Intro Quiz: Picasso (Part 2)

Video: Picasso (Part 2)

﻿Hello. Welcome to your art lesson. My name's Mrs. Davies. This is abstract art lesson eight of eight, and the second lesson looking at Pablo Picasso. Today we're going to be looking at combined viewpoints. Okay. So this is a practical lesson. Today you're going to be completing a Picasso inspired practical task. First of all, I'd like you to listen to the presentation. We'll recap some of the important points that we covered last lesson about Picasso and his life and work. And you're going to be drawing your own face profile and front, and you're going to be applying some of the characteristics of Picasso's work to produce a two point perspective self portrait in the style of Picasso. "We all know that art is not truth, art is the lie that helps us realise the truth." I love that. I love that quote. I think that's a really good quote. First of all, I love the recognition that when we look at a piece of artwork, we are not seeing reality, we are seeing the artist's interpretation of reality, and the fact that that interpretation helps us to realise what's actually going on. We're relying on artists to expose some of the realities of the world that they're living in. And this is something that we really rely on even now for artists to do. And it translates better than anything that can be written. Just looking at a picture and thinking about the message behind that picture or the way that the artist is viewing the world is a real insight. Okay. So looking at Pablo Picasso, you are going to listen, try and remember some of those key points about Picasso, draw a portrait combining profile and front view of your face. And you're going to learn more about his style by applying some of his techniques to your own drawing. This is a great way to learn, develop your skills and develop your understanding of how to be an artist. So, it's not just about copying an artwork. It's not just about repeating things that other people have done. It's about educating yourself. Okay. So just a reminder, Pablo Picasso was born in 1881 in Spain and died in 1973. So like so many of the artists that we've been looking at in this section of your curriculum, we are looking at that period during the first and second world wars. around the time of those wars when the artists, it happened in the world of literature and in the world of music as well, people were beginning to question the authority, question some of the conventions of people and traditions that people were living by. His father was an artist and he was a child prodigy. So, perhaps quite helpfully, his father was giving him a lot of instruction very early on. And so a lot of those stages that normally people would remember quite well about learning how to draw learning about perspective, learning about how to use colour and so on. He learnt so young that he could barely remember not knowing them. He has been linked to focus on cubism and surrealism. And he's known for painting, drawing, sculpture ceramics, stage design and writing. You can't really overestimate quite how influential Pablo Picasso was as an artist. He was actually the founder of cubism. He was hugely influential and he produced a huge body of work. And one of the things I love about this artist is that he was so curious about the world and he was so adaptable. If he saw something new, he just wanted the challenge. He just wanted to try it. And so you'll see a huge, I mean, that doesn't even cover it. When I teach photography, I talk about his light paintings because he also did quite a lot of work with photography. He did have many relationships with women. Sometimes they were not entirely appropriate. Some of his, some of his girlfriends were substantially younger than him. And when you look at his work, you'll often see a Minotaur within the paintings. And the Minotaur is the artist is often the artist Picasso, representing himself. Okay. So today we're just going to be producing this two point perspective, or we're going to have two different perspectives of a portrait and to highlight what I mean by that, and to look at some of the characteristics of Picasso's work, we're going to look at this painting woman in hat and fur colour. Okay. So if you look at the two eyes, this really is the indication that we're looking at two different viewpoints. So one of the eyes is, as my eyes are now, looking straight forward, the other one eye is in profile. So you're just looking at the side of the eye. So this was inspired by cubism. Picasso was fascinated by this idea of the relationship between the two dimensional painting and the three dimensional objects. And by painting different viewpoints of an object as if he was moving around and able to show every angle, he was trying to capture some of that three dimensional quality of the thing that he was looking at. And that stuck with him after cubism, that stuck with him throughout his, the remainder of his painting career. So, you will nearly always see strange things happening with the perspectives and the angle that he was drawing from in his paintings. He was trying not to be constrained. You know, we've talked about these artists from this period in history being rule breakers, being rebels, he wasn't prepared to simply paint what was in front of him. He was painting what was in front of him even if you moved around the object. Look at the way that he's using black outlines. So he's defining the shapes, signposting, sep, you know, separating each of the components of the painting. Look at his use of colour. She hasn't got green hair, she hasn't got a yellow face. So he's using colour to represent some other characteristic of the painting or using it in an expressive way, just as the impressionistic did, just as the expressionistic did, just as the folks did. So capturing something about either his own feelings or the connection that he's making with this person through his use of colour. So what might the yellow represent? What might the red represent? What might the green represent? How do they all come together in this kind of garish painting? Look at the way that he's adding patterns. So he's adding, I don't know whether it's passional or whether it's texture, but you can see he's got those lines around her colour, which we describe as hatching when we're talking about them in art, look at the way he's using crosshatching on that section of the face, where he's sort of dividing partitioning up sections, look at the lines that he's using on the hair presumed really to reflect the verticals in her straight hair. Look at the way that he's using this kind of scumbling this kind of scribbly pattern on the collar to recreate that texture in simple, in simple form of the first colour. And then obviously recognise the two profile, the two perspectives of the face of profile and front view. So today we're going to be drawing a two perspective portrait. You're going to be drawing a portrait following the step by step instructions. And your aim is to try and use new skills. My biggest ask is, you don't simply just try and get it done, but to complete the task to the best of your ability. And if you need to pause the video or watch it again, then please do, if it didn't stick in your mind, it's time to rewind. Okay. So the first thing I'd like you to do is pause the video to go and collect a pencil and paper and a mirror if possible, or an object to draw. So I think what I'd recommend is, if you can't bring a mirror to the place where you're working, then maybe take a photo on your phone, or alternatively, you can just attempt to draw a portrait at the top of your head because we're not too worried about accuracy, but it would be really nice if you attempted to do this as a self portrait. Okay. So I've got a little video of me getting the task done from start to finish so you can get an idea of what we're going to be doing today. Okay. So the first thing I'm doing is drawing the profile view of my face. So you can see I've got the eye from the side there, and then I'm adding in on the other half. So the profile line went straight down the middle of the piece of paper, the other half of the drawing is the front view of my face. And so you can see if you look carefully at the right hand side of that painting, the first impression is it's just a normal portrait, but then when you look carefully, you can see that the right hand side of the drawing is actually a profile picture. And there I'm adding colour clearly not in a representational realistic way. I'm applying those colours as Picasso did thinking about unrealistic colours. And I've also added in some pattern there. Okay. So the first thing I'd like you to do is start by drawing a profile of your face down the centre of the paper. I know that's quite a light drawing. I think I'd like you to do the same. Draw, I always suggest that you draw fairly lightly with your pencil so that you can rub out and adjust if you need to and so that it doesn't show in your drawer. Although, if you're using black pen, that probably won't be an issue. So if you can pause the video to complete that task please and resume when you finished. Okay, how did you get on? Hopefully you've got a nice, clear portrait, a profile portrait down centre of your page. You've got that that eye like a triangle from the side. Okay. The next thing I'd like you to do is draw the full face portrait with the profile, marking the centre of the portrait. So the nose is the thing that goes straight down the middle and the lips, keep that line there. And then just draw in the remainder of the lips and the remainder of the nose and the second eye. But this time, the second eye from the front, looking in your mirror to try and make sure that's accurate. It's a bit easier to look in your mirror when you're facing it, isn't it? Okay. So if you can pause the video and complete that task please. Resume when you're finished. Okay. Hopefully that went okay. What do you think of the picture you're looking at? The great thing is that you're looking at Picasso, Picasso once said that he spent his life trying to learn how to draw like a child because as a child prodigy, and because his dad was an art teacher, he'd never had that opportunity to just muck about and not worry about being accurate and realistic. So if you're looking at something that doesn't look perfect, good, because that is the way that Picasso works and it shows that you're learning something about the artist's style. Okay. So moving on, recreating the artist's style. So if you could pause the video and go and get yourself some coloured pencils and a black pen or a pencil and come back to your desk or your table or wherever you're working when you're finished. Okay. So fingers crossed you've got those kind of pencils and your black pen or pencil. Okay. So now I'd like you to cover over those outlines that you did in pencil in black pen, I've used quite thick black felt tip. I've been a bit bold there, I wouldn't usually be quite that bold, but I have been, so you can do that. Or if you've got to find a pen, try it with a finer line, see how that looks. It's quite nice, isn't it? Not having to follow the rules quite so carefully. Okay. So if you can pause the video and complete that please and resume when you finished. Okay. So fingers crossed you've done that, right. Finally, no not finally, the penultimate stage second before last I'd like you to add in shadow and blocks and pattern. So I've used that the, I've used some diagonal hatchings, some horizontal hatching, but remember what we looked at in Picasso's work. So he had some crosshatching where the lines crossed over and also had some kind of scribbly kind of marks made all around the collar. So, you do what you want with pattern. So if you can get that done please. Pause the video, complete the task and resume when you finished. Okay. Hopefully that's looking suitably Picasso-like, and finally, if you want to add those blocks of colour, lots of flat areas of colour, he's not worrying too much about tone. And to be honest, you could even do this in felt tips because they are really bold blockage colours. I haven't added a background to my drawing, but if you wanted to add a background as well, that would be great. Okay. So if you can pause the video to complete that task, resume when you finished. How's your portrait looking? I'm really hoping that you're looking at something that looks a bit like one of Picasso's two perspective portraits. Hopefully there are some characteristics that are based on you as well as it's a bit of a self portrait. Please take some time to complete the end of lesson quiz. I'm sure if you've been here for the whole lesson, you're going to do very well on that. And finally, we'd love to see your results. We'd love to see your portraits inspired by Picasso. Share your work with Oak National if you'd like to. Please ask a parent or carer to share your work on Instagram, Facebook or Twitter, tagging @OakNational and #LearnwithOak It's been really good fun to teach you about Picasso's two perspective portraits. I hope you've enjoyed it. And fingers crossed, we'll see you again soon. Have a lovely day. Bye.

Exit Quiz: Picasso (Part 2)

Completed: Picasso (Part 2)

In today's lesson we are going to learn how to complete a portrait showing two viewpoints - profile and front views of your own face - merged in the style of Picasso.

Art

Picasso (Part 2)

Introductory Quiz

Video

Final Quiz

Lesson Complete