouston, Wendy Coombs, Mary M. graphics; and Debbie Petite, art
Craig, Marlene Creates, Greg Curnoe, Diana dealer/consultant, Royal Ontario Museum,
Dabinett, Alistair Drysdale, Kosso Eloul, Joe Newfoundland Museum, Dartmouth
Fafard, Murray Favro, Keith Fillier, Conrad Heritage Museum and DesBrisay Museum.
Furey, Nancy Graves, Patricia and Earl
Green, Maureen Greene, Scott Goudie, Pam All efforts have been made to ensure
Hall, Gilbert Hays, Patricia Holland, Ilse accurracy, however, we recognize that errors
Hughes, Miranda Jones, Denis Juneau, Jacob and omissions can be made. If proper credit
Kennedy, Kathleen Knowling, Marilyn is not given, please contact the Department
Koop, Frank Lapointe, Jean Paul Lemieux, of Education, Division of Program
Colleen Lynch, Ray Mackie, Colin Macnee, Development.
Jack Mahaney, Shelly McCoy, Margie
McDonald, Dawn McNutt, Bridgette
Meaney, David Milne, Stewart
Montgomerie, John Morris, Emily Mussells,
Toni Onley, Danielle Ouellet, Katie Parnham,
Paul Parsons, Alfred Pellan, Mavis Penney,
Rae Perlin, Julia Pickard, Heahter Pocius,
Suzie Pottle, William Ritchie, Bill Rose, W.
Ryan, Henry Saxe, Bunty Severs, John
Sharpe, Michael Snow, Sarah Spence,
Shawn Steffler, Suzanne Swannie, David
Thauberger, Jacques de Tonnancour, Harold
Town, Sharon Trueman, Janice Udell,
Anthony White - deceased, Jon Wilkinson,
William J. Williams, Susan Wood, Don
Wright, and Israel Young.
iii
Table of Contents
Introduction / 1 Slide Overviews / 194

Projects / 214
Art and the Adolescent / 2
Appendix A: Organizing the
Objectives / 5 Classroom / 222
Appendix B: Design Elements and
Teaching the Program / 7 Principles / 224
Appendix C: Glossary / 230
Topics and Themes / 9 Appendix D: Art Hazards / 240
Evaluation / 15
Drawing Module
Introduction / 18
Slide Overview / 20
Projects / 41
Painting Module
Introduction / 53
Slide Overviews /56
Projects / 76
Sculpture Module
Introduction /88
Slide Overviews / 91
Projects / 112
Printmaking Module
Introduction / 124
Projects / 146
Folk Art Module

Introduction / 156
Projects / 179
Fibre Art Module

Introduction / 192
Introduction
Art is a way of visually the adolescent student. The art program

communicating thoughts and feelings. Art should also provide situations in which
works reflect the artist's experience and students have the opportunity to talk about
responses to life. Student art work must also art and the environment.
be a reflection of students' concerns and
interests. Art work which communicates Art instructors must balance
effectively, exhibits visual organization. structured guidance in skill development
Knowledge of and experience with design, with an understanding of adolescent
media and subject matter all contribute to behaviour and an appreciation for the
effective visual communication. Student art imagery preferred by this age group.
work can only be as effective as their Planning a variety of approaches to visual
preparation in these three areas. problems and considering methods of
motivating students and instilling excitement
In the middle years, adolescents into the art program will enhance the art
become more socially aware. Peer group experience for all. Above all, once the
pressures and societal values are examined groundwork is laid, art teachers must trust in
and questioned. It is therefore essential that the most useful resource available to them -
adolescents deal with visual stimuli familiar the students themselves - a give them the
to them in the context of today's society, opportunity to explore, to discover, and to
since these can influence the formation of share their knowledge.
their attitudes and behaviour.
For the adolescent, art is no longer

the spontaneous and free form of expression
that it is for the younger child. Middle years
students are often critical of their technical
abilities. In order to provide students with
the tools to develop greater self-confidence
and more mature self-evaluation, the middle
years art program should allow for growth in
design knowledge and skills with art media,
as well as extensive explorations of subject
matter.
To foster creativity in the middle

years, the art program should provide
problem-solving situations that encourage
students to use their imaginations. These
problem solving situations should start with
topics that are of relevance and interest to
Art and the Adolescent
The young adolescent is at a stage of substantial amount of relevant contemporary

great conflict. There are emotional and material must be included in the content of
physical changes to deal with and social the art program. Where possible,
concerns which create tensions and comparisons may be made between
pressures. Although these young people are contemporary art and historical works. The
growing into adults, they remain in a state of emphasis must not be on the student's art
dependency. Adolescents are often confused product but on the whole art process.
about their role and search for models to
emulate. Young people have a vast The specific developmental needs of
assortment of new emotions which they need the adolescent addressed by art education are
to address and express. discussed in the following pages.
This is a critical period of artistic Physical Development

development. In many intermediate school
programs, the emphasis has been on the Through media work, art provides
production of art rather than on the the opportunity for physical as well as mental
development of artistic attitudes. Adolescent activity. Studio work provides relief from
are insecure about their art; it often appears academic pursuits in art and in other subject
childish to them. Adolescents struggle to areas. Since the creation of art works
achieve the technical heights of depend upon the manipulation of materials,
representational art and being unable to the importance of developing specific art
attain them, they sometimes give up. Their skills cannot be overstressed. It is during the
drawings begin to tighten up, becoming less period of early adolescence that students
spontaneous, smaller, and/or more detailed. must develop studio competence. If
Often adolescents opt for a geometric, adolescent students cannot accomplish what
abstract form of art in the belief that good they perceive to be good art, they usually
and bad are more difficult to gauge. In fact, become discouraged and abandon art
this means they are becoming further making.
removed from their major interest, self-
identification.
Emotional Development
The most useful approach to dealing
The adolescent's emotional confusion
with art in the intermediate school is to teach
must be addressed in the classroom. The
students to approach art works as vehicles of
structure of the art curriculum is such that
expression. Art provides models of human
students are constantly dealing with their
experience which must be perceived,
own emotions and the emotions of others.
analyzed, interpreted, and evaluated. The
All art works carry emotional import. The
individuality, originality, and emotional
development of self-confidence in verbal
expressiveness of the artist/student-artist is
expression is promoted through emphasis on
of great interest to adolescents. A
the use of discussion in a high percentage of Before students begin the studio
class time. portion of a project they must have input.
Art cannot be created in a vacuum. The
A strong art program addresses many students have a lot of information to
of the emotional needs of the adolescent. organize before deciding on the approach
For instance, because creating involves they wish to take in creating their art work.
making choices and decisions, it promotes They must know the characteristics and
independence and self-confidence. Through possibilities of a medium, use the medium,
discussion, expression, and individual know about visual design, know how some
approaches to problem solving, students artists have worked with similar knowledge,
exercise their capacity for independent and explore their own attitudes towards the
thinking. They make their own judgment subject matter. The latter requires a good
and become more capable of moving away deal of soul searching and self-analysis.
from group conformity and dependence on
peers. Sensitivity to individual differences Subject matter should always be
and acceptance of them is developed. A relevant to the student. Potential subjects
healthy art program can help students are endless. Any subject is worthy of
explore new emotions and develop the ability exploration as long as it is explored indepth.
to think reflectively. Student interests must be considered when
planning the year's art experiences. The
Students are provided with the opportunity to explore alternate topics or
opportunity to stretch their imaginations issues indepth can be provided at the
through concrete, relevant problem solving. teacher's discretion. Flexibility is important
Through exploring the emotional source of in the program.
their actions and inclinations, students learn
to know and accept their individual identity. A wide range of student abilities and
interests can be accommodated well in art.
Cognitive Development Ability levels of individuals will vary widely.
However, each person is assured of some
Many people who are not involved in measure of success. In terms of group
the visual arts find it difficult to recognize sharing, it is possible for every students to
the cognitive component of art making and make valuable contributions and to have
art appreciation. This problem might be those contributions acknowledged. Each
solved if people were aware of the process of person is unique and every single point of
creation and criticism in the art room. view and new way of seeing everyday things
should be appreciated and fostered.
The teacher sets a visual problem for Whatever the art experience, the most
the student group. No matter what visual important evaluation will be internal, not
problem is set, students must work within external.
certain limitations. These may be limitations
of subject matter or medium (material) or To be successful at this stage, the art
both. The difference between art and other program must be based in the concrete. As
subjects is that the solution will be unique. pointed out before, specific art skills must be
Individuality is encouraged in the art taught if the students are not to lose
classroom. confidence in their art ability. Creative
freedom must not be confused with However, the art program supports
"anything goes". Structure and organization the student's social development in another
are important in the art curriculum. sense too. It provides an opportunity for
students to socialize within the class group.
Moral Development Through group projects and group
discussions, the ability to communicate, to
Art provides the opportunity to summarize, and to appreciate individual
question values in a non-threatening points of view are fostered. In art, students
atmosphere. Through class interaction, are not in competition with each other.
students exchange ideas, reevaluate their Achievement is measured through self-
positions and those of others, and finally improvement.
make their own decisions about their
personal approach. Then they have the
opportunity to express their position in their
art.
Social Development
Art reflects culture. Through art
over time, students can see how attitudes
and concerns of various societies change.
Objectives
The intermediate art program is a objectives of that experience. However, they

studio program. Its main objective is to have deserve mention and some of them are noted
students make art - art which communicates below.
their intentions. To be successful, students
must be prepared in the areas of subject A strong visual arts program:
matter, design, media, and techniques.
Preparatory experiences in these areas are ! develops visual awareness and
strongly emphasized. To reinforce and sensitivity to visual ordering in art and
extend learning, verbal discussion at all the environment.
stages of the process is emphasized. In order
to effectively communicate in the art, ! promotes autonomy. Through
students will be expected to: discussion, expression, and individual
approaches to problem solving,
! analyze and discuss art works in terms students exercise independent thinking,
of subject matter, design, medium, making decisions, interpreting, judging,
techniques and mood, using appropriate and moving away from group
art vocabulary. conformity and dependence on peers.
! critically analyze and support one's ! promotes sensitivity to others and to

personal response to art works. differences among people.
! explore subject matter. ! provides opportunities for social

interaction and cooperation.
! differentiate characteristics and
techniques of a variety of media and to ! provides the potential to explore new
experiment with them. emotions and to develop reflective
qualities.
! integrate knowledge and experience of
subject matter, medium, and design in ! provides the opportunity of achieving a
the creation of art works. clearer and more positive self-image.
! summarize and appraise the art ! permits individuals to respond at their

experience as a group by looking at and own cognitive, emotional, and social
discussing students' work and the levels and to experience success.
process.
! provides opportunities to make indepth
Intellectual, physical, social, and studies of pertinent topics or issues.
emotional development are a part of art
activity. The full implications of a sound art ! promotes students' communication and
experience cannot possibly be listed as summarizing skills.
! provides the opportunities to question
values in a non-threatening
environment.
! provides the opportunity for physical

activity and the opportunity to develop
specific art skills.
Teaching the Program
An art experience must never be ! Explore and experiment with the

rushed. Sufficient time must be permitted medium of the session (if it is new or
for planning, organizing, elaboration, being used in a new way). Although
execution of the work, presentation, and specific activities are sometimes
discussion of student thoughts and ideas. suggested, the intention is that students
and teachers work together to discover
It is suggested that classes attempt to the characteristics and limitations of
deal with only six projects in every module. various media. That is why it is a good
The completion of each project will entail idea to post samples of the experiments
viewing and discussing recommended slides, and discuss the results. All the students
experimenting with media and techniques, will have the opportunity to share their
learning about design elements and findings and learn from the experience
principles, creating the art work, exhibiting of others.
the results and reviewing the whole process
from beginning to end. These steps are ! Explore the theme of the session
described below: through observation, discussion, and
even research, if appropriate. Six major
! View and discuss prescribed art themes (people, the built environment,
works in terms of subject matter, the natural environment, activities,
medium (materials), techniques, design, animals, and mechanical objects)
and the student's individual response to provide an abundance and variety of
the work. An overview sheet to potential subject matter. Themes are
accompany each slide is found in the listed in the next session of this guide.
appropriate module section of this In each module, some new aspect or
guide. The overview sheet gives the subtopic of each major theme may be
artist's name, title of work, medium, explored. Verbal exchange of ideas is
size, date, and credit line. It also very important at this stage.
includes discussion starters oriented
toward subject matter, design, ! Create an artwork based on the theme
techniques, and mood. Teachers should and using the medium of the session.
ask questions to elicit this type of At least one-third to one-half of the
information rather than supply the time allotted to each project should be
information directly. The ensuring spent on the studio portion. Students
discussion may take many directions should be permitted time to work
not accounted for in this publication. without interference unless they
This is to be expected and should be encounter some difficulty.
encouraged. The overview sheet
sometimes provides an artist's comment
on the work. Besides adding technical
information, these often provide
interesting and insightful views of the artist
as a person.
! Exhibit and discuss (critique) as a
group the students' art work in terms of
the student's intentions and the results.
Students may be asked to point out

things they like in their own work, things
they discovered, problems they encountered,
and things they would change. Every work
will have some positive aspects and other
students will gladly contribute what they like
about the work and ways they solved
problems. The discussion will provide
opportunity for students to summarize the
whole experience, and to share it and learn
from the experiences of others.
Topics and Themes
When a topic has been ! Discussion. As a group discuss the

identified, the teacher must assume that all object or event. This reinforces the
students' prior exposure to the topic will not seeing and activates students to see
be equal. Some students' experience will be things they might have missed. Discuss
extremely limited; others's will be very ideas. Share information. Share points
extensive. It is important that all have the of view.
broadest knowledge and understanding of
the topic as possible, even allowing for the ! Comparison. Discuss how objects are
limitations of classrooms time. The general similar or different. Compare visual
idea of allowing time for the exploration of a components. Compare materials.
topic is to permit the student to turn the Compare functions. Compare student
subject inside out, to explore every angle, reactions.
and to discover previously unknown facets
of the topic and its personal relevance to the ! Looking for New Points of View. Use
student. The broadening of the student's two L-shaped pieces of cardboard to
concept of the topic gives the student more make an adjustable viewing frame.
flexibility in approaching and creating art. Zoom in on small areas of large objects.
Find interesting compositions. Instead
One does not have to follow a of concentrating on small portions of
set formula in exploring topics. Listed below whole objects, look at whole large
are a number of possible approaches. shapes. Record both kinds of looking.
Look at objects from new angles. What
! Observation. Whenever possible, does a bicycle look like from the back?
observe the object(s) or event(s) From above? Look inside objects.
directly. It is important to allow What makes them tick?
sufficient time for this. Look for
major visual components: line, shape, ! Learning by Doing. Participate in
colour, texture, and value. These are events. Dramatize events. Manipulate
the elements of design. Look for the objects. Find out how they work, how
organization of the visual they feel. Go on field trips. Explore,
components: areas of emphasis, experiment, ask questions, and discover
contrast, repetition, rhythm, new things.
movement. These are the principles
of design. Look for relation of size,
length, thickness, angle, etc. Look ! Collecting and Displaying. Collect
for mood and atmosphere. Look for objects of visual and tactile interest.
environments. What's happening Collect and display objects for a theme.
around the main object(s) or Display student art work in the
event(s)? What is the relation classroom, around the school, in public
between object and environment?
buildings. Over the years, slowly build Describe the design elements of an
a collection of interesting objects which object/art work which is hidden from the
may be used in still lifes or for studies. group. Do not name the item or part of it.
Such objects may include bottles, old or See if students can guess the object.
broken implements, ropes, bowls, Specific rules of what may or may not be
shells, feathers, bones, driftwood, included in descriptions may be decided
fabrics, gourds, fishing gear, and so on. upon beforehand by the group.
Eventually there will be a wide variety
of shapes, sizes, textures, and colours ! Image. Ask "What If"? What if the
for students to study, observe, and scale were changed? What if we have
incorporate into works. x-ray vision? What if we painted with
something other than a paintbrush?
! Recording. Students must keep a What if the light came from below?
sketchbook. They can record things What if objects had a new surface (e.g.,
they see, ideas they have, glue in things a teacup made of fur)? What if....?
that interest them. Teachers are
encouraged to do the same thing. The following themes provide a number of
possible topics as subject matter.
! Using Resources. Look at a variety of
visual resources - slides, films,
videotapes, filmstrips, magazine
photographs, books. Use the library.
Research books for information.
! Playing Games. Check the group's

visual memory. Study an object/art
work for a minute or so. Hide the
object/art work and describe it in detail.
Draw the object. Look at the object
again briefly. Complete the drawing.
People The Build Environment
At rest - sitting, lying down, leaning ... Building exteriors - public building (e.g.,
church, school, fire station, town hall,
In motion - running, jumping, throwing, library, store), industrial buildings, historical
marching, dancing, swaying, waving, buildings, buildings in decay, private houses
clapping ... ...
In costume - ethnic costume, work clothes, Building interiors - personal spaces (e.g.,
dress-up clothes, assorted clothing and student's room at home, study space, hiding
accessories (e.g., goggles, floppy hat, rubber space), shared shapes (e.g., classroom, art
boots, bangles, umbrellas ... room, clubhouse), public spaces (grocery
store, library, art gallery, local hangout,
Particular people - family members, friends, theatre, restaurant,
community workers, children, elderly people, airport) ...
rock/movie stars, heroes, favourite people ...
Portions of buildings - doors, windows,
At school - in the cafeteria, at the school roofs, chimneys, mailboxes, street numbers
dance, on the school grounds, in science ...
class, at an assembly, in the gym, waiting for
the bus ... Contents viewed through open doors - art
cupboard, kitchen cupboard, closet, battered
Emotions - anger, fear, happiness, hate, van ...
intolerance, friendliness, hypocrisy,
loneliness, justice ... Community layout - the community as seen
from above, area maps, street scenes,
Other ______________________________ personal walking routes ...
____________________________________
____________________________________ Fantasy - a familiar building relocated to an
____________________________________ unusual site, a new building on an old site, a
space colony, exotic architecture ...
Signs and symbols - trademarks, business

signs, traffic signs ...
Other ______________________________
____________________________________
____________________________________
____________________________________
The Natural Environment Activities
Scapes - landscapes, seascapes, fantasy Working - jobs at home, helping out in the
scapes, sky scapes ... community, holding a part-time job, baby-
sitting ...
Atmosphere - windy, story, hot, cold, foggy,
calm, morning, noon, night, seasons ... Playing - roller skating, ice-skating, sliding,
skiing, skidooing, hockey, football,
Sounds - wind, rain, hail, running water, broomball, basketball, running,
thunder ... skateboarding.
Water - the ocean, rivers, ponds, waterfalls, Relaxing - fishing, berry-picking, picnicking,
puddles ... travelling, shopping, after school, hanging
out ...
Trees - shapes, sizes, in seasons ...
Events - parade, circus, fair, garden party,
Wild and domestic plant life - flowers, lichen, rock concert, festival, school dance ...
seeds, pods, cones ...
Making music - playing an instrument, the
Objects from the natural environment - orchestra, performers, choirs ...
shells, rocks, sea urchins, plants, devil's
purse, driftwood, nests, hives, cocoons, kelp Other ______________________________
... ____________________________________
____________________________________
Skeletal objects - bones, skulls ... ____________________________________
Fruits and vegetables - whole and cut
Other ______________________________
____________________________________
____________________________________
____________________________________
Animals Designed Objects
In the natural environment - moose, rabbits, Transportation on wheels - cycles (bicycles,

animals in camouflage ... tricycles, motorcycles), automobiles (vans,
cars, trucks, jeeps, battered vehicles, shiny
In captivity - birdcages, zoo, circus ... new vehicles, cement mixers, plows), trains,
baby carriages, roller skates ...
Underwater creatures
Transportation on water - ferries, trawlers,
Exotic creatures dories, sailboats, wind surfboards ...
Fantasy creatures - monsters, Transportation in air - jets, seaplanes,

amalgams ... helicopters, parachutes, hot air balloons ...
Work animals Machines - typewriters, telephones, stereos,

computers ...
Creatures with strong design elements -
butterflies, insects, birds, fish Furniture - chairs, (stools, office chairs,
stackable chairs, lounging chairs, lawn
Other ______________________________ furniture ...
____________________________________
____________________________________ Musical instruments - clarinets, flutes,
____________________________________ guitars, violins, accordions, trumpets,
trombones ...
Carpentry tools - hammers, saws, wrenches

...
Collection of objects - the contents of locker,

purse, treasure box ...
Toys and games
Kites
Inside mechanisms of clocks, watches, radios

...
Inventions
Letter and number forms
Masks
Clothing
Transformation/metamorphosis can also be
an excellent starting point. Any subject can
be explored through its change over time.
Other ______________________________
____________________________________
____________________________________
____________________________________
Evaluation
Clearly stated methods of evaluation is made. Summative evaluation

evaluation are an advantage to the art should take into account information
teacher. They give clear guidelines to gathered in the formative process.
students about their performance, allow Summative evaluation should also result in
administrators to see the way the program feedback to the student. This type of
functions, and allow parents to understand evaluation should be done as consistently
the criteria for assessment of their child's and systematically as possible.
progress.
The forms of evaluation
A concept-based, sequential mentioned here will help to convey the
art program facilitates evaluation. impression that progress in art depends on
Evaluation is the assessment of student students' learning experience rather than
progress in relation to stated objectives. innate ability and that it is possible to
Learning is being evaluated, not art products. evaluate art in a systematic way. They are
Although art works certainly contain most effective when a range of methods are
evidence of learning, it is important to assess used and when a substantial amount of
the actual achievement demonstrated by the evaluative information is available for every
product rather than to assess the product student. The essential element in effective
itself. Evaluation criteria and approaches evaluation is the clear definition of
provided with the objectives and concept objectives and establishment of criteria.
statements in this guide should help teachers Students should understand the terms of
make assessment son the basis of stated such criteria and the reasons for activities so
objectives. They provide strategies for both that they know what is expected.
formative and summative evaluation.
Knowledge and Skills to be
Formative evaluation is
ongoing, and allows the teacher to evaluate
Evaluated
student performance while learning is taking
This teaching guide contains
place. This aspect of evaluation is
general goals for the program and objectives
particularly important in art because the
for each module project. Teachers should
evaluation criteria for many objectives and
evaluate student progress on the basis of the
concepts involve observation of student
involvement, recognition and understanding objectives through the concepts being
in discussions, group and individual projects presented. Students' entering readiness and
their progress should be taken into
and presentations. Observations of these
consideration.
situations allow the teacher to assess
students and to suggest measures or correct
understanding before the final (summative) Art Appreciation
The ability to analyze (i.e., Portfolios
identify, describe, explain, interpret) art in
terms of subject matter, design, media These are examples of student
techniques, and mood in appropriate art work selected over the length of the term or
terms. period of evaluation. The teacher can
The ability to express a
judgement of art, to express one's personal
response and the reasons for it and to accept
and respect opinions that differ from one's
own.
Making Art
The ability to apply

knowledge of subject matter, design, media,
techniques, and mood to the creation of art.
Creative Activity
The ability to express

qualities, to be fluent and flexible, to use
original approaches, to exercise independent
judgement, to express unique ideas.
Work Habits
The ability to concentrate, to

give all in effort, to persevere, carry work to
completion, to work independently, to follow
instructions, to make decisions.
Attitudes
Cooperation, consideration of
others, initiative, respect for materials and
environment, enthusiasm, acceptance of
criticism (positive and negative), weighing
the suggestions of others before accepting or
rejecting them, enjoyment in trying
something new, not destroying unsuccessful
attempts, experimenting freely and without
fear.
Suggested Methods of
Evaluation
examine work for progress in the application and a well-developed art vocabulary is
of design concepts and in the refinement of important to art appreciation. These aspects
expressive skills. of the program are best assessed through
written assessment and oral presentation;
Journal/Sketchbook teachers should not hesitate to use these
Daily written entries, methods merely because they are not
drawings or collections of interest items will traditionally considered to be art evaluation
give insight into how the student is methods.
processing what is happening in the
classroom. With the students consent, the Studio Projects
teacher should read entries to determine
whether major objectives are being met or With each module a number
whether misconceptions are occurring. of projects are suggested. This studio
experience should be used to determine what
Anecdotal Records concepts and skills have been learned from
the immediate experiences leading up to it.
Teachers may keep charts, Prior learning experiences should also be
checklists, brief notes on students' work visible in these. A balance must be struck
habits, attitudes, understanding, contribution between process and product in these
to discussions, and application of projects.
information. Such notes are valuable
formative evaluation tools. Tests
Self-Evaluation Reports Written tests, quizzes, and

recognition tests are appropriate for many of
This provides an opportunity the concepts described in this guide.
for students to examine their own progress
and analyze their own strengths and For more detailed information
weaknesses. on evaluation, see:
Teacher-Student Conferences The Evaluation of Students in the

Classroom, A Handbook and Policy Guide.
These provide the The Division of Evaluation, Department of
opportunity to focus on the individual. Education, Government of Newfoundland
These should be relaxed, structured, student and Labrador, 1990.
focused, non-judgemental, and well planned.
Written Assignments and Oral

Presentations
This program contains many

instances where these forms of evaluation are
appropriate. Discussion and research skills
are an important part of the program.
Language is important to learning about art,
Drawing Module
Introduction
Drawing is the basic language of art. Sculptors, printmakers,
painters, architects and clothing designers use drawing to
communicate their basic ideas. Other artists and designers use
pencils or pens to doodle, write visual notes, express thoughts, and
otherwise communicate with their fellow workers. Drawing is
basic to visual communication. It is also a function of the artist
that never stops, no matter what degree of excellence artists
achieve. It is their main method of visual communication.1
Drawing is possibly the oldest, most spontaneous and immediate mode of human
expression, and as such deserves to be encouraged and developed as fully as possible from an
early age. For the beginning student, drawing provides a means of describing or recording
observed phenomena; it acts as a tool in preliminary planning for artistic expression, stimulates
creative thinking, develops sensitivity to art elements and principles, sharpens sensory
impressions, and trains visual memory.
Drawings can be an end in themselves or they can be related to other areas of art.
Many artists working in other media find it convenient to use preliminary sketches to give the
first graphic representation of an idea.
Approached traditionally, drawing stresses seeing, understanding, and interpreting

the environment. As Kimon Nicholaides states:
Learning to draw is really a matter of learning to see ... to see

correctly ... and that means a good deal more than merely looking
with the eye. The sort of "seeing" ... is an observation that utilizes
as many of the five senses as can reach through the eye at one
time.2
A student's growth in drawing depends on his or her ability to perceive keenly and
selectively, to clarify, to transform experiences, ideas and feeling, and to develop and refine
motor control.
___________________________
1
Gerald F. Brommer, Drawing, Pref. (Worcester, Mass.: Davis, 1978), p. 6.
2
Kimon Nicholaides, The Natural Way to Draw. (Boston: Houghton Mifflin, 1969), p. 5.
18
Drawing Slides
DR 1 Jacques de Tonnancour/Femme assise
DR 2 Rae Perlin/Cheval
DR 3 Colin Macnee/Bicycle
DR 4 Sylvia Bendza/Lady from Brigus
DR 5 Mavis Penney/Clown
DR 6 Rae Perlin/Still Life
DR 7 Bertram Brooker/Duet I:17
DR 8 Kenojouak/drawing for the print The Owl

DR 9 Janice Udell/Goodnight, Hotdog, Goodnight
Dr 10 Miranda Jones/Elsie B #2
DR 11 Marilyn Koop/The Diver

DR 12 Bill Rose/Self-Portrait
DR 13 Bruno Bobak/Alders
DR 14 Dik Campbell/Self-Portrait
DR 15 L.L. Fitzgerald/Still Life with Reflector

DR 16 Susan Wood/Shells, Stones in Devil's Purse
DR 17 Colleen Lunch/Rock in Pocket #1
DR 18 Ilse Hughes/Cochrane Street United Church

DR 19 David Milne/Porch of Summer Camp
DR 20 Oscar Cahen/Untitled
19
DR 1
Artist: Jacques de Tonnancour

Title: Femme assise
Medium: Pen and black ink on woven paper
Size: 60.85 cm x 45.65 cm
Date: 1944
Location: The National Gallery of Canada, Ottawa
DISCUSSION STARTERS
Subject Matter A woman is seated on a sofa, leaning on a pillow, her head resting in her
right hand, the left hand resting in her lap, looking directly at the viewer.
Her pupils are the largest solid black area of the drawing.
Design Lines: Are thick, wispy, noncontinuous, and curvilinear rather than
angular. They suggest outline but are too free flowing to be absolutely
descriptive.
Emphasis: Attention is drawn immediately to the face (the eyes) by the
contrast in the application of the medium.
Techniques The artist used pen and ink in a very linear fashion. He chose the lines
that were absolutely essential. There are no extras. The lines are mostly
contours (edges). There is no variety in the weight of line. There is very
little reference to texture or surface.
Mood Quiet, sedate, soft.
Notes:
20
DR 2
Artist: Rae Perlin

Title: Cheval
Medium: Pencil
Size: 12.7 cm x 15.3 cm
Date: 1954
Location: The Department of Public Works
DISCUSSION STARTERS
Subject Matters A horse is grazing with its neck bent towards the grass. The hooves and
head are not clearly defined. The horse is placed slightly left of centre and
its nose touches the left edge of the paper. The negative space at the right
of the page is lightly but evenly toned with pencil.
Design Volume: The artist has varied the value to indicate volume. She retained
white highlights, medium value on the side, and dark shadows on the
underside.
Texture: The actual texture of the paper is evident in the drawing.
Line and Space: Graceful lines reinforce some contours of the horse.
They also serve to bring those areas forward in space because they are so
dark. Notice the head of the horse. Because it is so light in value, it
remains in the background.
Balance: Asymmetrical. Does the image sit comfortably within the
frame?
Techniques The artist used the side of the pencil tip to apply tone broadly and quickly.
She worked quickly and loosely, producing a sense of the whole animal
rather than a detailed drawing. She concerned herself with the large
shapes. She used the point of the pencil to emphasize some parts. All her
lines are gentle and curving. She also incorporated the rough texture of
the paper surface. There are white parts remaining (even in the toned
areas) that keep the drawing light, fresh, and sparkling.
Mood Quiet, gentle, and elegant because of the soft curving lines and because of
the economy of line in this image.
Notes:
21
DR 3
Artist: Colin Macnee

Title: Bicycle
Medium: Pencil
Size: 44.5 cm x 61 cm
Date: n.d.
Location: Memorial University Art Gallery
DISCUSSION STARTERS
Subject Matter A bicycle is shown from more than one point of view. Something is
draped over the bicycle in each view. The bicycle is old; it has a twisted
wheel. Some very light lines appear on the surface as if the artist had
begun drawing the bicycle there, but they remain incomplete. There are
smudges and blots of yellow paint on the paper surface.
Design Composition: Most activity (drawing marks) occurs in the upper portion
of the drawing.
Emphasis: Created by strong contrast: e.g., explicit detail and vague
marks, light value and dark value.
Balance: Asymmetrical. The artist used colour (yellow) in the negative
space to balance the detailed drawing in the positive space.
Techniques The artist used the pencil several ways to make a variety of marks (light
and dark, point and side, lyrical and descriptive, specific, incomplete,
etc.). He textured, or marked, the surface with yellow paint and smudges.
Do you think it might be easier to begin a drawing on a surface that has
received some arbitrary marks rather than on a clean white sheet of paper?
Why or why not? The underdrawing (preparatory drawing) is still visible.
The artist guides our eyes to areas by using a lot of detail. Is it necessary
to fill in every single visual detail of an object to make a drawing
complete?
Mood The artist does not feel it is necessary to explain everything. He leaves a
lot for the viewer to think about and interpret. His drawing is somewhat
like a poem in which some thoughts are expressed while others are left to
the imagination of the viewer.
22
ARTIST'S COMMENTS
This drawing for me is very much a monument to a whole phase of my work at art school and
represents the bizarre complexity of activity I go through in a struggle to achieve something quite
beyond my reach. The "Cycle" carried like some broken down, half machine, half pregnant cow,
the remnants of a ghastly mess of "stuff" (which had been a sculptural piece I was working on up
to them). Having been requested to draw this contemptible thing which had nearly killed several
students with its barbed wire and heavy metal grid, I squashed it and banged it into shape and
strapped it to my dilapidated bicycle, now incapacitated insofar as steering and movement went,
and drove through the centre of town. Once back at my house I brought this heap into the front
room amongst congenially-disintegrating-and-obliging-to-be-leaned-against furniture. There I
sat staring at this lamentable terrible thing. In the peaceful stale atmosphere of the front room,
with the slow regular sound of the muffled rumble of buses, and the occasional human voice
going by, I sat with a strange new life acquired on a turn of the "Cycle".
Notes:
23
DR 4
Artist: Sylvia Bendzsa

Title: Lady from Brigus
Medium: Pencil on Paper
Size: 66 cm x 88.9 cm
Date: 1984
Location: The Department of Education
DISCUSSION STARTERS
Subject Matter An older woman dressed in a fur coat looks off to the side. A
disconnected window with a hint of clapboard appears behind and slightly
to the right of the woman. Two children appear in the window. Even
though the drawing is representational, it has a dreamlike quality. The
viewer is unsure of the location or space. The image emerges gradually
from the frame of the drawing (apparently dissolving at the edges). There
is a gradation of value.
Design Space: The space is not clearly defined but there is a readily apparent
foreground, middle, and background.
Shapes: Edges are not indicated by outlines, but rather by a dramatic
change of value (note fence). See also L.L. Fitzgerald (DR 15).
Texture: Soft, because of the use of fine lines and gradual changes of
value within objects.
Techniques The artist used hatching to give a gradation of value. Where many lines
are placed close together the value is dark. The opposite is also true.
Mood Mysterious, dreamlike, calm because of the soft even application of

medium and unusual subject matter.
Notes:
24
DR 5
Artist: Mavis Penney

Title: Clown
Medium: Graphite
Size: 51 cm x 66 cm
Date: 1975
Location: Collection of the artist
DISCUSSION STARTERS
Subject Matter A portrait of a smiling clown. He has a round nose, dark cheeks, and large
fluffy ears or hair. No fine details are apparent. The drawing is
predominantly dark, with light accents. There is a stroke repeated
throughout the image.
Design Shapes: Edges are not clearly defined. The negative shapes (see behind
the ear) are interesting even though they represent unoccupied space.
Composition: The image is placed slightly left of centre. It fills the frame
and even runs off it.
Techniques The marks are vigorous and repeated. An eraser was used to create light
areas in the dark.
Mood Active, vigorous, alive. These are qualities we usually associate with
clowns.
ARTIST'S COMMENTS
The way I draw the Clown is more like painting than drawing with a pencil. I used a stick of soft
graphite, textured paper and three different erasers, each softer than the next. I used the erasers
not to remove the marks I made, but to spread the graphite around the paper. I find that the
technique gives a high contrast between lights and darks, and that the eraser marks have the
quality of brush strokes.
Notes:
25
DR 6
Artist: Rae Perlin

Title: Still Life
Medium: Charcoal
Size: Approximately 50.8 cm x 30.5 cm
Date: Between 1957-1959
DISCUSSION STARTERS
Subject Matters A still life arrangement of a vase with some grasses or reeds in it and a
glass. There is a table surface with perhaps a window behind. Nothing is
absolutely clear or representational. The picture is quite dark and smudgy
in some places.
Design Shapes: Shapes are mostly geometric and not necessarily representational.
Look at the upper left shoulder of the vase. Shapes are not usually defined
by line but by one value of charcoal meeting another.
Line: Line is the darkest value in this drawing. Many of the lines are soft
and curving. Sometimes line confirms edges or contours, but other times
it connects positive and negative shapes, interweaving them.
Texture: The texture of the paper is evident. Where the charcoal has not
touched the surface of the paper, the paper colour is evident.
Techniques The artist used the charcoal quickly and spontaneously, sometimes using
its side, sometimes its point.
Mood The work is an abstraction of real objects in a space. The artist arranges
and rearranges forms and space in her design.
ARTIST'S COMMENTS
Looking back at this is possibly 1950-s period in Paris, the studios we worked in, where mostly
we had models, the instructor often would set up still life, or allow us to arrange our own
compositions. There were no rules, and a visiting instructor took us "as we were" and in
accordance with whatever medium. I add only that I loved and still do the graphite medium,
particularly charcoal and/or soft conté - because one can feel the contrast of dark and light and
work as freely as we like.
Notes:
26
DR 7
Artist: Bertram Brooker

Title: Duet I:17
Medium: Ink drawing on paper
Size: 28.6 cm x 36.8 cm
Date: 1931
Location: Art Gallery of Ontario
Gift from the McLean Foundation, 1964
DISCUSSION STARTERS
Subject Matter A strong diagonal curving white shape. Organic twisting, turning shapes
with changing dimensions alternating with vertical bands of graded
values.
Design Movement: The bands form lines along which the eye moves quickly.
Contrast: Organic versus geometric, black versus white.
Space: The black is seen as infinite space, but the vertical bands stops the
eye from going back into it. The vertical bands appear to be behind the
white and organic bands because they are interrupted and therefore
perceived as overlapped.
Techniques Some areas of the ink appear to have been applied very broadly and flatly.
These were probably brushed on. Finer details would have required a pen.
Look again. Black lines on white? White lines on black?
Mood Playful, because of the apparent twisting and turning in space. The work
is not representational, but there is a definite feeling of movement in
space.
Notes:
27
DR 8
Artist: Kenojouak
Title: Drawing for the print, The Owl
Medium: Felt-tip pen on woven paper
Size: 45.5 cm x 61.1 cm
Date: c. 1969
Location: The National Gallery of Canada, Ottawa
Gift of Mr. M.F. Feheley, Toronto, 1984
DISCUSSION STARTERS
Subject Matter A bird whose feathers are spread around its head and chest. Its pointed
ears reach the upper corners of the drawing. The owl is stylized rather
than realistic.
Design Shapes: Shapes are generally rounded although some come to a point.
Many points end up neatly in or near corners. The total bird image is
designed to fill and in many ways to define the rectangular shape.
Pattern: Shapes are repeated and give a rhythm. Concentric circles are
suggested by the colours radiating from the head. The artist does not do
this absolutely evenly and thus variety is created. Tail and talons have the
same effect - variety.
Colours are intense, usually primary, entirely separate from each other,
and flatly applied. Brush strokes are evident and add some degree of
texture.
Techniques See colour above.
Mood Strong, powerful, simple because of the solid shapes, strong design and,
simple colour scheme. The power and simplicity of the owl's wisdom is
implied.
Notes:
28
DR 9
Artist: Janice Udell

Title: Goodnight, Hotdog, Goodnight
Medium: Pencil
Size: 15.2 cm x 21.6 cm
Date: December, 1985
Location: Collection of Don McNeil, St. John's
DISCUSSION STARTERS
Subject Matter In this image there is a room, a dog-like figure with linear V-shape
pattern, a lightbulb, a picture on a wall, a table, and a tile floor. The
outside edge of the drawing is broken; sometimes cut into, other times
lines go beyond the boundaries. Objects inside the room are placed at odd
angles. The image has a surrealistic quality.
Design Shapes: Clearly defined boundaries; large even toned areas; lines and
shapes often repeated. Variety is achieved by unexpected changes from
positive to negative (note the lines/shapes extending beyond the normal
boundaries).
Value: Full value range from whites through greys to blacks.
Techniques The drawing took a very long time to execute. The pencil was used on its
side to create the tones in a very deliberately planned manner. Look
carefully at the whites. They have not been drawn. Instead, these are bits
of surface that have been left. The white shapes/lines are the "undrawn"
parts of the work.
Mood Surrealistic (dreamlike), fantastic. Objects not normally associated with

each other; tipping feeling.
ARTIST'S COMMENTS
Goodnight, Hotdog, Goodnight makes light of important paintings by famous artists of the past.
It's fun to try and guess what references are there. If you can't recognize any, then I will tell you:
the bed from Van Gogh's Bedroom at Arles; the lightbulb from Francis Bacon, a contemporary
British painter; the vase from Picasso (cubist period); man in doorway from Velazquex, the
Maids of Honour; tile floor from Dutch genre painting of interiors; and the dog from Leslie
Poole, a contemporary Canadian painter.
Notes:
29
DR 10
Artist: Miranda Jones

Title: Elsie B #2
Medium: Graphite and pastels on paper
Date: 1984
DISCUSSION STARTERS
Subject Matter A boat with stack(s)? Profile of woman? Trees? Hills? The images are
not readily seen because some objects merge into others. The image is not
realistic; it is an abstraction. The colours are rich and strongly applied.
The paper is torn at the top edge.
Design Colours are applied strongly, but not realistically. Second colours are
applied on top of other colours to give a textural appearance. The shapes
are irregular. The red makes a strong contrast to the other colours and
gives emphasis to a corner of the image that might otherwise droop.
Techniques Oil pastels were applied boldly. Some use of the pencil is also evident.
The artist ripped the paper in completing the image.
Mood A bit of a puzzle. The work requires careful looking to see what is
happening. The title adds another puzzle. Is Elsie B both a person and a
boat?
ARTIST'S COMMENTS
This work is the last in a series of abstractions from drawings of the boat Elsie B moored in
Quidi Vidi Harbour. In this piece the texture of crayon on paper and the geometric shapes
themselves taken on more meaning and interest than the original subject matter.
Notes:
30
DR 11
Artist: Marilyn Koop

Title: The Diver
Medium: Chalk pastel on paper
Size: 50.8 cm x 63.5 cm
Date; 1986
DISCUSSION STARTERS
Subject Matter A human figure is diving into the water. The figure is abstracted and
simplified. The page is divided in half, vertically, and the figure cuts
through the division. On the left half, we see the moon and water; on the
right, part of a diving board and part of a spray of water (as if the figure
had splashed there).
Design Colours are bright and clear. The paper acts as a middle colour, unifying
the whole page.
Movement: The figure acts as a strong diagonal line which leads the eye
quickly across and down the page.
Balance: A strong equal vertical axis has some variety within the two
halves. Look at the half moon and tiny horizontal line of the diving board
compare the water on one side to the other.
Techniques Hatching with chalk pastel leaving parts of the tan paper surface exposed.
This helps to unify the picture.
Mood Fantastic, imaginary. Two spheres exist here, neither quite real, yet
somehow connected.
Notes:
31
DR 12
Artist: Bill Rose

Title: Self-Portrait
Medium: Coloured pencil on paper
Size: 37.5 cm x 50.2 cm
Date: 1986
DISCUSSION STARTERS
Subject Matter A portrait of the artist. He has dark hair, a beard, and wears glasses. The
drawing is broken up into a regular grid of small squares. The lines of the
grid are very light. The drawing is realistic yet abstract at the same time.
Design Texture: The actual texture of the paper is apparent. The bumps of the
paper which are lower did not get any colour on them.
Value: Each square represents the average value or tone of colour in the
original photograph from which the artist worked.
Techniques Photography: The artist took a photograph of himself, drew a grid over it,
and then represented each square of the original photograph in coloured
pencil on paper on which he had drawn another grid. One the new paper,
where the artist drew the grid with a pencil, he actually incised the surface.
Coloured Pencil: The artist applied the pencil very evenly.
Mood Very modern, related to technology and a way of seeing which we are
getting used to. It reminds us of computer-generated image. it employs
modern technology (photography) as its base. It uses a system.
Notes:
32
DR 13
Artist: Bruno Bobak

Title: Alders
Medium: Pastel on paper
Size: 44.5 cm x 60.3 cm
Date: 1959
DISCUSSION STARTERS
Subject Matter We see a tree, centrally located, no leaves, strong horizontal limbs, some
bushes, clouds in sky; some colour, mostly placed in a horizontal band
occupying approximately one-third of the composition.
Design Line: Marks are vigorous and strong, sometimes repeated, going in
different directions. There is some smudging, some stabbing, twisting,
and variation in weight.
Colour: Strong, uneven in application, blurred at edges, sometimes
dotted. A very active surface, not at all still or quiet.
Movement: The viewer's eye is directed in an oval or circular path.
Balance: Asymmetrical.
Techniques Pastel, paint, and graphite are applied in a variety of ways. Try to identify
them. The surface is very rich, textural, active.
Mood Energetic, spontaneous. One can feel the wind and turbulence primarily
because of the way the artist has chosen to apply the materials.
Notes:
33
DR 14
Artist: Dik Campbell

Title: Self-Portrait
Medium: Graphite, felt-tip markers, and coloured pencil on paper
Size: 25 cm x 35 cm
Date: November 1985
Location: Collection of Doug Townsend, St. John's
DISCUSSION STARTERS
Subject Matter A portrait of a man; the artist. He has a beard, short hair, wears a black
shirt, appears to be scowling, and has dark circles around his eyes.
Design Line: There are many strong-coloured, diagonal marks. The stroke is
repeated. Some lines are smudgy, light in value, thin and scribbly.
Colour: Colour is subjective; actual colours (local colour) are not used.
Techniques Diverse materials were applied forcefully and quickly.
Mood Very emotional. Sombre, perhaps angry (partly because of the force of the
lines?). The drawing has been quickly and spontaneously executed.
Colour has been applied emotionally rather than representationally.
ARTIST'S COMMENTS
I don't look like this. Sometimes I feel this sad or mad and my hand says I look like this, but I
don't really. I exploded and this is what my hand did. I felt like this once.
Notes:
34
DR 15
Artist: L.L. Fitzgerald

Title: Still Life with Reflector
Medium: Pen and ink on paper
Size: 30.5 cm x 45.7 cm
Date: 1948
Gift from the Albert H. Robson Memorial Subscription Fund, 1984
DISCUSSION STARTERS
Subject Matter A variety of geometric forms; rectilinear, cylindrical, half-spherical. The

inside of some forms can be seen. Strong light falls on the forms, creating
highlights and shadows. The marks appear to be dots or short lines. They
are closely gathered in some areas.
Design Shapes and Volume: There are no outlines, only contrasts of value. The
shapes are mostly geometric (compare Sylvia Bendza - DR 4). The artist
used light and dark to show volume. The light falls from the right front,
fairly high. Where the light falls the surfaces are quite white; where the
light cannot reach, it is darker. Sometimes one object casts a shadow on
another object. The darkest shading on any object is where a light plane
meets a shaded plane.
Techniques The pen was used to make small lines or dots. When lots of them are
placed close together they make an area dark. If they are far apart, the area
is lighter.
Mood Still, quite, there is no movement. This drawing is a study of light and
shade.
Notes:
35
DR 16
Artist: Susan Wood

Title: Shells, Stones in Devil's Purse
Medium: Graphite on paper
Date: 1983
DISCUSSION STARTERS
Subject Matter A devil's purse (which is a very small object one may find on the beach; it
holds the eggs of the skate). Part of the purse lies open, cut away. Inside,
some shells sit on shelves. The shelves appear to have some depth
whereas apparent extension of these shelves behind the purse do not. The
purse looks as if it were on display. A devil's purse is a very small object
(approximately 12 cm); it is magnified many times in this image.
Design Volume and Space: The hatched lines form dark and light areas which
indicate a feeling of 3-D form. The space of the image is quite shallow
with some depth indicated through the use of linear perspective in the
shelves.
Balance: The purse is centrally placed and is almost symmetrical. The
symmetry is broken by the open part of the purse.
Scale: The size of the art object is so much larger than the actual purse
that it introduces an element of fantasy.
Techniques The artist has used crosshatching to build up the dark values and create
volume. White areas have been masked by placing masking tape on the
paper during execution of the drawing, removing it at a later stage, and
drawing back into the area.
Mood Very still, almost mystical, because of its symmetry, regularity of marks,
and sense of scale.
Notes:
36
DR 17
Artist: Colleen Lunch

Title: Rock in Pocket #1
Medium: Coloured pencil on paper
Size: 45.7 cm x 35.6 cm
Date: 1983
DISCUSSION STARTERS
Subject Matter A view of the bottom of a person dressed in jeans. A multicoloured rock
protrudes from the back pocket.
Design Composition/Framing: The artist has chosen to include just a small part
of a whole object. She leaves a long narrow negative shape at the left of
the image and a small rectangular one at the lower right.
Volume: Line follows the form of the person to show the three-
dimensional quality. The subtle difference of the blue and purple
reinforces the form and adds variety and interest.
Techniques Coloured pencils were used neatly and regularly. The application in the
jeans is linear compared to the rock.
Mood Light in subject matter, not intended to be extremely serious or deep. Fun!
Notes:
37
DR 18
Artist: Ilse Hughes

Title: Cochrane Street United Church
Medium: Pen and ink
Size: 12.7 cm x 17.8 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter There are rows of people sitting in church pews. Some are shown from
behind, others are off to the side. Some people are quite detailed; others
are merely suggested by a few strokes. The people closest to the viewer
are the most clearly depicted.
Design Space: The person at the right appears to be closest to the viewer because
of size and detail. His head is the highest on the page.
Movement: The artist has created a strong directional movement by
intentionally forming a thrusting triangle. The value diminishes (fewer
black marks placed close together) towards the left point of the triangle.
Techniques Loose, sketchy application of pen and ink. An impression is caught.
Mood Light and airy because of the application of the medium.
Notes:
38
DR 19
Artist: David Milne

Title: Porch of Summer Camp
Medium: Brush drawing on paper
Size: 38.1 cm x 41.0 cm (sight)
Date: 1921
DISCUSSION STARTERS
Subject Matter A cabin in the country with a place set up on the back porch for washing
up. Shelf, bucket, bottles, lantern, basic, the railing, and the trees of the
forest fill the upper part of the picture plane.
Design Line: The line is very expressive. It was done in two colours and because
of the dry brush technique it appears to have the texture of spruce needles.
Space: Linear perspective (especially notable in the diagonals that come
in approximately from the corners) is used. Objects overlap each other as
they proceed towards the foreground.
Positive/Negative Space: The area containing the subject matter is open
and empty; the negative space - the trees - is active. These two contrasting
areas are divided almost diagonally across the page.
Techniques The artist used the brush only to make lines. The lines are scratchy
because the artist used a dry brush technique. The means that some of the
paper was left exposed. All the lines are of equal width.
Mood Quiet, mostly because of the subject matter and simple treatment.
Notes:
39
DR 20
Artist: Oscar Cahen

Title: Untitled
Medium: Black, white, and brown ink on paper
Size: 63.2 cm x 97.5 cm
Date: n.d.
DISCUSSION STARTER
Subject Matter A variety of black lines on a white area, and a large irregular black shape
with white lines on it. The lines vary in width, direction, and texture.
They are generally curvilinear rather than angular.
Design Line, Texture: The line is expressive, emotional. The surface is alive
with activity and movement.
Positive/Negative Space: Look how the white line on black continues as
black line on white, and vice versa.
Balance: Asymmetrical. The large black shape is a point of emphasis. It
is balanced by the less weighty but highly textural linear area.
Techniques Try to imagine the tools with which the artist may have applied the inks
(brush? pens? twigs?). How might the artist have used them? (painting
broadly? dripping? scratching? smearing?). The white ink must have
been applied after the black ink had dried. Compare this white line to the
white in Janice Udell's drawing (DR 9).
Mood Exciting, full of movement, texture. The artist worked in a spontaneous

free fashion, responding as he worked. His medium is permanent once it
is on, but he has initial control in its placement and in his reaction as he
sees what is happening.
Notes:
40
Drawing Project #1: Mark Making
Key Learning
The Pencil
Because we are familiar with the pencil as a writing tool, we often only use the point of the
pencil in drawing. Artists manipulate the pencil in a variety of ways according to how they want
the drawing to look and feel. They use its side as well as its point, use varying pressure to create
dark or light, move the pencil quickly or slowly, vigorously or softly, rub with a circular motion,
stab, twist, dot, dash, etc.
Space
Light marks on a two-dimensional surface seem to be far away from the viewer; dark marks
appear to be close. Dark marks and light marks can be achieved by varying the pressure used to
draw. Even a single line may be produced using varying pressure.
Materials
! 2B pencils
! small pieces of drawing paper for experimenting and sketching
! cartridge paper for final work
Motivation
Visuals
DR 1, DR, 2, DR 3, DR 4. After studying the images individually, compare them in terms

of marks and space. How does the quality of the line help the artist interpret his/her subject?
Experimenting
To learn about the pencil, try some of the following activities:
a) Make rubbings of textured surfaces. Extend the boundaries of the rubbings by

duplicating the kinds of marks made during the rubbing.
b) Make three drawings of one object by using outline only, using non outline, and
combining these approaches
c) Make a large doodle exhibiting a variety of marks.
41
Suggested Theme
Natural objects (e.g., branches, flowers, plants, leaves, rocks, shells). These provide a
variety of possible marks. Study them closely and make rough sketches. Decide which textures,
shapes, points of view and composition you prefer.
Studio
Make a final drawing incorporating a variety of marks with the pencil and creating a sense
of space.
Summary
Post all student work and discussion in terms of the objectives. Address the process
(successes, problems, surprises) and feeling in the discussion.
Notes:
42
Drawing Project #2: Value
Key Learning
Charcoal
Charcoal is large, makes large, broad marks and is conducive to big work. It makes fine
detail difficult to achieve. It may be used on its side or point, smudges easily (a positive or
negative factor depending on how you look at it). It requires a paper with tooth (texture).
Value
Values ranges from light to dark. A variety of lights and darks in an image make it
interesting. Contrasting values next to each other emphasize portions of a drawing. A drawing
with strongly contrasting values is rather active in feeling; similar values make it more quiet.
Light and dark areas may be placed in the drawing to achieve interesting balance. Light values
appear to recede into the distance; dark values advance.
Materials
! charcoal stick
! newsprint
! manilla or bogus paper for final drawing
! paper towel
! newspaper padding for the table
Motivation
Visuals
DR 5, DR 6, DR 7. After studying the images individually, compare them in terms of

value. How does the artist use value and contrast to suggest depth and on a two-dimensional
plane?
Experimenting
To learn about charcoal, try the following:
a) Make a seven-step value scale from white to black.

b) Use the edge of the charcoal to create areas of value.
c) Smudge (with stump, fingers, or paper towels) the charcoal drawings to create new
values and soft blurry edges.
d) Use a kneaded or gum eraser in the drawing.
43
Suggested Theme
Faces or full-length figure studies provide a variety of values. Make a number of sketches.
Experiment with ways that the charcoal can be applied in these sketches.
Studio
Make a final drawing incorporating a variety of values.
Summary
Post all student work and discuss in terms of objectives. Address the process (success,
problems, surprises) and feeling in discussion.
Notes:
44
Drawing Project #3: Shapes
Key Learnings
Ink and Brush
Ink cannot be erased. It is very spontaneous; "mistakes" are incorporated into the drawing
rather than it being discarded and started again. Ink provides strong contrast with white paper.
The brush may apply the ink lines or shapes roughly and scratchily or smoothly and hard edged.
A variety of values may be achieved by diluting the ink.
Shapes
Shapes may be organic or geometric. They may be clearly or roughly defined at edges.
Shapes may be positive (occupied space, the subject) or negative (empty space, background).
The negative shape/space is as important as the positive shape/space.
Materials
! India ink
! brush
! water container
! a container in which two or three values of ink can be mixed
! paper for experimentation
! cartridge paper for final
! pencil (optional)
! two L-shaped pieces of cardboard
Motivation
Visuals
DR 8, DR 9, DR 10. After studying the images individually, compare them in terms of

shape. How do shape, colour and line encourage your eye to follow movement in these pictures?
Experimenting
To learn about ink and brush, try some of the following (the use of pencil to make
preparatory drawing is discouraged).
a) Make linear sketches with the brush and ink. They should be loose, fluid and
spontaneous. Figures in motion might be interesting to draw.
b) Fill large areas with solid black. Make use of line in the same drawing to create interest
and contrast.
45
c) Make a variety of values by diluting the ink. Try working wet next to wet and seeing
what happens. Work back into a dry drawing and undiluted ink. The ocean or trees
moving in the wind might make interesting subjects for this exercise.
d) Choose some objects in which you can see many interesting negative shapes (e.g., chairs,
plants, bicycles) and draw the negative shapes only. Draw patterns in the negative
shapes.
Theme
As in part (d) above; objects with interesting negative shapes. Once the theme has been
chosen, use cardboard frames to simulate the paper dimensions, move in close to the object(s) so
that only part of the object is visible and the rest runs outside the frame. This will encourage the
students to use their whole sheet of paper. Students will make a number of quick sketches from
various points of view. They will choose the composition they like best for their final drawing.
Studio
Make a final drawing with interesting positive and negative shapes.
Summary
Post all student work and discuss in terms of objectives. Address the processes (success,
Notes:
46
Drawing Project #4: Colour
Key Learning
Oil Pastels
Oil pastels are bright and colourful. They are smooth to apply although slightly tacky.
They require paper with a tooth (texture), work nicely on a coloured ground and are fairly large.
It is difficult to get fine detail. They blend easily to make new colours by laying one colour on
top of another or by smudging (rubbing over the surface of the colours).
Colours
Bright bold colour usually has quite a cheerful feeling. Bright colour is more intense than
dull colour. Dull colours are mixtures of other colours. Dull colours provide resting places for
the eye in a picture full of bright colours. They also provide contrast so that areas of intense
colour are emphasized and stand out. A coloured ground may be used as a middle value for a
picture and it may be used to harmonize the picture by giving it a feeling of unity.
Materials
! oil pastels
! construction paper
! paper towels
! newspaper padding for table
Motivation
Visuals
DR 11, DR 12, DR 13, DR 14. After studying the images individually, compare then in
terms of colour (including ground). How are the colour and texture of the paper just as important
as the applied medium in highlighting mood or atmosphere?
Experimenting
To learn about oil pastels, try some of the following (the use of pencil in preparatory
sketches is not recommended):
a) Blend two colours by smudging, dotting, and laying some colour on top of another. Try
a light colour below in one case, and a dark colour below in another.
b) Blend three colours by the same methods.
47
c) Make three designs using contrasting colours, similar colours, and bright colours with
dull colours.
Suggested Theme
Choose a theme which reminds one of bright cheerful colours. From the "Things We Do"
theme, the circus, a dance, parade, celebration, or party would be an appropriate topic. All
students should explore the topic's potential by participating in or preparing such an event,
looking at photographs, films or artworks involving that topic, and/or discussing their experience
of such events.
Studio
Make a final drawing emphasizing colour intensity and unity.
Summary
Post all student work and discuss in terms of objectives. Address the process (success,
Notes:
48
Drawing Project #5: Light and Volume
Key Learning
Ink and Pen
Ink may be applied in a continuous line or in smaller strokes. Pen and ink lends itself to
small detailed work. Reed pens, twigs, Q-tips, and other found materials add variety to the kinds
of marks which can be made.
Light
The way the light falls on objects places some areas in light and some in shadow. Light
source(s) may be above, to the side of, in front of, behind, or below an object.
Volume
Drawings are two-dimensional but the illusion of three-dimensions (volume, mass, or form)
is shown by changes of light and dark (value) as light falls on an object. With pen and ink, lights
and darks are achieved by placing marks at varying distances from each other. When marks are
placed close together dark values are achieved; far apart, light values. Some ways in which ink
may be applied by pen include stippling (dotting), hatching (repeated short strokes),
crosshatching (cross strokes placed on top of previous hatch marks), and scribbling.
Materials
! ink
! reed pens
! drawing pens and nibs (optional)
! found objects for marking (optional)
! paper for experimenting
! bristol for final
! white geometric and organic forms
Motivation
Visuals
DR 15, DR 16, DR 17. After studying the images individually, compare then in terms of
light source and volume. How can the appearance of light on a surface be represented by
different techniques or use of media?
49
Experimenting
To learn about pen and ink, light and volume try the following:
a) Collect some white geometric forms (paint them white if necessary), and in a darkened
room, shine a light source on them to see what happens.
b) Try the same things with organic or irregular forms. For example, drape a white sheet
over one or more students; have them assume a variety of dramatic positions.
c) Creating values in pen and ink by stippling, hatching, crosshatching, and scribbling, etc.
Suggested Theme
Choose subject matter in which volume is very evident, but not overly complex. Set up a
still life with a variety of forms, sizes, and textures, a piece of popcorn (enlarged may times), a
paper bag which has been crumpled, and so on. Simplify the lighting by using a single light
source. Make several rough pencil sketches. Choose the best composition.
Studio
Make a pen and ink drawing illustrating volume through changing value.
Summary
Post all student work and discuss them in terms of the objectives and the processes. Explore
successes, problems, surprises, and feelings in the discussion.
Notes:
50
Drawing Project #6: Space
Key Learning
Multimedia
More than one medium may be included in a single drawing. Each medium has distinct
characteristics and limitations.
Space
Artists achieve the illusion of three-dimensional space (depth) on a two-dimensional surface

in may ways including the following:
a) change of size
b) change of detail
c) overlapping
d) contrast of value
e) location on the page
f) linear perspective
Materials
! any of all of the media used in previous projects

! other media such as markers, crayons, conté, coloured inks
! papers of student's choice
Motivation
Visuals
DR 18, DR 19, DR 20. After studying the images individually, compare then in terms of
space. What is in each drawing that draws your eyes to a focal area?
Experimenting
To learn about three-dimensional space, try the following:
a) Use a small portion of a window (make a frame using masking tape) to see what happens
to shapes in a landscape. Place some students at various distances outside to see what
happens.
51
b) Using geometric shapes make abstract designs to illustrate the illusion of three-
dimensional space in each of the six ways listed above. A large sheet of paper may be
divided into six boxes for this experiment.
Suggested Theme
Choose a landscape, city scape, or interior scene (room, cupboard). Several rough sketches
should be made and discussed by the group before final work is attempted.
Studio
Make a drawing illustrating depth by using one or more of the techniques described above.
Summary
Post all student work and discuss them in terms of the objectives and the process. Explore
success, problems, surprises, and feelings in the discussion.
Notes:
52
Painting Module
Introduction
Most people have looked at a painting but not everyone who has
looked at a painting has seen it. To have seen a painting means to
have grasped and appreciated all the diverse qualities, aesthetic and
technical.1
Among the visual arts, painting has traditionally received the most attention.
Throughout history, from primitive times to the present, the signature of an age has frequently
been identified through painting.
The mechanics of painting are multifaceted and therefore subject to diverse

interpretations and sometimes misunderstandings. Predominantly, painting involves the internal
and the external; that is, internal emotions, feelings and personal intent are given external
representation through technical manipulation of colour, volume, balance, and other design
elements. Students should acquire technical proficiency in various modes of painting, learning to
transform personal beliefs and reflections into visual images.
Processes
At the intermediate level, it is both practical and necessary to limit the number of
painting media. Although oil painting is time-honoured and popular, it will not be dealt with here.
Reference material will provide additional information.
Tempera Painting
Tempera is water soluble and opaque. If thinned down, it will take on a

transparent quality, although not as successfully as transparent watercolour. It is possible to paint
over areas of tempera paint. It can be lightened with white or darkened with black. Suitable
painting surfaces for tempera are paper or illustration board (a good quality paper mounted on
cardboard). A tempera painting can be finished with a commercial spray fixative (use under safe
conditions only) or spray varnish to protect it.
__________________________
1
N. Hulton, First Steps in Art Appreciation (London: Chiswick Press, 1968), p. 9.
Gouache
Egg tempera, poster colours, and casein are sometimes referred to as gouaches.
However, a true gouache is a watercolour paint that is made opaque by the addition of finely
powdered clay. It is manufactured by a number of companies and can be bought in tubes.
Gouache dries quickly and can be freely overpainted, underpainted, glazed, or built up to an
impasto. Gouache is lighter when dry and has a dull matte surface.
Transparent Watercolour
Watercolours can be purchased in cakes or tubes and are usually sold as students'
or artists' colours. The artists' colours are more expensive but have greater fluidity and richer
colour. When using transparent watercolours, the whites are often reserved; that is, instead of
painting on white areas, the white of the page is used. Transparent watercolours can also be
incised, blotted, or painted over. Watercolour lends itself to a variety of techniques (wet-on-wet,
dry brush, etc.). But since its beauty lies most often in spontaneity, it should not be overworked.
Different brushes can be used to apply watercolours: round and flat sable and
squirrel hair brushes, oriental round and flat brushes, or synthetic bristly brushes. Special paper is
required. It is available in varying weights and textures. (Japanese rice paper can also be used.)
The paper must be prepared before paint is applied to it. Usually it is soaked in water and then
dried on a flat surface to which it is fastened with kraft or butcher tape. It must be handled with
care to avoid finger marks.
Acrylic Paint
Acrylic paints are made by combining pigment with plastic (acrylic or vinyl resins).
Although they resemble oil-based paints in appearance, they are better for classroom purposes
because they are soluble. Unlike oils, they dry quickly, emit no fumes when mixed, and require no
special cleaning agents. However, they are virtually impossible to remove from clothing or
brushes once dried to their plastic state. Acrylics and versatile; they can be used to achieve
transparent, opaque, and impasto effects. Matte or gloss finishes can be obtained by adding
appropriate commercial media. They do not yellow, fade, or crack.
Acrylics are hard on natural fibre brushes; nylon acrylic brushes may be more
economical in the long run. Palettes can be of paper, wood, glass, or plastic. Suitable painting
surfaces include gesso panels, masonite panels painted with white latex paint, and canvas prepared
and stretched.
Painting Slides
PA 1 Shawn Steffler/Mr Buggin's Night-Time Café
PA 2 Marilyn Koop/Two Sisters
PA 3 Maureen Greene/Sea with Blue Whales
PA 4 Paul Parsons/Shootie Shoot, Bannerman Park

PA 5 Ray Mackie/Egyptian Passages
PA 6 J.W. Morrice/The Ferry, Quebec
PA 7 Ilse Hughes/Prince and Princes of Wales - Arrival,

Government House
PA 8 Julia Pickard/Woman Reading
PA 9 Ilse Hughes/Still Life
PA 10 Alistair Drysdale/Still Life #2

PA 11 Conrad Furey/Toiler of the Sea
PA 12 Kathleen L. Knowling/Anna
PA 13 Greg Curnoe/Mariposa 10 Speed
PA 14 Patricia Holland/Cock-A-Doodle-Do
PA 15 Keith Fillier/Still Life with Chair
PA 16 Alfred Pellan/Floraison/Blossoming
PA 17 Harold Town/Music Behind
PA 18 J.P. Lemieux/The Evening Visitor

PA 19 Shawn Steffler/Caterpillar Archipelago
PA 20 Arch Williams/Ferryland A Century Ago
PA 1
Artist: Shawn Steffler

Title: Mr. Buggin's Night-Time Café
Medium: Acrylic on paper
Size: 25.4 cm x 38.1 cm
Date: 1984
DISCUSSION STARTERS
Subject Matter The image of a café in a trailer. We can see though the trailer as if it were
x-rayed. It is a summer night; the stars shine. There are many objects in
the image (look for them) but the image still appears to be a simple one.
Colours are bright and intense. Shapes are simple and clearly defined. The
painting looks a bit like children's art. Why?
Design Shapes: Distinct, separate, simple. They

are often repeated but not necessarily in a
regular pattern.
Colour: Pure, intense, strong. Overall the
colours are quite cheerful. The blue is
repeated throughout the image and gives
unity to the picture.
Techniques Opaque paint has been applied flatly within

an outline.
Mood This work appears to have been executed

by a child; however, this is a very
deliberate, well-planned organization of
components. There is no sense of the
accidental (as in children's art) here.
Instead, it picks up on the qualities of
children's art, especially in the way of
seeing and its cheerfulness.
Notes:
PA 2
Artist: Marilyn Koop

Title: Two Sisters
Medium: Acrylic on canvas
Size: 91.4 cm x 101.6 cm
Date: 1985
Location: Collection of Eleanor Harder, Belwood, Ontario
DISCUSSION STARTERS
Subject Matter There are two women, one with her arms around the other; neither is
smiling. One is more in profile than the other. Their faces are not
portrayed in a realistic manner. Their clothing differs markedly: one is
dressed in pink with a white linear pattern; the other in black with colourful
mystical symbols. Pink flowers top linear stalks.
Design Colour: The use of black with bright,

cheerful colours is unusual. The artist
makes use of tints in the pink dress.
Pattern, Texture: The surface is full of
dynamic strokes, shapes and colours.
Space: Everything happens in a very
shallow visual space.
Techniques The work is painted broadly and quite

loosely in a bold, flat manner. The only
exception is the blending to illustrate
volume in the flowers, hair, and one pink
shoulder. The artist has also employed a
curvilinear brush stroke in some areas.
Mood The artist is concerned with emotions.

What is the relationship between the
sisters?
Notes:
PA 3
Artist: Maureen Greene

Title: Sea with Blue Whale
Medium: Oil
Size: 59 cm x 80 cm
Date: 1972
DISCUSSION STARTERS
Subject Matter This is an extremely busy picture, chock-full of a tremendous variety of

fish (describe some) and underwater plant life. Although the image is
mainly green, there is a wide range of colour. There does not seem to be
one main point of interest. The whole surface of the painting is full of
interesting detail.
Design Colour: The predominant colour, green,

gives unity to the image which would
otherwise fly off in all directions because
of the huge amount of detail and the
variety of shapes and colours.
Pattern: Although the fish are all different,
there is enough similarity among the
shapes, colours, and sizes to create a fairly
regular pattern.
Techniques The artist applied the paint fairly thinly (the

canvas surface is evident in some places).
She used very small brushes to create the
fine detail.
Mood Playful, fantastic. This painting is rather

like a doodle that grew.
Notes:
PA 4
Artist: Paul Parsons

Title: Shootie Shoot, Bannerman Park
Medium: Oil
Size: Approximately 70 cm x 76.2 cm
Date: Unknown
DISCUSSION STARTERS
Subject Matter A large grassy opening between the trees in a park with a shootie shoot.
Light shines brightly in later afternoon. The three cast shadows and are
caught in shadow themselves. The wall of a building in the background
catches the light and reflects it. The trees are stylized and simplified by the
use of flat rectangular shapes. Many greens appear in the painting.
Design Colour: Mostly monochromatic. The light

source is easily discerned. Highlights were
painted last on top of darker colours. The
artist used many tints and shades of green.
Shape and Pattern: Tree trunks and
greenery are repeated to form a pattern,
relieved by an open space and briefly
repeated at the bottom of the painting.
The repetition creates harmony.
Techniques Paint was applied thickly and opaquely.

Brush strokes are flat and square. In some
areas paint was layered.
Mood There is a feeling of solidity and weight

because of the colour and the brushstrokes.
Even the sunny patches have substance.
Imagine the warmth of the sun and the
beginning evening coolness. Imagine being
in this place. What kinds of sounds would
you hear? Is the wind blowing?
ARTIST'S COMMENTS
This oil painting depicts the use of mainly different shades of green, from warm to cool. In this
painting there is the composition of colour and also the composition of line, both working
together to give the effect of freedom and joy in nature.
Notes:
PA 5
Artist: Ray Mackie

Title: Egyptian Passages
Medium: Acrylic paint, chalk pastel
Size: 84 cm x 84 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter We can see a centrally-placed circular shape (a window?) some triangular
shapes within (pyramids?), and spheres tinged with yellow (planet?). The
foreground has some blurry shapes (bushes?) in it.
Design Colour: Essentially monochromatic; tints

and shades of blue.
Shape and Line: Sometimes lines are
used to describe/outline shapes.
Texture: There is a variety of texture in
this image because of the variety of ways
the artist applied the paint.
Techniques Vigorous brush strokes were made with a

large paintbrush. Some strokes are
partially blended. The artist added touches
of chalk pastel in another colour.
Mood Very still because of the cool blues and the

central circular shapes where the eye rests.
What might the artist be trying to express?
Passages of time (from ancient Egyptian to
modern?). The artist does not provide
many clues as to subject matter. The
viewer must work hard to see all
possibilities, and in the end can only
speculate about them.
ARTIST'S COMMENTS
Part of a series about passing from one condition, or state of mind, to another.
Notes:
PA 6
Artist: J.W. Morrice

Title: The Ferry, Quebec
Medium: Oil on canvas
Date: c. 1907
Location: National Gallery of Canada, Ottawa
DISCUSSION STARTERS
Subject Matter The painting includes a river (the St. Lawrence), a dock with a building,
horses, people, a ferry crossing the river coming to the dock, a headland
with boats and buildings in the distance. Large wet snowflakes fall from
the overcast sky. Smoke spirals from the ferry. The picture is an
impression rather than a realistic representation of a scene.
Design Colour: Cool, muted. The largest area of

colour is the blue water, above and below
which are horizontal bands of white.
Space: The viewer's perspective is
somewhat above the dock, looking out
over the buildings and people.
Techniques The artist applied paint flatly and broadly,

with the exception of details such as
people. Details on the headland, water,
boats, and docks are painted in a linear
fashion over an initial application of paint.
Mood Cold, quiet. There are no active lines. The

atmosphere is of a still, cold winter
afternoon.
Notes:
PA 7
Artist: Ilse Hughes

Title: Prince and Princess of Wales - Arrival Government House
Medium: Watercolour, pen, and ink
Size: 17.8 cm x 12.7 cm
Date: June, 1982
DISCUSSION STARTERS
Subject Matter The work documents Prince Charles and Princess Diana on the occasion of
their visit to Newfoundland in the summer of 1982. They are quite distant
in the picture as they come down the steps of Government House. Even
though they are far away our eyes are drawn to them. In addition to the
stone building, we see two Mounties and a group of people at the foot of
the stairs. The group faces the Prince and Princess. A band plays at the
left. We see flowers and foliage.
Design Centre of Interest: The artist draws our

eyes to the Prince and Princess by placing a
bright contrasting colour (red) near them.
Space: Spacious because of the
transparent quality of the medium. The
change in size of figures also suggests this.
Shape: Suggested rather than well-defined
or detailed.
Techniques The artist made a quick, fluid sketch with

pen and ink. Later, she loosely and thinly
applied watercolour to the sketch. As a
result, the colour is fairly transparent and
gives a light, airy feeling to the work.
Shapes are blurry because wet paint was
laid directly next to wet paint. The pen
was used to provide detail.
Mood The work is spontaneous, light, cheerful,

pleasant. It is a record of a happy event in
Newfoundland history.
Notes:
PA 8
Artist: Julia Pickard

Title: Woman Reading
Medium: Acrylic on rice paper
Size: 55.9 cm x 76.2 cm
Date: 1983
DISCUSSION STARTERS
Subject Matter A woman is reclining and reading. There is no small detail. Hair face, feet, and
hands are barely suggested. Shapes have fuzzy edges. The woman's dress merges
with the background.
Design Colour: Analogous (blue and purple), very quiet effect.

Shapes: Very fluid and loose, no clear outlines.
Texture: Influenced by materials. See Artist's Comments below.
Line: Line is used sparingly to suggest detail, to separate shapes, and
to create space.
Techniques The artist painted wet paint next to wet paint on a damp sheet of rice paper. The
paint is fairly transparent because there is a high proportion of water to paint.
The white paper surface is evident in some places. The texture of the rice paper is
very important (see Artist's Comments below).
Mood Colour, lack of detail, and strong horizontal movement create a quiet, peaceful
mood.
ARTIST'S COMMENTS.
Rice paper is beautiful, delicate, semitransparent and in some papers there is a natural thread-like fibre
running through them in a random fashion. Because of these qualities the artist can create a feeling of
mysticism in the art work. However, because of the extreme fragility of the rice paper, it must be handled
with great care and patience.
Notes:
PA 9
Artist: Ilse Hughes

Title: Still Life
Medium: Acrylic
Date; 1985
DISCUSSION STARTERS
Subject Matter Still-life painting of flowers, vase, and table, set beside a window. There is a
variety of colourful flowers.
Design Colour: Colours are bright and cheerful. The contrasting black helps neutralize
the sweetness, giving the eye a rest. The repetition of the rose colour throughout
the composition helps establish unity.
Texture: Actual and implied.
Techniques The artist has combined drawing and painting in this image. Some areas were
painted in a linear fashion (the image is drawn) and in more painterly fashion
elsewhere. Some areas are more detailed than others. The ground becomes part
of the painting. The artist also employed transparency and opacity in the same
image. She used a dry brush in some areas. This gives a completely different
texture.
Mood Bold, energetic. Colour and line are dynamic.
Notes:
PA 10
Artist: Alistair Drysdale

Title: Still Life #2
Medium: Acrylic polymer
Size: 61 cm x 76 cm
Date: 1972
DISCUSSION STARTERS
Subject Matter We can see a table, two chairs, a stove, some fruit, and a pitcher. The table is
seen from the side.
Design Positive/Negative Shapes: The shapes between the chair rungs and back become
as important as the chair itself. In some places the positive and negative shapes
merge and blend, becoming unclear.
Colour: Opaque. The use of blue and black unifies the picture. The touch of red
is enough to balance the weight of the dark colours.
Techniques The artist used large flat brush strokes, blending them slightly in some areas.
Mood Solid and still because of the strong horizontal line in the middle of the canvas and
the use of strong verticals, all of which imply some sort of grid.
Notes:
PA 11
Artist: Conrad Furey

Title: Toiler of the Sea
Medium: Acrylic
Date: 1978
DISCUSSION STARTERS
Subject Matter Two men in a boat on the ocean. One man attempts to row while the other holds
on to the sides. The boat appears to tip towards the viewer and we see a great
deal of the inside of it. An island is in the far distance. All objects are simplified
and stylized (see especially the faces). The water appears to be a solid mass with
solid peaks (much like icing on a cake).
Design Colour: Predominantly an analogous colour scheme (greens and blues) plus some
neutrals.
Shapes: Gently rounded or curved; all clearly defined and separated.
Balance: The tipping feeling of the boat is emphasized by the bulk of the visual
weight occurring in the lower right corner of the picture.
Techniques For the most part paint has been applied flatly and opaquely. There is, however,
some evidence of blended strokes, although it is very subtle.
Mood Playful, gentle, quiet as a result of the simplicity of approach, gentle curves, and
stylization.
Notes:
PA 12
Artist: Kathleen L. Knowling

Title: Anna
Medium: Oilstick on paper
Size: 111 cm x 76 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter A figure is crouching at the base of a bright red pillar. She has a dark mysterious
face. She looks very solid, somewhat like a heavy stone sculpture. Her cloak is
heavily textured. The colour scheme is simple - blue, red, and the neutral colour
of the robe.
Design Colour: Three distinct vertical bands of colour - warm red, neutral beige, cool
blue.
Shapes: Distinct, large, simplified, some slight modelling.
Texture: Strong repeated diagonal movement of the marking tool.
Techniques Oilstick applied in a repeated stroke.
Mood Mysterious and strong. The person cannot clearly be seen because of her dark
face, yet she appears to be solid and strong because of her size, the modelling (she
almost appears to be made of stone), and the simple design. We feel we do not
know all aspects of her. She is enigmatic.
ARTIST'S COMMENTS
Ann was a prophetess who recognized Jesus as the Messiah (Luke 2:36-38).
This work is one of a series entitled Biblical Women.
Notes:
PA 13
Artist: Greg Curnoe

Title: The Mariposa 10 Speed
Medium: Watercolour over graphite
Size: 110.2 cm x 181.3 cm
Date: 1973
DISCUSSION STARTERS
Subject Matter A racing bicycle with a yellow frame and black seat is viewed from the side. It is
centrally located, almost filling the frame. The blue background is
semitransparent and quite textural. The space between the spokes is broken
geometrically and by the change in colour value.
Design Composition: The bicycle is placed centrally on the page, equidistant from each
edge, yet it takes up only a small percentage of the painting surface.
Contrast: The bicycle is very detailed; the background is rough and abstract.
Shape: The bicycle is not placed in real space but in a light, airy
undefined space.
Techniques The bicycle was painted with a small brush in highly detailed and realistic
manner; the background with a large brush, abstractly.
Mood Lightness and strength are qualities of a good racing bicycle. These are
emphasized in this painting. The gradation of colour between the spokes of the
wheel reminds one of the clicking precision of motion of the racing bicycle.
ARTIST'S COMMENTS
This is one of the series of full-scale water colours of bicycles I own. The Mariposa is a hand-built road
racing bicycle. It was badly damaged in a car-bike accident several years ago (the original machine - not
the painting).
Notes:
PA 14
Artist: Patricia Holland

Title: Cock-A-Doodle-Do
Medium: Acrylic on canvas
Size: 61 cm x 89 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter The image is of a rooster whose feathers and tail spreading out around him. His
red comb and orange beak are directly in the centre of his head feathers. The
background is purple with straight black lines in it. Some purple appears on the
body of the bird. Bright, almost luminous, red lines zigzag out around the rooster.
Design Line, Texture, Colour: The image makes very strong use of all three. The line
is bold, angular, radiating. Lines are also evident in a textural sense. They
radiate from the head, indicating the irregular texture of the feathers and the body.
Colours are strong. The red clashes in its neon quality with the purple, black, and
white.
Techniques The paint has been applied quite flatly in some areas and very thickly in others.
The artist scratched through the thick paint making actual texture there. After the
painting dried, she rubbed purple paint into some areas of the textured white.
This gives a sense of unity to the picture, which might otherwise seem to consist
of isolated parts.
Mood Noisy, disconcerting. The harsh sound of the rooster is visually implied.
ARTIST'S COMMENTS
Cock-A-Doodle-Do was inspired by the raw majesty of a single rooster over his brood. Texture is a very
important element in my work and the white feathers were a perfect stimulus to get my energy ignited. The
orange florescent flagging used to deter rooster's escape provided an interesting formal element to the
composition; that is, the harsh bright edges and angles contrasted against the fluffy white. My intention
was only limited in that I wanted to portray the power of the rooster without overshadowing his humorous
side. structurally, thick modelling paste was laid on and with quick directive strokes the shapes emerged.
Colour was then added with the same spontaneity.
Notes:
PA 15
Artist: Keith Fillier

Title: Still life with Chair
Medium: Oil on linen cloth sized on masonite
Date: 1981
Location: Collection of artist
DISCUSSION STARTERS
Subject Matter A still life: table, chair, sideboard, and empty bowl, cup, bottle, glass, wine
bottle, jug, basin, and so on. The surface of the table appears to be tipped up, as
does the bottom of the pitcher. Spatial planes (the table, cabinet, wall) are broken
into geometric shapes of colour. Objects are portrayed abstractly rather than
objectively.
Design Colour: Generally warm.

Texture: Both actual and implied. The surface is quite active because of colour
and texture. The use of texture unifies the whole picture.
Space: We see things from different points of view in one painting -the table
from above, the cabinet from the front, the pitcher from the front and the side at
the same time.
Techniques The paint was applied thickly. In some areas small but noticeable brush strokes
were used; in other areas the blending of colours is quite subtle. Actual texture is
often evident. In some areas one colour was overpainted with another.
Mood The painting has a feeling of warmth, even nostalgia. Is it possible that the empty
receptacles might have an emotional significance for the artist?
ARTIST'S COMMENTS
This work reflects Cubist art styles popular in Europe (1910-1920) by such painters as Picasso, Braque,
Gris. The painting, although reflecting historical concepts in art, is modified around Post Modernist
standards, a movement not popular in the 80s where artists attempted to revive past standards and
traditions in art.
Notes:
PA 16
Artist: Alfred Pellan

Title: Floraison/Blossoming
Size: 180.4 cm x 146.1 cm
Date: c. 1956
DISCUSSION STARTERS
Subject Matter This painting has much detail in it. There is a variety of shapes, some of them
organic, others geometric. The shapes often contain some type of pattern and
there is a tremendous variety among the patterns. Identify as many as you can.
There are many colours in the painting. Many of them are primary colours. The
painting is therefore quite intense. Black has been used all over the surface and
helps unify the picture.
Design Shapes: Well-defined, distinct. Both organic and geometric shapes are repeated
throughout the composition.
Colour: Primary, bright, intense.
Texture: The artist used both real and implied texture. Try to find examples of
both.
Techniques Paint has been applied flatly in most areas. Very little volume is evident.
Sometimes the artist added foreign materials to the paint to give it texture.
Mood Active, cheerful. Try to relate the title to the image.
Notes:
PA 17
Artist: Harold Town

Title: Music Behind
Medium: Collage of masonite back T.V. panel with plastic component cardboard container, straws,
labels, stamps and envelope, music sheets, fan, razor blade, thread, fabric, string, arborite,
corrugated cardboard, printed papers, tissue paper, and gouache on masonite.
Size: 103.2 cm x 102.5 cm
Date: 1958-59
DISCUSSION STARTERS
Subject Matter This piece is made up of a collection of three-dimensional objects - fan, straws,
labels, etc., all attached to the canvas in various way. Bright paint has been
dripped and painted on some sections of the surface.
Design Colour: Bold, bright, exciting, energetic.

Texture: Actual and implied. The paint drips give energy and variety to the
image. They also provide a major focus of interest because of their size, colour,
and contrast to other materials.
Techniques Three-dimensional materials are fixed to the canvas and some are painted over.
Mood Exciting, active because of the kinds of colours, shapes, and textures used. What
kinds if sound do you think the artist was trying to suggest?
ARTIST'S COMMENTS
The collage features the back of Albert Franck's old T.V. set and was meant to convey some of the sense of
sound behind things, walls, bands, doors, etc., ... drinking straws function as a metaphor for the pipe organ
in the sense that, through made to carry liquid, they are also often the source of stage sound. However, no
matter what I set out to make or create, the work ultimately has a life independent of any initial intention.
Notes:
PA 18
Artist: J.P. Lemieux

Title: The Evening Visitor
Date: 1956
DISCUSSION STARTERS
Subject Matter The scene includes a human figure without facial features. It is somewhat
mysterious since it is not clearly defined, and somewhat ominous because the
figure is so big. A large expanse of snow and blue-grey sky looms behind the
figures. A tiny line of narrow headland can be seen in the distance.
Design Shapes: Simplified, no apparent detail; they are therefore abstractions of reality.
They also appear to be solid masses.
Balance: Symmetrical. One very large solid vertical figure balanced by one
small horizonal line.
Colour: Very muted.
Space: Great depth, partly because of value and partly because of size variations.
Techniques Oil paint was applied flatly, opaquely. There is a slight texture to the surface and
edges are slightly blurred.
Mood Mysterious, ominous, still. An unknown figure looms large, no active lines create
movement in the picture. Things are unexplained, left to the viewer's imagination.
Notes:
PA 19
Artist: Shawn Steffler

Title: Caterpillar Archipelago
Medium: Acrylic on paper
Size: 33 cm x 51 cm
Date: 1983
DISCUSSION STARTERS
Subject Matter A group of islands are viewed from directly above. The picture is a fantasy, with
fish fishing off wharves, icebergs in a warm ocean. Although the islands, docks,
and road are seen from above, everything else is pictured as if we were standing
beside it (note houses, trees, fences).
Design Space: Steffler uses the child's way of portraying things from more than one
point of view at a time. Compare this to Keith Fillier's painting (PA 15)
Colour and Shape: See Steffler (PA 1) Colour and shapes are crisp and clear.
Technique See Steffler (PA 1)
Mood A sense of play and fun.
Notes:
PA 20
Artist: Arch Williams

Title: Ferryland A Century Ago
Medium: Acrylic
Size: 54.5 cm x 75.6 cm
Date: 1979
DISCUSSION STARTERS
Subject Matter This is a Newfoundland outport scene. It comprises the town, two bodies of
water, and an isthmus/breakwater between foreground and hills in the
background. There are many details in this picture. Look at the buildings, the
pebbles, the stages and flakes, the boats, the fences. It is as if every detail is
important and has been duly recorded by the artist.
Design Space: The artist did not use, to any degree, changes in size, detail, and colour to
give the illusion of perspective (depth). Instead, every object and detail is lovingly
recorded regardless of distance in the painting.
Colour: Local colour. Objects tend to have the same brightness regardless of
distance.
Techniques The artist used broad strokes in large areas to place some colours. He sometimes
partially blended colours in these areas. He switched to a small brush for small
details. The artist applied the paint fairly thinly. The texture of the canvas
surface is evident in some places.
Mood Enthusiasm for the subject matter, indicated by the detailed description.
Notes:
Painting Project #1: Basic Colour Mixing
Key Learning
Paint and Supplies
The thickness of paint and the strength of colour is directly affected by the amount of water mixed
with it. A good supply of clean water should be kept on hand to clean brushes and mix colours. If the
water begins to muddy the colours, it is time to replace the water. Paper towel or rags should be kept
handy to wipe brushes and mop up spills. To maintain the brushes, wash them with soap under lukewarm
or cool running water. Remove excess water and store the brushes in a container with their bristles
pointing up. The surface of the paper.ground is important. Although white, fairly heavy paper (not
newsprint) is appropriate for colour mixing exercises, a variety of weights, textures, and colours of grounds
may be used.
Colour Mixing
The three primary colours - red, yellow, blue - may be combined to mix all other colours, except
black and white, including tints and shades of colours (to be addressed in next project). Mixing two
primary colours in equal proportions gives secondary colours (orange, green, purple). Mixing two primary
colours in varying proportions gives a wide range of intermediate colours. A colour wheel illustrates all of
the above. Colours directly opposite each other on the colour wheel are complementary colours.
Complementary colours are examples of contrasting colour. Colours next to each other on the colour wheel
are analogous colours and are very similar colours. Mixing three primary colours together - red yellow,
and blue or a pair of complementary colours (for example, blue and orange) - gives tertiary (neutral)
colours such as browns and greys.
Materials
! paint (tempera or watercolour)

! brushes
! water containers
! palettes (old plate, muffin tray, compartmentalized trays, etc.)
! paper towel or rags
! paper
! cartridge paper for final work
Motivation
Visuals
PA 1, PA 2, PA 3. After studying the images individually, compare them in terms of primary,

secondary, and tertiary colour. How does colour unify each painting? Describe the types of colours in the
works: Would these images be as effective if more subdued colours were used?
Experimenting
To learn about paint and colour mixing, try the following:
a) Make a colour wheel.

b) make a design using one pair of complementary colours and the tertiary colours resulting from
their mixture.
Suggested Theme
An activity evoking excitement and colour (e.g., rock concert, sports event) or decorative designs
such as are seen on cares, furniture, fabrics, an so on.
Studio
Make a final painting using the three primary colours and their mixtures.
Summary
Display all of the student work and discuss in terms of the objectives and the process (successes,
problems, surprises).
Notes:
Painting Project #2: Value
Key Learning
Paint
Mixing white with any colour makes that colour opaque.
Value
Value is the lightness or darkness of a colour. Adding white to a colour makes a tint of that colour
and lightens its value. Adding black to a colour makes a shade of that colour and darkens its value. A
monochromatic painting is one that is a single colour including values (tints and shades) of that colour.
Placing successive values of a colour next to each other creates the illusion of three-dimensional volume on
a two-dimensional surface. Blues, greens, and purples are considered cool colours; reds, oranges, and
yellows are considered warm colours. Artists sometimes choose cool colours to make their paintings feel
cool, quiet, or sad, and warm colours to make their paintings feel warm exciting, or cheerful.
Materials
! tempera
! brushes
! palettes
! water containers
! paper towels or rags
! paper
Motivation
Visuals
PA 4, PA 5, PA 6. After studying each slide individually, compare the images in terms of value.
How does the restricted range of colours in each painting help to create the mood?
Experimenting
To learn about value, try the following:
a) Make a value scale. Choose one primary/secondary colour to work with.

b) Make a design using a warm monochromatic colour scheme and one using a cool monochromatic
colour scheme.
c) Paint a simple object in monochrome to show volume.
Suggested Theme
Mood, as suggested by the human figure.
Studio
Make a final painting using monochrome to portray mood and/or volume.
Summary
Display all of the student work and discuss in terms of the objectives and the processes (successes,
Notes:
Painting Project #3: Transparency
Key Learning
Paint
If paint is mixed with lots of water, it becomes transparent. The colour and texture of the paper are
very important. The white of the paper becomes part of the colour; therefore, tints of a colour may be
made by adding varying amounts of water to the paint. In this case, it is not a good idea to make a tint by
adding white paint to a colour because white paint would make the colour opaque.
Watercolour Techniques
In the wet-in-wet technique colours will bleed (blend together) if they are laid on premoistened paper
or if one wet colour is placed next to another wet colour. Shapes will have fuzzy edges. To obtain hard
crisp edges, paint must be laid on dry paper. To retain white areas of the paper, the resist technique may
be used. A layer of wax, grease, or rubber cement may be applied to the paper surface in places that the
artist decides will remain white. Any paint which goes on top of these materials will be "resisted" and the
white paper surface will be untouched by colour. The artist may use a dry brush technique: excess paint is
removed from the brush and the brush is moved along the paper surface. Some paint is picked up by the
surface and a scratchy quality is given to the painting. Watercolour may be combined with many other
media including pencil, ink, marker, pastel, and crayon.
Materials
! watercolour tray
! brush
! water containers
! palette
! practice paper
! one or two sheets of watercolour paper
Motivation
Visuals
PA 7, PA 8, PA 9. After studying the slides individually, compare then in terms of transparency and
watercolour techniques. How have the artists used paint and surface to achieve a transparent effect?
Experimenting
To learn about transparency and watercolour techniques, try the following:
a) Make a value scale of tints of one colour using white paper and mixing the colour with varying
amounts of water.
b) Divide a sheet of white paper into several boxes and experimenting with the watercolour
techniques above. In addition, invent your own techniques: use a sponge or paper towel to
remove some colour, scratch into the colour, combine with other media, etc.
Suggested Theme
Landscapes, seascapes, or the human figure would be appropriated.
Studio
Make a final watercolour painting using any of the techniques learned, ensuring that the transparent
quality of the paint is maintained.
Summary
Notes:
Painting Project #4: Opacity
Key Learning
Paint
Paint is applied using less water than in the transparent technique. Mixing white with a colour tends
to make it opaque. Not all colours, even though they are in the same medium, are equally opaque.
Shape
Paint may be applied very flatly so that little evidence of the brushstrokes is seen. There may be no
change of colour within shapes, and shapes may be clearly defined or separated from other areas. On the
other hand, a variety of colours may be seen within a shape. Brush strokes may be quite evident. Blending
may be fuzzy as opposed to clearly separated. and shape boundaries may be irregular. Paint may be
applied on top of wet or dry paint.
Materials
! tempera
! brushes
! palette
! water container
! paper
Motivation
Visuals
PA 10, PA 11, PA 12, PA 13. After studying each slide individually, compare them in terms of
opacity and variety of paint applications. Within each painting how do colours help define shapes? How is
the paint applied to the surface in each of these?
Experimenting
To learn about opacity and paint application, try the following:
a) Test a variety of colours for their covering power (opacity) on a coloured background. Try
combining white with some of the colours to see if it increases their opacity.
b) Make a design with large simple shapes where the paint is applied flatly and no brushstrokes are
evident.
c) Make a design with large simple shapes where the edges are soft and blurry and shapes run into
one another.
Suggested Theme
An abstraction of a designed object or a still life could be interesting. Students would work to reduce
the forms to simple hard-edged geometric shapes or to simple soft-edged organic shapes.
Studio
Make an opaque abstract painting incorporating brush work, and colours.
Summary
Notes:
Painting Project #5: Texture
Key Learning
Paint
Paint may be applied in one or more thicknesses to give texture. When paint is applied so thickly that
it has real depth, it is used in the impasto technique. Paint may be applied in small strokes of varying
colour to look textural. Materials such as sand, powder or vermiculite may be added to paint to give it
actual texture. Many other three-dimensional foreign materials may be glued or otherwise attached to the
painting surface to give it texture.
Texture
Texture may be actual or it may be implied.
Materials
! tempera
! acrylic (optional)
! brushes
! palette
! water container
! paper
! any other type of ground such as wood, cardboard, metal (optional), foreign materials to add to
paint or to affix to surface (optional).
Motivation
Visuals
PA 14, PA 15, PA 16, PA 17. After discussing the slides individually, compare them in terms of
texture and materials. In each painting, how has the artist used actual or implied texture?
Experimenting
In order to learn about actual and implied texture, try the following:
a) Create texture using paint only.

b) Create texture using foreign materials and paint combined
Suggested Theme
Fantasy animals, natural or designed objects might provide interesting possibilities in terms of
texture.
Studio
Make a final painting incorporating actual/implied texture appropriate to the subject matter.
Summary
Display all of the student work and discuss in terms of the objectives and processes (successes,
Notes:
Painting Project #6: Space
Key Learning
Space
In addition to the same technique studied in Drawing Project #6, colour may be used to show space in
a two-dimensional image. Bright colours appear to advance; dull colours to recede. In landscape this is
known as a aerial perspective. Space is also described by point of view. Shapes of objects depend on the
location of the viewer.
Materials
! tempera
! acrylic (optional)
! brushes
! water containers
! palettes
! paper
! a variety of surfaces such as canvas, fabric, wood (optional)
Motivation
Visuals
PA 18, PA 19, PA 20. After studying the slides individually, compare them in terms of space and
depth. It is treated differently in each one. Which one uses colour? Which one uses size? Which one uses
linear perspective?
Experimenting
To learn about two-dimensional space, try the following:
a) Create space in a landscape primarily through the use of colour.

b) Create an image in which the space is reversed. Place large dull-coloured detailed objects in the
foreground and small bright-coloured objects in the background.
Suggested Theme
Group situations or events involving numbers of people (e.g., arenas, concerts, band members, ice
skaters) might be interesting for this project. Outdoor scenes are also useful.
Studio
Make a final painting using colour or point of view or any other technique to show space in a
painting.
Summary
Notes:
Sculpture Module
Introduction
Throughout history, monuments in marble, wood, and bronze have been fashioned to glorify both
the divine and the human. Today, along with traditional themes and materials, innovative ideas are given
three-dimensional form in space-age materials. This portion of the art program provides opportunities for
students to see how the expression of the sculpture is related to its form. It also encourages creative growth
by giving students the chance to experiment with materials and processes as well.
The elements of design - line, shape, colour, and texture - in sculpture are flexible. In two-
dimensional works movement either relies on the visual suggestion of primary and secondary colours or
becomes plainly physical (as in kinetic works). In sculpture, movement and balance are both visual and
physical. A good sculpture has both visual and physical equilibrium.
Processes
Mixing Plaster
1. Use cold water.
2. Fill up to half the container full of water.
3. Sift plaster through fingers until a peak forms at centre.
4. Allow plaster to set a few minutes.
5. Stir until plaster thickens
Caution: Never add plaster to mixture after step #4. Never throw plaster down a sink. Always
dispose of it in a garbage can.
Plaster and Sawdust Carving
1. Mix plaster of Paris to the consistency of thick cream. Add approximately one part sawdust to
one part plaster. A rougher texture may be obtained by adding more sawdust.
2. Pour mixture into milk carton; remove carton when plaster is almost hard (approximately 20
minutes).
63
3. Begin carving by removing corners and working in toward the final form. Avoid working into
fine detail. Small projections will break off.
4. Encourage students to work in the round. Have them turn the block constantly, looking at it
from all angles.
5. Hint: The block may be kept damp between sessions by covering it with wet cloths and plastic.
64
Sculpture Slides
SC 1 Peter Walker/Banners
SC 2 Denis Juneau/Cercle Spatial
SC 3 Frank Lapointe/Spatial Reflections
SC 4 Henry Saxe/Blue
SC 5 Charlie Sivuarapik/Caribou Attacked by Four Wolves

SC 6 Elizabeth Wyn Wood/Gesture
SC 7 Stewart Montgomerie/The Maritime Form - Anchor
SC 8 Ray Mackie/Maritime Motif

SC 9 Joe Fafard/E II R
SC 10 Susan Wood/Remnants
SC 11 Dik Campbell/Punkers 1, 2, 3
SC 12 Nancy S. Graves/Variability and Repetition of Variable Forms
SC 13 Sharon Trueman/Black Box Sculpture: Fragility
SC 14 Colleen Lynch/Flying Fish

SC 15 Dan Patterson/Carnation Milk Assemblage
SC 16 Michael Snow/Walking Woman
SC 17 Kosso Eloul/The Eternal Flame
SC 18 Diana Dabinett/Salmon Dinner

SC 19 Murray Favro/Van Gogh's Room
SC 20 Pam Hall/Torbreck Stone
65
SC 1
Artist: Peter Walker

Title: Banners
Medium: Fibreglass and aluminum
Size: Unknown
Date: 1985
Location: Confederation Building Complex, St. John's
DISCUSSION STARTERS
Subject Matter The piece consists of six vertical poles, of varying heights, slightly bent. Four
colourful bands twist and bend in horizontal lines. They have the appearance of being
caught against the poles and fluttering as if in a great wind. Of the four bands, the
bottom is widest and longest. The top yellow band is shortest and appears to be
caught in a pocket of wind and so seems to begin to spiral down. It overlaps the
green band below it. Although the bands have the appearance of being soft and
rippling, they are in fact rigid and stationary.
Design Line: The four bands are in fact 3-D lines of

varying thickness moving in 3-D space.
Motion: The bands are stopped motion. They
have the appearance of movement.
Colour: Bright, intense.
Techniques Aluminum poles, fibreglass. Both very rigid

materials.
Mood Gaiety, movement. One is reminded of flags,

ribbons. The main impression is one of force -
a natural force, the wind. Poles blend, bands
flap against the poles much like objects caught
against a fence. What an interesting portrayal
of one of Newfoundland's most prominent
natural phenomena. Imagine seeing this
sculpture on a perfectly calm day! Or on a day
when the wind is blowing in the opposite
direction in relation to the sculpture!
Notes:
66
SC 2
Artist: Denis Juneau

Title: Cercle Spatial
Medium: Wood with oil paint
Date: 1959
DISCUSSION STARTERS
Subject Matter We see a red and black wooden structure with geometric shapes black, linear forms, and a
red plane with a circular hole in it (planes are usually associated more with two-
dimensional work). The black lines form a regular kind of grid. The structure is highly
organized, static, rigid, and uniform.
Design Colour: Simple scheme, strongly contrasting.

Positive/Negative Space: The hole or void is
as important as the occupied space (the red
plane) even though it is essentially unoccupied
space.
Form: Highly geometric, very regular and
even. From another angle the sculpture would
be seen to have symmetrical balance. In the
angle from which we see the sculpture, the
black lines cutting into the red plane at
differing lengths add variety and interest to the
sculpture.
Techniques Assemblage: The artist has assembled similar

forms and shapes in a highly regular way.
Mood The sculpture is highly structured, regular, and

quite still. No hints of movement or emotion.
Notes:
67
SC 3
Artist: Frank Lapointe

Title: Spatial Reflections
Medium: Aluminum and stainless steel "mirror"
Size: Approximately 12.4 m x 1.5 m x 61 cm
Date: 1978-1979
Location: Post Office, Grand Falls (Federal Department of Public Works)
DISCUSSION STARTERS
Subject Matter A centrally placed spherical object surrounded by limbs on which hang a variety of
geometrically shaped planes. The central sphere is an inverted geodesic dome (or part of
one). The surface is extremely textural. The limbs radiate from the sphere at graded
heights. The geometric planes furthest from the sphere are most regular. As they get
progressively closer to the sphere, bigger and bigger chunks (almost like bites) are missing
from them. The whole sculpture (mobile) hangs from the ceiling and can move in air
currents. It is made of metal which is lumpy and textural on the sphere, smooth, and
reflective on the limbs.
Design Balance: Radial balance, but not exactly

symmetrical. This sculpture is highly
organized; it is based on the golden section.
See Artist's Comments.
Rhythm: A regular graduated rhythm
provided by the repeated units, the repetition of
the geometric shapes, and the placement of the
limbs.
Texture: A contrast between rough and
smooth surfaces.
Movement: There is actual movement of the
sculpture, plus the movement of the reflections
of the viewers where the work is installed.
Techniques Metal construction.
Mood Intellectual rather than emotional. A system

has been applied to the organization of this
sculpture.
ARTIST'S COMMENTS
The work is based on the golden section of dynamic symmetry found in nature. The ration of 1:1.618 is
68
applied to the length of rods, the size variations of the hung mirrors and to the spacing of the individual
components. The top section revolves, activated by air jets from the heat-cooling system. The idea of
utilizing mirrors and the "handing" of the sculpture from the ceiling, increased the apparent size of the room
instead of hindering the traffic flow of the area. The mirrors with the "cut out" crescent shapes create some
fascinating up close views for people who wish to observe the work up close. The spatial concepts, to me,
relate to the technology of communications, of which, of course, the mails, remain a basic component.
Notes:
69
SC 4
Artist: Henry Saxe

Title: 15 Blue
Medium: P.V.C. and aluminum
Size: Fully extended: length 393.7 cm, width 61 cm, height 27.9 cm
Date: 1967
Location; Art Gallery of Ontario
Purchase 1968
DISCUSSION STARTERS
Subject Matter There is a large blue sculpture consisting of many planes which bend in a variety of ways
but are here arranged in a very regular pattern. The planes can be folded to twist and turn
in any directions.
Design Space: This sculpture is like a living growing

thing because it can be rearranged and it moves
in any direction to explore and fill real space.
Techniques An assemblage of parts which are connected so

that they may be moved.
Mood Playful, experimental, thought-provoking,

especially about three-dimensional space. The
sculpture is more intellectual than emotional.
Notes:
70
SC 5
Artist: Charlie Sivuarapik (Sheeguapik, Saali Arngnaitug)

Title: Caribou Attached by Four Wolves
Medium: Grey stone and bone
Size: 39.0 c,m x 20.3 cm x 24.1 cm
Gift of Mr. M.F. Feheley, Toronto, 1984
DISCUSSION STARTERS
Subject Matter We can see a black stone caribou with white antlers. Four wolves are reaching up from
below to attack her. The action is concentrated towards the centre of the sculpture. The
form is closed, with the exception of the white antlers which reach out into space
(freedom?).
Design Form: This sculpture deals with mass,

solidity. The colour (black) adds to the sense
of solidity. The forms are simplified and
stylized and the texture is reduced to simplicity
- smoothness. The forms are all rounded and
smooth.
Techniques This is a stone carving. It is interesting to note

that early native sculpture was not free
standing but intended to be passed from hand
to hand. Do you feel that this sculpture would
be comfortable to pick up and hold?
Mood Oddly enough, there is little sense of violence

in this sculpture, perhaps because of the soft
rounded forms.
Notes:
71
SC 6
Artist: Elizabeth Wyn Wood

Title: Gesture
Medium: Marble
Size: 99.5 cm x 45.5 cm x 44 cm
Date: c. 1930
DISCUSSION STARTERS
Subject Matter A person is caught in suspended movement. The sculpture is all white and is quite
angular. Strong diagonals reinforce the feeling of movement. The diagonals are repeated
in the head, arms, and folds of the cloth. The figure is an abstract; all detail is absent.
Design Movement: Suggested by strong diagonals.

We complete the action in our minds. The
simplicity, surface (smooth), and colour
(white) serve to support that movement.
Techniques A stone carving.
Mood Dramatic, forceful movement. Emphasized by

the use of strong diagonals and supported by
the absence of distracting detail.
Notes:
72
SC 7
Artist: Stewart Montgomerie

Title: The Maritime Form - Anchor
Medium: Aluminum
Size: 3.7 m x 1.5 m x 2.1 m
Date: 1985
Location: Confederation Building Complex, St. John's
DISCUSSION STARTERS
Subject Matter This piece is made up of two massive angular vertical columns with four smaller forms
wedged between them. There is open space (a void) below and above the small forms.
The forms all have flat, fairly smooth planes, but are slightly irregular in shape.
Design Mass: The forms have great weight and

solidity. Their scale adds to this.
Negative Space: A sense of weight and
solidity is as important as actual solidity in this
work.
Geometric Form: There is nothing soft or
giving about these angular, massive forms. The
angle of light is important to the definition of
forms and planes.
Techniques Thick aluminum was welded, ground, and

sandblasted.
Mood Strength coupled with tension. The forms in

the middle seen as if they might drop at any
time. Might the artist be exploring the delicate
balance of power between natural forces and
synthetic objects?
Notes:
73
SC 8
Artist: Ray Mackie

Title: Maritime Motif
Medium: Clay, wood
Date: 1985
Location: Department of Public Works
DISCUSSION STARTERS
Subject Matter A clay boat-shape is shown behind a wooden grid. The clay is broken into small wormlike
shapes which are then pressed in a variety of directions over each other. The boat-shape is
pressed into a black wire grid. Is this a reference to netting? Is the wood part a reference
to fish flakes?
Design Balance: Symmetrical.

Forms: Organic and geometric.
Repetition: Each form is repeated in a regular
manner (the grids) and the others in a
semiregular manner (the clay).
Techniques This is a good example of a relief sculpture. It

is not meant to be viewed from all angles.
Mood There seem to be a lack of any mood in the

piece.
ARTIST'S COMMENTS
Part of a series based on the forms of boats.
Notes:
74
SC 9
Artist: Joe Fafard

Title: E II R
Medium: Terra cotta, enamel, acrylic
Size: H: 59 cm; W/L: 27 cm, D/P: 50 cm
Date: 1978
DISCUSSION STARTERS
Subject Matter This is a portrait of Queen Elizabeth II. She sits in a regular chair, wearing a green dress,
coat, hat, white gloves, shoes, and necklace. She sits primly and properly. She is very
small. The viewer must look down to see her.
Design Size and Point of View: People in power must

usually be looked up to. In Fafard's sculpture,
we see the Queen from a less respectful but
perhaps more human perspective.
Techniques The artist has modeled the clay. He must have

used small tools to get such fine detail. The
clay has been painted after firing.
Mood Empathetic, humane, sympathetic. We usually

think of the Queen as being very regal but the
artist's portrait of her makes us see her in a
new light.
Notes:
75
SC 10
Artist: Susan Wood

Title: Remnants
Medium: Cast paper, mixed media, handmade paper
Size: 100 cm x 76 cm x 7 cm
Date: 1983
DISCUSSION STARTERS
Subject Matter The shape purse is broken and shells can be seen inside. The sculpture is made from
brown heavily textured paper. This is an example of a relief sculpture. For more
information on the Devil's purse, see DR 16.
Design Texture: Rough, bumpy surface. Although

the work appears to be quite solid and strong, it
is actually very fragile.
Balance: Symmetrical.
Scale: Fantastic.
Techniques The artist has used organic materials (a

reflection of the subject matter which is also
organic) but whereas the devil's purse is
smooth and fairly resilient in nature, the
sculpture is quite rough and fragile. The artist
has made the paper from which the sculpture
was constructed.
Mood Fragile yet strong because it protects its

contents (in nature, the eggs). Its role could
also be compared to that of another kind of
purse - the object of fashion.
Notes:
76
SC 11
Artist: Dik Campbell

Title: Punkers 1, 2, 3
Medium: Mixed media/found object assemblage sculpture
Size: Approximately 16 cm x 35 cm x 12 cm
Date: August 1985
Location: Location of the artist
DISCUSSION STARTERS
Subject Matter There are three standing objects made of assorted items such as feathers, ropes, pins, felt,
nails, spiked bands, corrugated cardboard: the kinds of things one associates with the
punk movement of the 70's and 80's. The objects lack bright colours.
Design Texture: Sharp, ragged, rough.

Colour: Blacks and greys dominate. There is
essentially no colour.
Techniques An assemblage of found objects.
Mood The essence of a cultural style, which in this

case is not "pretty" but threatening or ominous.
ARTIST'S COMMENTS
When I go for walks it's hard for me not to look at the garbage, the marvellous junk someone didn't
appreciate. Since childhood I've been collecting and admiring the stuff and as my interest in sculpture grew
I began to use it, fitting pieces together until they grew into whatever they did. I call them punks because I
had a mohawk when I did them (so did some of the pieces).
Notes:
77
SC 12
Artist: Nancy S. Graves

Title: Variability and Repetition of Variable Forms
Medium: Steel, wax, marble dust, acrylic, plaster, gauze, latex
Size: 38 units, 108"h x 144"d x 20"l
DISCUSSION STARTERS
Subject Matter The work consists of a variety of natural object (see Artist's Comments below) arranged
on poles. Some are shiny, some are rough. There is a variety of colours. They are all of
similar size. The arrangements fill the room from floor to ceiling and it appears that the
viewer may walk around or through the sculpture.
Design Repetition versus Variety: There is a definite

pattern in the sculpture in terms of the vertical
poles and the size, shapes, and origin of the
small pieces that decorate them. On the other
hand, in the same piece the artist explores
variety in all of the above components.
Techniques Assemblage. The artist used synthetic media

to create forms found in nature.
Mood A brand new environment has been created. It

emphasizes the natural (reminding one of
forests) yet it is not made of any natural
material nor is it located in a natural
environment.
ARTIST'S COMMENTS
The image of a single unit is totemic; that of the whole is an organic abstraction. The forms attached to the
ten foot structures range from one inch square to thirty-six inches in length. The range of forms is
contained within nature: butterflies, twigs of trees, vines, berries, beetles, cowrie shells, bones, and
feathers. The imagery is reflective of so-called "primitive" cultures of the South Pacific. The colours
comprise a total spectrum. Spatial overlay of the varying and repeated forms is infinite. In the static sense
there are many vantage points.
Objectness is deobjectified. Total cognition is cumulative. The object is memory.
Notes:
78
79
SC 13
Artist: Sharon Trueman

Title: Black Box Sculpture: Fragility
Medium: Mixed-media (wood, cardboard, plaster, marbles)
Size: 25.4 cm x 25.4 cm x 25.4 cm
Date: 1985
Location: Collection of Dik Campbell, St. John's
DISCUSSION STARTERS
Subject Matter A black box has three slender wooden sticks crossing the front at centre. The surface has
a slight recession. In the centre, there is a square hole (void). Two marbles are visible,
one caught in the rungs formed by sticks, one partly visible in the black void.
Design Colour: All black; the colour of

nothingness/emptiness, mystery. When there is
little light there is blackness (no colour), and
therefore it is impossible to see. We catch
vague glimpses of objects.
Negative Space: This is important to the
work. The void may contain something or it
may not. It hides things. It can frighten.
Techniques This sculpture is constructed of materials

easily available.
Mood Mysterious, sombre, with a touch of lightness

(the marbles). It can refer to things understood
or unknown by us or to fragile movements and
feelings.
ARTIST'S COMMENTS
This work deals with blackness, the "void" from which anything can emerge. The marbles may remind one
of childhood, games playing, hiding, growing, security; it is for the viewer to decide. The work is titled
Fragility because of the care needed in building and in handling the work and because of the fragile nature
of our important experience, our thoughts, our inner lives.
Notes:
80
SC 14
Artist: Colleen Lynch

Title: Flying Fish
Medium: Copper and steel
Size: Unknown
Date: 1985
Location: Confederation Building Complex
DISCUSSION STARTERS
Subject Matter There are approximately twenty-five fish of various sizes set on metal rods so that they
move with the wind currents; though not all in the same direction. Although the fish are 3-
D, they are not very thick. Their overall shape is reminiscent of planes and they "fly" at
varying heights.
Design Shape/Form: Except for a slight variation in

size, the fish are all the same shape.
Movement: The fish are free-moving and
individual in that they do not respond
identically to wind currents. The sculpture
always looks different. It is not static.
Techniques Copper, cut and welded, attached on steel rods.
Mood One of fun and freedom (within limits). It is

fun to think of these fish as flying, in constant
motion. The comparison to flight in air as
opposed to water is interesting.
Notes:
81
SC 15
Artist: Dan Patterson

Title: Carnation Milk Assemblage
Medium: Carnation milk cans, wire
Size: 228.6 cm x 175.3 cm x 320 cm
Date: Unknown
DISCUSSION STARTERS
Subject Matter This is a structure with architectural references (a temple?). It is constructed of a single
module repeated many times; a common household objects, a carnation milk can.
Design Repetition: The artist has assembled many

examples of the same module.
Balance: Symmetrical.
Form: These common objects are assembled
to make planes (both actual and implied).
Techniques The cans are both hung and stacked.
Mood The objects were put together to take on a

meaning totally removed from their roles as we
know them. Why might the artist have used
them? What is their relationship to the
sculpture? Perhaps a homage to a culture? A
funny idea?
Notes:
82
SC 16
Artist: Michael Snow

Title: Walking Woman
Medium: Stainless steel and wood, 11 component parts
Size: Height: 228.6 cm
Date: 1967
Gift of the Government of the Province of Ontario, 1968
DISCUSSION STARTERS
Subject Matter A silhouette of a woman walking is repeated seven times. The woman leans forward, her
arms swinging and her dress flowing. The top of her head, feet and hands are cut off as if
they had reached the borders of a photograph. The silhouettes are placed in various
positions and at various angles in the sculpture. They have practically no width, and their
surfaces are smooth and reflective on both slides.
Design Shape: The repeated shape creates unity. The

diagonals suggest motion - in this case a freeze
of action - also suggested because the figures
are slightly off balance.
Surface: The figures are shiny and reflective.
Viewers would also be reflected in the
sculpture and thus become part of it.
Techniques Cut steel, placed on a base. The black wall at

the back helps define the space. The artist has
made many variations of the walking woman,
sometimes using wood, paintings.
Mood A reflection of the constant busyness of

modern living. Large city populations? The
relationships of photography to the way we
experience people? How we incorporate
ourselves into the action, but remaining
removed? What do you think?
Notes:
83
SC 17
Artist: Kosso Eloul

Title: The Eternal Flame
Medium: Aluminum
Size: Height: 30.5 cm
Date: 1974
Gift of the Canadian Society for the Weizmann Institute of Science, 1974
DISCUSSION STARTERS
Subject Matter Three rectangular forms, all the same size are leaning, almost toppling, at various angles.
(Imagine how walking around the sculpture would change the visual relationship among
the forms.) All the forms are smooth and shiny.
Design Forms: The repeated geometric forms are

identical in size, shape, colour, and texture.
The forms are dramatized by light which falls
on them.
Movement: The non-stable appearance of the
forms, as if they were caught in a moment of
incomplete action, creates tension.
Techniques The artist has chosen materials that are

reduced to their simplest in form, texture, and
colour. There is no busy detail here.
Mood The work is intellectual rather than emotional

Compare the sculpture to a flame (simplicity,
smoothness, light or reflection, form, colour).
What are their similarities or differences?
What about the length of life in each of these
"flames"?
Notes:
84
SC 18
Artist: Diana Dabinett

Title: Salmon Dinner
Medium: Batik on cotton, foam rubber and fibrefill
Size: 182.9 cm x 121.9 cm x 15.2 cm
Date: 1981
DISCUSSION STARTERS
Subject Matter We see a dinner table setting with plates of stuffed salmon about to be served. There are
also serving utensils, loaf of bread, peas, carrots, and baked potatoes on the plates.
Everything is made of fabric.
Design Texture: Fabric texture is completely different

from the actual texture of these objects. We
don't usually think about touching these kinds
of foods, yet we are invited to here.
Colour: Partly local.
Techniques Fabric has been batiked, patterned, sewn and

stuffed. It's like a good meal with "everything
made from scratch".
Mood Humorous yet startling. Common objects are

experienced in a new way.
ARTIST'S COMMENTS
For a number of years some of my work has been related to sea life. I like working on fabric in three-
dimensions in a way that involves the spectator physically in handling the work as well as visually
observing and thinking about it.
Notes:
85
SC 19
Artist: Murray Favro

Title: Van Gogh's Room
Medium: Multi-media
Size: 259.2 cm x 365.7 cm x 365.7 cm
Date: 1973-74
Location: Art Gallery of Ontario, Toronto
DISCUSSION STARTERS
Subject Matter We are presented with three-dimensional bedroom in which there is a bed, chairs, and a
table. Pictures hang crookedly on the wall. The surfaces are slick, shiny, glossy, and
hard. This work is a 3-D copy of a painting by Vincent van Gogh.
Design Colour and Texture: The texture is

reminiscent of oil painting in general and the
colour duplicates one oil painting in particular.
Space: A two-dimensional work has been
reproduced in three dimensions.
Scale: An interesting progression ... a room is
reproduced as a small painting ... the small
painting is reproduced as a full-scale room.
Techniques Favro has used a variety of 3-D media to

construct this sculpture. Because the linear
perspective of the original painting was
distorted, Favro had to distort his 3-D objects
accordingly, lengthening or shortening a leg
here or there.
Mood This is a fun piece. An art work based on

another art work. The technical problems of
translating from 2-D to 3-D are interesting to
consider.
Notes:
86
SC 20
Artist: Pam Hall

Title: Torbreck Stone
Medium: Mixed media on paper
Size: Approximately 76 cm x 102 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter What appears to be a rock in a natural environment is actually a paper work placed in a
natural environment. It has the texture, colour, and shape of a rock. Just as rocks have
gone through an evolutionary process, so has this art work. The only difference is that one
exists as a result of a natural process, and the other because of human endeavour.
Design Texture: There is a tremendous variety of

texture. Textures are actual and totally related
to the materials the artist used to create them.
Colour: Natural in appearance but achieved
through synthetic means.
Techniques The artist beat the paper with rocks both while
the paper was wet and while it was dry. It has
been worked on in the studio and outside.
Some pigment has been added.
Mood Intellectual as opposed to emotional piece.
ARTIST'S COMMENTS
Torbreck Stone is part of a larger body of work called Worshipping the Stone and was made in the Scottish
Highlights while the artist was there working with the assistance of the Canada Council.
Notes:
87
Sculpture Project #1: Line
Key Learning
Sculpture
Sculpture differs from drawing, painting and printmaking in that is occupies three-dimensional space.
It has mass, or volume. Sculpture should be viewed from as many angles as possible. Sometimes it is even
possible to explore interiors as well as exteriors.
Line
In sculpture, line has three dimensions. It moves through and occupies space. Line may be irregular,
free flowing, rectilinear, or rigid. Line in space implies movement as the eye, hand, and/or body follows its
path. The line may not be static. Rather it may be possible to change the direction of the line so that the
sculpture seems to become a moving, growing thing. Sometimes the line implies a form; it is just that parts
have been omitted.
Materials
These depend on experiments and project chosen. Some possibilities include:
! thin malleable wire

! pliers
! rolled newspaper
! pipe cleaners
! chicken wire
! wood
! string
! glue
! masking tape
! hammers
! nails
! paint
Motivation
Visuals
SC 1, SC 2, SC 3, SC 4. After studying the slides individually compare them in terms of line.

Would the words be as effective if line was minimized and some other design element accentuated?
88
Experimentation
To learn about three-dimensional line and ways of joining three-dimensional materials try some of the
following:
a) Arrange several 8" blocks of 2" x 4" wood in a variety of interesting ways. Begin with a static
arrangement of the blocks, perhaps one on top of the other, to form a symmetrical column. Then
little by little rearrange the blocks to discover more interesting variations. Move out into the
surrounding space. Arrange them symmetrically, and asymmetrically. Walk around the
arrangements to see the view from all sides. Wood blocks may be substituted with any other
linear forms.
b) Make free-form arrangements of linear cuts of chicken wire. Twist and turn the wire in any
direction. Remember to view from all angles. The wire holds its shape and is easily fixed to a
base made of a piece of discarded wood.
c) Use pliable wire to capture in three-dimensional form the gesture or movement of a human figure
or an animal. View from all sides. The lines of the wire should include the three-dimensional
nature of the subject.
Suggested Theme
An abstract interpretation of mood or movement: joy, anger, tumbling, rushing, etc.
Studio
Make a sculpture using line to interpret a mood or a movement. Sculpture should be interesting from
all sides.
Summary
Display all of the student work and discuss in terms of the objectives and the processes (successes,
Notes:
89
Sculpture Project #2: Form
Key Learning
Form
Form is the three-dimensional equivalent of shape. Form indicates mass, volume, bulk, solidity, and
weight. Form may be gentle and rounded or hard and angular. Holes may appear in and through the form.
These are called voids or negative or unoccupied space. They are as important as positive or occupied
space. Sculpture interacts with its environment. It influences the space surrounding it and, in turn, is
influenced by the space surrounding it.
Sculpture Processes
Forms may be made by building up materials (additive sculpture) or by taking away material from a
solid form (subtractive sculpture). Sculpture is intended to be viewed from all angles; therefore all angles
must give a pleasing view to the eye. That is to say, there should be a variety of sizes and directions of
forms within the sculpture, while at the same time there must be a feeling of continuity or harmony.
Materials
! Plaster of Paris (see hints at end of sculpture module)

! vermiculite
! mixing buckets
! drawing tools (homemade and bought)
! empty two-litre milk cartons
! modelling clay
! plasticene or homemade dough and/or styrofoam for experimentation
! paper maché over a support structure (armature) is also interesting to use
Motivation
Visuals
SC 5, SC 6, SC 7. After studying the slides individually, discuss them in terms of form and the role
of negative space in additive or subtractive sculpture.
Experimentation
To learn about form and additive and subtractive sculpture, try the following:
a) Take a malleable medium such as modelling clay, baker's dough, or plasticene and make a
sculpture (perhaps an animal) by building up, adding to, and with hands, modelling the form.
90
b) Take a block of some material (e.g., styrofoam, soap, clay) and remove material to let the form
emerge. The subject matter may be the same as the subject matter in part a) above or similar to it.
Suggested Theme
Try representational subject matter such as human or animal figures or abstract subject forms.
Distorting them by twisting and pulling and removing parts of them.
Studio
Make a sculpture emphasizing the form and mass. The sculpture may be made by the additive or
subtractive process or a combination of both.
Summary
Notes:
91
Sculpture Project #3: Texture
Key Learning
Texture
Sculpture is concerned with three-dimensional materials and surfaces. Texture in sculpture is actual
as opposed to implied. Artists can use materials with specific textural qualities and materials with which
they can create texture in the work.
Creating Texture
Two ways of creating texture, are to build up bits and pieces of materials on a surface, and to cut into
a surface by pressing three-dimensional objects into it.
Materials
! self-hardening clay
! baker's clay or equivalent (optional)
! plasticene (optional)
! found objects
! rolling pins and burlap for rolling out the clay
Motivation
Visuals
SC 8, SC 9, SC 10. After studying the slides individually, discuss them in terms of texture. How
does the use of texture enhance the mood of each piece?
Motivation
In order to learn about actual texture, try some of the following:
a) Collect and compare a variety of actual textures from the environment.

b) Create textures in clay or equivalent by using some of the techniques suggested above. See what
other methods can be discovered by the group. If a material such as clay is used, it is possible to
make a plaster cast of the texture? To do this, it will be necessary to place the clay in the bottom
of a low container (cut-off plastic dish or milk carton, cardboard box cover, etc.). Be sure to see
directions for mixing plaster.
c) Make a relief-textured surface by adding foreign materials to a base such as a piece of wood or
styrofoam. Forms and textures may be glued to the surface. Nails, or other sharp objects may be
pounded into the surface. A variety of heights will make the composition interesting.
92
Suggested Theme
Animals provide interesting possibilities in terms of texture. Abstractions or parts of landscape done
in squares of relief could be assembled for a group project of a wall mural.
Studio
Make a sculpture (relief or in-the-round) exhibiting strong texture.
Summary
Notes:
93
Sculpture Project #4: Assemblage
Key Learning
Sculpture and Medium
Modern sculpture moves beyond the realm of traditional materials and traditional environments. The
materials one can use to create sculpture are limited only by one's imagination and one's access to
materials. Many possibilities exist for creating sculpture using a wide array of found objects. As
assemblage is a three-dimensional arrangement of any collection of objects, found or created.
Sculpture and Environment
Modern sculpture has moved beyond the realm of museums and public statuary. Artists have moved
out into the natural and synthetic environments. Artists plow through fields, move earth to make spiralling
jetties into the water, use huge rocks to create formations, create human mazes with three-lined walls, wrap
buildings and bridges, and make colossal clothespins to stand in parks. Architectural interiors are
rectilinear spaces which can be transformed and reshaped.
Materials
Any materials available may be used. Many tools and materials for joining parts of the assemblages
(e.g., tape, string, nails, glue) will be needed.
Motivation
Visuals
SC 11, SC 12, SC 13. After studying the slides individually, compare them in terms of assemblage
including materials and how they may have been joined. Discuss the suitability of materials to the piece?
Experimentation
To learn about assemblage, try the following:
a) Reshape the classroom by gathering or creating irregular forms which can be affixed to ceiling,
walls, floors, or corners to intrude into the very regular symmetrical, rectilinear space of the room.
Provide students with ample opportunity to practice and discover how to join diverse materials.
E.g., when the armatures are required, what the best joining material is...
Suggested Theme
Interpreting emotions - as fear, jealousy, anger, joy - or interpreting personalities in a semi-

representational or abstract way. Portraits could initiate some unusual creations.
94
Studio
Make an assemblage incorporating components appropriate to the subject matter.
Summary
Notes:
95
Sculpture Project #5: The Module
Key Learning
Repetition
When the component parts of a sculpture are exactly alike in size, shape, and colour, variety and
interest must be achieved in other ways. The relationship in space of the component parts is the key factor
in achieving visual variety and interest in a sculpture which uses identical component parts. Surprises in
the way the forms relate to each other must be seen as the viewer looks at the sculpture from every angle.
Materials
Possibilities include:
! cans (pop, soup)

! boxes (matchboxes, cigarette boxes, etc.)
! egg cartons
! styrofoam
! toothpicks
! nails
! styrofoam cups
Joining materials depend on the modules chosen.
Motivation
Visuals
SC 14, SC 15, SC 16, SC 17. After studying the slides individually, compare them in terms of the
modules, and their arrangements. What considerations have the artist made in completing their works?
How do the individual items contribute to the overall effect of the work?
Experimentation
As in Sculpture Project #1, collect some identical units (this time the emphasis is not on linear forms),
such as classroom chairs. Starting with a static arrangement, see how these components may be assembled
in interesting relation in space., Discuss balance, movement, emphasis. Be sure to view the arrangements
from all directions.
Suggested Theme
Emphasis should be on organization in this project. A theme is not necessary.
96
Studio
Make a sculpture using identical components. The sculpture should be interesting to view from all
angles.
Summary
Notes:
97
Sculpture Project #6: Distortion
Key Learning
Distortion
It is always surprising when an artist takes some element such as shape,size, colour, or texture of an
object and changes it. The result is unexpected and may be humorous or shocking. An encounter with a
concrete walkway wrapped in orange plastic may assume while an encounter with a rabbit skin cup and
saucer may cause some discomfort. Whatever the viewer's reaction, changes in the normal appearance of
known objects cause the viewer to focus in on and become more aware of that aspect of the object.
Materials
Limited only by imagination. Joining materials as required.
Motivation
Visuals
SC 18, SC 19, SC 20. After studying the slides individually, compare them in terms of distortion and
surprise. How does the use of an unexpected material contribute to the overall effect of each piece?
Motivation
In order to brainstorm ideas for distorting some visual aspect of an object, have students bring in one
common object each. Describe the major visual components of and suggest one way of drastically
distorting that object, whether by change of colour, size, shape, or texture. Would the viewer be amused,
shocked, revolted...
Suggested Theme
Designed objects or common commercial objects would provide an interesting theme.
Studio
Make a sculpture in which at least one visual component has been distorted for the purpose of
humour, shock, or surprise.
98
Summary
Notes:
99
Printmaking Module
Introduction
Prints have changed the course of history. They have worked for peace or for war, for God and
for the Devil. Tyrants and political bosses have feared their power. Prints have pleaded the
cause of the Reformation against the Popes, of the republic against the monarch. They have
fought slavery and corruptions as they now fight war and pollution. The history of man's
aspirations can be revealed by leafing through a great print collection.1
The history of printmaking is the history of innovation in communication. Before the age of
mass literacy, pictorial images played a particularly significant role in conveying ideas and
traditions. Prints were relatively inexpensive and many people could afford them. Artists
found, through the print, a means of increasing both their output and their audience. Because
the printed picture was the potent mass communications tool of the times, there was a
continuing need to reproduce images more accurately and efficiently. The demand spurred
innovation in materials and techniques.2
In printmaking today, the original plate can be used to create a single image as a unique piece or to
produce multiple copies. Careful planning in printmaking is mandatory since original plates, screens, etc.,
are used in successive steps to print images and the intended final product itself must be kept in mind at all
time.
Through the study of printmaking, students should gain both an understanding of the techniques
involved in making different types of prints, and a sensitivity to the relation of techniques or medium to
subject matter and expressive content.
As in other two-dimensional areas, elements of shape, line, texture, and colour, plus the principles of
design - unity, balance, emphasis, etc. - should play an important role.
Processes
The Relief Printing Process
The print is made by pressing paper to a plate that has inked raise surfaces. These
_____________________
1
Fritz Eichenberg, The Art of the Print (New York: Harry N. Abrams, 1976), p. 7.
2
Thelma R. Newman, Innovative Printmaking (New York: Crown Publishers, 1977), p. 1
124
raised surfaces may be the residual areas in a plate that has had sections carved away as in a linocut or
they may be the surfaces of objects glued to a plate (collograph). The lower surfaces do not print.
The Intaglio Printing Process
The image is incised into the plate. After the plate is inked, the upper surfaces are wiped clean,
leaving ink behind in the incised lines. Paper is pressed over the plate and into the grooves, picking up the
ink to produce the printed image on its surface.
The Planeographic (Lithographic) Printing Process
Lithography
The print design is made by drawing with a grease crayon or pencil on a surface that has an affinity
for both grease and water. In this process there is no cutting of the surface. Pressing paper against the
surface produces a print.
Monoprint
The print is made by pressing paper on an inked plate and drawing on the paper surface with a blunt
instrument which picks up ink on the face-down side; or by inking only some areas of the plate in a design
which is picked up by paper pressed down on the surface. Only one good print can be obtained.
1. Lift-drawing. Ink the surface of the plate evenly. Gently place a sheet of paper on the surface
so that it does not pick up the ink. With a blunt instrument, draw the design on the paper
surface, exerting enough pressure to pick up ink on the reverse side.
125
2. Negative-line monoprint. Ink the surface of the plate evenly. Draw into the ink with a tool
having a broad enough tip to leave a fairly pronounced line. Place the paper over the surface and
gently rub. Pull the print, which will show light lines against a dark surface (unless you are
using colour paper that is darker than the ink).
3. Positive monoprint. Draw with ink, using a brush, sponge, spatula, etc., directly on the surface
of the plate with line and/or areas of colour. Press paper on the plate. Pull the print.
4. Negative/positive monoprint. Ink the entire surface of the plate. Place shapes cut from paper
here and there on the inked surface according to a prearranged design. Place print paper on the
surface and rub. Pull the print. Those areas that were covered with cutout shapes will not be
inked.
Serigraphy: Screen Printing Process
The print is made by forcing ink or paint through an opening in the stencil to the underlying paper or
fabric surface.
Safety Hint: In relief printing a benchhook that catches on the edge of a table to hold the woodblock
or linoleum block in place will prevent the block from moving during cutting. This item is easily construct
of found materials.
126
Printmaking Slides
PR 1, 2, 3, 4 Anne Meredith Barry/Wind from the Sea
PR 5 Patricia Holland/Spurt
PR 6 Gilbert Hay/Waiting and Expecting
PR 7 Bill Ritchie/Fox Woman
PR 8 David B. Milne/John Brown's Farm

PR 9 Emily Mussells/Red Rocks and Cotton Grass
PR 10 Miranda Jones/St. John's #3
PR 11 Scott Goudie/Abby of York Street
PR 12 Joe Carter/Chafe House, Petty Harbour

PR 13 Gilbert Hay/Rescue
PR 14 Don Wright/Frog
PR 15 Gerard Brander a Brandis/Bog with Pitcher Plant
PR 16 Toni Onley/Landscape
PR 17 Sid Butt/No Squid
PR 18 Jon Wilkinson/Meeting Place
PR 19 David Thauberger/Black Velvet Bunnies
PR 20 Jacob Kennedy/Winter Outport
127
PR 1, 2, 3, 4
Artist: Anne Meredith Barry

Title: Wind from the Sea
Medium: Woodcut
Size: 45.7 cm x 63.5 cm
Date: 1985
DISCUSSION STARTERS
Subject Matter Slide #1: A land/sea scape of a location on the southern shore of Newfoundland.
The foreground consists of a grassy headland from which can be seen distant land
masses, ocean, and sky. They are solid areas of colour. The foreground and the
sky shapes have graduated colour in them. There are short, vigorous, fairly wide
lines in the image. Most of them are grey, but some are white (the exposed paper).
There are also some very fine scratchy white lines.
Design Line: Bold, vigorous, descriptive.

Shapes: Irregular but well defined.
Colour: Variety of intensity, but well separated, defined shapes.
Techniques Slide #2: The artist's preparatory sketch for Wind from the Sea. Notice how the
hills, rocks, ocean, and sky are roughly indicated with vigorous strokes of colour
pencils and ink.
Slide #3: The artist used two rectangular wood blocks to make her print. This is
the first, and here it appears just as it was inked and about to be printed. The
artist cut this first wood block in to seven pieces and took them apart. She made
cuts in to the surfaces of the pieces. Look at the brown areas. These are the
actual wood. Where the artist made the cuts, no ink was received. They are the
white areas of the final print. When the artist inked all the pieces separately, she
puts them together again, much like a jigsaw puzzle, and printed the whole block
at once. Notice how the image is the reverse of the final print (slide #1).
Slide #4: This is the artist's second wood block for this print. Here, all of the
brown is wood surface. It has been cut away and is therefore lower than the
raised grey and red bits. That's why no ink was received there. The inked roller
passed right over it. The grey and red lines where printed over the print with the
solid colours on it. Notice how these are also reversed in the final image.
128
Mood Slide #1: The artist is interested in the essential shapes and colour of the
Newfoundland seascape. She captures the wind with her vigorous lines, and the
freshness of nature with her colour.
ARTIST'S COMMENTS
In Newfoundland, I am always aware of the beauty and power of the elementary force of air, sea, and land.
There, they are constantly pushing, pulling, building up, tearing down, reshaping, creating and destroying
each other. This is what Wind from the Sea is all about to me. And being a printmaker also means making
marks on smooth wooden plates with sharp tools and releasing the marvellous wood smell with each cut, or
mixing and rolling out the lush ink colours, of pulling the inking plates through the press to transfer the
image onto beautiful and receptive rag paper ... there are all very exciting things to do. The "magic
moment" when everything comes together to make an image is very real.
Notes:
129
PR 5
Artist: Patricia Holland

Title: Spurt
Medium: Colour lithograph
Size: 58.5 cm x 44.5 cm
Date: 1984
DISCUSSION STARTERS
Subject Matter Most of the pictorial space is occupied by blue-blacks and purples. It is a kind of
bursting. This is even more clearly evident in the linear and spattered application of
white over the undercoat of blue-blacks and purples. The lines all go in the same
direction and therefore there is a wide sweeping movement from top to bottom.
Design Texture: Strong textures within all colours and areas.

Lines and Movement: Strong upward bursting thrust due to the direction of line.
Techniques This is a lithograph. It resembles a monoprint. To create a monoprint, paint is

applied to a glass surface, paper is rubbed on the surface, and the print (one-
mono) is pulled. This visual is due to the strong direct textural appearance of the
work.
Mood Active, outward movement dominates the work. There seems to be an explosion,
a burst of energy. Rather than trying to directly capture a spurt (presumably of
rushing ocean), the artist captures its essence, its movement, the impression of a
spurt.
ARTIST'S COMMENTS
Spurt is as much about the process of lithography as it is about movement. Using lithographic ink, gravity,
and a spontaneous movement, I was able to attain the free-flowing energy of this piece. This image is both
abstract and real since it is representing nothing in particular yet it's a spurt; the actual traces of a real
movement. A common thread to the different interpretations is always movement, i.e., an explosion, an oil
spill, flowing seaweed, etc. The act of creating the piece will hopefully remain more effective than the
finished product.
Notes:
130
PR 6
Artist: Gilbert Hay

Title: Waiting and Expecting (Mythology Series)
Medium: Lithography
Date: 1981
Location: Spurrell Gallery, St. John's
DISCUSSION STARTERS
Subject Matter Two people are on a shore with their backs to the viewer; one standing, one sitting. One
has binoculars, the other, a rifle. They are looking out to sea. A boat is moored beside
them. In the distance there are two islands/land masses. What might the people be
waiting for? White lines appear in some areas of black (notably on the clothing and the
boat).
Design Positive/Negative: The white space, far from being a negative space or unused
space, is actually the ocean. No horizon line is defined, merely suggested.
Balance: This picture is heavily weighted to the left. Perhaps the role of the two
stones on the right is to balance the picture's weighting to the left.
Volume: Modelling is suggested by the middle greys appearing in some white
areas.
Techniques This is a lithograph, made by drawing with greasy ink on a flat stone surface.
Printing ink was rolled onto the dampened surface. It stuck to the greasy drawing
ink but stayed off the damp stone. Paper was placed on the stone and the whole
thing run through a press. When the paper was peeled off, the drawing appeared.
Mood Tension, because of the subject matter and asymmetrical balance.
Notes:
131
PR 7
Artist: Bill Ritchie

Title: Fox Woman (Labrador Inuit Mythology Series)
Medium: 1-colour lithograph on Arches Buff paper
Date: Unknown
Location: Collection of Michael Wotherspoon, St. John's
DISCUSSION STARTERS
Subject Matter We see a fox (look closely at the face - an image within an image), whose nose and
tail point to the centre area of the image. The space between the front legs is
approximately the same shape as the head. The single object almost fills the whole
frame (see also Greg Curnoe's Bicycle - PA 13).
Design Line: Very fine short lines are used to indicate texture and volume on the fox.
Composition: The filling of the frame by the object emphasizes the positive and
negative shapes. It also encloses or traps the fox in a box. This relates nicely to
the myth which this work illustrates.
Technique This is a lithograph process which looks like a drawing. The artist drew the
image with a greasy pencil on a large flat stone and then transferred the image to
paper.
Mood One of enclosure, checked movement.
ARTIST'S COMMENTS
The print was a highlight in many respects. It was the first drawn litho to look drawn and the hidden
feature happened nicely. It suited the story.
Note: This print is based on an Inuit myth about a women who is hidden in the skin of a fox but who
emerges from the skin each day and mend a greater hunter's clothes while he is away from his igloo. Later,
when she is discovered, she marries the hunter but dons the skin and runs away when her strange odour is
commented on by the people in the camp.
Notes:
132
OR 8
Artist: David B. Milne

Title: John Brown's Farm
Medium: Colour drypoint on Fabriano and 1930 Whatman wove paper
Size: 17.4 cm x 22.7 cm
Date: November-December 1931
Milne-Duncan Bequest, 1970
DISCUSSION STARTERS
Subject Matter The image consists of a landscape with rolling hills, farm buildings, and trees. It is
winter. There is snow on the ground. The land occupies only the lower third of the
image. The rest is overcast sky. The paper surface is smudgy. The lines are fuzzy
and there are a few accents of colour.
Design Composition: Only the lower third of the picture is occupied (positive space),
but the sky (unoccupied space) has been assigned great importance by its size.
Line: Quite fuzzy. There is evenly weighted delineation.
Colour: For the most part, the image is quite colourless (although it is textural).
The accents of colour are strong enough to add interest but not to take over the
image.
Techniques The fuzzy line is the result of lines being scratched into a metal surface. Little
bits of the scratched metal formed burrs along the edge of the scratched line. This
is common in the drypoint (intaglio) process.
Mood Cool, still, strongly atmospheric.
Notes:
133
PR 9
Artist: Emily Mussells

Title: Red Rocks and Cotton Grass
Medium: Etching
Size: 19.2 cm x 43.8 cm printed on 56 cm x 76 cm Arches 200 paper - edition of 15
Date: 1983-84
Location: Contemporary Graphics, St. John's
DISCUSSION STARTERS
Subject Matter Rocks, grass, cotton grass, sky, and clouds make up this composition.
Design Texture: Strong textures occur throughout the rocks, the cotton-ball shapes and
the sky. The yellow-green stalks have a more linear textural quality to it.
Colour: The colour has a transparent quality.
Techniques The etching has a collographic kind of feeling: the cotton-ball shapes and rocks
have an embossed quality as if the surface of the paper was raised (like embossed
greeting cards). The colour was actually applied after the black and white print
was made; thus making each print of every edition slightly different.
Mood Playful. We tend to think of rocks and grass as being grey and green objects
without a great deal of variety. The artist focuses on the strong texture and colour
of these objects.
ARTIST'S COMMENTS
This etching was inspired by a watercolour sketch done at Spotted Islands, Labrador - August 1983. It is
hand painted in water colour.
Notes:
134
PR 10
Artist: Miranda Jones

Title: St. John's #3
Medium: Intaglio
Date: 1981
DISCUSSION STARTERS
Subject Matter This is a view of the city of St. John's, with a number of crowded overlapping
buildings. The vantage point is from above. The viewer sees roofs and chimneys.
There are many details. There is the slight addition of a violet colour along the
bottom of the image. Otherwise the image is a mixture of linear drawing and solid
irregular black areas. Some of the black areas have some white picked out of it.
Design Composition: This is a very active, crowded pictorial space with lots of detail
but no major focal point. The artist fills the frame to all the edges.
Space: The artist has chosen a high point of view, overlapped objects, and
changed the amount of detail and size of objects as they receded into the distance.
Techniques The etching process is used here. After the artist made her black and white print,
she may have applied another colour on part of the image with a roller. She may
have applied the ink directly on her plate by rolling it or rubbing it on.
Mood A doodle type record of a pleasant evening and sight; playful, light.
ARTIST'S COMMENTS
I completed this print shortly after my arrival in St. John's, Newfoundland. I was struck by the uniquely
"old world" feel of the city which was sadly being destroyed by unsympathetic development and ugly high
rises. So I tried to preserve the old St. John's in this image.
Notes:
135
PR 11
Artist: Scott Goudie

Title: Abby of York Street
Medium: Mezzotint
Size: 76.2 cm x 91.4 cm
Date: 1985
Location: Contemporary Graphics, St. John's
DISCUSSION STARTERS
Subject Matter A black cat sits in profile on a window sill. The sun shines in and leaves bright
puddles of light on the ledge. Beyond the window, houses, gardens and sky are
vaguely represented. Because the light comes from behind, the cat is seen in
silhouette. Its collar and right eye are the only exceptions.
Design Value: This is a good example of a value scale in an image. All the tones are
evident from the darkest black to a clean white. On the whole though, one sees the
image as being fairly dark.
Shape: Line is subordinate to the dominant large flat shapes of value placed next
to each other.
Techniques This is a mezzotint technique, which is a form of etching where the artist works
from the dark to the light.
Mood The strong horizontal, more or less centred, composition indicates a quiet sort of
feeling. The absence of lively lines reinforces this mood.
ARTIST'S COMMENTS
Abby was a very strange cat, who would sit for hours on the window ledge and stare at the window frame,
not out the window. Scott felt he had to immortalize her. (Christina Parker - Contemporary Graphics)
Notes:
136
PR 12
Artist: Joe Carter

Title: Chafe House, Petty Harbour
Medium: Linoleum print
Size: 34 cm x 39 cm
Date: 1979
Location: Collection of Michael Wotherspoon, St. John's
DISCUSSION STARTERS
Subject Matter A house is set in a garden with a small shed nearby, a fence and gate, trees, path,
scrubs, and sky. It is an overcast day.
Design Texture: The variety of cuts in the linoleum have given a strong textural quality
to this print. Try to imagine what marks you would have to cut to represent a
variety of qualities of sky, the grass, or the bushes.
Line: Look at the line used to show tree branches against the sky. The artist did
not cut them away, rather he cut around them. Compare the branches against the
distant mountains. The mountains were dark so the artist cut away the linoleum to
form the branches there. There is an interesting interplay of positive and negative.
Techniques In relief printing, what the artist cuts away from the linoleum does not receive ink
and therefore appears white in the final print. The surface of the linoleum that
remains after the rest has been cut away prints black. Check the fence pickets and
posts, the garden path, the clothesline, the clapboard, the glass, the letters, etc.,
closely to discover what was cut away and what was left.
Mood Quiet, still. The artist has constructed this image from separate isolated, but
contained shapes, which vary in texture.
ARTIST'S COMMENTS
I did the buildings and fences first. That part was easy for me. All the time I was thinking about how am I
going to carve an overcast sky? For me it took courage to start jabbing the small points in the sky. After
an inch or so I knew it was going to work. I had been afraid I was going to spoil it.
Notes:
137
PR 13
Artist: Gilbert Hay

Title: Rescue (Mythology Series)
Medium: Lithography
Date: 1981
DISCUSSION STARTERS
Subject Matter An Inuit in an open boat reaches out to rescue two people in the water. He has one
by the hand. The boat, harpoon, and oars provide a strong diagonal. There is a
variety of shapes and lines. The work has every appearance of a relief print where
white areas have been cut away. The image can be seen as one total organic shape
placed in a frame.
Design Line and Shape: There is a variety of size, and shape, as well as
positive/negative reversals.
Space: Shallow space is defined almost decoratively with the action taking place
inside a roughly oval shape.
Movement: A diagonal thrust is evident in the overall appearance of the work.
Techniques The lithograph technique is used here.
Mood The artist is as interested in line and shape as he is in illustrating the event.
Notes:
138
PR 14
Artist: Don Wright

Title: Frog
Medium: Woodcut
Size: 40 cm x 50 cm
Date: 1966
Location: Prince of Wales Collegiate, St. John's
DISCUSSION STARTERS
Subject Matter A frog sits on a riverbank. The rock on which he sits curves downward below him
and it appears as if water might be running over the rock. A large tree looms in the
background. There are many irregular lines and shapes in the image. A pale green
appears in some of the white areas.
Design Texture: This image is strongly textured. The surface appears to be quite busy
although essentially the subject matter is quite simple and straightforward.
Colour: The image is essentially a black and white one. A pale green softens the
harsh white in some areas.
Techniques This is a woodcut which uses two separate plates. The grain of the wood and the
resulting lines and shapes typical of a woodcut are quite evident. See also Artist's
Comments below.
Moo In spite of the detail and intricacy of the image, a very quiet settled sort of feeling
predominates. This is partly due to the subject matter, the softness of the green,
and the strong horizontal, almost centred composition.
ARTIST'S COMMENTS
This print was made during a period when I was very enthusiastic about canoeing. I occasionally drew and
painted sitting quietly in the canoe and one evening this frog posed for me for a long while, both of us
sitting very still along the bank of the lake. As a two-block woodcut, the printing order of these blocks is
somewhat unusual. The pale transparent green was printed on top of the black "key blocK'. This was done
to enhance the murky mood of the print.
Notes:
139
PR 15
Artist: Gerard Brander a Brandis

Title: Bog with Pitcher Plant
Medium: Wood engraving
Date: 1984
DISCUSSION STARTERS
Subject Matter A pitcher plant among many other plants is shown in a wet or boggy place. The
surface is very busy. It is necessary to look closely to see individual plants. This
image is very small and it is amazing to think of the detail found in such a small
work.
Design Lines: Lines curve and flow through the image. They are graceful as opposed to
dramatic or violent.
Shapes: The shapes echo the lovely curves and rhythms of the lines.
Techniques Compare Joe Carter's image (PR 12) with this one. The same principle of relief
printing applies to both. Some of the cuts are much more delicate than in Chafe
House.
Mood Quiet, rhythmic, harmonious. Nature flourishing and peaceful.
ARTIST'S COMMENTS
The pitcher plant is no stranger to me, as it also grows in bog near my Ontario home. It was painted by J.
J. Audubon in Newfoundland in 1833 (see Neary and O'Flahery, Part of the Main, p. 76) and has interested
many artists since then. I was attracted not only to its profusion and luxuriance, but to its place in that
fantastically integrated carpet of plants that forms the surface of so many wet places in Newfoundland.
Notes:
140
PR 16
Artist: Toni Onley

Title: Landscape
Medium: Serigraph
Size: 28.6 cm x 38.7 cm (imprint) 30.5 cm x 50.8 cm (sheet)
Date: n.d.
Gift of Simon Fraser University, 1969
DISCUSSION STARTERS
Subject Matter Irregular shapes in blue, greys, greens, and white suggest a landscape. The edges
of the shapes are well defined. Some of them overlap.
Design Colour: Cool colours suggest a cool land.

Abstraction: The landscape has been reduced to its simplest shapes. It is
amazing to think that these few simple shapes have the power to suggest a
landscape. The artist is concerned with only the essential; all extraneous detail
has been removed.
Techniques The stencil process of silkscreening is strongly evident.
Mood Cool, still, quiet, largely as a result of the colours and repetition of similar shapes.
Notes:
141
PR 17
Artist: Sid Butt

Title: No Squid
Medium: Silkscreen 24/50
Date: 1981
DISCUSSION STARTERS
Subject Matter A fishing boat, anchored in the grey of early morning. There are some figures on
the boat. The boat and figures are almost in silhouette. The water is calm and the
reflection of the boat ripples towards the foreground of the image. The cloud
shapes are irregular; the water shapes are simple and smoothly edged.
Design Colour: Monochromatic.

Shapes: Clearly defined, quite simple shapes are evident. The values placed next
to each other. No line is added for definition or activity.
Techniques This silkscreen clearly illustrates the quality of flat colour areas evident in most
silkscreen printing. Flat areas of one colour were printed first; subsequent screens
produced new areas and new colours to be overprinted. The artist printed the
lighter colours first, ending with the darkest colour and the smallest detail on the
final overprint.
Mood Quiet and calm, because of the colour scheme and the simple flat shapes and
gentle curves.
Notes:
142
PR 18
Artist: Jon Wilkinson

Title: Meeting Place
Medium: Serigraph
Size: 45.7 cm x 68.6 cm
Date: 1980
DISCUSSION STARTERS
Subject Matter This work presents us with the side of a blue clapboard building. A yellow door
and yellow gable provide strong accents. Some orange flowers in a barrel are
located in the centre of the lower edge of the picture.
Design Colour: Colours are strong and intense. A large area of blue with accents of
yellow and a touch of blue's complimentary, orange make up the image. The
colour scheme is simple and somewhat joyful.
Techniques This serigraph is more complex than it looks. It took many screens to build up the
subtleties of colour.
Mood Intensity, light, and bright colours. It is interesting to speculate on the

significance of this meeting place to the artist. Somehow it seems a treasured
place, filled with happy memories.
Notes:
143
PR 19
Artist: David Thauberger

Title: Black Velvet Bunnies
Medium: Silkscreen, acrylic on black velvet
Size: 92.2 cm x 82.7 cm
Date: 1977
DISCUSSION STARTERS
Subject Matter There are fifteen identical rabbits on a black velvet background. They are placed in
a regular pattern on the fabric. Their eyes are shiny like pebbles or gems. A single
thin white line describes the back ends of the bunnies.
Design Pattern: Very regular.

Figure/Ground: In what space are these bunnies placed? They emerge from the
black very quietly. The only thing that separates them from the black is a very
thick white line which describes the tail end of the bunnies.
Texture: The texture of the velvet and the texture of the bunnies make an
interesting comparison.
Techniques The artist used silkscreen stencils. It would be interesting to find out other novel
surfaces upon which to print.
Mood The image is humorous because of the bunnies and the surface on which they are
printed. This style of painting is not approved of by most visual artists. It is
synonymous with paint-by-number types of painting and other form of mass
production art.
ARTIST'S COMMENTS
For as long as I have been painting there have been some consistent formal and technical aspects in my
work. Figure/ground, positive/negative, black/white, day/night, front/behind - all have been ongoing issues.
I have also been concerned with texture and feel in my paintings; the pictures should make [the viewer]
want to rub the surfaces. Printing on velvet and the use of flocking in my prints are an extension of this
concern. The result, it seems to me, is an immediacy and insistency that is successful pictorially and calls
attention to the common aspects of community life, raising them to a symbolic meaning.
Notes:
144
PR 20
Artist: Jacob Kennedy

Title: Winter Outport
Medium: Silkscreen
Date: 1984
DISCUSSION STARTERS
Subject Matter We see a fishing village with stages, a harbour, cliffs, rock faces, and reflections in
the water. The surfaces seems to be composed of little dots of colour.
Design Colour: The primary colours, plus black and white are used. They are all pure,
bright and intense.
Light: The artist is concerned with natural light. He has closely studied how it
falls on geometric and natural forms. He has studied reflections in the water
which are a result of light falling on objects.
Techniques See Artist's Comments below.
Mood Sparkling, bright, crisp because of the effects of the spots of colour, the intensity
of the colour, and the clean, crisp subject matter itself.
ARTIST'S COMMENTS
This print is made by using three screens, a screen for each colour - blue, yellow, and red. The paint must
be transparent. The images are built up by using small dots of paint. As far as I know I am the first
person to apply this technique in silk screening.
Notes:
145
Printmaking Project #1: Multicolour Relief Printing
Key Learning
Colour
Colour adds interest and creates mood in a relief print. Colour is easy to achieve by using different
coloured papers or grounds, and by painting or spattering the ground in one or more colours. Rumpling or
otherwise texturing the ground before printing also adds interest to the image.
In printmaking it is possible to make many identical images. Ink or paint is usually applied to a
textured surface (plate), paper is pressed onto the plate, and when it is lifted the image is seen on the paper.
The printed image is the reverse of the image on the original plate in all but one method of printmaking.
Simple Relief Printmaking
To make a relief print, the printing plate must have at least two levels of surface. Only the top level
receives ink or paint and therefore that is the only part of the plate that will be printed onto the paper. The
lower levels will not received ink and therefore they will not be printed.
Composition
Even the simplest printing methods, such as found object printing, can give exquisite sophisticated
results. This depends entirely on the initial selection of found objects to print and upon the arrangement
(composition) of the printed images. Printing found objects lends itself immediately to pattern making,
wether regular or irregular. Variety and interest are achieved through such things as variations in colour or
colour schemes, shapes, textures, overlap, and the ground upon which the image is printed.
Reduction Printing
Reduction printing is a complex method of multicolour printing. A block is cut and an edition is
printed in a light colour such as yellow. The artist cleans the plate and cuts away more of the surface. The
plate is inked in a new, darker colour (such as green) and printed on top of the first yellow print. This
process may be repeated several times.
Materials
! the linoleum/wood block used in Project #4

! cutting tools
! benchhooks
! water-based ink
! brayers
! inking plates
! water and sponges
! paints
146
! brushes
! variety of papers
Motivation
Visuals
PR1, PR2, PR3, PR4. Discuss in terms of multicolour printing. How has the artist produced the
final point through individual yet connecting blocks?
Experimentation
In order to learn about simple multicolour printing, try the following:
a) Use different papers or grounds.

b) Paint or spatter the ground in one or more colours and rumple or otherwise texture the ground
before painting.
Suggested Theme
Predetermined by Printmaking Project #4.
Studio
Make a small edition of multicolour prints.
Summary
Notes:
147
Printmaking Project #2: Monoprinting
Key Learning
Planeographic Printmaking
This type of printmaking does not require varying levels of surface. A flat surface is inked or
painted, paper is pressed to the surface, and a print is pulled. In its more complex forms, this is known as
lithography and many copies of a single image may be made. A much simpler example of planeographic
printmaking is the monoprint. In this case however only a single (mono) image may be made. The print
image is a reversal of the original image. Making monoprints is a very spontaneous and free-flowing
experience. Monoprints tend to lack fine detail; instead, they are energetic, rough and loose. Monoprints
can incorporate more than one colour.
Materials
! tempera or acrylic paint

! brushes and/or brayers
! a flat surface to ink or paint (plexiglas, plastic tray, table surface, etc.)
! blunt tools for drawing
! sponges and clean-up rags
! water
! papers
Motivation
Visuals
PR 5, PR 6, PR 7. After studying the images individually, compare the spontaneity of the monoprint
to the other more calculated pieces. Consider the amount of time necessary to complete each work.
Experiment
In order to learn about monoprinting, try any of all of the suggested methods about monoprinting
found at the end of the Printmaking Section. Try to discover others.
Suggested Theme
Impressions of people, objects, movements could provide interesting possibilities.
Studio
Make two or three monoprints on a theme. Make use of the spontaneous quality of monoprinting.
Summary
148
Notes:
149
Printmaking Project #3: Collographs
Key Learning
Collographs
A collographic printing plate is one that has been built up by gluing various three-dimensional
materials to it. A collographic plate can have a variety of levels (heights). The base of the plate is often
cardboard, and the final plate is usually shellacked or glued to make it water resistant. Ink may be painted
on or rubbed into the crevices. If no printing press is available, it is best to keep the height of the plate
fairly even, as in relief printmaking, and to apply ink to the top surface. A predominant characteristic of
the collographic plate is that a tremendous variety of textures may be used for a single image.
Edition
An edition of prints is the total number of prints made from a single plate. In an edition of five prints,
each successive print would be number centrally below the image as follows 1/5, 2/5, 3/5, 4/5, 5/5. The
title of the print appears in the lower left corner, and the signature and date in the lower right corner.
Materials
! cardboard
! found materials of various textures and shapes
! glue
! white glue or shellac (use shellac only under well-ventilated conditions)
! water-based ink
! brushes and/or brayers
! cloths
! papers
! press (optional)
Motivation
Visuals
PR 8, PR 9, PR 10, PR11. After studying the slides individually, compare them in terms of texture.
Compare also, the decorative qualities of line and shape in the pieces.
Experimentation
None necessary.
150
Suggested Theme
Abstract designs, views of mechanical workings, or stylized representations of actual things would
invite interesting images.
Studio
Make a small edition (three to five) collographic prints. The prints should exhibit strong textural
qualities.
Summary
Notes:
151
Printmaking Project #4: Lino/Woodcut
Key Learning
Relief Printing
Linoleum cuts and woodcuts are more sophisticated forms of relief printing requiring special cutting
tools and more extensive opportunity to create a textured surface because a larger surface is provided. The
difference between wood and linoleum is that wood has a grain which affects the surface and the cutting
and therefore the appearance of the print. Positive and negative shapes and texture should be emphasized
in the composition of the print. Any cutting is preceded by lots of sketching, and a planned drawing which
indicates strong black areas and white areas. Once a final drawing is done to the size of the lino/wood
plate, it is transferred to the block in full. When the plate has been cut, it is printed and the reversed image
appears.
Materials
! linoleum or wood block

! cutting tools
! bench hooks
! water-based ink
! brayers
! inking plates
! water and sponges
! paper
Motivation
Visuals
PR 12, PR 13, PR 14, PR 15. After studying each slide individually, compare them in terms of shape
and texture.
Experimentation
Not usually possible due to limited materials. Some helpful hints:
a) Slightly heated linoleum blocks are easier to cut.

b) Use benchhooks, and point cutting tools away from fingers.
c) Avoid overusing single line in block cutting. Emphasize, instead, positive and negative shapes,
and texture. Look at how the artist has cut into or left uncut the surface of the block to create
positive and negative space.
152
Suggested Theme
Themes emphasizing humans or environments, interiors, and scapes, provide opportunity for
interesting shapes or textures. Whatever the subject matter, extensive preparatory work pays off in the
long run.
Studio
Make a small edition of lino-woodprints. The prints should emphasize positive and negative shapes,
and texture.
Summary
Notes:
153
Printmaking Project #5: Stencils
Key Learning
Stencil Printing
Stencil printing is the only printmaking process in which the image is not reversed. Anything which
allows paint or ink to pass through may be considered a stencil. Stencils may be found or they may be
created. If a stencil is created, the parts which are cut away may also be used to create prints. The cut
away parts are called templates. Planning before cutting is essential to keep the design intact. Interior
parts will not fall away if ties or bridges are used in the design. X-acto knives rather than scissors are
useful for cutting intricate designs.
Shape
Stencil printing is not usually suitable for intricate designs. Shapes are quite separate and colour is
flatly applied. Therefore, interesting shapes and variety of colour should be emphasized.
Materials
! stencil materials (e.g., heavy-duty waste paper, thin shellacked cardboard, glossy magazines
covers, acetate, discarded x-ray film, stencil board)
! stiff brushes and paint
! spray paint or chalk
! paper or print on.
Motivation
Visuals
PR 16, PR 17, PR 18, PR 19, PR 20. After studying each slide individually, compare them in terms
of colour and shape.
Experimentation
To learn about arranging shape and colour in stencil printing, try the following:
a) Make interesting prints by using a single found stencil and printing it in various positions and
colours.
b) Make a simple stencil using bold shapes and then printing both the positive and negative images
as in part a).
154
Suggested Theme
Any theme emphasizing simple shapes would be suitable.
Studio
Make a stencil print incorporating an interesting composition of shapes and colour scheme.
Summary
Notes:
155
Folk Art Module
Introduction
Folk Art, like all art, comes from life, from humans interacting with their world; from the natural
environment and the built environment. The objects, events, experiences, and structures that we
interact with both inspire us and have aesthetic qualities attributed to them. Whether it is the way the
table is set for a "mug-up", the way a particular boat sits in the water, how a certain style of fence
looks, how the powder horn was decorated or the special piece of furniture grandfather made for
their anniversary, folk art is an expression of human aesthetics. It can be plain or extraordinary,
functional and/or decorative. We see it in the workplace, the home, the architecture and the physical
environment. Folk Art distinguishes itself from what is commonly known as "fine art" in that its
creators are not formally trained, yet it still operates on the elements and principles of design which
underlie fine art.
Virtually every community has folk art within its borders. To identify it, all you need is an open
mind and an understanding of the role it plays. It is seen in locally made furniture, toys, games,
garments, floor mats, picture frames, storage boxes, boots, paintings, drawings, samplers and
numerous other objects. Influences can be observed from other cultures, particularly those of the
early settlers. Folk Art has been and remains an important link in cultural transmission.
Categories - Groupings
Outside, Decorative Objects
This grouping of folk art contains things which are seen to be made outside the house for the
purpose of enhancing the exterior environment. These works are usually distinct from things intended
for used inside the house. The difference between the two was often influenced by the traditional
roles of men and women in a society.
Matmaking
Matmaking is largely an inside the house activity. Hooked mats are produced by positioning
narrow strips of fabric below a stretched piece of brin and then inserting a hook between two strands
of the weave to hook the strip, pulling it just above the surface and then releasing it. This is repeated
along the length of the brin. Hooking is a linear process.
The poked mat made use of short strips of fabric which were poked through on both sides of
a strand so that both ends are left protruding.
Carving
This activity tends to focus on the decorative qualities of an object rather than its functional use.
Sailors often carved images into powderhorns as a leisure activity while at sea. Furniture makers
carved by hand, the designs and shapes seen in furniture made by machines. Home builders and home
owners often carved details and designs on objects and into surfaces around the house; then there are
those who carve objects, animals, or people.
Furniture
Furniture making techniques vary from area to area and over time. We can often determine
where and when a particular piece of furniture was made just by finding out how it was made. Folk
furniture will range from the simplest tool to incredibly ornate pieces, depending on the skills and
influences of the maker.
Clothing
Clothing is as varied and interesting as there are people who wear it. It has specific conventions,
is associated with rituals, offers protection, provides decoration and often stimulates ingenuity.
Handmade items which reflect function and availability of materials can be quite fascinating to study.
Containers
A great deal of folk art focuses on the production and decoration of containers. These range
from the first crude clay pots to elaborate dolls hidden within dolls. The needle case made by
fishermen have something in common with the grass baskets made by women on the Labrador coast;
they are both functional and decorative and stem from the environment in which the makers find
themselves.
Notes:
157
FOLK ART SLIDES
FO1 Martin Barter/House and Yard

FO2 Jack Mahaney/Whirligig
FO3 Israel Young/Horses
FO4 Louise Belbin/Moose

FO5 Evelyn Chaffey/Untitled
FO6 Grenfell Industries/Dog Team
FO7 Gilbert Hay/Caribou

FO8 Clyde Drew/Eagles in Flight
FO9 John Sharpe/Woman Taking in Clothes
FO10 Manasse Fox/Cabinet

FO11 Anonymous/Games Table
FO12 Christianne Morris/Quillwork Cradle
FO13 Nascapi/Moccasin
FO14 Angela Andrews/Tea Doll
FO15 Yarn Point Crafts/Winterhouse Ltd./Mitts
FO16 Unknown/Sun Bonnets
FO17 Unknown/Sail Cloth Wall Hanging

FO18 Nascapi/Cartridge Bag
FO19 Suzie Pottle/Wastepaper Basket
FO20 Anthony White/Spruce Root Basket
158
FO 1
Artist: Martin Barter

Title: House and Yard
Medium: Assemblage, Yard Art
Size: Variable
Date: 1983
Location: Mainland, Port au Port Peninsula
DISCUSSION STARTERS
Subject Matter: A house and yard surrounded by a variety of assembled objects painted red
and white. These vary from natural objects like beach rocks to such man
made objects as an anchor and pieces of machinery.
Design: Formal geometric arrangements of objects and clusters of objects. Three-

dimensional objects with surface decoration are installed at regular intervals
throughout the yard.
Red on white dominates the colour scheme. Yellow cables form a link
between the rock pillars.
Lines: Straight lines of objects direct our vision, giving the only sense of
movement.
Techniques: The artist makes use of found materials and discarded equipment. Some of
the machinery include pieces from the Newfoundland railway. The fence is
made up of cable and fishing gear floats. The pillars are constructed of beach
rocks cemented together. All objects are repainted annually by the artist.
Mood: Light-hearted, pleasant.
Thought Provoker: What objects have you seen in other people's back yards?
Notes:
159
FO 2
Artist: Jack Mahaney, Carbonear

Title: Whirligig
Medium: Wood, Paint
Size: Approximately 70 cm long
Date: 1982
Location: Collection of the Rice Family
DISCUSSION STARTERS
Subject Matter: A duck with movable wing-like attachments which rotate with the wind.
Yard art can encompass virtually anything one chooses to install outside the
house, shed, etc. in a decorative manner. Some yard art can have a functional
role as well. Yard art is a public display, a community style installation.
Many items are handmade. Others are older objects transformed from their
original use such as the rubber tire as planters. Wind driven objects are the
most common. These are sometimes called whirligigs. The movement of
these pieces create sound.
Design: Symmetrical; in-the-round consideration is given to construction of this

stylized bird shape with smooth rounded corners.
We see spotted blue colour on a white background. The wingtips, beak, tail
section and top of head are painted solid orange. A narrow red band encircles
the neck.
Techniques: Wood was sawn, handcarved, painted, and assembled to respond to air
movements. The piece is mounted on top of a 2 m high pole.
Mood: Whimsical
Thought Provoker: What other objects, events, animals, etc., lend themselves to becoming
whirligigs? Can you think of a function for them or other ways to drive
whirligigs?
Notes:
160
FO 3
Artist: Israel Young

Title: Horses
Medium: Paint on Wood, Mural
Date: c. 1985
Location: Marsh's Point, Port au Port Peninsula
DISCUSSION STARTERS
Subject Matter: An exterior wall mural showing four horses of which the white one is
centrally located and larger than all of the others. The mural is on the back
side of a barn-like structure.
Design: The large white horse dominates the work by its size, location and the shape
of the building wall. The narrowing of the roof creates a frame which
emphasizes the central image.
Variations of blue provide a contrasting background to the white. Several

smaller brown horses are given less emphasis.
Movement is evident in the position of the horse.
Space is somewhat ambiguous.
Technique: The artist probably used housepaint on the available surface. The image may
be influenced by an actual horse known to the artist or by an image he has
seen elsewhere.
Mood: There is delight and joy in the movement of horses in their environment.
Carefree, fantasy, dreamlike.
Thought Provoker: What other subject matter could have been used? What would the effect be
if the scale was different? What objects would you paint on? Why do people
paint images on the exterior of buildings or the interior of caves?
Notes:
161
FO 4
Artist: Louise Belbin, Grand Bank

Title: Moose
Medium: Fabric Scraps, Brin
Date: c. 1977
Location: MUN Art Gallery Collection
DISCUSSION STARTERS
Subject Matter: A single stylized moose standing in profile. The animal seems to be walking
across a small body of water. Each side is flanked by a stylized floral shape.
Design: Bright foreground colours contrast with a neutral grey/white background.

The black moose dominates the whole composition. The colour of the antlers
is repeated in the earth shape of the foreground. A black/blue border
surrounds the image. All colours are bold, without any subtle change. This
was probably due to the availability of particular fabrics as opposed to the
dyeing process used to obtain colours for Grenfell mats. (See FO6)
Simple organic forms appear throughout the composition. There is a

symmetrical balance. Implied movement in the moose figure goes from right
to left.
Technique: Hooked mat technique. Materials were likely bought or found locally. Some
may have been recycled. A lack of frayed edges indicates the use of nylon
type fabric, probably a synthetic knit.
Mood: Colourful, playful
Thought Provoker: What other animals would make good subjects? How would a change in the
colour or the medium change the mood of the piece? Are there particular
images in your area that are popular in such mats?
Notes:
162
FO 5
Artist: Evelyn Chaffey, St. David's

Title: Untitled
Medium: Fabric, Brin
Size: 35 cm x 65 cm
Date: 1968
Location: Collection of the Artist
DISCUSSION STARTERS
Subject Matter: A floral-like pattern.
Design: Two large circular shapes of colour set within two triangular shapes are
separated by a strong diagonal line of colour. The whole area is surrounded
by a thin border.
This is an unusual choice of pattern for this medium.
The red area dominates one half while the blue/white combination dominates
the other. The use of a blue border unifies the piece.
The piece is symmetrically balanced.
Techniques: Poked mat technique. Material used seems to be a crimp knit which was
favoured by mat makers around the time this was made. Mats are often
influenced by the popularity of materials available at a particular time.
Mood: Adventurous.
Thought Provoker: How is the mat different from the Belbin mat? How would the mat be
changed if this were a realistic image of a moose?
Notes:
163
FO 6
Artist: Grenfell Industries Production Worker

Title: Dog Team
Medium: Dyed Nylon Stockings, Brin
Date: c. 1940
Location: Collection of Steve Hamilton
DISCUSSION STARTERS
Subject Matter: Dog sled, northern Newfoundland or Labrador. A dog team is being readied
to tow the sled. The figures are standing on an ice flow with open water in
the distance. The time of day appears to be early morning or late evening -
shadows are pronounced. Mats having representational images were usually
intended as wall hangings whereas those with patterns and designs were
intended for use on the floor.
Design: Colours are harmonious, painterly with subtle gradations. There is use of
contrast of the dark figures, the landforms and the central dog against the
light background.
Our eyes follow the line of the dog team to the middle ground the off into the
distance. The overall design indicates a knowledge of formal design theory.
The use of a border is common to many folk art forms both in Newfoundland
and elsewhere.
Techniques: Hooked mat technique. With such Grenfell mats, old nylon stockings were
shipped from England, dyed locally, and hooked into decorative mats using
specified designs. The materials were assembled as kits and sent out to their
production people. The mats were sold to raise funds for the Grenfell
Foundation.
Thought Provoker: Compare this style with the previous two mats. How does this mat show
there was a knowledge of formal design theory at work?
Notes:
164
FO 7
Artist: Gilbert Hay, Innuit Carver, Nain

Title: Caribou
Medium: Stone, Caribou Antler
Date: c. 1985
DISCUSSION STARTERS
Subject Matter: A stone carved caribou, standing with its neck slightly lowered. Bone antlers
crown its head. In the slide we see the artist, the work and an uncut stone.
Design: This is a sculpture in the round where all sides must be considered as
contributing to the whole. Positive/negative space is important here.
Natural colours of the materials remain. Light and shadow interplay on the
roughly textured surface of the animal.
The stone is rough yet seemingly smooth in places. The finished sculpture
can be contrasted with an untouched stone in the right hand side of the slide;
shiny vs. dull, polished vs. cut. Texture remains in the control of the artist.
The type of surface intended is significant to how one views the completed
piece.
The animal seems massive. The piece is more interpretative than

realistic/literal.
Techniques: Handcarving, using chisels, mallets, and polishing instruments.
Thought Provoker: How would the piece look with a polished surface? in a different medium?
Notes:
165
FO 8
Artist/Maker: Clyde Drew

Title: Eagles in Flight
Medium: Scrimshaw on Moose Antler
Size: 17 cmh x 19 cml x 4 cmw
Date: 1989
Location: Collection of Alex Hickey
DISCUSSION STARTERS
Subject Matter: The heads of two eagles fashioned from a piece of antler. The top one points
skyward while the other faces in a horizontal direction.
Design: A strong sense of movement is present in the shape of the piece. Lines
present in the surface texture also contribute to this. The natural colours of
the antler resemble the colours of the eagle. The artist has made use of this
by retaining the natural appearance of the antler behind the polished head
shapes. There is great contrast between the smooth-polished heads and the
rough-unfinished surface.
Techniques: Once the artist selects a certain piece of bone, he lets it suggest what it will
become. Its shape will often inspire him. Imagination and suggestion play a
big part in creating a piece. A grinding tool, similar to those used by dentists
is employed to outline the major shapes and details. After sanding with
various grades of sandpaper the piece is polished on a motorized buffing
wheel.
Thought Provoker: Could you do something similar with other types of bone? What might you
do?
Notes:
166
FO 9
Artist: John Sharpe

Title: Woman Taking in Clothes
Medium: Wood Carving
Size: 30 cmw x 20 cmh x 12 cmd
Date: 1983
Location: Jeanette Laaning Collection
DISCUSSION STARTERS
Subject Matter: A woman dressed for winter weather removing clothes from a line. Beside
her is a container with other clothing like articles. The line is suspended
between two vertical poles. All objects are mounted on a wooden base.
Design: Muted, subdued use of colour in the figure contrasts with the brilliance of the
white used on the clothing shapes.
Careful consideration is given to all sides and the arrangement of objects in

terms of how they contribute to the whole.
Balance is asymmetrical.
Techniques: Hand carved, hand painted wood, assembled using glue and wire. A found
container cover serves as a clothes basket.
Mood: Whimsical, a sense of humour. The clothes, frozen rigid and stiff, is typical
of a winter day.
Thought Provoker: How would this subject look in a different season? medium? colours?
stuffed?
Notes:
167
FO 10
Artist: Manasse Fox, Nain

Title: Cabinet
Medium: Pieced, Incised and Painted Wood with Ivory
Size: 28 cmw x 9 cmd x 36 cmh
Date: c. 1906
Location: NF Museum, St. John's
DISCUSSION STARTERS
Subject Matter: A wall cabinet with four doors. Each door is decorated with a different
pattern.
Design: A compass/star design is repeated on each door. This compass/star in a

circle, the incised lines and colours reflect German influence. The dot within
a circle and some of the patterns are Inuit. They can be identified with the
sealskin piercing tradition. The ivory turn knobs, made from walrus tusk,
reflect traditional Inuit carving. Geometric shapes of circles, squares,
rectangles, and triangles are repeated in various combinations. The geometric
decoration is similar to designs seen on Inuit skin boots.
Technique: The patterns were created by deep incising and application of at least six
contrasting colours of paint. The carved circles on the upper door were fitted
into holes which were cut right through the thin door panels. Most of the
wood used appears to have been taken from packing crates. The overall
construction, unlike the decoration, is generally crude. The mitred door
frames are fixed to the door panels by round nails. The original hinges were
fashioned from interlocking wire staples. All of the original knobs are now
missing. (Peddle, Traditional Furniture)
Thought Provoker: How does this piece compare with contemporary furniture?
Notes:
168
FO 11
Artist/Maker: Anonymous
Title: Games Table
Medium: Wood, Chip Carving
Date: late 19th century
Location: Collection of the Newfoundland Museum
DISCUSSION STARTERS
Subject Matter: A freestanding table. The top has been carved, to create a gamesboard. The
piece probably functioned as a table for other purposes when not in use for
games.
Design: The table itself is symmetrical. The carved area seems to be symmetrical at
first, however there are variations in the design due to the chipcarving
technique used. The heart and shell shapes which have been carved into the
surface reflect an Irish folk furniture decoration technique. It bears similarity
to washstands both in size and with the inclusion of a shelf-like platform
between the legs. The colour may not be the original.
Techniques: Parts for the table were handcarved. The surface decoration is created with
a chipcarving method where a knife or chisel is used to chip the surface, then
the piece is cut away. It was used most often to create geometric motifs.
Thought Provoker: Compare this games table to the more modern entertainment things like
Nintendo, Trivia games; single person games, or group games.
Notes:
169
FO 12
Artist: Christianne Morris and Alexander Strum

Title: Quillwork Cradle
Medium: Porcupine Quills on Birch Panels
Size: 73 x 98 x 52 cm
Date: c. 1868
Location: DesBrisay Museum Collection. Photo by Edith Walter
DISCUSSION STARTERS
Subject Matter: A child's cradle, lined with fabric. The exterior has its wood edges showing.
It is supposed to be an exact copy of one she made for the infant, Edward
VII, c. 1841.
Design: The exterior edges show the wooden structure which underlies the quillwork.
A variety of traditional design motifs including star patterns, circles, moose,
flora, fauna, and waves cover the surface. The overall design is symmetrical.
Colours are generally cool except for a few areas of earth tones.
Techniques: Porcupine quills are worked on birchbark panels which are then mounted on
a pine frame. Porcupine quills are smooth and shiny. They become flexible
when soaked in water. This makes them easy to dye. After they are dyed and
dried, they are sewn or poked into skin, cloth, or bark. This type of
embroidery was used to decorate moccasins, leggings, shirts, and containers.
Thought Provoker: Compare this to modern day children's furniture.
Notes:
170
FO 13
Artist: Nascapi Indian Labrador

Title: Moccasin
Medium: Sewing, beading, surface distortion
Size: Small Adult
Date: Unknown
Location: Collection of the Royal Ontario Museum
DISCUSSION STARTERS
Subject Matter: A moccasin of tan coloured animal hide with multicoloured decorative
beading on its surface. Its upper edge is lined with white fur. These are
outdoor boots designed to be worn in the type of cold dry snow found in
Labrador.
Design: Balance is symmetrical. Attention is given to all sides in its construction.
Tan coloured animal hide makes up the article. Multicoloured beads are used
to create what may be symbolic designs on the surface.
The toe section has a series of repeated lines in the leather which are the
result of a smocking technique which gathers the material.
Soft, pliable leather with even softer fur. The beads have a hard, shiny
surface.
Careful attention has been given to the colour structure and placement of the
symbols. The toe section has a repeating line pattern.
Techniques: Stitchery, beading, and surface distortion.
Thought Provoker: What found materials in your environment could be used to make footwear
that would be suitable to your climatic environment?
Notes:
171
FO 14
Artist: Angela Andrews

Title: Montagnais Tea Doll
Medium: Sewn, Stuffed Fabric and Caribou
Size: Approximately 18"
Date: 1980
Location: Collection of Katie Parnham, Portugal Cove
DISCUSSION STARTERS
Subject Matter A fully clothed doll constructed from pieces of plain and floral printed fabric.
The feet are sewn from animal hide. In the dolls lap is a smaller doll encased
in a carrying harness. Tea dolls were made to literally carry tea on their
extended trips into the interior of Labrador. They were made by women,
carried by children and used as playtoys until the materials were consumed.
The whole doll was consumable. Fabric and leather was used as patches to
repair clothing. The fabric used was probably bought locally or recycled.
Though this one is female, they could be male or child.
Design: Its form is rounded and chunky, the result of stuffing the interior.
In this piece colours vary from fabric to fabric. The yellowish-brownish tint
of the face and feet comes from exposing the caribou hide to a smoking
process.
The doll is soft, pliable, and lightweight.
Balance is symmetrical.
Techniques: Fabric and leather is sewn together to form the body of the doll, then dressed
with suitable clothing. There is some surface embellishment on the face. A
quilting/stuffing technique is used in its assembly. Some dolls may have
beading when attired in traditional dress.
Mood: Gentle, quiet, passive.
Thought Provoker: How does the function of this doll compare to the function of contemporary
dolls? How does this practices fit with the concept of environmental
conservation?
172
Notes:
173
FO 15
Artist/Maker: Production Workers

Title: Trigger Mitt and Thrummed Mitt
Medium: Wood - spun and unspun
Size: Adult
Date: 1990
Location: Yarn Point Crafts/Winterhouse Ltd.
DISCUSSION STARTERS
Subject Matter: We see two pairs of knitted mitts. The pair on the left with the thumb and
forefinger separated from the rest of the mitt is known as a trigger mitt. The
thrummed mitt is designed exclusively for warmth. The pair on the right with
only the thumb separate, has unspun wool incorporated into its construction
and makes use of a thrummed knitting technique. The trigger mitt was
designed for use in hunting on the land or sea to free the trigger finger.
Design: The trigger mitt shows its double strands in the finger and palm area but has
a more intricate diamond shaped pattern on the back of the hand section. The
thrummed mitt is of one basic colour with a white pattern occurring where the
pieces of unspun wool are knitted into its construction.
Repetition of particular shapes and colours occurs throughout both. The

inside of the thrummed is vastly different from the outside whereas the inside
of the trigger mitt does not have a raised surface.
Technique: The trigger mitt is knitted using a double strand construction to provide
greater insulation as part of its function. The thrummed mitt is of single
strand construction and unspun wool twisted and knitted into every fourth
stitch. This gives it greater insulation value. The wrist band areas of both
employ a single strand technique.
Thought Provoker: How are the decorative and functional purposes of clothing accommodated
in these mitts?
Notes:
174
FO 16
Artist/Maker: Unknown
Title: Sun Bonnets
Medium: Linen, Cotton, Wire
Size: 40 cmh x 22 d x 20 cmw
Date: c. 1900
Location: Collection of Ms. Anna Templeton
DISCUSSION STARTERS
Subject Matter: The two white bonnets have enough fabric to fall over the back of the neck
to protect it from the sun. A brim does the same for the face. Two straps are
attached at the point where the brim and the main part of the bonnet intersect.
These were worn by women to protect themselves from the sun while
working in the gardens or on the fish flakes.
Design: The cording around the head section creates a textured pattern which helps
dissipate heat. The light colour of the fabric would also contribute to doing
this. The gathering and smocking, while functional, also become part of the
aesthetic appeal of the garment. A wire inside the edge of the brim permits
some shaping and would prevent it from flapping in the wind.
Techniques: Surface distortion (smocking, gathering, cording).
Thought Provoker: What modern hats fulfil similar purposes? How does their design differ?
Notes:
175
FO 17
Artist: Unknown, attributed to Meyers family members, Oyster Pond, NS

Title: Sail Cloth Wall Hanging
Medium: Paint on Sailcloth, Knotted Twine
Date: c. 1870 - 1890
Location: Collection of Dartmouth Heritage Museum, Dartmouth, NS
DISCUSSION STARTERS
Subject Matter: A painting of a three-masted ship under full sail in profile. The canvas is
fringed with knotted twine. There are two storage pouches at the bottom of
the sail cloth.
Design: The painting is made up predominantly of blues and whites. These colours
reflect the blues of sky and sea and the white of clouds and sea foam. Some
warm tones are worked into the clouds.
A border of light-brown painted canvas borders the painting. Fringed knotted

twine decorates the top and bottom sides of the piece.
The pouches were formed by folding the canvas upward and spot sewing
them by hand. The ship was painted and then twine was knotted in an open
lattice weave pattern. This was sewn to the edges of the pockets and along
the top of the cloth, creating a scalloped shaped fringe.
This piece may have been used for storage purposes in the kitchen, workshop,
or on board ship. It reflects the Maritime tradition of painted sail cloth used
for floor and sea chest coverings.
Techniques: Sewing, lace techniques and painting.
Thought Provoker: What kind of image would you see if this object had a different function?
What if it were something to be used in a car?
Notes:
176
FO 18
Artist: Nascapi Indian, Labrador

Title: Cartridge Bag
Medium: Caribou Skin, Melton Cloth, Beads, Handsewn
Size: Approximately 7" x 9"
Date: Unknown
Location: Unknown
DISCUSSION STARTERS
Subject Matter: A bag with a fold over flap to close it. The edges are decorated with three
rows of coloured beads, and a variety of loops. The flap and front of the bag
is decorated. Cartridge bags were used to carry and keep ammunition dry.
They were usually worn over the shoulder.
Design: Bright red, white, blue and green coloured beads contrast with the dark
background fabric. The carrying strap is of a natural colour.
Lines of coloured beads follow the edges of the bag - red on the outside,
white in the middle and green on the inside. The flap has a symmetrical
beadwork design on it. Its edge is decorated with evenly placed loops of
white beads. The bottom edge has similar loops alternating between light and
dark green. The front of the bag has a symmetrical arrangement of lines of
red and blue beads.
Techniques: Sewing and beading techniques are used. Beads are strung on thread and
sewn in runs.
Mood: Bright, colourful.
Thought Provoker: What other everyday use could you design a container for? Which found
objects would you use to decorate the surface? How would this look in neon
colours?
Notes:
177
FO 19
Artist: Suzie Pottle

Title: Wastepaper Basket
Medium: Grass, Berryjuice
Size: Approximately 14" high
Date: c. 1935
Location: Rigolet
DISCUSSION STARTERS
Subject Matter: A functional handmade basket which is basically round and tapered towards
the base. A cover is sitting beside it.
Design: A zig-zag, red-brown pattern encircles the centre area of the basket. The
same pattern is seen in the cover, only this time it is given a six-point star
configuration which surrounds the centrally located handle.
Its shape is symmetrical; its design determined by function and materials.
The yellowish-brownish colours are the result of naturally dried grass. The
red of the horizontal pattern comes from grass dyed with berryjuice.
Techniques: Wrapping/Coiling technique. Local grasses are carefully selected and

harvested at particular times of the year. All dyeing is done before assembly.
Thought Provoker: If you used different materials, how would that affect the object?
Notes:
178
FO 20
Artist: Anthony White

Title: Spruce Root Basket
Medium: Spruce Roots, Woven and Tied
Size: 35 cml x 33 cmw x 33 cmh
Date: c. 1900
Location: Collection of Ms. Meg MacDonald
DISCUSSION STARTERS
Subject Matter: A round, almost spherical, basket constructed from wood fibres. These were
used primarily as garden baskets for gathering wood, vegetables, or even dry
fish. Other uses included clothes hampers, sewing baskets, or storage baskets
for cod liver aboard ships.
Design: This particular design has European origins. Though this one is round, others
may be oval, square, or rectangular. A pattern, created by the interweaving
roots, leaves an uneven implied rough-looking texture. Individual surfaces
are smooth. A warm natural colour with subtle gradations is evident. The
overall lines of the subject are graceful and elegant. It is symmetrically
balanced.
Techniques: Spruce tree roots of varying thickness are pulled from the ground. They are
peeled, split and coiled until woven into baskets. Pliable young shoots of
birch or a similar tree are shaped to form the skeletal structure of the basket.
The split roots are then passed over and under, alternatively until a
continuous surface is achieved. The top edge is formed by interweaving the
side pieces back down into the last few rows.
Thought Provoker: How would the object be changed if it were painted? What would happen if
you were to change its function or the materials used to make it?
Notes:
179
Folk Art Project #1: Outside, Decorative Objects
Key Learning
1. We like to make our living spaces personal and lively by decorating. This includes outside
spaces. When we look at outside space at home or school, we rearrange or ornament the
features that we find ordinarily in these spaces. This is done with colour alone or with scenes
of our small or wider community painted or carved on them. Graffiti is a form of this
decoration.
2. Weather is also used as an outside feature, especially when utilizing wind in creating movement
in this art. Whirligigs are a popular example.
Materials
! exterior latex paint

! marine boat paints of varying colours
! paintbrushes of sizes
! a variety of found objects
Motivation
Visuals
Slides FA7, FA9, FA20. After studying each slide individually, discuss how outside space has
been decorated and who would respond to the decoration - the artist, people going past the space,
or both.
Experimentation
1. Make a list from student knowledge of local yard art, whirligigs, murals, fancy house decoration
(different colours for mouldings, patterns cut into mouldings or clapboard, patterns in roof
shingles, etc.), painted old-time objects (sleds, spinning wheels, etc.) in yards that they know
of in their own community. Students can describe these examples to the class.
2. Create a decorative border along the pathway or sidewalk to main entrance to the school.
Have students bring in various sizes of rocks. On large ones paint pictures of school activities
or items used in the school. Paint small ones solid colours. Along one or both sides of path to
school entrance place big rocks and surround them with smaller, solid-coloured rocks to create
continuous border.
180
Suggested Theme
Discuss features that are found in our utilitarian outside spaces:
Yards ! pathways
! gardens/lawns
! buildings - outhouses, sheds, barns
! clotheslines
Areas for different activities

! sawhorse and woodpile
! barbecue
! picnic table and chairs
! sandbox/play area
Wharves
! boats
! work areas
! slipway
Weather
! wind
! rain
! snow, etc.
may bring changes over time.
Studio A
Create an animal shape that responds with movement to weather. Discuss which parts of
animals move - wings, feet, fins, mouth, neck, tail, etc. Use cardboard cutouts with an exacto knife
to create a body. Several layers glued together will give it strength. Cut out moving parts separately
- you could do two or more on the one animal - and attach with dowelling through holes in the body.
Paint and put outside on poles or a fence as a group. All of the animals could be of the same type to
create a school, flock, etc., or all could be individual types (see slide SC14 - Flying Fish)
Summary
What happens visually when they are all moving? Discuss in terms of objectives and process
(successes, problems, surprises).
Studio B
181
Discuss how flags are used to decorate - sports arenas, used-car lots, etc. Movement and colour
are important.
On strong, plain cloth - for example: tarps, sailcloth, old towels, tablecloths, etc. - each student
is to paint a portrait of themselves in their favourite outfit, as close to lifesize as possible. Cut out,
leaving extra fabric at top to fold over and sew, staple or otherwise attach firmly to a clothesline. Tie
the two ends of the line to trees in the schoolyard, or between parts of a building or buildings. Leave
outside in the weather to see gradual changes.
Summary
Take photographs when first put up and every week thereafter. At the end of the term or year -
put up photos and discuss changes brought about by weather; students take home own piece to pin
on their wall.
Notes:
182
Folk Art Project #2: Matmaking
Key Learning
1. Two types of handmade mats are common in Newfoundland; the hooked and the poked. Both
types have strong connections with similar styles of matmaking in Britain. They were usually
placed in high traffic areas to absorb mud from the outside as people entered the house. This
meant they had a short lifespan of one, sometimes two seasons.
2. Geometric designs were favoured. Some use was made of commercial designs, however, when
a particular image was desired, it was either traced or hand drawn. The Grenfell Association
employed workers to produce mats using their printed designs. These were a major departure
from the traditional images. Grenfell mats were intended as visual works rather than functional
objects.
3. Mats were made from whatever scraps of fabrics were available. This had a major influence on
colour and overall appearance. Only in very few instances were dyeing employed.
Materials
! brin
! burlap
! fabric scraps
! hooking frame
! hooking tool
! screen
Motivation
Slides FO4, FO5, FO6. Discuss the design components and motifs used in the traditional mats
and compare those with the detailed painterly images used in the Grenfell Industries mats. Some
discussion might also be given to the question of whether outside influences should be brought to
bear on local practices.
Experimentation
1. Find fabrics which have a fairly open weave. Try using the hooking technique to attach short
pieces of fabric to the surface in a decorative fashion.
2. On small pieces of brin or one large piece have students explore both the hooking and poking
techniques. Experiment with optical colour mixing, image making, achieving detail, random
colour placement, different fabrics to determine their suitability to the techniques.
183
Themes
Some themes which lend themselves to these techniques include designed objects such as
clothing, decorative or functional items; the built environment; elements from the natural environment
or virtually any idea that can be reasonably carried out in this medium. Students should be cautioned
that these techniques take quite a bit of time to execute, therefore, images should be chosen with that
in mind.
Studio
Use the techniques to create something other than a mat. This might be a sculpture, wall
hanging, box cover, an enclosure, or a wearable garment. Materials other than cloth might be used.
A piece of clothing from the experimental activity could be further developed into a piece. Any
utilitarian object can be hooked so that it becomes a sculptural piece - i.e., screendoors.
Summary
Display all pieces. Invite comparison for different applications or adaptations of the techniques.
Discuss the objectives in terms of the experience. Explore whether there had been any surprises,
disappointments, frustrations, innovations or problems.
184
Folk Art Project #3: Carving
Key Learning
1. Carving is a subtractive process where material is taken away from the original mass to
transform the original shape to the desired form. For more information on sculptural techniques
refer to the sculpture module.
2. The folk artist uses materials found in his/her environment. Scraps and objects that have
outlived their usefulness are often recycled into sculptural pieces. Quite often the material
suggests to the artist what to make from it. This phenomena of seeing the object in the material
has been a part of human experience historically. Early humans created tools from materials that
looked like the tool they needed. Many contemporary artists tell of similar experiences.
Materials
! wood
! soapstone
! bone
! any found materials
! clay
! styrofoam
! chisels
! gouges
! hammer
! files
! hacksaws
! hand drills and bits
! sandpaper
! kitchen utensils
! popsicle sticks
! plastic knives
Motivation
Visuals
FO7, FO8, FO9. Discuss how the materials might have suggested to the artist what to make.
185
Experimentation
1. Have a collection of found objects which the students can examine for suggestions of things to
create from them. Such items as driftwood, stones, roots, or shale can be quite suggestive.
2. To experiment with carving techniques, choose a piece of relatively soft material such as soap,
lather-hard clay, or styrofoam and, using a variety of cutting tools, produce a sculptural form.
Suggested Theme
Everyday experiences, people, animals, common inanimate objects, or designed structures could
serve well as themes.
Studio
Make a sculpture related to the individuals environment using found or readily available
materials. Some ideas include walking canes, ornaments, furniture, whistles, tools, musical
instruments, weather vanes, or gate posts.
Summary
Display and discuss the work in terms of technique, the subject matter, inspiration and intention
vs. outcome and the amount of influence the carving process has on the final product.
Notes:
186
Folk Project #4: Furniture
Key Learning
1. Folk furniture must not be compared to commercial products since so little of it follows the
same guidelines and standards. Most of the form, design and decoration is influenced primarily
by the skill, experiences, needs and imagination of the individual craftsman.
2. Since the furniture makers were largely untrained, their pieces were usually copies of relatively
simple furniture remembered or seen in Britain or the Easter Seaboard of North America. These
fairly uncomplicated designs were repeated for generations with minor modifications. Most
communities were too small to support the services of a trained furniture maker and were too
far from such services to acquire commercially made furniture. In fact, the relatively cashless
economy prevented people from having enough money to buy furniture.
3. Early wooden furniture was made from local wood such as pine, spruce, fir, and birch. Boards
from demolished buildings or from old pieces of broken furniture were frequently used in the
nineteenth century. Early in the twentieth century packing case material was incorporated as
panels in pieces.
4. The later the date of construction, the more elaborate the pieces tend to be. There was more
use of carving to adorn them as the nineteenth century wore on.
5. Furniture has a combination of form and function which is influenced mostly by cultural
traditions and local skills.
Materials
! local lumber
! found pieces of old furniture
! scraps of wood and wood products
! contemporary building materials ends
! tools appropriate to construction
Motivation
Slides FO10, FO11, FO12. Folk furniture design is often the product of cultural influences from
outside that are carried with people when the move or from contact with other people. Discuss these
works in terms of this statement and then look to your own community for indications that this
statement may also be true of architecture in general.
187
Theme
The obvious theme of the built environment could be used. Explore also the possibility of
designed objects and objects related to activities such as work or leisure.
Experimentation
1. Use your home community as your resource to identify any distinctive home furnishings that
may still be around in people's houses or in museums. Look for repeated home decoration
motifs, particular styles of house painting, door styles and presentation, gates, gate posts,
window design and trim, or any distinctive patterning. If there are people available locally who
could be interviewed, talk to them.
Studio
Using only found materials that have been discarded or can be recycled from some other project
or object, construct a unique piece of furniture that reflects something of the local environments. The
definition of furniture should be as broad as collective imagination of the students allows. The piece
can be functional or non-functional, lifesize or a scaled model, or a replica of something no longer
available locally.
Summary
Assess the final projects in light of originality, appropriate use of materials, consideration of
decorative and functional aspects, and whether the pieces reflect sincere efforts to create something
from resources available in the local community.
Notes:
188
Folk Art Project #5: Clothing
Key Learning
1. Clothing has a dual role: it must be both functional and decorative. These roles are a reflection
of one's environment, the season, ethnic origin, the availability of materials and fashion.
2. Folk costumes differ from everyday dress. Quite often particular garments have symbolic or
ritual importance, such as headdresses, footwear, vests, etc.
3. Commercially produced fabric had to be imported to Newfoundland from Europe and the
eastern United States which made it rather scarce and expensive for most people. Cotton, in
the nineteenth century was widely available in flour sacks. This was commonly recycled into
items of clothing.
Materials
! fabric scraps
! leather from old shoes or jackets
! old clothes
! fabric sacks, bags, containers
! pantyhose, stockings
! threads
! yarn
! string
! embroidery thread
! beads
! buttons
! staples
! crochet hooks
! glue/adhesives
! needles
Motivation
Visuals
FO13, FO14, FO15, FO16. Discuss the decorative vs. functional qualities of these pieces.
Focus the discussion on how the functional qualities influence the decorative qualities. Explore how
the artists has recycled materials.
Experimentation
189
1. Examine fabrics and materials used today to make clothing. Compare contemporary clothing
items to those in the slides; hightops with moccasins, baseball hats with the bonnets and so on.
2. Select used articles of clothing and find other completely different functions for them.
Suggested Theme
People, leisure activities, costumes, rituals/ceremonies, work, seasons, at the beach, in the
garden, or putting out garbage.
Studio
Create a work in which the following ideas have been considered:

! it must have functional/practical and decorative elements in it;
! it must be three-dimensional;
! its form should suit its function;
! you can wear it;
! it must have a hidden/surprise element incorporated into it;
! it should have more than one purpose;
! it could be humorous or serious.
Summary
In what ways does the final piece meet the criteria set down. Are there areas where it does not.
If so, then how might it have been accomplished?
Notes:
190
Folk Art Project #6: Containers
Key Learning
1. Containers can be attractive in form and decoration and still be functional.
2. Form is largely determined by function. Surface decoration is influenced greatly by socio-

cultural environments as well as intended use of the object. The function of a spruce root basket
would prohibit decoration. The oilcloth wall hanging which would not take much abuse would
readily allow surface decoration.
3. The availability and suitability of materials often affected the look of an object.
Materials
! roots
! grass
! paper
! wire
! sticks
! rope
! fabrics
! buttons
! bark
! string
! shavings
! seaweed
! plastics
! twigs
! old man's beard
! feathers
! newspapers
! paint
! dyes
Visuals
FO17, FO18, FO19, FO20. Discuss how the function of these objects influenced their design.
Experimentation
1. Try weaving techniques using some of the materials listed above. Experiment with applying
191
colours to them.
2. Choose an everyday container. Enhance the form through surface decoration so that it reflects
its intended place of use. For example, what could you do to an oil can to reflect a garage.
3. Experiment with coiling techniques around a variety of objects - pencils, fingers, rulers, broom
sticks, hockey sticks, chair and table legs - using a variety of materials such as: electrical tape,
string, rope, fabric, wire, shredded garbage bags, reeds, old man's beard, seaweed, elastic bands,
ribbons, threads, twist ties, or something else which lends itself to being twisted.
Suggested Themes
Designed objects, containers - both functional and non-functional, natural environmental

containers such as caves, disposable/reusable containers would create numerous possibilities for
exploration.
Studio
1. Design a container that is functional - reusable where the surface decoration is influenced by
function. This might be a container for a car which serves as an activity centre for children; a
container for grocery shopping with compartments for specific items; a wastepaper basket of
paper or old newspapers to create a container for newspapers.
Summary
1. Display the finished pieces and discuss the relationship between form, function and decoration.
Examine also how well the final products meet with the requirements of the project.
192
Fibre Art Module
Introduction
The fibre arts are one of the most versatile of all art making venues. From pre-historic times
humans have used fibres for functional and aesthetic purposes. Fibres, natural and manmade, have
been used in such diverse items as clothing, suits of armour, buildings, jewellery, wall hangings and
storage containers. Fibre art concerns itself with the extension of fibre to the world of intentional art
making. Fibres that range from fine silk threads to tree roots to metallic wires have been used by
artists to create one of a kind art pieces that go beyond the ordinary.
Four categories of processes and techniques are explored in this module based upon how the
fibres are used.
1. Construction examines those areas which use the fibres to build up the piece in some way.
These include weaving, knitting, spinning, knotting, crocheting, basketry, coiling, stuffing and
wrapping.
2. Wet processes and techniques include those which require the use of fluids for their
completion. These include papermaking, felting and tiedying.
3. Application covers those areas which involve applying things or substances to surface. These
include direct drawing, transfer drawing, block printing, screen printing, painting with ink, dye
or paint, and stencilling.
4. Embellishment includes those techniques which involve modification of surfaces. These

include stitchery, beading, applique, tufting, lacemaking, and surface distortion.
The projects included in this module present options. Specific techniques or processes used in
the classroom may depend on local circumstances and resources. Students are not expected to
produce all of the time, rather, they should explore and experience the methods and techniques with
an eye to creating pieces manageable in both time and materials.
FIBRE ART SLIDES
FI 1 Suzanne Swannie/Torso and Childlike Figures
FI 2 Margie McDonald/Woven Loom
FI 3 Heather Pocius/Buttons
FI 4 Don Wright/Wolly Bird I
FI 5 Dawn McNutt/Kindred Spirits
FI 6 Dawn McNutt/Testimony
FI 7 Wendy Coombs/Pick Up Sticks

FI 8 Margie McDonald/Reflections
FI 9 Marlene Creates/Shoreline, England, 1980
FI 10 Danielle Ouellete/Algues #3
FI 11 Sarah Spence/Resurfacing
FI 12 Sarah Spence/Faces
FI 13 Di Dabinette/To Find A Pitcher Plant
FI 14 Donna Clouston/Snow, Outer Battery
FI 15 Danielle Oullete/"Janick"
FI 16 Bunty Severs/Anne Meredith-Barry Jacket
FI 17 Bridgette Meaney/Hat-Costume
FI 18 Heather Pocius/"A Flower of Bliss Beyond All Blessing Blest"
FI 19 Shelly McCoy/Cow in Field #1
FI 20 Katie Parnham/Window
193
FI 1
Artist: Suzanne Swannie

Title: Torso and Childlike Figures
Medium: Tapestry
Size: 30 cm x 30 cm each
Date: 1985
Location: Private Collection, Vancouver
DISCUSSION STARTERS
Subject Matter: A beach scene with human figures on the land and in the water is the subject
of those two companion pieces. In one piece the figures are either in, or
diving into the water. In the other, figures are sitting around on the beach in
a group. In both pieces, we see the head and shoulders of a figure peering
over the sand banks at the other people.
Design: The artist has carefully chosen her fibres to create the wanted textures,
throughout the pieces. Through the use of pattern, line, contrasting light and
dark tones, and repetition of these, we feel a strong sense of movement. The
pink sexless bodies contrast with the busy textures of the earth tones of the
middleground. The background area makes use of whites, greys, and pale
blues which leave the space open to a feeling of great depth and distance.
Techniques: Tapestry weaving technique.
Mood: A feeling of fun, frolic and enjoyment is evident in the activities, the warm
colours and relaxed poses of the figures.
Thought Provoker: How could you change the mood? colour? pattern? activity in the scene?
clothing?
Notes:
194
FI 2
Artist: Margie McDonald

Title: Woven Loom
Medium: Woven tubes, stuffed with sawdust
Date: 1982 - 83
Location: Collection of Craftsmens Art Supplies, Halifax, Nova Scotia
DISCUSSION STARTERS
Subject Matter: A loom made from weaving so that the object of production becomes the
product.
Design: The piece has a course, bumpy, surface texture. Since it is held up by nylon
monofilament, the piece will change shape overtime. There is repetition of
line and shape in the tubes. Subtle colour variations, resulting from the play
of light and shadow, can be seen. Soft, spongy, malleable tubes contrast with
the hard, rigid wood of the actual loom. We usually think of weavings as
being flat. This piece is a lifesize three dimensional recreation of an actual
loom.
Techniques: The work was sewn, woven, stuffed with sawdust, and suspended with nylon
monofilament. It would change over time and each time assembled. Tubes
were woven to replace the wood of the actual loom.
Mood: Explorative, humourous.
Thought Provoker: What would happen if you changed the colour? the materials? structure?
Notes:
195
FI 3
Artist: Heather Pocius

Title: Buttons
Medium: Nugold and Coloured Wire
Size: 40 cm along each side, 10 mm deep
Date: 1991
DISCUSSION STARTERS
Subject Matter: Three triangular, metallic buttons make up this set. The two rigid sides
border horizontal bands of wire wrapped around a core.
Design: Negative space is a very important part of this work. Contrast exists between
the solid frame and delicate interior. Colours are subtle and warm. The wire
wrapping and twining contributes to the pattern of the piece. Though a set,
each retains its individuality. This is an innovative, non-traditional shape.
Contrast exists between the softness of the fabric these will be attached to and
the hardness of the metal.
Techniques: The work incorporates metal in a traditional fibre technique of coiling and
wrapping. Jewellery techniques of scoring, bending and soldering are also
used.
Mood: Aggressive, subtle.
Thought Provoker: What type of clothing would these be used on? What other non-traditional
materials and forms could be used?
Notes:
196
FI 4
Artist/Maker: Don Wright

Title: Wooly Bird I
Medium: Mixed media - branches, brin, rope, etc.
Date: 1973
Location: No longer in existence
DISCUSSION STARTERS
Subject Matter: The artist has assembled the objects in a natural environment and hung them
from a branch. This piece is from the Devils Purse Series, which was a series
of large constructions based on the egg case of the skate fish. It is an
exploration of the environment, the relationship between the sea, the
woodlands, the wildlife, and the people who live there. There is no intention
to recreate a bird, but to suggest the remnants of one.
Design: The three-dimensional quality of the work is striking. Since it is suspended,

one can view it from all sides. This is fibre sculpture in the round. Found
objects retain their local colour.
Texture is important in the work. One can feel the difference between rope,
nets, and branches.
Techniques: A variety of materials were found and assembled in a sculptural manner.
Mood: There is a questioning, unsettled atmosphere about the piece.
Thought Provoker: Are there visual relationships between the various elements of our natural
environment? What is our relationship/responsibility to it?
Notes:
197
FI 5
Artist/Maker: Dawn McNutt

Title: Kindred Spirits
Medium: Copper Wire, Seagrass, Rope
Size: Range from 1.7 m - 2.2 m
Date: 1984
DISCUSSION STARTERS
Subject Matter: Six lifesize human-like forms which, even though we can see light shining
through them, have a very solid appearance. These free standing figures
interact as a group. Here they are photographed on a beach. The work has
been installed at various galleries in Canada and Europe.
Design: Strong, vertical, cylindrical shapes have surfaces that are bumpy and rounded
in places. Though solid, they look as though they could be dented or changed
at will. Their organic form combined with variations in posture and size give
them a human quality. The shiny wire provides a contrast to the dull colours
of the seagrass.
Techniques: These were woven on a loom using copper wire, rope and seagrass. The
materials were doublewoven into flat tubes, then manoeuvred into these
forms. Each figure is inside the tubes as she pushed and pulled them into their
present shape.
Mood: A contemplative, reflective interchange occurs between the figures. This is

evident from their posture, bent heads, grouping and title.
Thought Provoker: The artist has used unusual materials here. What other unusual materials
could one use to make interesting artworks?
Notes:
198
FI 6
Artist/Maker: Dawn McNutt

Title: Testimony Willow 1, No. 2, No. 3, No. 4
Medium: Willow
Size: #1: 46 x 16 x 18 cm; #2: 58 x 22 x 23 cm; #3: 112 x 48 x 50 cm;
#4: 129 x 56 x 60 cm
Date: 1987 - 88
DISCUSSION STARTERS
Subject Matter: Four distorted basket-like structures of varying sizes sit in a cluster.
Everyone is turned inward as if gathered around a focal point, enclosing it.
They are arranged from the smallest on the left, in ascending order to the
largest on the right.
Design: A warm natural weathered colour invites touch. The wood surfaces seem
smooth, uneven and firm. Functional use was not a consideration in creating
these. Their irregular shapes with bulging belly-like sections make them look
more like characters than baskets or jars. They even enclose space while at
the same time, the group is arranged to enclose a larger space. The strong
vertical movement of each piece contrasts with the horizontal lines of the
element which construct them. Compare with FI 5.
Techniques: This is a traditional basketmaking technique using willow. Others of this

series titled Man in Pain Series (1987-88) were done using seagrass and
hemprope.
Mood: A sense of reserve is evident in the pieces.
Thought Provoker: Compare this work with the basket made by folk artist, Anthony White (FO
20). Discuss the similarities and differences. Is the question of decorative vs.
functional appropriate to these works?
Notes:
199
FI 7
Artist: Wendy Coombs

Title: "Pick Up Sticks"
Medium: Handmade, Dyed Paper, Wrapped Around Twigs
Size: Centre panel of three;
Date: 1991
DISCUSSION STARTERS
Subject Matter: A number of coloured stick-like shapes are arranged in an intermingling

pattern against a black background.
Design: In this three-dimensional piece, colour is crucial. The bright colours create
movement, pattern and line as they overlap and are layered. A visual vibrancy
results. The delicate looking twigs may be interpreted as many things such
as bones of small animals and birds, lines, etc.
Techniques: Handmade paper was dyed by hand, moulded around found twigs and dried.
The coloured twigs were then interlaced, wrapped/tied to connect them to the
background. The individual twigs project into three dimensional space.
Mood: A celebration.
Thought Provoker: Consider what would happen if the colours were different? What if the twigs
and colours were arranged in a more orderly way? What other objects would
make interesting arrangements? What if the scale was different?
Notes:
200
FI 8
Artist: Margie McDonald

Title: Reflections
Medium: Collaged Paper, Abaca, Wood Pulp
Date: 1990
Location: Enterprise Newfoundland and Labrador, McCurdy Bldg., Gander
DISCUSSION STARTERS
Subject Matter: The artist has chosen to focus on a section of the shoreline close up. The
piece explores that area where the water meets the shore, where sand, rocks,
water and foam merge. Here the shapes and colours change with every
moment yet one knows what to expect there. This piece was part of an
exhibition of work which explored the theme "shorelines".
Design: Subtle earth and sea winter colours are arranged with careful consideration.
The layering of different paper shapes combines with colour to create a sense
of space. The light and dark areas also support this. Paper edges create lines
and spaces in the work. We can detect shapes within colours which remind
us of drawings. The location of the materials in the picture plane creates a
sense of distance as the eye moves upward from the shore out to sea.
Techniques: Cast paper technique. Wood pulp was cast inside real shells to create the
paper ones in the piece. Large sheets of wet paper were draped over the
raised shapes. They were left to dry in place.
Mood: Atmospheric, overcast wintry environment where the coldness of the weather
influences how we see the scene.
Thought Provoker: Would this piece be very different if it showed a season? different weather?
Are there other types of shorelines the artist could have used as inspiration?
Notes:
201
FI 9
Artist: Marlene Creates

Title: Shoreline, England 1980
Medium: Paper, Natural Environment, Photography
Size: Framed - 50 cm x 65 cm
Date: 1980
Location: MUN Gallery Collection
DISCUSSION STARTERS
Subject Matter: A wet strip of rice paper moulded to and between a number of rounded rocks
at the point on a shore where the sand ends and the rocks begin. The piece
is in the tradition of earth works where the artist makes use of the natural
environment as a component of the work. Here the artist's intention is to
create such a work without modifying or destroying the environment to create
the piece. After photographing the scene the paper was retrieved.
Design: The sand in the lower one third of the image contrasts sharply with the larger
rocks in the upper two thirds. The white paper accentuates the division line,
yet unifies the two. Wet paper takes the shape of the object it covers,
temporarily assuming a three dimensional quality it normally doesn't have.
The wetness of the paper creates a clinging quality which meld it to the rocks
it covers. It also gives it a translucency which accentuates its fragility in
comparison with the rocks.
Techniques: The artist selected a specific site to install the paper, arranged it carefully,
then photographed the scene.
Thought Provoker: What other shorelines, environments or paper could have been used? What
role does placement play in this work? shape? pattern?
Notes:
202
FI 10
Artist: Danielle Ouellete

Title: Algues #3
Medium: Felting and Weaving
Size: 110 cm x 200 cm (approx.)
Date: 1989
Location: Collection of the Artist, Shediac, M.B.
DISCUSSION STARTERS
Subject Matter: Five repeated semi-enclosed vertical felt objects, similar in shape but with
variations, are presented to us in a vertical arrangement. The objects have
been photographed against a black background. The pieces depict the birth
of algae. Each successive one increases in its elements and details.
Design: Oceanic colours move throughout these undulating, soft-flowing, shell-shaped

forms. There are combinations of cool and warm pastel colours. Each object
is horizontally aligned. The presentation of six of them, one above the other,
creates a strong vertical formation. These container like forms have sensuous
outer shells which enclose delicate fragile interiors. They each have an
organic shape which differs slightly from all the others. Some loose weaving,
resembling nets, emerges from the enclosed areas. Each piece is sensitively
proportioned.
Techniques: Felting, Applique, some Weaving. The white section of each one is a felting
technique. The insides were woven on a frame and inserted into the felting
piece. The warp is of hand-painted silk while the weft consists of silk,
metallic threads, cotton and wool.
Mood: Reflective, quiet.
Thought Provoker: Delicacy is an important quality in this work. What other materials suggest
such delicate qualities? How could you use non-delicate materials to suggest
delicate qualities?
Notes:
203
FI 11
Artist: Sarah Spence

Title: Resurfacing
Medium: Felting
Date: 1991
DISCUSSION STARTERS
Subject Matter: This work is based on architectural details of mouldings found in a 19th
century building. A geometric pattern of pink rectangular shapes travel
across its length. A variety of threads, fibres, textures, and colour intermingle
throughout the piece, reflecting the surface texture of the building.
Design: Geometric blocks of colour reflect architectural design. Large blocks at each
end flank a row of smaller blocks. Colours used here are subjective. This is
a three-dimensional piece which emphasizes a flat view plane. It was
designed for installation in a specific interior space.
Its linear shape reflects architectural design, specifically the rows of building
blocks that travel across the building.
Techniques: This felting technique used natural wool, dyed and layered with commercial
thread. The piece was then washed to shrink it, allowing the materials to
merge more tightly together.
Mood: Subtle, quiet, with lively moments - playful.
Thought Provoker: Are there architectural designs which are repeated in your community? How
would this piece look with another technique?
Notes:
204
FI 12
Artist: Sarah Spence

Title: Faces
Medium: Fabric Over Wood
Size: Two Blocks, Each Measuring 11 cm x 11.5 cm
Date: 1991
DISCUSSION STARTERS
Subject Matter: This work explores serial art where the sequence of the repeated shapes are
important as in mathematics. We see two of a six-block serial in which a
human-like face situated in the lower left corner of the first block is repeated
in each successive one. It becomes larger each time until its size dominates
the surface of the final block.
Design: A repeated square supports a facial image which moves from an asymmetrical
arrangement in the first block through to an almost symmetrical arrangement
in the second block. The various blotches of colour against the black
background diminish in number as the size of the face increases. The image
on fabric covers uniform sized wooden blocks. Warm red colours which
border on cool purple contrast vividly with the black background. Organic
shapes of these colours float in the space around the head changing shape and
size from block to block. Movement is sensed as the viewer zooms in on the
face as its size increases.
Techniques: A bleach was used to discharge colour from the black fabric, after which dyes
were applied to the bleached area. The surface and edges of particular areas
were then machine embroidered.
Mood: Amusing, introspective.
Thought Provoker: How could you change this piece and have it remain a serial?
Notes:
205
FI 13
Artist: Di Dabinette
Title: To Find a Pitcher Plant
Medium: French Dyes on Silk
Size: Approximately 44 x 39 cm
Date: 1982
Location: Department of External Affairs, Ottawa
DISCUSSION STARTERS
Subject Matter: The work is based on a walk through the woods in Gros Morne Park with the
artist's mother to find a pitcher plant. The colours, plants and light which the
artist encountered during the outing in the woods are documented. She kept
sketches and photographs to work from. The book was done to
commemorate her mother's visit.
Design: The author makes use of a book format, a diary, a documentary which
presents the images in a fixed sequence. Images are painted on silk and sewn
at the spine. The border which surrounds each image is sometimes
interrupted when the image overflows onto it. Local colours of summer
foliage commonly seen in the Newfoundland environment are used. The book
contains 6 pages and has a hard cover front and back.
Techniques: Painting of silk requires the use of a substance called gutta to control hard
edge lines or prevent dye from reaching certain spaces. Gutta blocks the dye
from entering the silk. After colours are dry, the gutta is dissolved by steam
reveal the untouched area. Gutta is similar to rubber cement. The dyes are
primary colours mixed to produce all others. An application similar to
watercolour is used. The colours tend to blend and bleed. They are also
transparent which allows light to be seen through the silk. This piece also has
metallic threads embroidered throughout it.
Mood: Peaceful, contented, warm, reflective.
Thought Provoker: How important is the story to appreciating this work? What would happen
if the border were a different colour? or contained a different pattern?
Notes:
206
FI 14
Artist: Donna Clouston

Title: Snow, Outer Battery
Medium: Silkscreen Printing on Fabric
Size: 40 cm x 50 cm
Date: 1990
DISCUSSION STARTERS
Subject Matter: Colourful houses and building are perched along the base of cliffs known as
the Outer Battery at the entrance to St. John's harbour. Snow has fallen
which disguises the rugged rocks.
Design: Repetition of basic block shaped houses in a variety of colours against a snow
white background, broken now and then by the dark rocks. Soft snow
surfaces contrast with the coarse rugged rocky surfaces. Blue appear in the
water and sky to further highlight the colours of the houses.
Techniques: A printing technique which makes use of a squeegee to force ink directly onto
the surface through an image already prepared on a silk, organdy or even
polyester screen. The area not to receive any ink is blocked out to prevent
ink from getting through. The piece is then dried and stretched onto a frame.
Mood: Reflective.
Thought Provoker: What would happen if you changed the time of year? the environment? the
subject? the colours?
Notes:
207
FI 15
Artist: Danielle Ouellet

Title: "Janick"
Medium: Embroidery Floss on Canvas
Size: 116.8 cm x 88.9 cm
Date: 1989
Location: Collection of the Artist, Shediac, N.B.
DISCUSSION STARTERS
Subject Matter: An open door reveals a group of children of various ages, looking at the
viewer. Other figures are visible on both sides of the doorway. One figure
stands, partially hidden, behind the door. Angel-like figures hover above and
behind the children. This piece is an arrangement of images taken from a
child's drawings and a dream. The artist repeatedly experienced this very
pleasant dream where her daughter rang the doorbell and stood on the
doorstep with a group of her friends from school. The child offered her a
bouquet of flowers. The daughter, Janick, died of cancer at age six. Her
mother, the artist, had saved Janick's drawings from the time she was three
years old, from which she selected parts for this piece.
Design: The red border around the doorway dominates the piece. Balance is
symmetrical. The receding lines of the open door directs our gaze into the
central rectangle. This rectangular shape is repeated throughout the work.
The figures creates depth by their overlapping and placement in the picture
plane. Horizontal and vertical quilting lines are visible.
Techniques: Embroidery and applique.
Mood: Playfulness and happy, yet quiet and serene.
Thought Provoker: How would you interpret this dream? Can you think of other ways of visually
presenting this experience?
Notes:
208
FI 16
Artist: Bunty Severs

Title: Anne Meredith-Barry Jacket
Medium: Quilt, Hand and Machine Sewn, Embroidered
Size: Lifesize
Date: 1991
Location: Collection of Anne Meredith-Barry
DISCUSSION STARTERS
Subject Matter: A low contrast landscape image. The work is based on an Ann Meredith-
Barry painting, whose subject matter was about the land and the sea. This
piece is a 3-D translation of a two-dimensional work.
Design: Coloured fabrics have been applied to the black background of the jacket.
Muted silver comprises a great deal of the positive areas. The jacket is
symmetrical with an asymmetrical image on it. The image moves around the
coat from front to back. Placement of the image was determined by how it
sat in this format. The amount of black space left in proportion to the colour
used is significant.
Black silk and coloured fabrics are sewn on and around the exterior surface
of the jacket. The artist's choice of colour, shape and their placement was
influenced by the painting.
Techniques: Quilting, stitchery, construction techniques.
Mood: Mysterious, reflective, sombre.
Thought Provoker: What if you changed the background colour? What would happen if the
inside of the jacket were a bright colour? if you reverse the approach? used
different subject matter? Would you get the same mood with an urban
subject?
Notes:
209
FI 17
Artist: Bridgette Meaney

Title: Hat/Costume
Medium: Fabrics, Thread, Metallic Objects
Size: Adult Wearable
Date: 1984
DISCUSSION STARTERS
Subject Matter: A symbolic personal costume, highly decorated with ordinary objects; safety
pins, felt tins, etc. Simple objects are elevated to precious status, similar to
medals, medallions, or award pins. Storytelling, memory images, primitive
motifs are suggested by the arrows and sun shapes. It relates to the whole
purpose of wearing costumes - it transforms the wearer.
Design: There's a colourful coordination of design - asymmetrical areas are adjacent

to symmetrical arrangements. Black areas bordered by white lines contrast
strongly with the reds. Hard metallic surfaces invite comparison with the soft
textures of the fabric.
Techniques: A combination of surface stitchery, applique, surface embellishment and

quilting techniques is used. Pins, beads, rivets, felt tins, safety pins, and
braided cord are attached in various ways to the fabric.
Mood: Symbolic, magical.
Thought Provoker: When/where do we give ordinary objects precious status? Do you have
personal symbols which are precious? Is clothing a costume?
Notes:
210
FI 18
Artist: Heather Pocius

Title: "A Flower of Bliss Beyond all Blessing Blest"
Medium: Mixed Media - Diaper Pins, Cotton Diaper, Xerox Transfers, Createx Pigment,
Permanent Markers, Cotton Threads, Customs Stickers, Postage Stamps, Polyester
Stuffing
Size: 60 cm x 80 cm
Date: 1985
Location: Collection of Mauera Mannion, St. John's
DISCUSSION STARTERS
Subject Matter: A white cotton diaper with a variety of objects and images attached to,
incorporated in, and applied to it surface. All items and photographs have
personal significance to the artist. This connects with a personal history. The
title is from a greeting card the artist had purchased for the expectant mother.
This quotation is an integral part of the piece. This piece was done to
commemorate an impending birth of a child and sent through the mail to the
expectant mother. It is a celebration of life.
Design: The piece is folded as a diaper, designed to resemble an envelope and has the
expected address, postage stamps, and postal stickers on the outside. It is
rectangular, asymmetrically balanced on the outside. The piece unfolds to
reveal an almost circular pattern of images and objects. Warm yellows,
browns and pinks against white make up the colour scheme.
Techniques: Drawing, handpainting, embroidery, applique, quilting/stuffing, and transfer

techniques. The baby figure is attached to the diaper by a cord, in a padded
area which represents the womb. The piece was done to commemorate an
impending birth of a child and sent through the mail to the expectant mother.
The wear from its passage through the mail system is part of the piece. There
is a long tradition of mail art.
Mood: Cheerful yet serious, humourous yet reflective.
Thought Provoker: The fact that this has been mailed is important to the piece. What other
extraordinary objects could you send to commemorate events?
Notes:
211
FI 20
Artist: Shelly McCoy

Title: Cow in Field #3
Medium: Photography/Assemblage - Mixed Media
Size: 8" x 10"
Date: 1983
Location: Lost in a fire
DISCUSSION STARTERS
Subject Matter: A cow shape of multi-coloured stripes is seen striding through a black and
white field. In the background we see a rail fence, or a house and a row of
trees.
Design: Contrast of colours against black and white; contrast of medium - fabric and
photopaper. The repeated horizontal bands of colour contribute to the sense
of movement in the cow. The colours move from blue and green at the feet
through a neutral grey to warm reds and finally a brilliant yellow at the top.
Each colour is separated by a band of white. These horizontal bands are
aligned loosely with the fence rails and the baseline of the trees.
Techniques: The artist photographed the cow in the field, then cut the cow out of the
print, creating a window. The fabric was placed behind the opening. This is
part of a series using the same photograph but different fabrics.
Mood: Playful, whimsical, quirky.
Thought Provoker: What other non-fibre techniques might be combined with fibre to make art?
Notes:
212
FI 21
Artist: Katie Parnham

Title: Window
Medium: Collage, Cotton, Silk, Thread
Size: 16" x 20"
Date: 1988
Location: NLCDA Office
DISCUSSION STARTERS
Subject Matter: A series of rectangular shapes which appear to be windows. Those on the left
are different only in colour and surface decoration. The large window on the
right has a number of bottle shapes sitting on its sill. Along the bottom is a
series of brickshapes in a variety of colours. The fabric piece is matted with
a neutral mat against a red background which is visible around the edges of
the piece.
Design: A strong horizontal arrangement with repeated vertical shapes. There's a

variety of texture, colour and size of objects. Repetition of the rectangle and
the organic bottle shapes contribute to the artists concern with all-over
pattern. Shading is important in the subtle changes within the large blue area.
The horizontal nature of the work, as seen in rows of windows is accentuated
by the band of green at the bottom, the embroidered gold at the bottom of the
green and the shape of the mat.
Techniques: In this collage there is a combination of hand embroidery, machine

embroidery and quilting techniques. The window openings and shapes were
handcut. The bricks were cut and frayed. Fabrics were chosen according to
their implied texture - shiny or dull, smooth or course. The colour choices
came from a fashion forecast in the furniture industry for that year.
Mood: Cheerful, lively, musical. The work is influenced by the artist's observations
of what people put in their windows.
Thought Provoker: What if you reversed the shapes - the architectural forms became organic and
the decorations geometric? How would this piece look if the artist had been
looking out the window?
Notes:
213
Fibre Arts Project #1: Construction
Key Learning
1. Single fibre elements can be assembled into larger elements.
2. These larger elements can be used singly or in multiples to produce fibre objects.
Processes/Techniques
Weaving, knitting, spinning, knotting, crocheting, basketry, coiling, stuffing, wrapping.
Materials
! anything long and pliable

! string
! wire
! twist ties
! audio tape
! ribbon
! plastic strips
! grasses
! twigs
! tape
! leaves
! glue
! thread
! seaweed
! old man's beard
! found feathers
! safety pins
! paper
! roots
! twigs
! fabrics
! hair
! yarn/wool
! rope
! bark
Motivation
Visuals
FI 1, FI 2, FI 3, FI 4, FI 5, and FI 6. Examine each slide and discuss why the artist has chosen that
214
particular fibre to create the work. How does it affect the appearance and function of the object?
Experimentation
1. Collect grasses, weeds, and leaves. Explore possible ways of combining these to create long pliable yarn.
Students might try braiding, gluing, taping, tying, stapling, binding, or anything else they think of.
2. Bring together a variety of yarns and fabrics. Pick them apart to see how they were put together.
Identify the technique.
3. Collect constructed fibre objects such as crocheted works, nets, baskets, hooked mats, cloth weavings,
lace; naturally constructed objects such as nests, cocoons, hives, and devil's purses. Compare how they
look, feel and are made.
Suggested Themes
Anything from the natural environment would make a good theme, particularly trying to create
atmospheric references in a piece. Objects based on such natural items as the devils purse, nests, cocoons,
hives or old man's beard would be quite interesting.
Studio
Each student will select a technique. Using any materials readily available, create one or more long
narrow pieces which incorporates all of the techniques selected. Knitting could be accomplished using small
trowels or broom handle pieces. A coiling technique could be used in wrapping yarn tightly around mailing
tubes or paper towel tubes. An open netting could be used. Crocheting could be done using the hand as a
crochet needle and small rope. Suspend all completed pieces from the ceiling to create an environment that
could be walked through. The environment could reflect an emotional journey or naturally occurring ritual.
Summary
What is the total effect of the pieces on the environment in which they are installed? Are the techniques
still obvious even though their scale has been altered? What basic similarities exist between all of these
techniques which allow them to be referred to as construction techniques?
Notes:
215
Fibre Arts Project #2: Wet
Key Learning
1. There are two distinct categories of wet techniques and processes. One involves the construction of
pieces from individual fibres, the other with altering the constructed materials.
2. A raw material can be completely transformed into something else when subjected to such technical
processes as papermaking and felting. Papermaking has its origins in the animal world in the
construction of cocoons and wasp hives. Felting is the oldest method of using fibres known to humans
and was probably first observed in the matted fur and wool of animals.
3. Humans have a tendency to enhance their products through manipulation. Dyeing is one of the oldest
and simplest methods of doing this. Early dyes consisted of natural materials such as berries and plants.
Today, artists use both natural and commercially produced dyes to alter the colours in their products.
4. The techniques and processes are as important as the final product since their mastery has such
significant influence on how successful the product is.
Papermaking, felting, tie dyeing.
Materials
! egg cartons
! grasses/weeds
! wood pulp
! cotton rags
! unbleached newsprint
! found objects
! vegetables
! wool/hair/fur
! dyes (natural, chemical)
! food colouring
! threads
! rubber bands
! plastic clips
! paper clips
! clamps
! screen/deckels
! blender
! food processor
216
Motivation
Visuals
FI 7, FI 8, FI 9, FI 10, FI 11. Examine the slides in terms of how significant wetness is in creating the
surface in each.
Experimentation
1. Find a variety of paper. Examine the fibres. Are they fine or coarse? Soak them in water. To break
them down to their fibres, put the soaked paper in a blender. Examine the pulp that results. Pour some
of it on a screen to dry. Squeeze some of it over a variety of objects to dry. Notice how the paper reacts.
Does it drape over the objects in a clinging fashion? Is it transparent or opaque?
2. Collect readily available materials which might dye or stain fabrics. Experiment with a variety of fabrics
- synthetic and natural - some with existing colour and some without.
3. Experiment with wool felting. Try integrating strings, sticks, yarn, and other found objects into it. Make
a hidden pocket in the felt.
Suggested Theme
The natural environment, designed objects, people, clothing, masks, kites or serials could be inspiring.
Studio
Using one or a combination of these processes make an image that relates to the environment - physical,
cultural, personal or moral.
Summary
Set the final pieces on display. Discuss how wetness affected the outcome of the works; the enhancement
procedures and the transformation which occurs.
Notes:
217
Fibre Arts Project #3: Application
Key Learning
1. Substances other than fibres may be applied to fibre surfaces for aesthetic or functional purposes.
2. These substances can be controlled to create images, alterations or contribute to already existing visual
effects on a surface.
Direct drawing, transfer drawing, block printing, screen printing, painting with ink dye or paint, and
stencilling.
Materials
! cotton
! silk
! natural dyes
! commercial water based dyes
! gutta
! printing inks
! fabric paints
! fabric crayons
! water based silk paints
! wood blocks
! screens (silk, synthetic, riso)
! found/handmade stencils
! found objects
! lino blocks
! brushes
Motivation
Visuals
FI 12, FI 13, FI 14. Compare the works in terms of how the artist has made use of ? in these works.
Experimentation
1. On a variety of fibre surfaces experiment with a variety of mark end colours using whatever materials
are available. Work with printed fabrics as opposed to plain.
2. Choose a piece of no longer used clothing and enhance its design and purpose through surface
218
application.
3. Use found objects to explore the effects of block printing on a variety of surfaces, including handmade
paper.
4. Experiment with the metamorphosis of an object/image in a serial.
5. Explore layering or superimposition of one medium over another medium.
Suggested Themes
The environment, signs, symbols, designed objects or clothing will make interesting themes. Perhaps a
design from the students familiar landscape could be used.
Studio
Using one or more of the application techniques create a single or serial image related to the students
environment or experience.
Summary
Display and discuss the students work with respect to a) the creation of the image; b) how the work
relates to environment or experiences; c) the choices/decisions involved in application techniques, manipulation,
format series, and sequence chosen.
Notes:
219
Fibre Arts Project #4: Embellishment
Key Learning
1. Adornment of surfaces is an activity that goes back as far as the first use of clothing. Humans adorn
their clothing, body, material possessions and natural objects.
2. The embellishment of fibre surfaces occurs in several ways. Items may be attached to the surface,
incorporated into the materials, or the surface of the material may be physically manipulated or distorted.
3. Cultural traditions, intended use, availability of materials and tools, all influence the type of surface
embellishment that people choose to do.
Stitchery, beading, applique, quilting, tufting, lace making, surface distortion.
Materials
! beads
! fibrefill
! quilt batting (polyester, cotton)
! glue
! staples
! T-pins
! large assortment of found objects
! metal studs
! *see also the list of materials under Project #1.
Motivation
Visuals
FI 15, FI 16, FI 17, FI 18, FI 19, FI 20. Making the ordinary special is one of the main reasons for
embellishment. Compare the slides and discuss what is special in each of them and how the artist has achieved
this quality.
Experimentation
1. Take a close look at the clothing we wear today to discover how we embellish it. Examine such items
as jackets, jewellery, footwear, T-shirts, and sweatshirts. How do people associated with specific
occupations dress? How do rock musicians dress, religious leaders, business people, artists, teachers,
firefighters? Are there adornments particular to each of these groups. Observe people over a period of
time; on the street, in the school corridors or at the local hangout. Document or record your observations
of the way they use embellishment.
220
2. Visit a local clothing store or look through catalogues to observe how embellishment is used to enhance
products. Try to identify which techniques are being used.
Suggested Theme
Music and musical instruments lend themselves to exploration using these techniques. The music
subculture relies heavily on adornment. Designed objects such as furniture, masks, cars, and the internal
structures of objects such as watches could be a starting point. Design elements observed in the natural
environment in animals, fish, butterflies, and trees could be used as inspiration for embellishment.
Studio
Select a discarded article of clothing to embellish with a variety of techniques so that it becomes
something special or creates a new character for the wearer.
Summary
What influences were brought to bear in the embellishment of the article? Explore why wearable art is
called art and what its purpose is. From looking at the work, attempt to figure out what the person wanted to
say or become.
221
Appendix A: Organizing the Classroom
A pleasant, orderly, inviting classroom !

atmosphere is reflected in its student work. Use a cart for dispensing and transporting
Classroom organization is a key factor in the supplies.
success of any art program.
Cleaning Up
Storage space for art materials must be
organized so that materials may be easily located !
and returned. Classroom procedures for If no sink is available in the classroom, use two
distribution, collection, cleanup, and return of large buckets to transport water. One for clean
materials must be established. Adequate storage water; one for dirty.
space for work-in-progress will prevent damage
to student work. Attractively arranged and !
regularly changed visual displays stimulate Provide sponges, rags, and paper towels for
students. Students must be informed early in the cleaning surfaces.
school year of classroom procedures and
organization. It will help them develop respect !
for materials and enable them to take on Provide large garbage cans.
responsibility for the proper care and
maintenance. !
Keep a mop and broom on hand for spills.
Some suggestions for organization
follow: !
Clean tools thoroughly. Use liquid soap in
Storage palm and cool to lukewarm running water to
clean brushes. Rinse, remove excess water
! Use cupboard space, where possible for the from brushes, store with bristles pointing up.
storage of art materials. Label cupboards
and shelves. !
Use a dishpan to clean materials.
! Collect sturdy boxes, containers, large
cans. Paint and label them. Use them for Materials
storage and distribution of materials.
!
! Use plastic trays, dishpans, and vegetable Use old muffin tins, T.V. trays, saucers for
baskets for storage and distribution. paint palettes.
! Store paper flat in drawers or on shelves. !

Leave paper in its packing box or brown Use a clothesline or nail clothespins into a
paper wrapper to protect its edges. piece of horizontally suspended 2" x 2" wood
to dry student prints.
!
Moisten tempera blocks with a few drops of
water half an hour before using.
223
Display
! Change displays frequently.
! Install ceiling hooks to hang mobile or other

displays.
! Display non-art objects visual interest.
! Label displays. Have students include

short write-ups on their work.
! Frame or mount work on bristol board.

The frames can be reused many times.
! All students should have their work

displayed at some time.
224
Appendix B: Elements and Principles of Design
It is important that teachers have ! Type - curved, straight, angular, bumpy,

familiarity with the basic structure of art and the jagged, etc.
elements and principles of design, both for their ! Direction - horizontal, vertical, etc.
understanding and appreciation of art works and ! Location - cutting through a composition
for teaching the art program. or shape
! Character (expression or emotional
The elements of design (line, qualities) - peaceful, lazy, angry, excited
colour/ value, texture, shape, and space) are the
basic components with which an artist works. Texture
These elements can be arranged or organized and
controlled with the use of the laws or principles Texture is a characteristic of the surface of
of design (movement, balance, emphasis, a material. Texture may be actual, as in three-
contrast, rhythm, and unity to create a unified dimensional art forms and some two-dimensional
whole. works, or simulated.
Just as there is no definite set of rules in Visual texture may be developed through
art, there is no total agreement as to what the use of line, colour, light and shadow, form
constitutes the list of elements and principles. and colour. Texture is made visible by the way
They are defined differently by each artist and art in which light hits a surface. Every surface has a
historian. texture - rough, smooth, soft, hard, fine, course,
bumpy - depending on its substance and
The Elements of Design structure.
Line Colour
Line is the basic structural Physical Qualities of Colour

system of all composition. It is a record of
action, the path crated by a moving point. When Colour is a visual response to light
two colours, shapes, textures, or values meet, line reflected from a surface; it is sometimes
is created (by implication if not actually). Line perceived as a characteristic of that surface.
can be the outside edge of a shape, or line can Pigment, on the other hand, is a substance that
reveal the contour within. Frequently, lines are imparts colour. Experimenting with the physical
seen as linear shapes in our surroundings. properties of pigment - hue, value, and intensity -
produces a wide range of colours. Colour
Characteristics of Line produces an immediate emotional response in the
viewer, a fact that the artist exploits when using
! Measurement- length and width colour in symbolic ways or in harmonious or
discordant combinations. Colour may be used to
enhance the other elements. It can set a mood,
attract attention, be used decoratively or
symbolically; it can make objects look heavy or
light, warm or cool; it can advance or recede; it
can be transparent or opaque. Colour plays a
significant part in unity, variety, harmony, See Glossary: Complementary Colours,
emphasis, and contrast in a work of art. Analogous Colours, Monochrome Warm
Colours, Cool Colours.
Colour Terminology
Value
Hue: The name given to a colour; e.g., red,
yellow, blue, green. See above definition. Values placed
together influence one another. A light value
Primary colours: The three hues which placed against a dark value appears lighter;
cannot be produced by a mixture of other hues. placed against a lighter value, it appears darker.
Theoretically, all other colours (except black and
white) are developed from the primary colours. Value can be used to create contrast. It can
crate the illusion of texture and three-dimensional
Secondary Colour: Created by mixing form. Colours can be made to advance or recede
any two of the primary colours. Red and yellow through changing their values. The form of an
combine to create orange, yellow and blue to object is revealed through the changes in value
create green, and red and blue to create violet. created by light on its surface.
Tertiary colours: Derived by mixing a Shape/Form

secondary colour with one of its primary colours;
e.g., blue-green or yellow-orange. Shape is an area which is defined by value,
colour, or line, or any combination or these.
Value: The lightness or darkness of a
colour; e.g., pink and maroon are values of red. Shapes appear in endless variety. They
The value of a colour can be altered by the may be geometric (circular, triangular, or square)
addition of white or black. A tint is produced by or they may be organic in form (curving or
the addition of white to a hue. A shade is irregular). They may have exact limits and be
produced by the addition of black to a hue. clearly defined, or may be vague and blurred,
having no measurable dimensions. Two
Intensity: The degree of brightness or dimensional shapes have length and width.
vividness of a hue, such as red, can be made less Three-dimensional shapes are called forms.
intense, or duller, by greying it with the
complement (in this case green) of that colour. In art, shapes may be representational; that
is, they may represent things in the real world
and may reproduce their basic appearance fairly
closely. They also may be non- representational,
the pure fantasy of the artist's imagination.
Space are unequal in size and shape, arranged in a
balance but less symmetrical way. For example,
Two-dimensional space, or decorative a large object in one half of the composition may
space, is the interval between elements on a be placed closer to the centre than a small shape
surface. In three-dimensional art, space is the in the other half, to create a balance.
area enclosed by mass or occupied by it. The
illusion of three-dimensional space on a two- Radial Balance
dimensional surface - plastic space - is gained
and governed by the use of perspective systems. This is a form of balance in which the
design radiates from the centre. Examples of
The artist creates the illusion of three- radial balance in nature are in the petals of a
dimensional space on a two-dimensional surface flower or the cross section of a grapefruit.
through the use of perspective. This may include
any of the following: change of size, change of Movement
detail, location on page, change of value,
overlapping of shapes and/or linear perspective. Movement, is the path followed by the eye
as it moves from major points of interest to lesser
In a three-dimensional work, space is or subordinate points of interest in a composition.
created by the object itself and its relation to its
parts and surroundings. The space around the The eye is carried along by line, similar or
form or mass is as important as the sculpture repeated colours, textures, and shapes. This is
itself. achieved by directing shapes and lines towards
each other in a subtle manner.
Space may be occupied (positive elements
in 2-D, mass in 3-D) or unoccupied (negative Rhythm
elements in 2-D, void in 3-D, and it is the
balancing of both types of space that provides Rhythm is established in a composition
unity in a work of art. when similar forms are repeated, either regularly
or irregularly.
The Principles of Design
Repetition can result from systematic
Balance changes in colour, value, shape, texture, or size.
Balance is the visual equilibrium which an

artist creates in his/her work. Stability in a work
of art is desirable if uneasiness or discomfort on
the part of the view is to be avoided.
Symmetrical Balance (Formal Balance)
Both sides of the composition have an equal

distribution of elements. It a central line were to
be divided the design or composition, one side
would be a mirror image of the other.
Asymmetrical Balance (Informal Balance)
This results when objects of a composition

Repetition of shapes is also called pattern. may repeat but in different sizes, colours may
The single unit in a pattern is a motif. Motifs repeat but perhaps in different values). Some
can be repeated at regular or irregular intervals variety is desirable in order to avoid monotony.
to form patterns. If alternating motifs are used in
sequence, a more complicated rhythm is Design Questions
established, providing variation of the theme.
Regular repetition tends to produce a balanced The following sample questions may be
but monotonous rhythm. used to stimulate discussion of slides or visuals
before or after a lesson, or when students
Contrast evaluate their own works.
Contrast is achieved by using strong Line

variations within in the elements - light colours
against dark, large shapes with small ones, or Is line used in this picture? Where? What
smooth textures beside rough ones. Contrast kinds of lines?
creates interest in composition.
Is line used to create movement? How?
One composition may have many kinds of Where?
contrasts; however, these must not be allowed to
detract from the unity of the composition. Do the lines evoke feelings? Where?
How?
Emphasis
Is the line rhythmic? How is this achieved
Emphasis is the highlighting of various (repetition of pattern, texture)?
areas in a composition to increase their
significance. The eye is directed to the most Are there contrasting lines? How do they
important area in a composition, and other parts contrast? Point them out.
remain secondary in importance.
Are there contour lines?
Emphasis is controlled by varying the
degree of domination and subordination of the Are lines being used for emphasis?
elements of art throughout the composition (e.g.,
increasing brightness of an object to emphasize
it). Emphasis affects the balance of a design,
and, therefore, must be considered in relation to
the other elements.
Unity
Unity is the oneness of a work of art, in

which all the elements and principles harmonize
to produce a complete and visual satisfying
composition.
In a composition, unit relates parts to a
whole and results in a total visual statement.
Unity can be achieved through repetition of

shape, colour, or texture; by proximity (putting
elements close together); and by variety (shapes
Texture What elements of design have been used to
create movement?
What type of textures are there?
Repetition
What feelings do they convey?
Is there any repetition? Where?
Do they express the true texture of the
object? Why or why not? What elements of repeated (line, shape,
texture, colour)?
How is the texture produced?
Balance
Colour
What type of balance is used (symmetrical,
What kinds of colour are being used? asymmetrical, radial)?
Why has the artist used these colours? What elements are used to achieve this?
What feeling is being conveyed (happy, Emphasis

said, etc.)?
What is being emphasized?
Are there value and intensity changes in the
colours? Is there more than one focal point?
Shape How has it been developed?
Describe the shapes you see. Contrast
Are these organic or geometric shapes? What areas of the composition are areas of
high contrast?
What shapes appear in the background and
foreground (negative and positive)? What design elements are used to
emphasize this?
How are the shapes being used (to
emphasize movement, pattern)?
Space
Is there depth to the space?
How has it been handled (overlapping,

location, deep, shallow, detail, colour)?
Movement
How has movement been achieved

(placement of shapes, lines, colours, repetition)?
Is there a focal point?

Unity
Do all the elements and principles of design

work together to produce a harmonious work?
How is this achieved (repetition of line,

shape, colour, texture, proximity, variety)?
Appendix C: Glossary
Abstract: Term given to forms created by the Atmospheric Perspective (aerial perspective):
artist but usually derived from objects observed The illusion of deep space produced in 2-D
or experienced. Usually involves simplification works by lightening values, softening contours,
of rearrangement, often to the point where the reducing value contrasts and neutralizing colours
forms seem to have little relationship to things in in objects as they recede.
the natural environment (see Nonobjective).
Automatic Drawing: Spontaneous, expressive
Additive: A sculpture term meaning built-up, drawing that is intended to record impulses and
assembled or attached. impressions rather than details (see Gesture
Drawing).
Analogous Colour: Closely related colours;
those that are adjacent on the colour wheel (e.g., Axial: Having, or relating to, an axis. In design,
yellow and orange). Colours of the same family. a form that is bisected by a straight line.
Applique: A form of decoration in which pieces Background: In 2-D works, the space depicted
of a material are fastened to a surface of the as furthest from the viewer.
same or another materials to form a design. it is
most common in sewing, where cloth cutouts are Backstrap Loom: A type of loom in which the
stitched on a cloth background. Applique is also warp strands are supported by two rods: the top
used in metalwork, and in paper, where it is fastened to a fixed object and the bottom attached
called découpage. with a strap around the weaver's waist.
Armature: A skeleton or framework upon Basketry: Art of weaving materials such as

which a sculpture is built. The armature usually reeds, oak splints, roots, and grasses to make
determines the outward form of the sculpture. baskets.
Art Criticism: The practice of interpreting and Bas-relief: A type of sculpture in which limited,
making critical judgements about art. or low, projection is given to 3-D images (see
also Relief Sculpture).
Assemblage: A work of art made up on one or
several kinds of materials such as photographs, Batik: A process by which paper or cloth is
pieces of paper, cloth, wood, glass, or metal treated with wax so that the covered areas will
and/or objects such as knives, nails, shells, remain uncoloured, or will not change colour,
chairs, and tables. Assemblages may be two- or when the paper or cloth is dyed or painted.
three-dimensional.
Braiding: A manner of consistent twisting Colour Wheel: A circular arrangement of the
together of parallel strands of yarn to form long, primary colours, and the secondary and
decorative bands. intermediate which result when two primary
colours are mixed.
Brayer: A rubber-covered roller for inking
blocks or plates. Complementary Colours: Two colours that are
directly opposite each other on the colour wheel.
Block-out: Parts of the open screen that are A primary colour is complementary to a
blocked out to crate a stencil image; glue, paper secondary colour that is a mixture of the two
and photographic emulsion are block-out media. remaining primaries (e.g., red is complementary
to green, which is a mixture of yellow and blue).
Built Environment: Structures made by people.
Buildings are part of the built environment. Components: The elements of a work of art that
comprise a composition.
Burr: The irregular ridge of metal or plastic
throw up on either side or a scratched incision. Composition: The act of organizing all of the
elements of a work of art into a harmoniously
Calligraphic Line: Any controlled, flowing, unified whole. Each element used may have
continuous use of line in painting, drawing, and particular characteristics that create interest, but
sculpture; the character and quality of an artist's must function in such a way that the whole
linear work. composition is more important than its parts.
Carding: The process of aligning wood fibres to Construction: The process of making a
create a batt, accomplished with hand cards or on sculpture by assembling and joining a wide
a carding machine. variety of materials, such as wood, cardboard,
plastic, paper, and metal.
Carving: A subtractive sculpture process in
which material is removed from a block or mass Continuous Line: A slow, analytical line that
of wood, stone, or other material. describes the contours and surfaces of an object
with a single continuous motion of the drawing
Closed Forms: Forms that appear massive, instrument.
lacking any significant extension or intrusion of
negative space. Contour: A line which describes the edges and
surfaces of an object.
Coiling: A technique of winding flexible
materials such as clay or fibres in concentric Contrast: Emphasizes differences or opposition
rings. of elements in a work of art.
Collage: An art form in which the artist creates Cool Colours: Colours that suggest coolness
the image, or a portion of it, by sticking materials rather than warmth; e.g., most blues, greys, and
to a picture plane surface. greens.
Collography: A process of making a relief print Critic: Someone who interprets and evaluates
in which objects and materials are glued to a works of art. Critical skills include abilities to
printed surface. describe the content, meanings, and purposes of
art work, and to judge their effectiveness in
Colour Scheme: An orderly selection and conveying meaning.
arrangement of colours in an art work.
Crochet: A method of structuring cloth by prints that have been pulled from the same plate.
looping a single strand of yarn around itself using
the hands for tension and a notched hook to draw Elements of Design: The basic visual signs as
new yarn through the loops. they are combined into components used by the
artist to express creative ideas. The basic
Cross Hatching: A method of drawing using elements are line, shape, vale, texture, space, and
any overlapping sets of parallel lines to create colour.
value differences.
Embroidery: Ornamental stitchery applied with
Curvilinear: Stressing the use of curbed lines as a needle to a fabric ground.
opposed to rectilinear which stresses straight
lines. Emphasis: A principle of design that establishes
importance, attention of significance; a
Deckle: The upper section of a mold for forming relationship between dominant and subordinate
a sheet of paper. The deckle is a frame that elements in composition (see Dominance).
determines the shape of the paper.
Engrave: The act of cutting into wood, stone,
Decorative: The ornamental or fashionable metal, or plastic with a graver, burin, or electric
embellishment of a surface such as fabric, engraving tool.
furniture, or pottery.
Environmental Design: The planned
Design: The planned organization of a organization of human environment spaces; it
composition. may involve architecture, landscape design,
interior design, urban planning, ergonomics, and
Diorama: A three-dimensional scene within a industrial design of fixtures for human spaces.
confined area.
Exaggeration: Extreme emphasis or distortion
Distortion: Deliberate or intuitive alteration by or both in a composition.
the artist of a natural shape, form, surface, or
space. Expression: The special characteristics of form
that mark the work of an artist or group of artist.
Dominance: The principal of visual Expressive content is the meaning and
organization that suggests that certain elements significance of art produced by the fusion of form
should assume more importance than the others and subject. Strongly emotional or intellectual
in the same composition. Dominance contributes content in works is called expressive.
to unity because one feature is emphasized and
other elements are subordinate to it (see Felt: A nonwoven, matted fabric formed when
Emphasis). fibres interlock when subjected to moisture, heat,
and agitation.
Drypoint: The intaglio process of drawing
directly on a metal plate with a steel needle, Fibre: Thin, hair-like strands of natural or man-
creating a furrow and rough burr which holds the made material that can be twisted or spun into
ink and gives the print lined a velvety quality. yarn or thread.
Dye: A colouring agent derived from either Figure: The human form.
natural or synthetic ingredients.
Figure Ground: A phrase referring to a spatial
Edition: A series of consecutively numbered relationship between forms and the backgrounds
against which they have been placed (see the pigment.
Positive-Negative Space).
Graphic Design: A term usually used to
Finger Weave: A weave created through the describe typographic design, advertising, design
direct intervention of the weaver by manipulation and the technology of printing.
of individual warp yarns with the fingers or a
pickup stick. Grid System: A system of parallel, evenly space
horizontal and vertical lines used to create a
Focal Point: The centre of interest or attention graph on an image. The visual information
in a work of art. within each block of the graph can then be
transferred to a graph of different dimensions to
Foreground: In 2-D works, the space depicted enlarge, reduce, or distort the image.
as being nearest to the viewer.
Ground: The surface on which an artwork is
Foreshortening: The apparent visual made.
compression or distortion of forms in a
composition to indicate depth in space (e.g., Harmony: The unit of all the visual elements of
apparent distortion of a figure by enlarging a composition, achieved by repetition of the same
extremities closest to the observer.) or similar elements.
Form: A shape in three dimensions; mass. Hatching: A method of drawing using close
groupings of short parallel lines. The closer the
Formal Balance: An orderly organization of lines, the darker the value achieved.
components in a composition that usually
incorporates axial symmetry of forms. Hooking: A technique of working loops of yarn
or thin strips of cloth through an appropriate
Fresco: A process of painting on wet plaster, in backing material: for rugs and decorative pile
which pigments are mixed with water and effects.
chemically bonded to the plater; the process was
perfected during the Italian Renaissance. Horizon Line: The line that suggests the
boundary between earth and sky in a 2-d work
Frottage: An image created by rubbing a soft employing linear perspective. It is often only
drawing instrument on the surface on paper implied.
which covers a textured surface.
Hue: Another term for colour.
Geometric Shapes: Shapes created by the
mathematical laws of geometry. Image: An envisioned thing or plan given
concrete appearance through an art medium;
Gesture Drawing: Action drawing created also, the general appearance of a work.
rapidly and sketchily, capturing the movement or
action of a given subject. Impasto: A particularly thick or heavy
application of paint.
Glaze: Any transparent coat of paint that is
superimposed over a dry coat of paint so that the Impression: A print taken from any surface or
undercoat filters through. from a surface specifically designed for
printmaking.
Gouache: A water-soluble paint which is made
opaque by the addition of finely powdered clay to Incised Design: Surface designed with cut or
impressed lines. Local Colour: The natural colour of an object
(green grass, blue sky, etc.).
Incised Lines: Very thin lines cut into the
surface of a printing place, such as in etchings or Loom: An arrangement or device designed to
woodcuts. accommodate the weaving process; it provides
tension for the warp and keeps the strands in
Informal balance: An equal distribution of correct order.
emphasis, or unity, of the various visual elements
in a composition without the use of symmetry Macrame: A technique of decorative knotting
(see Formal Balance). requiring a series of cords, supported in a more
or less parallel manner.
Inking the Surface: The act of rolling, dabbing,
or brushing the surface of a graphic plate with Maquette: A small-scale model of a sculpture.
ink or paint.
Mass: The physical bulk of a solid body of
Intaglio Printing: A printing process in which material; the appearance of weight or volume of
ink lies in depressed areas below the surface of matter in space.
the plate; e.g., engraving.
Matte: A smooth but not shiny surface.
Intensity: The saturation or strength of a colour,
determined by the quality of light reflected from Medium, Media: The materials and tools used
it (the brightness or dullness of a colour). by the artist to create the visual elements
perceived by the viewer of the work of art.
Kinetic: Of or pertaining to motion.
Knitting: An interlooping technique requiring Metamorphosis: A series of drawing that
two or more long needles to hold the loops as the describes and records the real or imagined
fabric is formed. changes in objects over time.
Lace: A fabric constructed of fine yarns in an Middle Ground: In 2-D works, the space
open arrangement of delicate patterns. between the foreground and background.
Line: A record of a point moving through space Mixed Media: Artwork that uses a combination
(actual or implied); the path made by a tool or of media.
instrument as it is drawn across a surface.
Mobile: In sculpture, a balanced construction
Linear Movement: The suggestion of visual with moving parts, suspended from above, and
movement along lines, shapes, and contours or a moving freely in the air currents.
work of art.
Modelling: A sculpture, a term meaning to
Linear Perspective: Using lines to create the shape a pliable material. In drawing, shading to
illusion of a three-dimensional space on a two- create the illusion of three-dimensional shapes on
dimensional surface. a two-dimensional surface.
Linoleum Plate: A block of linoleum cut with Modular Units: Basic units of measure taken as
gouges, knives, etc., where the image to be a principle for determining the major divisions
printed is that which is raised. Battleship and proportions of an object, building, figure,
linoleum is usually used. site.
Monochrome: A single colour or the value or technical derivations. The shapes, their
variations of a single hue. organization, and their treatment by the artist are
entirely personal and consequently not associated
Monoprint: A print made by working with by the observer with any natural form (see also
printing ink directly on a plate or piece of glass Abstract).
and then taking an impression on a sheet of paper
by rubbing or printing. Usually only a single Objective: Factual, thematic content, having
(mono) print can be produced. recognizable images.
Montage: A composition produced by One-Point Perspective: Linear perspective

overlapping, joining, and pasting pictures or formula using a single vanishing point to which
portions of pictures onto a flat surface. all parallel lines extend.
Mood: A feeling or sense conveyed by an Open Form: A quality of three-dimensional art

artwork as a result of the handling of the involving considerable extension into space, and
elements. producing a feeling of openness. Negative space
predominates.
Motif: A visual element or combination of
elements that is repeated often enough in a Opaque: The quality of a colour or an object
composition to make it the dominant feature of that makes it impervious to light and so incapable
the artist's expression. of being seen through.
Movement: Direction and energy implied by Organic: Pertaining to nature, natural objects,
elements in specific pictorial situations; amount or living things. Organic forms are often
of visual thrust produced by such matters as irregular and contrasted with geometric or
dimension, placement, accent. synthetic forms.
Mural: A wall covering (done in paint, glass, Palette: A board or other device upon which
ceramics, batik, etc.); usually tells a story colours are mixed; the group of colours used by
through a sequence of actions or episodes. an artist in a given composition.
Natural Fibre: Any fibre derived from plant or Papier-Mâché: A modelling medium of paper
animal sources. The four most common natural pulp mixed with paste; also, water-soaked strips
fibres are cotton, linen, wood, and silk. of paper and paste.
Negative Space: The unoccupied or empty Pattern: The repetition of elements or the
space left after the positive shapes have been combinations of elements in a regular, systematic
placed by the artist. organization.
Neutral Colour: Black, white, or grey; having Perception: The act of taking notice; the
no hue or chroma. recognition of an object, quality, or idea.
Netting: A looping and knotting technique Perspective: The illusion of a three-dimensional

worked on a single continuous strand to provide space on a two-dimensional surface.
openwork fabric.
An example is a fishing net. Picture Plane: The flat surface on which the
artist creates a pictorial image.
Nonobjective: Art based entirely on imaginative Pigment: A colour substance, usually powdered.
Plane: A two-dimensional surface. and stitching.
Realism: Forms of expression that retain the
Planography: A process of printing from a flat basic impression of visual reality.
surface which is neither raised nor incised (e.g., a
monoprint or lithograph). Reduction Printmaking: The process of
Plate: The original printing surface that is removing some surface of the plate, printing, and
treated to created a surface which produces the repeating the process by removing additional
printed image. surface and painting over the first colour after it
has dried. (This can be repeated to a desired
Pointillism: The technique of applying dots or number of colours.)
tiny strokes of colour to the surface so that when
seen from a distance the colours are perceived as Register Mark: A mark, usually a small cross,
blended. in the margin of a plate to facilitate the alignment
of successive plates to a multicolour print.
Polychrome: Anything painted in several
colours; the opposite of monochrome. Relief Printmaking: A method of printing in
which the surfaces of a plate are raised and
Portrait: An art work which features a person receive the ink or paint (e.g., linoleum block, a
or several people. Portraits are usually facial, woodcut).
but they can also be full figure.
Relief Sculpture: Partial projection from the
Positive Space, Positive Shapes: The areas that main mass. The sculpture is not meant to be
represent the subject planned by the artist. viewed in the round (see also Bas-Relief).
Primary Colours: The three basic colours of Repetition: The use of the same visual element
the spectrum which cannot be produced by a number of times in a composition.
mixing pigments: red, yellow, and blue.
Representational: A manner of expression in
Printmaking: The art of making many copies which the subject matter is presented so that
(prints) or an image from a single master plate of visual forms are more or less the actual visual
plates. forms seen by the eye.
Proportion: The relation of elements of a Resist: A material such as wax that is applied to
composition to one another in terms of their fabric to prevent dye or paint from penetrating.
properties of size, quantity and degree of
emphasis. Reverse Image: Mirror image.
Pulling a Print: The act of peeling off the Rhythm: Repeated elements of design in a
imprint paper from the plate. composition that create harmonious movement.
Pulp: The suspension, in water, of pulverized Rubbings: Impressions taken by placing a sheet
cellulose, from which paper is made. of thin paper over a textured surface and then
working across it with a crayon, chalk, etc.
Radial Balance: Two or more identical forces
distributed around a central point to create a Scale: Relative or proportional size.
repetitive equilibrium or balance.
Sculpture, Sculpting: The art of creating three-
Raffia: Straw-like substance used for weaving dimensional forms.
Scumbling: Painting with very little pain ton the Structure: A building or constructed
brush, to produce a feathery, uneven texture. architectural unit; the compositional relationships
in an art work.
Secondary Colours: Colours created by the
combination of two primary colours: orange (red Subjective Colours: Colours chosen by the
and yellow), green (blue and yellow), and purple artist without regard to the natural appearance
(blue and red). of the object being portrayed; these colours
represent the artist's expression.
Serigraphy: A printing process involving
stencils and a screen; known as silk screening Subtractive Sculpture: A sculptural process in
commercially. which portions of the sculptural material are
removed by cutting or carving.
Shade: The dark values of a colour made from
the combination of the pure colour and varying Superimpose: Placing one pattern over another
amounts of black. so that neither loses its identity.
Shape: An area that is differentiated from the Surrealism: An artistic style that emphasizes
space around it because of a defined boundary or fantasy, imagination, and subconscious
a difference in value, colour, or texture. experience.
Shuttle: A device used in weaving to hold a Symbol: The form, image, sign, or subject
quantity of weft thread. standing for something else; often a visible
suggestion for something intangible.
Silkscreening: A reproduction process wherein
paint or ink is forced by the pressure of a Symmetry: Balance created by repetition of
squeegee through a stencil adhered to a stretched exactly similar parts facing each other or a
silk or nylon cloth; also called serigraphy. centre.
Space: Depth or distance in a 2-D work; an Tactile: Pertaining to the sense of touch.
empty volume to be occupied by a form, to be
used positively or negatively in relation to that
form in 3-D work. Tapestry: A woven structure, generally
pictorial, where the weft threads entirely cover
Squeegee: A rubber blade mounted on a handle the warp; also used loosely to describe wall
used to force ink or paint through a mesh of a hangings using other techniques (e.g., the Bayeux
silk screen. Tapestry, an embroidered work).
Stencil: A sheet made from cardboard, paper, or
plastic film which a design has been cut to create Technique: The manner and skill with which
openings through which ink is rolled or pushed to artists employ their tools and materials to achieve
imprint on an underlying surface. a predetermined expressive effect.
Still Life: An arrangement of inanimate objects, Template: Shaped flat material used as a
such as fruit, flowers, or pottery, used as a pattern to reproduce the outline of that shape
subject of a work of art. many times.
Stippling: Dots applied with even pressure to Terra Cotta: Red clay which requires a lower
the drawing surface in such a way that the closer temperature firing and is generally unglazed.
together the dots, the darker the value achieved.
Tertiary Colours: Colours made by combining Volume: Any three-dimensional quantity that is
a primary and secondary colour (e.g., red and bounded or enclosed, whether solid or void.
orange).
Textile: Any constructed fabric such as a

weaving or a knitting; netting, knotting,
crocheting, felting.
Texture: The actual or implied tactile quality of

a surface (e.g., smooth, rough, soft, hard).
Theme: The subject matter or meaning of a

work of art.
Three-Dimensional: Having dimensions of

length, width, and depth.
Tie Dye: A dyeing process where some of the

cloth is tied off with thread or rubber bands to
resist the dye.
Tint: The light value of a colour made from the

colour and varying amounts of white.
Transparent: The quality of allowing light to

pass through but not to the extent that the viewer
can see through the colour.
Two-Dimensional: Having length and width.
Two-Point Perspective: Perspective formula

using two vanishing points to which all parallel
lines extend.
Unity: The total effect of a composition

resulting from the combination of all the work's
components.
Value: The relative degree of lightness or

darkness attributed to an area of colour by the
amount of light reflected from it.
Vanishing Point: An imaginary point used in

linear perspective as the convergence of all lines
that recede into space. Usually located at eye
level.
Warm Colours: Colours that suggest heat and
warmth (e.g., red, orange, yellow).
Warp: Threads under tension in a weaving

through which the weft is woven.
Wash: Watered-down pigment that has a

transparent quality.
Watercolour: Transparent paint made from a

mixture of pigments and gum arabic.
Weaving: A process of making fabric by

intertwining threads, yarns, and other fibres to
make a cloth or fabric where one set of threads,
the warp, is under tension.
Woodcut: A relief print made from a block of

wood on which a design is gouged, chiselled,
carved, or cut in relief.
Appendix D: Art Hazards
Materials Dangerous Art Materials
Many materials commonly used in the art These material are extremely dangerous and must
classroom pose potential health risks to both not be used:
teachers and students, the danger varying from
slight to great. Ingestion, inhalation, and !
absorption are the three methods by which toxic cyanide solutions (potassium ferrocyanide)
materials enter the body. Precautionary and !
preventative measures will reduce the health risks cadmium silver solder
posed by various art materials. !
benzene
Canadian law does not require !
manufacturers to label art materials and list carbon tetrachloride
ingredients. The absence of legislation makes it !
difficult to identify hazardous chemicals that may chloroform
be used to process or treat art materials. In many !
cases information can be obtained only by ethylene dichloride
writing the manufacturer. Teachers are urged to !
do so if they have any questions. trichloroethylene
!
perchloroethylene
!
uranium oxide (glaze)
!
arsenic oxide (glaze)
!
lead chromate
!
zinc chromate
!
asbestos, talc clays, vermiculite
!
benzidine-type dyes in some coloured papers
!
aerosol fixative sprays
!
methylhydrate
Material/Medium Hazard Precaution/Substitute
Aerosol Sprays ! !
organic solvents used in the sprays paints containing highly toxic pigments
! should not be used
very fine particles of resins, paints, or !
lacquer propelled into the air use only in a ventilated are or substitute
! other techniques for the application of
greater danger of inhalation of mists coatings
! !
highly explosive use water soluble materials if possible
!
never use mouth atomizers
Benzene ! !
may destroy bone marrow causing a Do not use!
plastic anemia and leukemia
Burlap ! !
dust gently wash burlap before using it if this
! is a problem
skin allergies
!
irritation if treated with formaldehyde
Candle Making ! !
dyes, mold release possibly toxic paraffin is safe
! !
fire hazard from heating wax use only double boiler method for melting
! was
irritating fumes released form over- !
heating use ventilation
Carbon Tetrachloride (Solvent) ! !

highly toxic; known to cause liver cancer Do not use
Charcoal ! !
may contain carbon black (carcinogenic use only non-toxic types
due to impurities) !
use vine charcoal
!
use vinyl or rubber gloves when using
sticks
241
242
Clay ! !
silicosis (potter's lung) from inhalation of buy wet clay
dust and dry clay !
! always use clay wet
cuts and abrasions from wet clay with !
grog use clay without grog for young children
! !
dermatitis from bacteria mold or fungus mix or sand with local exhaust hoods
in wet clay with grog provided 1.5 m/s face velocity you use
clay frequently in the program; current
literature indicates pulmonary function
taken over many years is a better
indicator or problems than is x-fay for
silicosis
Clay - Low Fire ! !

fumes from firing kiln vented to outside by canopy hood
! providing capture velocity of 2.5 m/s
can be talc body (usually contains !
asbestos) use non-talc clay
!
insist on asbestos-free clay
Clay Talc Bodies (Low Fire Clay) ! !

may contain as much as 20% asbestos don't use talc clays (usually found in low-
fire clay)
Coloured Acetate Inks ! !

acetate solvents (eye, nose, throat irritant) use water soluble inks with a small
use to etch colour onto the acetate amount of detergent (one drop) roughen
plastic with 0000 steel wool to help ink
adhesion or
!
use coated acetate sheets (cells) that will
take ordinary coloured ink and dyes
Coloured Inks ! !
may contain benzedine-type dyes (can use in areas .25 m/s capture velocity
cause bladder cancer) !
use only those labelled non-toxic
!
use food colouring
Construction Paper ! !
may contain toxic dyes as colour use non-toxic materials
! !
may be treated with fungicide (mercury avoid wetting the paper
compounds) !
prevent students from chewing the paper
or putting it in their mouths
Cotton Duck or Canvas ! !

dust wash fabric before use if it causes a
! problem
skin allergies if treated with fungicide
(irritant)
Crayons ! !
toxicity of some brands use only non-toxic crayons
!
leave paper wrapper on to protect fingers
from contact with the wax
Clay - Low Price ! !

fumes from firing kiln vented to outside by canopy hood
providing capture velocity of .25 m/s
!
use non-talc clays
!
insist on asbestos-free clay
Developer ! !
skin and eye irritation use mechanical ventilation
! !
toxic by inhalation use gloves and goggles; never put bare
hands in developer solution
!
use tongs
!
use care in cleaning up
243
244
Electric Fry-Pan ! !
irritating fumes released from cover exposed parts of pan with
pyrolization of wax spatters over pan removable aluminum foil and replace
frequently
!
use pan in good repair
Epoxy ! !
toxic by skin contact and inhalation wear gloves and goggles
!
use fume hood
Feathers ! !
anthrax infection possible from windfowl use domestic fowl feathers or processes
feathers (pre-coloured) feathers from a craft store
Felt Pens ! !
toxic organic solvents in permanent types use non-toxic, water-soluble markers
Finger Paint ! !
toxicity of some types use only non-toxic types
!
make your own
Fixer (sodium thiosulfate) ! !

may contain toxic chemicals or irritants ventilate fixing bath
such as alum, boric acid, or formaldehyde !
(in addition to sodium thiosulfate) use caution in handling and mixing fixer
! !
toxic sulfur dioxide released upon fixer is not as toxic as developer or stop
decomposition bath
Glaze ! * carcinogen or serious toxin
dry powders ** no known safe level
! *** very fine particles
toxic oxides (or highly toxic):
!
antimony oxide
!
asbestos***
!
barium carbonate
!
berylium, beryllia*/***
!
bone ash (calcium phosphate)
!
borax, boric acid
!
cadmium*
!
chrome yellow**
!
chrome oxide* (lead chromate)
!
cobalt
!
copper carbonate*, malachite
!
cryolite, cornish stone*
!
feldspars: silica (silicosis)***
!
fluorspar*
!
iron chromate*
!
lead compounds: raw, fritted
!
lithium carbonate: irritant (powerful
mood-altering drug)
!
manganese carbonate
!
manganese dioxides: nerve toxin
!
naples yellow: lead
!
nepheline synenite
!
nickel carbonate,* oxide
!
potash
!
potassium dichromate*
!
pumice
!
soda ash
!
sodium silicate
!
talc - asbestos*
!
uranium oxide**
!
vandium oxide*
!
vermiculite*
!
zinc yellow**
!
zircon zircopax*
245
246
Glue ! toxicity of some glues !

avoid contact adhesives (solvent), rubber
cement (solvent), epoxy (hardener, toxic),
formaldehyde - resin (resorcinol)
!
use safe, non-toxic white glue or PVA
(polyvinyl acetate emulsion)
Hemp ! dust !
! skin allergy use gloves
! toxic if treated with formaldehyde
India Ink ! may contain carbon black contaminated !

with aromatic hydrocarbons use non-toxic types, such as fountain pen
(carcinogen) ink
!
if using India ink of unknown quality, do
so with mechanical ventilation
Ink - coloured ! dyes !

! solvents use non-toxic inks
! pigments (see entry under Pigments) !
avoid skin contact
!
clean up spills thoroughly, using rubber
gloves, a sponge and large quantities of
water
!
do not clean up with bleach as this can
create a more severe problem; many
chlorinated chemicals are carcinogenic
!
substitute coloured food dyes
Magazines ! preservatives in paper !

! lead chromate inks present in colours prevent students from chewing the paper
Methyl Hydrate ! highly flammable !

! highly toxic by skin contact (nerve, use grain (ethyl) alcohol
liver, kidney damage; blindness; death)
Modelling Materials (Paper Mâché) ! fine dust in commercial product !

! lead chromate and other inks on paper use only non-toxic materials
! preservatives
Modelling Materials (Plasticine) ! china clay, oil base, dyes (colour), !

preservatives, silicates, turpentine use only non-toxic brands
! ingredients toxic by ingestion !
! skin problems (some brands) it may be necessary to have some children
use barrier cream on their hands, but
check with parents first
!
have students put hands under plastic
bread bags or wear vinyl gloves
Modelling Materials (Self-Hardening) ! may contain asbestos !

use only asbestos-free clay
!
use only non-toxic clay
Newspaper ! skin allergies for some people from oil !

in ink use only black and white sections for
! may be treated with fungicide (irritant) paper mâché
! lead chromate (carcinogen) in some
coloured inks
247
248
Paint (Tempra Disk or Block) ! may contain toxic pigments or dyes !

! may contain irritants such as binders tempera disk or block is the safest form
(gum arabic & Tragacanth) of tempera for classroom use
! may contain preservatives !
clean up spills promptly (e.g., water disk)
with a wet sponge or wet mop
!
do not allow students to paint their skin
!
use products labelled non-toxic
Paint (Tempera Liquid) ! may contain toxic pigments or dyes !

! may contain irritants such as binders clean up spills promptly with a wet
(gum arabic and tragacanth) sponge or wet mop
! may contain preservatives !
!
Paint (Tempera-Powdered) ! may contain toxic pigments or dyes !

! inhalation of powder dust never let young children use powdered
tempera; use not recommended in public
schools unless pre-mixed by teacher
!
use other forms of tempera
!
!
Paper ! fungicides, such as mercury !

compounds, often used to treat paper prevent students from chewing and eating
paper
Paper (Construction, Tissue, Crepe) ! fungicides often used to treat paper !

! azo or benzidine in direct dyes for insisting on non-toxic paper
colour (benzidine is known to case !
bladder cancer moderately safe when dry, avoid wetting
!
crepe paper will contain flame proofing
chemicals (borax compounds, TRISS)
Paste ! may contain formaldehyde or mercury !

fungicide use non-toxic paste
Pastels ! toxic dust of fine pigments in chalk !

pastels don't use with young children
! same pigments as used in paints (see !
entry under Pigments) use only oil pastels
!
have children be careful to keep hands
clean
!
wash with soap and water
Photography ! a number of health problems from

photo chemicals
Pigments ! poisonous pigments: !

! pigments are common to most art
Burnt Umber (manganese) techniques requiring colour
! CadmiumRed !
Yellow many pigments still being used in the
Vermillion classroom are poisonous; all are
Orange (all are highly poisonous by ingestion and inhalation
toxic human carcinogens)
! carbon black (lamp black): skin cancer
largely due to impurities from repeated
contact
249
250
! chrome green: human carcinogen, skin

irritations, allergies
! chrome yellow: human carcinogen,
skin irritations, allergies
! cobalt blue: skin allergies, asthma
from inhalation
! cobalt, violet, cobalt arsenate: skin
allergies
! flake white (lead carbonate): poison by
ingestion, damage to vital organs and
peripheral nerves from inhalation
! lemon yellow (barium, strontium or
zinc chromate): human carcinogen
! manganese blue and manganese violet:
nerve damage from inhalation of
ingestion
! naples yellow (lead antimoniate): toxic
mutagen
! phthalocyanine blue (thalo blue,
phthalo blue) carcinogen, mutagen,
teratogen, from PCBs (usual
contaminate)
! phthalocyanine green: same as
phthalocyanine blue
! raw umber: toxicity from ion and
manganese
! vermillion: mercury poisoning from
mercury sulfide or cinnabar
Plaster of Paris ! irritation of eyes and respiratory system !

from dust Plaster of Paris is non-toxic, but the dust
! will dry skin can be irritating; use care when handling
the powder and wear dust mask (3M-
8710) or respirator
Potters Wheel ! physical hazard if too large for the

student
Pottery Kilns ! produce carbon monoxide, sulphur !

monoxide, sulphur dioside, sulphuric kilns should be installed and used only
acid, pyrolized carbons, metal fumes under fume hoods with mechanical
from metallic oxides present, such as extraction sufficient to remove emissions
iron, chrome, cobalt, manganese and (capture velocity of .25 m/s)
vandium !
kilns preferably should be in a separate
room and not in the classroom
Printing Ink ! toxicity of solvent (oil)-based inks !

use solvent-based inks only in a fume
hood
!
use water-based inks
!
use mechanical ventilation (fume hood)
Printmaking (Screen-Printing)
GS 51 Adhering Fluid ! highly flammable !

! central nervous system toxin: use mechanical ventilation (fume hood)
depression
! irritant to eyes, nose, and respiratory
tract
251
252
Silkscreen Inks ! contain many different aromatic !

hydrocarbons (toxic) use only in a cross drafted table, with a
capture velocity of .5 m/s
!
use alternate water-based, water-soluble
silkscreen inks such as Speedball Non-
Toxic Inks
Super Blox ! methlene chloride !

! central nervous system depressant there are no apparent problems with
producing delusions Speedball Photo Emulsion or Ulano
Blockout which can be used instead
P.V.A. (Polyvinyl Acetate) (Water ! eye irritant (ammonia) !

Emulsion) ! may contain irritant preservative, use ventilation
formaldehyde !
avoid skin contact, use gloves
Sandpaper ! sanding dust !

use approved dust mask (3M-8710)
!
stop frequently and clean up with wet
sponge
Shellac ! volatile solvents !

! may contain methyl hydrate use mechanical ventilation (fume hood)
Shoe Polish ! may contain toxic solvents !

use sparingly
!
use mechanical ventilation
Soapstone (Soft Stones, Serpentine) ! free silica when sanding or cutting !
! asbestos use goggles
!
use soft sone such as limestone, pipestone
which are asbestos-free
!
if using soapstone, use masks (3M-8710),
goggles, and gloves
!
clean up often during project
!
wet mop or vacuum afterwards
Soldering ! lead fumes: lead poisoning !

! flux: zinc chloride, corrosive to the use mechanical ventilation
skin, eyes, and respiratory tract !
use a fume hood
!
local exhaust system
Solvents (Toluene and Xylene) ! lung irritants, may cause (in high !
concentrations) damage to the central use mechanical ventilation
nervous system
Stop Bath (Acetic Acid) ! highly toxic by inhalation, skin contact !

and ingestion do a careful clean-up afterwards
!
the use of goggles and gloves is
mandatory
!
use mechanical ventilation
Styrofoam ! toxic gases released when heated (hot !

wire cutters, blowtorch, matches), use a knife to cut or if using hot wire
especially styrene gas: know narcotic, cutter, do so only in a fume hood
respiratory and eye irritant, possible
nerve and liver damage
Tissue Paper ! benzidene in some coloured varieties !

(bladder cancer) use only non-toxic type papers
Turpentine ! highly flammable; skin irritant; eye !

nose and throat irritant; central nervous use ventilation
system depressant !
store in ventilated storage
253
254
Varnish ! volatile solvents !

use mechanical ventilation (fume hood)
Wallpaper Paste ! may contain formaldehyde or mercury !

fungicide prevent children from eating it
!
use non-toxic paste
!
make up your own (see recipe at end of
this section)
Wax ! toxicity of some waxes !

! release of acrolein fumes and other use food-grade paraffin waxes
irritants from overheating !
use a double boiler to control heating
Wood ! boxwood, cedar, rosewood, teak: !

respiratory, eye, and skin problems, use safer woods such as spruce or pine
skin allergies
Wool ! possible anthrax infection when !

working with raw wool be certain of the source; get supplies only
from a reliable dealer
!
use fumigated fleece
!
use a dust mask (3M-8710) if wool fibres
cause irritation
Yarns ! possibility of anthrax in wool yarns, !

hand spun be certain of source of raw fleece; get
supplies only from a reliable dealer
Zonolite, Vermiculite ! asbestos contaminated (human !

carcinogen) do not use in the classroom; substitute
other materials such as sawdust or coffee
grounds
Recipes for Substitute Materials
Wallpaper Type Paste food colouring or nontoxic tempera paint
500 mL wheat flour ! Mix flour.

125 mL sugar ! Cook at low heat, stirring constantly.
2.5 L water ! If mixture is too thick, add a small
amount of water.
! ! Spoon mixture into small covered jars
Mix dry ingredients in a saucepan. and add colouring.
!
Add water slowly to make a paste without A more satisfactory result may be obtained
lumps. by adding more glycerine or sugar. Use
! promptly or store in the refrigerator to prevent
Add remaining water. the growth of molds and yeasts. Grain alcohol
! (50 mL) will act as a preservative.
Bring mixture to a boil, stirring constantly.
Cook until mixture is thick and translucent. Practicing Safety in the Art Room
Makes 2-3 litres of paste. Keep under Preventative and precautionary practices
refrigeration to prevent the growth of molds. enable students and teachers to use art materials
Ethanol or Javel water may be added to prevent safely. The effects of using hazardous materials
the paste from becoming moldy. can be minimized.
Modelling Clay ! Find out the contents of the materials you

use. You may have to write to the
565 mL wheat flour manufacturer to get this information. If
250 mL salt toxic, use and store appropriate. Look for
15 mL alum substitutes. Consider other forms (e.g.,
65 mL vegetable oil liquid instead of aerosol).
275 mL boiling water
food colouring ! Keep the work area clean. Store all liquids
in sealed containers. Cover powders. Keep
! Mix dry ingredients and add oil. bulk volatile substances in separate storage
! Add food colouring to boiling water, then areas. Wet mopping is recommended over
add other ingredients. dry sweeping.
! When mixture holds together, knead until
smooth. ! Personal hygiene is essential. Wash hands
after using solvents, metals, or other toxic
This can be dried in open air or in a slow substances. Do not eat or smoke in the
(115oC) oven. work area to avoid possible ingestion or
inhalation of toxic substances. Protective
Finger Paint clothing should be work at appropriate
times: safety goggles for sanding and
125 mL wheat flour welding; gloves and long sleeves when
500 mL water using solvents; masks when working with
15 mL glycerine powders, dusts, and fumes.
! Work in properly ventilated areas. Keep
room cool and humid, not hot, dry, or dark.
! When health problems are suspected, make

sure that the physician knows the
circumstances and the materials to which
you or your students have been exposed.
256

Art Curriculum Guide - Intermediate 1

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Art Curriculum Guide - Intermediate 1

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INTERMEDIATE ART

The development of an art curriculum

This guide has been designed to give

The Department of Education would Katie Parnham

Introduction / 1 Slide Overviews / 194

Folk Art Module

Fibre Art Module

Art is a way of visually the adolescent student. The art program

For the adolescent, art is no longer

To foster creativity in the middle

The young adolescent is at a stage of substantial amount of relevant contemporary

This is a critical period of artistic Physical Development

The intermediate art program is a objectives of that experience. However, they

! critically analyze and support one's ! promotes sensitivity to others and to

! explore subject matter. ! provides opportunities for social

! summarize and appraise the art ! permits individuals to respond at their

! provides the opportunity for physical

An art experience must never be ! Explore and experiment with the

Students may be asked to point out

When a topic has been ! Discussion. As a group discuss the

! Playing Games. Check the group's

Signs and symbols - trademarks, business

Fruits and vegetables - whole and cut

In the natural environment - moose, rabbits, Transportation on wheels - cycles (bicycles,

Fantasy creatures - monsters, Transportation in air - jets, seaplanes,

Work animals Machines - typewriters, telephones, stereos,

Carpentry tools - hammers, saws, wrenches

Collection of objects - the contents of locker,

Toys and games

Inside mechanisms of clocks, watches, radios

Letter and number forms

Clearly stated methods of evaluation is made. Summative evaluation

The ability to apply

The ability to express

The ability to concentrate, to

Self-Evaluation Reports Written tests, quizzes, and

Teacher-Student Conferences The Evaluation of Students in the

Written Assignments and Oral

This program contains many

Approached traditionally, drawing stresses seeing, understanding, and interpreting

Learning to draw is really a matter of learning to see ... to see

DR 8 Kenojouak/drawing for the print The Owl

DR 11 Marilyn Koop/The Diver

DR 15 L.L. Fitzgerald/Still Life with Reflector

DR 18 Ilse Hughes/Cochrane Street United Church

Artist: Jacques de Tonnancour

Mood Quiet, sedate, soft.

Artist: Rae Perlin

Artist: Colin Macnee

Artist: Sylvia Bendzsa

Mood Mysterious, dreamlike, calm because of the soft even application of

Artist: Mavis Penney

Artist: Rae Perlin

Artist: Bertram Brooker

Techniques See colour above.

Artist: Janice Udell

Mood Surrealistic (dreamlike), fantastic. Objects not normally associated with

Artist: Miranda Jones

Artist: Marilyn Koop

Artist: Bill Rose

Artist: Bruno Bobak

Artist: Dik Campbell

Techniques Diverse materials were applied forcefully and quickly.

Artist: L.L. Fitzgerald