Intro Quiz: Minty Sainsbury (Part 2)

Video: Minty Sainsbury (Part 2)

﻿- Hi, and welcome to architecture: Understanding the world around us. This is lesson six of sixteen and the second lesson, where we're going to be looking at the artist Minty Sainsbury. So lesson one recap, last lesson we looked at who Minty Sainsbury is? We thought about how her artwork can influence our own artwork. And what skills do we need to create a Minty Sainsbury's inspired piece of artwork. This lesson we're going to look at what further details we can add to our artwork, how tone and shadows will affect your artwork and what skills do you need to complete a Minty Sainsbury's inspired piece of artwork. This is an artist by Minty Sainsbury in this artwork she has used pencil and the pencil has allowed a great range of tone. Pause the video to consider how she has made that range of tone using pencil, where you've had a little think, press play. Okay. So how she's created that range of tone is all to do with pencil, pressure and layering. The more pressure you have with your pencil, the darker the tones will be the more you layer the pencil over each over one another, the darker the pencil will be. You can also get darker pencil marks by using different types of pencil. So you have HB and it goes up to H and that's hard. That's the hardness of the pencil, the hard, the pencil, the light of the pencil line, because less graphite will get deposited onto the page. I'm just going to talk to you about HB. And two B two B is just it's slightly softer. So that means more graphite would deposit onto the page and you can get a wider range of thicknesses of lines and darker lines using a two B pencil versus a HB pencil. In this second artwork by Minty Sainsbury, she has noticed every architectural feature and she's drawn them. I'd like you to pause the video, consider your own artwork. Do you have the time to do every piece of architectural feature? If not, what bits will you do? What's important to the artwork? What's important to the building to make the artwork, detailed and still in the same style as Minty Sainsbury, but will take a little less time. So now we've considered Minty Sainsbury's techniques. We can begin to make our artwork. We are going to continue to create our artwork inspired by Sainsbury's techniques of using tone and adding details. Take your time in creating your artwork. And it's not a case of getting it done, but a case of doing the best of your ability. If you need to practise them, please do so, this is about developing the skills to create something new and original. If you need to pause the video and watch it again, then please do so, because this is about making a piece of artwork you can be really proud of. Today you are going to need your work from lesson one, a pencil, a clear image of a building, the same building you were drawing in lesson one. And again, it helps if you have a piece of tissue paper and a rubber pause the video, and collect your resources, and let's go through the demonstrate. So he can see that I've got the building I'm drawing next to me so I can reference it. It's really important this lesson that I focus on adding the small details without adding outlines in real life, there aren't any outlines. I have not got a thick black line around my head. And I don't have a line around my body. What I do have is tones and shades. So you can see around my jawline is there's a darker line and that's just where the shadow is hitting under my neck. You can see around my head, but I've got a lighter line. And that is where the light is reflecting off my head. And that's what you have when you are drawing in real life, in the building. There's no thick dark outline, but there are lines where the edge of something new, the edges of something meets the next thing. So around the windows, for example, where the plastic doesn't quite reflect the light, the same as the glass does, there is a small outline, but it's a shaded area rather than a thick one single line outline. What I'm doing here is I'm making sure that it's noticeable, that there are two different tones between the top of the building and the bottom of the building, the bottom of the building is made out of brick, but I've decided before I started drawing, I wouldn't have time to draw the individual brick details. That was the part of the architectural features that I decided to miss out. So I've just added some tone to show that there is a difference between the two. Around the door, I've also decided that I won't have time to add all the details of the reef. So I've left that as a negative space, reflecting Minty Sainsbury's technique of using negative spaces. I've also done the same thing on the staircase. I'm just making sure that my windows are, in you can see that they are crisp and they're straight, but I've not got a thick, crisp outline. I've just got some shading and I'm using a cross-hatching technique where I just, add lines rather than shade or shade in total. Cause it adds a nice texture as well. So it's just kind of small lines rather than sketching around the building. I'm trying to around the doorway. I'm trying to add some depth to the door, to the doorframe by adding a bit more shading because it goes in, it's going to be darker because the sun can't get to it and pop in the hanger baskets. And again, they don't have massive amounts of detail because in the picture that I'm drawing from it's from quite a distance. So it's just tone and around the bottom, adding some brick work, just so it makes it clear that that part of the building is brick. And then the rest of the image can be left to the imagination. So you can imagine this brick there and just forget, given the little hints, little hints of detail, really help, the viewer look at the artwork and see what maybe it could be or what it should be. I'm just going through with my pencil, I'm adding really small, fine details. Here, I've added a crisp line, ready to blend in words, and then I'm rubbing out the edge. Cause I want that negative space to be really crisp and clean if around your workout gets really smudgy, and you've got a paint, pencil and your fingers and you keep touching the paper, then you can just use a rubber and you can clean it up. So then you've got already nice white piece of paper, and you've got that, building in the middle cause it really stand out. If the paper around it is really clean and white and that'd be very reflective of Minty Sainbury's style as well. I'm just adding in some small details on some lines just to make it crisp. So this isn't detailed outlines. It's just to make it crisp where I've got my negative space. I want it to be really clear that there should be something there I've deliberately left that out. And I'm continuing to blend just to make sure that I've got no kind of thick, bold blackout outlines. And I'm using my rubber now to pop in some highlights cause where I might have blended a bit too much. I might have taken away some areas that should be white. So we're thinking about the total scale and we're thinking about the darkest colours and the lightest colours. So on your drawing, it shouldn't be a whole range of midtones. It shouldn't be kind of grey. It should be really dark and really light. And then all the colours in between. And you do that by either having no pencil pressure and leaving it as a white space or loads of pencil, pencil pressure, and drawing really heavy and really dark and going over and over and over it. So it's black. So this is my completed drawing. My what went well and even better if's I think I've got a good use of tone and blending. I think I could have taken more care and ensuring my lane lanes are straight. My lines are straight, and that there are some smaller, more defined details added. So one thing I noticed is, a lot of my lines are straight, but around the kind of the window and the window frames themselves, they're a bit, warped, really would've liked rather than be a bit more crisp and the small details. So I wish I had a bit more time to focus on the brick work and focus on the kind of reflections and the windows and maybe the curtains and the brick work around the stairs. So you are going to pause the video and complete the task and remember to share your work once it's finished to the Oak National, because I'd love to see how you got on and take time to take the end of lesson quiz.

Exit Quiz: Minty Sainsbury (Part 2)

Completed: Minty Sainsbury (Part 2)

In today's lesson we are going to be adding tone and blending to our pencil drawing.

Art

Minty Sainsbury (Part 2)

Introductory Quiz

Video

Final Quiz

Lesson Complete