Visual Arts Curriculum Planning with AccessArt by AccessArt

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INTRODUCTION AccessArt has many years experience in helping schools, (and the wider community) deliver high quality visual arts teaching. Our core aim is to raise the

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quality of visual arts teaching and learning through sharing inspirational practice. We are the leading provider of artist-led and artist-inspired teaching and learning resources. We have been recognised for our work by Arts Council England, Nesta,

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DfES, Calouste Gulbenkian Foundation, Esmee Fairbairn Foundation, and BIS. We

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work in partnership with a number of major arts and cultural organisations, schools,

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The guidance below is provided in good faith and based upon our experience. Please use the subject areas below to access further guidance and links to over 250 resources and lesson plans.

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New resources are added every week. Please register here to be kept up to date

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CURRICULUM PLANNING GUIDANCE FOR ART & DESIGN

Sculpture

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sketchbooks smart materials still life story-writing AccessArt advocates: That schools consider teaching art & design at Key Stage 1 and 2 as a distinct subject. Whilst we appreciate many schools approach art in a project or theme-

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based manner, our experience is that when art is taught as a distinct subject in a skills-based manner there is clearer progression and the teaching and learning is more rigorous. We do appreciate that art provides an excellent way to enrich the currciulum and link to other curriculum areas. Links to themes or projects can still be made, but from a position of far greater strength and understanding.

RECENT COMMENTS Tilly McDermott: Hello again, sorry it's been a while since I last uploaded …

We therefore recommend: That Art & Design is split into nine subject areas: 1. Drawing 2. Sketchbooks 3. Printmaking 4. Sculpture 5. Design 6. Painting 7. Craft 8. Textiles 9. Multimedia

Zoe Coughlan: Just tried this with a group of (not very confident) Year 8… Tracy McGuinness -kelly: Thanks AccessArt, I am so pleased and proud to be featured … Sharon Kelly: The space, Paragon Studios PS2 Project Space - a visual art… Paula Briggs: Good luck with all that. Search for more ideas via the "scu… tracy mcguinness-kelly: What a fantastic project, love the space too. … A Gillen: This all looks fantastic - i'm just starting out doing an a…

Please explore each of the subject areas above for further guidance and links to resources/lessons plans. We would encourage teachers and schools to raise their expectations as to what pupils are capable of in the visual arts. This can happen in a very practical way: for example through the introduction of a wider variety of materials from the outset, pupils can and do quickly build their understanding and skills.

jane shepherd: Some amazing pieces of work there … Sharon Kelly: Thank you for the encouraging comment. The energy was incre… Sheila Ceccarelli: Brilliant start Micheal - i love the way that you have used…

We recommend that schools work hard to break down preconceptions amongst teachers and pupils as to what drawing or sculpture (for example) is or might be. Preconceptions can stifle creativity. If we take the lid off art and design we can allow the subject to flourish. Experimentation, risk, and innovation should be encouraged. We suggest that schools should be less focussed on outcome and more focussed on the creative journey. When schools work towards a predefined, prescribed outcome (i.e. in the case of a display) the understanding and learning of pupils can be compromised. Ofsted recognises that work which looks great at first glance can often hide poor learning outcomes. Instead schools should work to create confident, independent artists who can articulate and value their own creative journeys. We suggest that each term children should be given the opportunity to explore a variety of polarities: 1. Traditional skills should be balanced with experimental work. 2. Small scale work should be balanced with large scale work. 3. Quiet reflective study should be balanced with active, dynamic work. 4. Individual work should be balanced with group work. 5. Two dimensional work should be balanced with three dimensional work. 6. Study of historical "great" artists should be balanced with contemporary artists. In addition children should be given the opportunity to experience: 1. How it feels to take creative risks as opposed to playing it safe 2. That chaos and mess can be productive for some people 3. Both female and male creative role models (including visits from artists/visits to galleries/artists studios)

PRACTICAL POINTERS AccessArt suggests: That for many schools, an ongoing exploration of materials will provide an accessible and effective starting point. This exploration (of materials used for drawing, sculpture, painting, printmaking etc) will help the children grow in confidence and understanding and promote self-directed learning. Manipulating materials helps children explore processes, and these in turn can be applied to concepts. Many of the resources in the subject areas (see links above or below) centre around an exploration of materials and processes. You might want to consider: A whole-school activity. For example, all year groups might explore charcoal. Each class and individuals within the class will naturally explore at his or her own level. Fundamental exercises can be experienced by all ages, and repeated by all ages, as part of their practice. There is no need for a "progression of activity" as such - children will naturally progress once they have repeated access to a material, process or concept. Pupils or teachers sharing areas of expertise with other classes to build knowledge and confidence within the school. That teachers should not be afraid to be seen to be learning alongside the children - in fact this can be a very positive role model for children.

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1. Drawing 2. Sketchbooks 3. Printmaking 4. Sculpture 5. Design 6. Painting 7. Craft 8. Textiles 9. Multimedia

ADDITIONAL USEFUL LINKS National Curriculum Art & Design Drawing Together: Art, Craft & Design in Schools (Ofsted) Making a Mark: Art, Craft and Design Education (Ofsted) NSEAD Curriculum Resources Axis - Artists database BBC Your Paintings Getty Open Content Programme

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Back to Curriculum Planning for Art The resources below are accessible to AccessArt members. Please consider joining AccessArt (£42 for a single user, £96 for a multiuser membership. AccessArt is a UK Charity

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GUIDANCE AccessArt advocates: Access to varied drawing materials from the outset. There is no reason why children should not be introduced to a varied range of drawing materials from Year One. The more experience children have of using a wide range of material the more they will feel able to make independent, confident, drawing decisions.

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Traditional drawing skills, including drawing from observation, should be balanced alongside more experimental drawing skills. Drawing comes in many forms and each form should be equally valued. Children should be given the opportunity to work on a variety of scales. Drawing can be physical as well as studious. Drawing should be an adventure. Use of Sketchbooks as a Creative Tool. The sketchbooks should be owned by the pupils, and should be at the centre of the pupils' creativity. Sketchbooks can be used to gather, collect, experiment and reflect. Teachers should not be afraid if sketchbooks seem chaotic - adult sketchbooks are often chaotic - they are a place to put unresolved ideas into the world, which can be assimiliated later. Sketchbooks are rarely linear. Explore all our sketchbook resources here. Teachers should not be afraid to approach drawing as a "journey", in which the process is as important (sometimes more) than the outcome. Working from a "display-backwards" mentality (where a teacher has an idea of an end result in mind) often jeopardises the true creative journey. "Starting points" (in terms of materials, exercises and subject matter) should not be seen as soemthing to progress away from. Creative adults return to fundamentals time and time again. Pupils should be encouraged to revisit key exercises time after time to build knowledge and experience. There is no linear progression in drawing, only a gathering of experience and intention. Children should be encouraged to understand the value of taking creative risks in their work. See more about Understanding Risk here.

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RECENT COMMENTS Tilly McDermott: Hello again, sorry it's been a while since I last uploaded … Zoe Coughlan: Just tried this with a group of (not very confident) Year 8… Tracy McGuinness -kelly: Thanks AccessArt, I am so pleased and proud to be featured … Sharon Kelly: The space, Paragon Studios PS2 Project Space - a visual art… Paula Briggs: Good luck with all that. Search for more ideas via the "scu… tracy mcguinness-kelly: What a fantastic project, love the space too. …

ACCESSART RESOURCES TO SUPPORT DRAWING

AccessArt is an evolving collection of resources and further resources are being added over time. Please register with AccessArt to receive updates.

A Gillen: This all looks fantastic - i'm just starting out doing an a…

Please Note:

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The resources below are NOT presented in any kind of prescribed order of use.

Sharon Kelly: Thank you for the encouraging comment. The energy was incre…

Although the "Introductions to Materials and Warm-ups" provide valuable starting points, equally, many of the drawing projects in the Observation or Experimental drawing sections provide equally valid starting points. Drawing is a cyclical process

Sheila Ceccarelli: Brilliant start Micheal - i love the way that you have used…

and pupils of all ages will benefit from the wide variety of exercises and projects listed below, and teachers should feel able to repeat the activities in and with a variety of age ranges.

BE SOCIAL INTRODUCTIONS TO MATERIALS & WARM-UPS These resources encourage an exploration of drawing materials. As a pupils understanding of drawing materials evolves, these activities will evolve into more Experimental Approaches (below).

Beginners Guide to Drawing Materials

Warm-Up Exercise: Drawing Spirals

A guide to the drawing materials used

Encourages drawing action from the

in the accessart resources, including

wrist to the shoulder to the whole

charcoal, graphite, oil pastel, soft

body...

pastel, watercolour etc.

Drawing Spiral Snails Drawing like a Caveman Exploring charcoal using our hands.

Exploring soft chalk pastels.

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Discovering Charcoal WarmUp Exercise

Finger Palette Portraits

9 Actions of using charcoal - a guided

create portraits from observation.

Using charcoal dust and hands to

whole class introduction.

Turning Paper into Fur Graphite Mark Making Warm-Up Exercise

Using soft pastel, graphite and

Using different drawing actions to

into fur.

charcoal to transform a piece of paper

explore graphite.

Monoprinting with Oil Pastel and Carbon Paper

The Electric Shades of Coloured Biros Using the synthetic colours of biros to

Using carbon copy paper coated with

create vivid and vibrant studies of

oil pastel as a no mess way to explore

vessels. Encourages careful

monoprints. Monoprints are a great

observation and a range of mark-

way to encourage loose, free, drawing

making.

and varied mark-making.

Using Soft Pastel to Capture Texture Working intuitively to capture the texture of folded clothing using soft pastel and graphite.

Drawing Minibeasts using a Continuous Line and Graphite and Oil Pastel Uses rich colours and careful lines to create exciting drawings.

Exploring Drawing a Glass Still Life with Tracing Paper Using tracing paper to make a layered, communal, drawing of a glass still life. Encourages children to think about composition as well as observation.

Exploring Ink and Making Mark-Making tools Encouraging children to be inventive in how they make marks, and in inventing their own mark-making tools.

Woodcut Lookalikes Acrylic painted over oil pastel on cardboard to create woodcut lookalikes. Teaches children to think about light/dark, positive/negative.

Treasured Fossils Using a variety of drawing media on found object surfaces. Uses observation plus experimentation skills to create individual and shared artwork.

Drawing Materials Sample Cards Children use "drawing materials to illustrate drawing materials". Promotes exploration of materials, observation, and produces a useful classroom resource.

Drawing Vegetables: A Drawing Game Empowers children to make their own drawing decisions and challenges/consolidates their knowledge of ways of working with varied drawing materials.

DRAWING FROM OBSERVATION The resources in this section begin with nurturing observation skills. There is a point at which, in every drawing, the focus moves from the subject matter to the drawing itself, as the drawing takes on its own life. Many of these resources then move from observation towards an exploration of the drawing medium involved (see Introduction to Materials above).

Making a Blind Contour Drawing Traditional exercise to encourage

Thinking about Paper Forms, and Drawing to the Slow Rhythm of a Metronome

greater observation skills and help

Encouraging children to draw slowly.

match speed of looking with speed of drawing.

See Three Shapes Helping Children to Make Stronger Drawings

Simple guided exercise using ink to aid looking and help children convey

Simple exercise to help children make

form.

bolder marks.

Introducing Foreshortening Making Large as Life Scroll Drawings

Sinple and effective exercise to introduce foreshortening to children.

Children work on a one to one ratio to make large as life drawings. Excellent for improving matching speed of looking with speed of drawing.

Simple Perspective for Children Single point perspective taught in an

Thoughtful Mark Making

inuitive way.

Guided exercise to help children diversity their mark making and understand the value of line in creating tone/interest.

Simple Drawings on Brown Paper: Letting Form and Colour CoExist Using soft pastels and graphite to

Drawing Speed The importance of speed in drawing. How matching speed of looking with speed of drawing improves drawing skills.

create layered drawings of form and colour.

Layered Gestural Drawing for Children

Squiggle Drawings & Autumn Floor Drawings

Multi colour, intuitive drawings to

Continuous line drawing to improve

explore gestural (sketchy) mark

observation, followed by a materials

making.

exploration to create textural drawings.

Working on Shared Drawing Pages & Being Inspired by Each Other

Drawing Pouring Water

Observational drawings drawn on

session in which children start with

cummunal sheets. What can we learn

careful observation and move on to an

from each other?

exploration of materials.

Seasonal Drawings

Tackling Still Life, Part Two

A guided process to produce seasonal

Exploring shadow - drawing from the

drawings. Drawing from observation,

ground up!

careful cutting, collage and colour.

Inspired by Leonardo da Vinci drawing pouring water. An active

Drawing Fish with Pen, Pencil and Watercolour Studies from life, from pencil to watercolour.

Tackling Still Life, Part One Using a continuous line to aid observation.

Drawing from Life and Acting Up Abit! Drawing from life does not happen nearly enough at school and yet there are many willing models!

Tackling Still Life, Part Three Using acrylic paint to explore mark making.

Making Moving Drawings with Children Using paper to create animated drawings.

Drawing & Collaging Fish, & Seeing Composition Using collage and mark-making to develop fish studies into highly personal drawings.

Drawing Animals with Cartoon-Like Character An alternative way to learn how to draw cartoons. This session describes how children create their own cartoon characters through careful observation and experiemental drawing.

A School Full of Characters Inspired by the illustrations of David

Tazzyman (Mr Gum), children explore creating characterful portraits.

Illustrations by Children: Drawings which Tell Stories Drawings of Toys Inspired by Gwen John

Using descriptive sentences and charcoal to create atmospheric illustrations

Line and watercolour studies of soft toys, inspired by Gwen John's watercolour cat paintings.

Oil Pastel and Graphite on Plaster Drawings by Torchlight Using light to create a sense of drama,

Inspired by Vincent van Gogh, children use oil pastel and linseed oil to work from a still life.

this session sees children making scenes with small toys and bringing them to life in charcoal.

Inspired by the Tapestries of Henry Moore: Watercolour Washes Drawing Feathers: Perfect for Mark Making

Inspired by the beautiful tapestries

Drawing feathers from observation

vegetables in a limited palette of

leading to an exploration of materials.

watercolour.

made by Henry Moore, children draw

Potatoes, Playmobil and Henry Moore: Making Drawings with Mass Using potatoes, pebbles and playmobil, wax resist, watercolour and graphite to make drawings which convey a sense of mass and form.

Drawings of Inventions Inspired by Leonardo Da Vinci Children draw a variety of everyday objects, using a variety of media, and then use these as the basis to collage inventions.

EXPERIMENTAL APPROACHES The resources in this section acknowledge that pupils will be undertaking their own "drawing journey" in which they will be making their own drawing discoveries. These experimental approaches will help pupils look at drawing in its widest possible sense, and help them to further manipulate materials and subject matter.

Encouraging Children to Understand Risk in Drawing

â&#x20AC;&#x153;Feely Drawingsâ&#x20AC;? or Drawing by Touch

Encouraging pupils (and teachers) to

Gathering information about subject

understand the value of taking risks in

matter by alternative methods

drawing.

Making a Shy Drawing

One Line Street Scene: A Visualisation Warm-Up

How can intention and action affect

Talking children through a drawing to

your drawing.

help trigger their imagination.

Starting with Safe, then Pushing the Wall

Exercise for Making an Artists' Book

Helping children push their drawings

Observational drawing, collage and

out of their "safe" zone.

book making. Challenges preconceptions of how a drawing sits on a page.

Mark making exercise in which children use their imagination to create drawings which capture a sense of drama.

Exaggerating to Communicate! Three simple exercises to help children to draw figures with real character. Inspired by Quentin Blake.

Colour & Compostition Inspired by Ben Nicholson Exploring shape and colour as

Developing a Drawing Through Exploration of Media

elements with which to create a

Enabling children to feel confident

composition.

enough to pursue their own "drawing journey"

Dressing up as Fossils and then using the drawings in a

What can Making Sculpture Teach us about Drawing?

surprise way!

Making sculpture with compositional

Drawing on fabric to design textiles

elements. How does throwing a sculpture "off balance" enable us to learn about composition in drawing?

Still and Dynamic Drawing: Making Spells! Draw a swirling spell pot full of

observational drawings before using

Picnic Drawing: Summer Party!

them as a collage material on a

Creating a shared drawing of a picnic

communal drawing.

rug. Draw the food then eat it!

ingrediants! Children make individual

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The resources below are accessible to AccessArt members. Please consider joining

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AccessArt (£42 for a single user, £96 for a multiuser membership. AccessArt is a UK Charity

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and all membership fees are used to develop further resources.

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Understanding the potential offered by various drawing medium is vital if children are to be inspired, attracted and energized by the drawing process. Drawing is all about degrees of control, and whilst being out of control is not always a bad thing, but some level of control of the materials one chooses to use is necessary if a child is to be spurred on to try more. Control can only develop through an understanding of the potential and limitations of each material.

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AccessArt believes that whilst children are given guidance as to what a particular

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material might be capable of, their understanding of how they might use each

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material, and in what context that material might work best, is discovered for the

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children by themselves. In this way children can take full ownership of their own

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discoveries. This means that while the warm-ups and projects described in our resources help build the children’s experience of drawing, their confidence in choosing and using the right material for the right job also grows. The aim is to

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develop children’s confidence and familiarity with materials to the point that they are able to make confident decisions about which materials to use and when, and that they feel an ease when using them. Rather than introduce the following drawing materials in a certain order over a period of time, consider introducing all the materials over a couple of weeks. Warmups or projects that use a particular medium are referenced below each description. Pencils Pencils are of course the most common drawing tool, but many children only have experience of using a HB pencil, which is only capable of the most grey, uniform

RECENT COMMENTS patricia furniss: Great inspirational project.will be adapted to my work with… Tilly McDermott: Hello again, sorry it's been a while since I last uploaded … Zoe Coughlan: Just tried this with a group of (not very confident) Year 8… Tracy McGuinness -kelly: Thanks AccessArt, I am so pleased and proud to be featured …

marks. Pencils do not contain “lead” but instead contain graphite and a clay binder. Drawing pencils range in “hardness” or “softness/blackness” from 9H to 9B. 9H is the hardest pencil – meaning it makes a hard, light mark. 9B is the blackest (or softest) pencil – giving a dense, easily produced mark. F is the grading given to a pencil midway between H and B.

Between these grades pencils offer us the opportunity to make all kinds of densities of marks. Additionally working with a pencil that is sharp, or blunt, will affect the marks it produces, and also the pressure applied by hand, and the way the pencil is held in the hand, will change the look of the mark. Experiment with where you hold a pencil when you draw: at the end as if it were a handwriting pen, half way up, or at the top, gripped between your fist. There is no wrong or right way to hold a

A Gillen: This all looks fantastic - i'm just starting out doing an a… jane shepherd: Some amazing pieces of work there … Sharon Kelly: Thank you for the encouraging comment. The energy was incre…

pencil, only ways appropriate to the types of marks you want to make and the amount of control you desire. Graphite

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Graphite sticks are usually graded B to 9B and come in a two main thicknesses (the thickness of a normal pencil, and the thickness of a chunky wax crayon). The graphite is similar to that within a soft B pencil, though with the surrounding wood removed. The thicker sticks are very useful for making energetic drawings on medium to larger scales. Using graphite with an eraser can extend the range of marks one can produce. Soluble Graphite You can also buy soluble graphite. Use as regular graphite and then use a brush with clean water (or diluted watercolours) to dissolve the marks across the page, turning the graphite to paint. Marks will range from very black to watery grey. You can also work the other way – wet the page and then make marks with the soluble graphite. You can also extend the marks made with soluble graphite by working in combination with another material. For example use white wax crayon, white oil pastel, or candle wax on a dry sheet of paper before using the soluble graphite and water for a resist effect. Tip: Do not leave soluble graphite sticks in water as they will dissolve!). Charcoal Willow charcoal is the preferred charcoal for drawing, and is capable of a making a variety of fluid marks. It can be bought in different grades and thicknesses, or in mixed boxes. The best way to get to know what kinds of marks charcoal is capable of making, is to play! Use the side of the charcoal to cover large areas of your sheet in a light, mid or dark tone. Use the end of the charcoal stick for fine or thick darker and more controlled lines. Use your finger, or hand to smudge charcoal, or use an eraser to remove charcoal and create areas of highlight. Remember you can use all these methods together and layer your mark making. Charcoal needs fixing with a fixative or hairspray. You can also use burnt wood from a fire (let it cool first!) which provides a more primitive and unpredictable mark making tool. Compressed charcoal Compressed charcoal is charcoal with added binder, sometimes surrounded by wood, to give you a coarser, darker mark. This is usually used more like a pencil and works best on a larger scale. Erasers In the warm-ups and resources on the AccessArt site erasers are not used for mistakes – instead they become a mark-making tool in their own right. Particularly effective when used with pencils, graphite, erasable coloured pencils, and charcoal. Watercolours Watercolours are used in this book as a drawing tool, either to add colour through

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line, or to add weight or shadow to help convey a form. Watercolours need not be expensive: even simple palette ones work well. Oil Pastels Oil pastels are made from pigment mixed with a non-drying oil and wax binder. They generally provide more vivid colour than soft pastels, especially when pressure is applied. Oil pastels can be used alone and work best when used on a large scale. They also make great partners with both graphite (or pencil) and linseed oil. Graphite applied over oil pastel becomes denser and darker as the graphite skids easily over the oily surface, leaving rich marks. Linseed oil can be used to dilute the oil pastel once it is on the page, and if worked in with a brush, can help mix the pastel and leave painterly marks. Oil pastels are also used in our projects with acrylic as a way of creating a sgraffito surface. Chalk Pastels Chalk pastels make softer marks than oil pastels and are easier to blend. They work especially well on thicker, more textured paper, especially if it has a slight hue (for example buff coloured) and can be used to draw both high and low lights. Handwriting Pens and Permanent Markers Handwriting pens create precise, fluid lines. Little pressure is needed to produce a mark, and this means that the pen nibs â&#x20AC;&#x153;scootsâ&#x20AC;? easily across the paper, making them ideal for drawing exercises which require there to be little interruption to the lines being made. They are also ideal for exploring mark making. Permanent markers provide an alternative tool when a thicker line is required. Wax Crayons Light coloured wax crayons are used in the projects as a tool to create resist when working with water soluble graphite, ink or watercolour. Stubs of candle provide an alternative to wax crayon, as do oil pastel. Coloured Pencil Crayons Traditionally used for colouring, coloured pencils can be used as a drawing tool, though they do have drawbacks. Unlike graphite pencils, it is harder to vary the line produced by varying the pressure. They can however be used creatively as a sketching tool, utilising the many different colours to create layered drawings. In particular mixing regular coloured pencils with water soluble coloured pencils and erasable coloured pencils in the same work can produce interesting results. Coloured Biro Coloured biros offer amazing synthetic colours, which we can use in the same way as coloured pencils to create layered sketches. However just like coloured pencils their line is particularly uniform which makes it hard to create tonal variation. Inks Black Indian ink or coloured inks are useful for the richness of their colour when compared to watercolour. Inks can be used with either brushes or nibs (or even homemade nibs from feathers), so that mark making can move from drawing to painting. When wet, water can be added to ink to create a wash, useful for varying tone. When the ink dries however, the ink is no longer soluble, which is also useful for adding a wash of more dilute ink over the top that will not merge with the original layer.

Homemade Drawing Tools Experiment with making a variety of homemade drawing tools that can impact upon the way children approach their drawing and the marks they make. For example: Create long handled drawing tools by taping brushes or pencils onto sticks, so that the child is distanced form the drawing and has less control over mark making. Tape together a number of graphite sticks or pencils to make one chunky drawing tool. Apply ink to paper using Plastacine shaped into a drawing tool. Remember! Always be on the look out for how you can use other materials to help inspire the drawing process. For example carbon copy paper makes an excellent drawing materials for helping to create blind contour drawings or monoprints. Try to choose the right tool for the kind of drawing you want to produce. Be aware of “the drawing sandwich” – or in other words how you might layer drawing materials within one drawing. For example your mark making might consist of: graphite, eraser, graphite, eraser, pencil. Each layer of medium adds something to the layer before, but requires another complementary action after. And so the drawing is built. Feel able to experiment: often there is no wrong or right, only things to discover. Think about the scale of your drawing and match the material: i.e. if you have an A1 sheet do you want to draw with a hard fine pencil? If you have a small sheet of paper can you accommodate chunky graphite sticks? In general terms, as the size of the paper increases, so might the size of your drawing medium. Lastly think carefully about which subject matter can best help you achieve your aims.

DRAWING SURFACES Introduction to Drawing Surfaces Whilst care is taken to provide a variety of drawing medium, the surface that children are to draw upon is often overlooked. Paper is expensive and this often means children are provided with small sheets of untextured copy paper to make their drawings that does not bring out the full potential of any drawing medium. The warm-ups and projects that follow rely on a variety of drawing surfaces and sizes, each designed to work with the chosen drawing medium. 100 – 140 gsm Drawing or Cartridge Paper A basic drawing paper that is suitable for most mediums. Projects mostly use A4 to A2 size. A1 is useful if space permits, and larger sheets can of course be cut or torn to smaller sizes to save buying a variety of sizes. Drawing or cartridge paper is preferable to copy paper as it has more texture which allows for the full range of mark making a pencil or graphite stick can offer. It also tends to be a less bright white. Sugar Paper Available in many colours (the neutral shades are especially useful), sugar paper offers children a cheaper alternative to drawing paper. Useful for working with graphite, chalks and oil pastels, though its texture means the lines will not be as sharp or dense as on drawing paper. As it is more absorbent than drawing paper it will soak up ink and watercolour more quickly. Newsprint Newsprint is useful for very quick exercises, though it is so thin and absorbent that

lines will not be crisp and it will tear easily. Very useful for placing under sheets of drawing paper to provide protection and for stopping any textured marks on drawing boards or desks showing through in the drawing. Wallpaper Lining Paper Some projects call for really long sheets of paper that can of course be made by joining large sheets of drawing paper. Wallpaper lining paper however provides an acceptable alternative to more expensive rolls of paper like Fabriano. Alternative Surfaces Just like drawing materials, think laterally about what can become a drawing surface: Many projects call for using recycled papers (such as old envelops) or paper which might not normally be used for drawings (graph paper, tracing paper, blotting paper, old maps etc.) Think how you might make your own surfaces, for example using sheets of Modroc, or even casting your own plaster blocks.

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ACCESSART RESOURCES TO SUPPORT DRAWING AccessArt is an evolving collection of resources and further resources are being added over time. Please register with AccessArt to receive updates.

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MY PROFILE SUMMARY Paula Briggs

National Curriculum Planning Art: Sketchbooks

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AccessArt (£42 for a single user, £96 for a multiuser membership. AccessArt is a UK Charity and all membership fees are used to develop further resources.

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AccessArt has a wealth of information for teachers about introducing and develop sketchbooks in schools. In summary AccessArt advocates:

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That sketchbooks should be owned by the pupils, and should placed at the centre of pupils' creativity. As such sketchbooks should develop personalities (a class of 30 sketchbooks should not look alike).

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Sketchbooks should be used to gather, collect, experiment and reflect. Sketchbooks should be a place of discovery.

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sketchbooks smart materials still life story-writing Teachers should not be afraid if sketchbooks seem chaotic - adult sketchbooks are often chaotic. Sketchbooks are a place to put unresolved ideas into the world, which can be assimiliated later. Sketchbooks are rarely linear.

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Sketchbook content should be treated with respect. Teachers should not mark directly in the book. Teachers should use one to one or small group discussion to help articulate sketchbook content. Sketchbooks should equate to momentum. Pupils should be discouraged from working in a single sketchbook which lasts a year or even longer. Instead sketchbooks should be filled with momentum and enthusiasm.

The new National Curriculum for Art & Design (Primary) (September 2014) states that: Pupils in Key Stage 2 should be taught: "to create sketch books to record their observations and use them to review and revisit ideas." AccessArt advocates sketchbooks should be introduced in Key Stage 1 and that their use should be rigorous and become embedded.

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added over time. Please register with AccessArt to receive updates.

jane shepherd: Some amazing pieces of work there … Sharon Kelly: Thank you for the encouraging comment. The energy was incre…

EXPLORE ALL THE ACCESSART SKETCHBOOKS RESOURCES

Resources to help introduce

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sketchbooks in school, develop sketchbook skills, embed sketchbook use, and examples of sketchbooks of artists,

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DEVELOPING YOUR SKETCHBOOK APPROACH

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SKETCHBOOK RESOURCES FOR TEACHERS & PUPILS AccessArt ran a highly successful Esmee-Fairbairn funded project called Sketchbooks in Schools, during which AccessArt and a number of sketchbook "advocates" worked with schools across England to help introduce, embed and develop sketchbook use in their schools. As a

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result of this project a large number of resources were created aimed at

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teachers of all key stages.

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This page has been designed to make it easier to navigate through the resources available, via teaching pathways.

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Developing sketchbook use in your school requires a certain level of

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commitment. We hope teachers can invest time in these resources as a

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form of CPD, and the teaching pathways described below should help

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that journey.

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If you would like to discuss the possibility of AccessArt delivering an

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INSET session to help develop sketch books in your school or cluster

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please email here or call 01223 262134.

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You need to be an AccessArt member to access most of these

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resources, but the following resources are free to access.

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Making Sketchbooks: An Introduction [Edit]

Teachers Using Sketchbooks [Edit]

Sketchbooks: Good Teaching Practice [Edit]

Sharon Kelly: The space, Paragon Studios PS2 Project Space - a visual art… Paula Briggs: Good luck with all that. Search for more ideas via the "scu… tracy mcguinness-kelly: What a fantastic project, love the space too. … A Gillen: This all looks fantastic - i'm just starting out doing an a… jane shepherd: Some amazing pieces of work there …

Sharon Kelly: Thank you for the encouraging comment. The energy was incre… Sheila Ceccarelli: Brilliant start Micheal - i love the way that you have used…

Sketchbooks as a Tool to Enable Personalised Learning

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When to Use Sketchbooks

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INTRODUCING SKETCHBOOKS The following resources help you to prepare to introduce the idea behind keeping sketchbooks to your pupils. They are designed to help widen perceptions of what sketchbooks are, and how they might be used.

Making Sketchbooks: An Introduction [Edit]

Making Room for Sketchbooks & Getting into the Sketchbook Habit

What Kind of Activities Take Place in a Sketchbook? [Edit]

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What Makes Keeping a Sketchbook So Rewarding?

Sketchbooks as a Tool to Enable Personalised Learning

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What’s in a Name?

Why Keep a Sketchbook? – printable pdf

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When to Use Sketchbooks [Edit]

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Sketchbooks and Nerves – The Scrappy Sketchbook [Edit]

Think Sketchbook PDF/Book [Edit]

Sharing Sketchbooks Made at The Sketchbook Conference 2011

Creative Sketchbooks! [Edit]

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What’s So Great About Sketchbooks?

What is a Sketchbook? [Edit]

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Why Keep a Sketchbook? PDF Download [Edit]

MAKING SKETCHBOOKS Making sketchbooks, rather than buying sketchbooks, can be both cost effective and encourage pupils and students to engage in the creative process from the outset. Made sketchbooks also help students feel a sense of ownership towards their work.

Sketchbooks and Making Performance Sketchbooks – [Edit] PDF Download [Edit]

Artist Aurora Cacciapuoti Introduces Japanese Book Binding [Edit]

Making Sketchbooks: An Introduction

Simple Stapled Sketchbook

Hole Punch Sketchbooks

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Sharing Sketchbooks Made at The Sketchbook Conference 2011

Creative Sketchbooks!

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Sketchbooks and Nerves â&#x20AC;&#x201C; The Scrappy Sketchbook [Edit]

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Sewn Signature

Elastic Band

Simple Stapled

Sketchbook

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Simple Folded

Making Sketchbooks – PDF Download

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DEVELOPING YOUR APPROACH These resources help you to consider how you might fill your sketchbooks. You might also want to view our selection of drawing resources.

Diary of a Sculptural Sketchbook

Sketchbooks and The Visual Diary Performance Journey – Join us! [Edit]

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What Kind of Activities Take Place in a Sketchbook?

Working in Sketchbooks: Starting with Magazine Imagery

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Making Room for Sketchbooks & Getting into the Sketchbook Habit [Edit]

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4 Sketchbook Shared Exercises Shared Sketchbook by a Textile Artist Inspired by [Edit] Words

Sketchbooks for Design or Thinking [Edit]

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Doodle Ball: a 3D Drawing Exercise [Edit]

Ideas for Working in a Sketchbook: 10 x ten minute exercises [Edit]

Thinking Skills in Children: 9 questions to deepen and widen understanding [Edit]

Sketchbook Ice Breaker by Jo Blaker [Edit]

Dealing with Mistakes! [Edit]

Introducing Sketchbooks: Making a Washing Line Sketchbook [Edit]

Sketchbooks, Journals & Journeys

Creative Sketchbooks! [Edit]

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Sketchbooks in Schools Evaluation Report [Edit]

SEEING SKETCHBOOKS Artists share their sketchbooks...

Diary of a Sculptural Sketchbook

Sketchbooks and Sketchbooks – Performance an Active Way to [Edit] Display

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Jonathan Ford – a Sculptor’s Sketchbook [Edit]

Rob Gill – an Illustrator’s Sketchbook [Edit]

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Felix Liebig – Sketchbook of a “Storytelling Architect”

Debbie Greenaway – an Artist’s/Printmak ers Sketchbook

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Gemma Longbottom – an Animator’s Sketchbook

Isabella Whitworth – A Textile Artist’s Sketchbook

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Yumi Okuda – an Jo Blaker – an Illustrators’ Artists’ Sketchbook Sketchbook [Edit]

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What do Primary Children’s Sketchbooks Look Like? [Edit]

Emma Davies – an Artists’ Sketchbook

Sarah Lovett – Sketchbooks, Sketch Book of a Journals & Set Designer Journeys

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Sharing Sketchbooks Made at The Sketchbook Conference 2011 [Edit]

STARTING POINTS... Ready to get started...

National Curriculum Planning Art: Sketchbooks [Edit]

The Visual Diary Teachers Using Journey – Join us! Sketchbooks [Edit]

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Making Room for Sketchbooks & Getting into the Sketchbook Habit

What Kind of Activities Take Place in a Sketchbook?

Sketchbooks: Good Teaching Practice [Edit]

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Sketchbooks for Design or Thinking [Edit]

When to Use Sketchbooks [Edit]

Ideas for Working in a Sketchbook: 10 x ten minute exercises

Introducing Sketchbooks: Making a Washing Line Sketchbook

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Why Keep a Sketchbook? â&#x20AC;&#x201C; printable pdf

Think Sketchbook PDF/Book

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Creative Sketchbooks! [Edit]

What’s So Great About Sketchbooks?

What is a Sketchbook? [Edit]

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The Scrappy Sketchbook [Edit]

Why Keep a Sketchbook? PDF Download [Edit]

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National Curriculum Planning Art: Printmaking

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understand who and what you are but I will. Thanks”

GUIDANCE

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The following AccessArt resources are designed to introduce pupils to various aspects of printmaking.

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adults animation

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children collage

collagraph colour

construction creative thinking Curriculum Planning design design & technology

design

They have been presented in order of accessibility - quick foam printing being an

through making drawing drawing

easy entry point - intaglio printing being more complex and needing specialist

children 6 to 12 drawing teenagers

equipment. However it is important to stress that just because a process is

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accessible (such as monoprinting) should not mean that it should not be revisited,

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or is not appropriate, for older or more able students.

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YEAR 1 (AGE 5) THROUGH TO YEAR 6 (AGE 11)

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ACCESSIBLE PRINTMAKING TECHNIQUES PDF

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printmaking techniques including block

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warm-ups &

printing, linoprinting, monoprinting and screen printing, which can be explored by pupils with minimal equipment.

RECENT COMMENTS Tilly McDermott: Hello again, sorry it's been a while since I last uploaded … Zoe Coughlan: Just tried this with a group of (not very confident) Year 8…

QUICK PRINT FOAM

Quick Print Foam is an easy way to make prints. Pupils can explore ideas about pattern and repetition and print with one or more colours. Children can apply quick print foam printing to designing wallpaper, tiles, textiles etc. Suitable for all year groups.

Tracy McGuinness -kelly: Thanks AccessArt, I am so pleased and proud to be featured … Sharon Kelly: The space, Paragon Studios PS2 Project Space - a visual art… Paula Briggs: Good luck with all that. Search for more ideas via the "scu… tracy mcguinness-kelly: What a fantastic project, love the space too. …

A Gillen: This all looks fantastic - i'm just starting out doing an a… CARBON PAPER MONOPRINTS

jane shepherd: Some amazing pieces of work there … A low tech, low mess, way to make monoprints. Pupils draw through carbon paper to create a monoprint on the paper below. Colour can be added

Sharon Kelly: Thank you for the encouraging comment. The energy was incre… Sheila Ceccarelli: Brilliant start Micheal - i love the way that you have used…

by using oil pastel on the carbon paper. Lots of potential to encourage children to diversify their mark making. Suitable for all year groups.

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MONOPRINTS

Using monoprints to free up the drawing process. Simple process using acetate, printing ink, rollers. Pupils draw on top of the acetate and the pressure transfers the "print" onto the paper below. Pupils can experiement with layering drawings and varying the presuure of their mark-making. Monoprinting is an inuitive, freeing process which generates lots of experiemental work. Suitable for all year groups.

MAKING COLLAGRAPHS

Using cardboard, string, found objects and pva glue to create a "plate" ready for printing. If no printing press is available, you can use the pressure of your hand, or a clean roller. Children can explore one or multi-colour printing. The collagraphic plates are also beautiful objects in their own right. Suitable for all year groups.

YEAR 5 (AGE 10) AND ABOVE

ERASER PRINTMAKING

Using linocutting tools to make printing plates from erasers. Simple, repeatable images which can be used to explore pattern or to make logos. Due to the sharp tools suitable for Year 5 children or older.

LINO PRINT

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Easy (Speedy) carve lino now means it is easier for children to carve and print with lino. Pupils can print in a single colour, or experiement with more colours. The area carved away does not print, so linoprinting gives pupils the opportunity to explore negative and positive/reverse designs. Due to the sharp tools needed to carve lino prints this activity is more suitable for children in Years 5 (age 10) and above. Ensure you use safety cutting boards to encourage pupils to cut away from themselves.

LINOCUT - AN ARTIST'S PERSPECTIVE

Printmaker James Green shares his passion for making linocuts.

EXPLORING CYANOTYPE BY MARU ROJAS

Artist Maru Rojas describes how to make cyanotype prints by resting plant material on senstised paper, or making plates from acetate.

THE INTAGLIO PROCESS: AN ARTIST'S PERSPECTIVE

Artist Neil Woodall shares how he makes an intaglio print.

ACCESSART RESOURCES TO SUPPORT PRINTMAKING

AccessArt is an evolving collection of resources and further resources are being added over time. Please register with AccessArt to receive updates.

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Logout The resources below are accessible to AccessArt members. Please consider joining AccessArt (£42 for a single user, £96 for a multiuser membership. AccessArt is a UK Charity

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and all membership fees are used to develop further resources. 40 artist educators AccessArt Stars!

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GUIDANCE AccessArt advocates: Design through Making. Many schools teach children to work on paper to "design" a building, a textile, a model etc, without children having any kind of understanding of the properties and abilities of the materials they might use, or experience of manipulating these materials. This results in a kind of "fictitious" design, which reflects little understanding of the design process. Instead we advocate Design through Making - a simple process much more akin to the way creative adults work, in which children work with materials and techniques from the outset to create a design. Pupils directly experience how a material stands, how materials can be fastened, how they look, all of which inform the design process. All the resource below promote a Design through Making approach. See all our Design through Making resources here. Sketchbooks as a Creative Tool. Instead of designing on paper, schools should consider how they can embed sketchbooks in all creative processes. The sketchbooks should be owned by the pupils, and should be at the centre of the pupils' creativity. Sketchbooks can be used to gather, collect, experiment and reflect. Teachers should not be afraid if sketchbooks seem chaotic - adult sketchbooks are often chaotic - they are a place to put unresolved ideas into the world, which can be assimiliated later. Sketchbooks are rarely linear. See also Sketchbooks for Design or Thinking and explore all our sketchbook resources here.

children collage

collagraph colour

construction creative thinking Curriculum Planning design design & technology

design

through making drawing drawing

Sculpture

sculpture children sculpture teenagers set design

sketchbooks smart materials still life story-writing

teenagers textile artist understanding and appreciating art using tools

warm-ups &

icebreakers