Draw, Paint, Build, Make: Gallery Project

By Paula Briggs

The resources below share the aims, processes and outcomes of a 4-hour long project working with 12 and 13 year old children in the AccessArt Art Lab.

The project begins with the children making a scale model of a house, which they then reappropriate the space and turn into a gallery. We then worked to create miniature works of art and curated individual exhibition spaces. Lastly children created a shared drawn backdrop and made individual trees to give the gallery a context.

The project involved developed many different skills, from technical measuring and cutting through to express charcoal drawing, with plenty of opportunities for reflection upon the way. It was also inspiring to see just how ambitious children can be and how much work can be created in just 4 x 1 hour sessions.

Making a Scale Model

Making an architectural model of a gallery.

Making an architectural model of a gallery.

Making your mark on small canvases

Making miniature canvases.

Making miniature canvases.

Installing Artwork in “To scale” gallery

Curating and installing the miniature canvases in exhibition spaces.

Curating and installing the miniature canvases in exhibition spaces.

The Winter Tree Challenge

The Winter Tree Challenge provides an opportunity for students to explore the relationship between drawing and making, and in doing so create a landscape context for the gallery.

The Winter Tree Challenge provides an opportunity for students to explore the relationship between drawing and making, and in doing so create a landscape context for the gallery.

Thank you Anne-Louise Quinton…

For inspiring our creativity journey with the Pocket Gallery

For inspiring our creativity journey with the Pocket Gallery


AccessArt welcomes artists, educators, teachers and parents both in the UK and overseas.

We believe everyone has the right to be creative and by working together and sharing ideas we can enable everyone to reach their creative potential.

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Making a Pocket Gallery

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Launched! Make, Build, Create: Sculpture Projects for Children!

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Continuous Line Drawings (Squiggle Drawings) of Sticks

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Thoughtful Drawing and Mark Making in the Armoury at the Fitzwilliam Museum, Cambridge

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Thoughtful Mark Making

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Drawing Projects for Children by Paula Briggs

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After studying paintings from the collection at first hand and identifying how various marks within the paintings may have been made, teachers undertake their own exploration of working with watercolour.

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The Firm

In 1862 Frederick Leach started F. R. Leach & Sons, artist-decorators who worked with the best-known Victorian architects/designers including William Morris, Charles Kempe and George Bodley.

Their expertise led the firm to work on ecclesiastical and civic arts, crafts and decoration as well as domestic architecture and interiors.

If their workshops could talk they would have told of stained glass being designed, painted and fired; stone statues carved; wooden decorations turned; panels chiselled, decorated and gilded; furniture crafted; metal forged; and tiles painted. In fact they could create anything that a well-decorated house, church or college would need.


Pouncing

Wall painting was a popular decoration for churches during the neo-gothic revival in the mid to late Victorian era.

The paint colour was mixed by hand and then often applied straight to the wall or ceiling. The design was often painted freehand or using stencils which included a technique called ‘Pouncing’.

This technique is where the design is drawn out on paper and the outline is pricked all around to produce small holes.

Click on the image above to see How to Make a Tessellated Design.

This is then placed on the wall and dabbed all over with a small bag of fabric filled with powdered graphite or chalk. The powder is forced through the holes so that when the paper is removed it leaves an outline of the pattern on the walls.

Click on the image above to see how teenagers used ‘Pouncing’ to Transfer Designs onto Plaster Tablets


Gilding

Gilding was a popular finish for the ornaments that decorated the ceilings of neo-gothic churches.

These ornaments were made of lead or plaster and were often start that shone down from their great height once gilded in gold.

The first stage to gilding is when gold is pounded until it becomes as thin as tissue paper (25g can be beaten out to cover an area of 3m square).

The surface of the ornament to be gilded is prepared by brushing it all over with a glue called size.

This is left to dry until it reaches a ‘tacky’ state.

The gold sheets are then carefully laid onto the surface of the ornament and the size sticks it to the surface.

The gold is then worked into all the areas of the ornaments using a brush to push it down. There were special brushes made for doing this including one made from squirrel’s fur.

Click on the image below to see how to apply gold leaf to a plaster relief sculpture Gilding and a Touch of Gold


Stained Glass

The neo-gothic revival saw a resurgence in stained glass design for churches and domestic architecture of the day.

One technique used was that of Silver Staining Glass. This is where silver nitrate is painted onto clear glass and fired until the silver paint becomes part of the molecular structure of the glass and produces colours from a pale yellow to a rich orangey-amber.

Follow the link above to see How to Print on Glass.

Motifs or designs were painted onto glass ‘quarries’ or shapes of glass that would be could together to form a leaded window.

For this reason diamonds, squares or other shapes that would tessellate were popular. This type of stained glass window also allowed a lot of light into the building which went well with the decoration of a neo-gothic church where the walls were decorated and deserved to be seen.


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drawing source material: orchestras

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