PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC CONSTRUCTION

MOSAIC

 Mosaic like collage is produced by pasting bits of paper or other materials

onto a baking paper.

Differences between a mosaic and a collage

 Mosaic use regular shaped pieces of materials (mosaic pieces which are used
like brick o tiles to construct the wall and the floor) design a picture or a
motif.
 Mosaic can be done on a frieze or a mural.
 Friezes are related pictures of their composition which are arrayed in a
sequence.
 Mural is a large picture in a wall.
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC WEAVING

Weaving is interlacing repeat patterns of two sets of threads the warp and the
weft crossing each other at right angles set up on a loom.
There are basically 3 types of weaves that is plain, twill and satin weave but
the variations are almost endless.

Plain weave

This is the simplest weave where the thread running in one direction pass
under and over alternate threads, running at right angles to the list set.
If the threads are woven closely together then a firm compact fabric is
achieved but if the threads are loosely woven then the resulted fabric will
be lighter , more open and unstable.
Taffeta poplin and seersucker are examples of plain weave fabric .
A variation of a plain weave fabric be a hopsack pattern where the yarns
pass over to and under to cross wise yarns alternative.

Twill weave

 Is distinguished by the diagonal lines across the fabric.

 This gives a firm durable fabric such as serge , tweel, gabardine.
 The filling pass over one or more warp threads and then under the
groups of threads taking one yarn . Space of to the right of the
previous weft yarn interacting .
 Different effects can be achieved by varying the interlacing of the
yarns.

Satin weave

 As the name suggests this weave produces a smooth surface

fabric without the diagonal pattern of the twill weave.
 Long floating threading often silk or other high lustre filaments,
fabrics , gives this smooth appearance , they also make the
fabric thrown to snuggling and not very abrasion resistant.
 A satin weave must have the warp threads yarns , force , warp
given the sheen.
 The satin weave give a warp thread.
 Alternating blocks of satin and satin gives weave an interesting
effect,
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC SCREEN PRINTING

- This is a method of printing images in a variety of surfaces both 2 and 3

dimensional by forcing ink through stencilled screen of fabric or metal mesh
rather like forcing flour through a sieve
- This method is suitably most for printing flat areas of colour wheel and is
capable of using both drawn to photographic images
- Two dimensional screen painting on paper or fabric is the most commonly
used system and easier to do

BASIC EQUIPMENT

Wooden frame

- These can be handmade and the size determines the printing area
- A separate frame is ideally needed for each couler to be painted e.g work in
for colours require for frames

Screen fabrics

- One of the best fabric for making the sreen is the silk hence the term sceen
painting
- The mesh of screen fabrics is graded from fine to course
- The courser the mesh , the hearvier which be the deposit of ink on the
printed surface

Squeegee

- The rubber squeegee used for forcing the ink through the screen is
maintained in a wooden handle
 - Blacks are made in 3 grades soft , medium and hard

Painted stencil

- A stencil can be painted to be drawn directly on to the sreen to using a filler ,

a water soluble cellulose
- All the painted areas of the screen will of course , resist the passage of the
ink and the printed surface on the paper will compromise all the unpainted
areas
- Printing ink is normally supplied tins or tubes
- A nallette knife is used to transfer the ink to the edge of the screen
- If the constistency of the ink is to thick to allow the smooth flow over the
screen surface then thin with an appropriate thinner

Drying

- After printing remove the print place it on a drying to separate from

other prints
- Screen printing inks vary in drying times
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC LANDSCAPE

- All the painting of this section are exterior scenes

- As well as the usual rural subjects the section includes seascapes or
farmscapes
- The section explores a series of convectional landscapes , ranging from a
formal garden through rolling countryside to mountains
- It is better to begin with small pencil to begin with small pencil studies using
a pocket sized sketch books
- When you move from scale interior works such as still life to subjects like
landscapes that actually surround you
- It is vital to look in a different way in order to absorb and process all the
visual information
- The best way is to begin with a small pencil studies using a pocket sized
sketch book
- When you move from small scale interior works such as still life to subjects
that actually surround you can do this literally by looking out of the window in
your own home
- Consider the distances and the relationships between objects according to the
rectangle of the window frame
- You must stand or sit back for enough from the window to be able to see the
whole scene withought changing position
- Concentrate on setting things on the right size and putting them in the
correct position – do not bother about details

Portraits

- From an early age children draw portraits

- Usually they first draw their parents
- Portraiture is also important for most adults
- For children resemblance seems un important
- Giving the interest and always provide it is not surprising that portraiture
can provide special thrill for the artist
- Approaches to portraiture are many and varied but perhaps the best way to
begin is by making simple small scale pencil sketches
- People asleep in buses, trains and commitie make good subjects
- Try to sum up in few lines, the essential characteristics of your subject
- Those that strike you as being important
- Next take a long hard look at one particular face and try to make a much
more realistic image
-
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC PATTERN MAKING

PRINT

- A mark made of surface

- This print make can be done using many techniques for duplication
- Duplication is the production of several copies of a design
- It involves the use of a motif
- Print making is the process of duplicating a design by transferring its image
from prepaid surface to another material

Types of Prints

SELF CONTAINED PRINTS

- Based on a single idea and single center of interest

- In this case the print is used as a technique of personal expression

REPEATED MOTIF

- Is associated with design for industrial production

- When making designs to be painted with this approach produce
- These can be basic shapes such as circle , triangle do not emphasise centre of
interest
- Designs produced this way are often repeated patterns that decorate textiles ,
ceramic forms , carpets and graphic forms
- When making prints you can create following
a. Repeat the patterns , create interest through spacing the paints
b. Print regular
c. Irregular
 d. Half drop alternating and overlapping patterns to create new interesting
movements

TREATMENTS OF BACKGROUNDS

- Make it plain or textured to make more coulers

MODIFICATIONS OF BASIC SHAPES USED IN REPEAT

- You can change the shape , you can introduce different colours or vary
intensify , value and surface texture of the block
- Introduce other contradicting shapes
- Keep the design vary the way it is composed

Print making can be carried out in 4 different ways

RELIEF METHODS

This is a method in which printing is made by raise method

INTEGLIO ( STONE PAINTING )

Printing made on from sukin areas

LITHOGRAPHY ( PLANOGRAPH )

Printing made on flat surfaces

SERIGRAPHY

- Printing through a surface

- In serigraphy there are 2 main teachniques
- Stencil print
- Silk screen painting

STENCILING

- Pigment is applied to a surface such as paper , wood ,cloth or leather which is

partially blocked by a design or a ,motif
 - Design is out from a pigment resistant paper preferably sterial paper or wax
paper , oiled paper, plastic sheets, or real objects
- These are placed on a material on which a design is to be printed
- The pigment is then applied to reach the uncovered area

PROCEEDURE

1. You get a paper which resist water from being absorbed

2. Draw a motif to be printed on its surface
3. Cast and the motif
4. If the motif is to create a repeat then cut it in such a way that it will create a
pattern
5. Place the paper on which printing as to be done on a flat surface
6. Lay the stencil on it and adjust it to use the surface economically
7. Use the brush with stiff bristles in a movement that runs across the stencil.
You may use the spatter techniques or bottle spray
8. Remove stencil carefully to review the beautiful design
 PERSONAL NOTES
NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC DRAWING

Drawing is a representation of ideas from pupils.

TYPES OF DRAWING

There are three types of drawing i.e 1. Still life drawing

2. drawing from imagination.

3.drawing from observation.

Still life drawing

 This is two dimensional drawing un which subject matter is an arrangement

of objects such as roots, flowers, attire, table etc. Brought together for their
pleasing , contracts of shape , colours and texture.

Observational drawing

 This is a more detailed way of drawing in which the observer , identification

of element within the object or objects to be drawn are distinguished.

Imaginative drawing

 It is confusingly regarded as free drawing by most of the teachers .

 This type of drawing is a verbal assignment by the teacher , in which the
teacher clearly specify the what is to be drawn by the pupils.
 There is a polytrophic of free drawing in art rather its application will impact
negatively on pupils education to the production.
 In imaginative drawing the teacher directly assist the pupils free drawing , the
teacher just assign work to the pupils ‘monitors and the progress made by the
pupils.
Fundamental aspects

1. Colour, particular state of light.

2. Line is a basic element in drawing.
3. Pattern.
4. Shape.
5. Texture
6. Tone
7. Form.

Line

 A line is basic or a key element in drawing.

 Can be used to describe a shape , structure , pattern as a picture .
 A line can suggest form of a piece or Art.
 A line can be drawn , painted , engraved and it can be catching.
 Lines are apparent around us they are everywhere.
 We see them in nature animals, dogs,fish etc.
 Lines have value qualities.
 lines can vary from light to dark
 lines can vary from thin to thick.
 Can vary from heavy to light.
 Can also describe shapes.
A line can describe shape , contours , outline e.t,c

- Can also include a rich variety of letter forms.

By drawing a line one can recognise drawing of that aspect subject .

- Line can be used to draw shape.

- A shape is a combination of 1 or more lines.
- Shapes are apparent .
- They can be searched in all natural and a manmade environment.
- Characteristics and quality of shapes varies.
- They can generate a directive line face on their own.

Basic drawing

- Learning to draw is about learning how to see and interpret the world around
you.

observation
drawing

imagination

- It is vital that you observe images correctly.

- If want to be able to draw conveniently.
- The best way to begin practice this process is to take a sketch book and jot
down some ideas for future drawings.
- Much of what we see around us and simplify into a very basic shape for
example if you want to draw a cup
- The most obvious shapes are plain and it is helpful to see objects in this
terms what you begin to draw.
 Balance
1. Symmetrical balance

2. A symmetrical balance

3. Radical balance

Balance is a result of manipulating size or the use of colour should as well balance.
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC COLOUR WHEEL.

- a colour wheel is a basic aid which helps you helps you to choose colour
scheme to suit your paintings while it may appear complex ,
- the colour wheel is simple.
- The wheel is composed of twelve colours , 3 primary, 3secondary, 6 tertiary
colours.
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC THE IMPORTANCE OF ART

- Pupils learn the skills of drawing , painting and decorating

- It also teaches the skills of waving
- Culturally pupils will accept and appreciate traditional items rather than beds
that are too expensive eg weave mats
- It enables pupils to develop the attitude that are too expensive help them to
understand the need of others as well as express their taught interest and
knowledge
-

IMPLICATIONS

- Teachers encourages group works in the classroom which will promote

cultural trends and groupwork and a sense of belonging
- The crafts people in the local community cannot be overloaded
- These include patterns , moulder and others

DEFINATION

- The quality production , expression realm accord

 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC STILL LIFE DRAWING

- Still life drawing offers a captive subject very after lighting conditions are fixed
- This enables us to concentrate on accuracy of form and colour since one has to
spend much time on the subject as well as she pleases
- Still life subjects stay where you put them giving you a real freedom to explore
and experiment with materials and techniques
- Still life actually deals with objects o n a small scale and in a shadow space
- This makes the subject easier to translate into pointing terms
- It can be very formal way
- Take an object out of its content content and set it up in the studio in explore
its texture form or colour
- The differences one observes in these controlled conditions will help i
understanding and represent them whe one encounters them in the natural
world
- Not all surround ourselves with objects that we like and it is to these that we
should turn when looking for subject material
- As with any painting , the best still is one that reflects the artists positive
commitment to the image
- For example , objects o a dressing table , shelf , garage , store room old all be
treated in a way that show something about the life of their own
- Such objects can create a portrait on even tell a strong since the things that
surround us invirably reflect the drama our lives
-
-
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC LAND SCAPE DRAWING

TOWNSCAPE , SEASCAPE

DESERTSCAPE , DURIES

 A person who is drawing may find graphic problems

DISTANCE SPACE

 There are certain ways of devices of impression of distance that is

1. Variation of size close – large
Life- size
far – variation
2. Variation detail

Close - distinct/ clear

Far- less/ detail

3. Variation of colour

Close - distinct/ clear

Far - fade - tiazy

B
Overlapping A
 GROUNDS

SKY

BACK

MID

FORE

Ground lines

B
A

PERSONAL NOTES
 NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC PAINTING

COLOUR

 I a sensation in the eye by the reflection of light

Types of colour
 Blue
 Red
 Green
 Brown
 Black
 Brown
 Orange
 Pink
 Purple

In art colours are grouped into three groups which are

1. Primary colours red

Blue
Yellow.
2. Secondary colours green
Orange
Violet
3. Tertiary colours blue green
Green orange
Red green .
Formation
 Primary
– natural colours meaning that they cannot be formed and that these are
bases / originates of all colours .

Secondary
 A mixture of two primary colours.

Tertiary

 A mixture of primary and secondary colours.

Uses and purposes of colour

- informative e.g robots.

- Decorative.

- descriptive.

COLOUR ASSOCIATION
Green Life/envy
Purple Royalty
White Peace
black Sorrow
red Danger
yellow Jealous

Teacher and colours

(i) Self – colours must match when dressed.
(ii) School- logo, tags, dressed uniformly.
(iii) Classroom –appropriate colours of chalk , charts, display corners.

Red colour in the classroom

 Should not be a dominant surface .

 Key is highly reflective.
 It can only be used in underlining headings, decorating charts, cards etc.
Precautions when using colours .

 Don’t misrepresent
 Avoid messing.
 Employ art colours.

PERSONAL NOTES

NAME NYAKWIMA SIMON

 COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC FABRIC DESIGNING

 This is the patterning of a plain fabric to render it more appealing.

 Fabrics can be decorated for so many reasons and the reasons vary
with its individual community or society.

Reasons for decorating fabrics include:

(a) Aesthetic purpose eg curtains and table cloth.
(b) Social purposes eg school uniform ,burial societies.
(c) Cultural purposes Nigerian wear .
(d) Ritual eg black and white ,red and black.
(e) Religious eg white .
(f) Political purposes eg flag.
(g) Economic reason eg t-shirts ,advertising there are so many fabric
designing techniques.

Fabric Design Technique

Batik .

It is a resist method where candle wax or bees wax begin with the lightest colour to
the darkest.

Painted

1) screen printed.

2) batik print .

Methods of decorating fabric.

Methods of decorating
1. using spray method.
 Mask section of the fabric using paper strips.
 Spray and paint after masking the fabric .
 When the fabric has dried and iron steam or bake it to fix the dye.
2. Discharge dyeing.
 This is the method whereby colour is removed in selected areas from a
fabric that has been dyed with a discharge able dye.
 The simplest way discharging dye is by the use of bleach eg jik or jovel
the strength of the bleach is 5%
3. Bleach as a discharge .
 It must be used carefully as it is potentially dangerous’
 It should be used in a well ventilated room and only when wearing plastic
gloves
 Full strength bleach can wear cut the fabric very quickly.
 Bleach can also irritate the eyes.
4. Tie and dye

 It is a very ancient craft which today forms a large part of the home
textile market.
 It is found all over Africa especially Nigeria and it is very popular with the
Yomba people.
 As the name implies the technique involves tying the fabric .
5. Tie and die techniques.
 The fabric can be pleated, twisted and tied.
 Fabric can be picked up in a pick from the centre.
 Fabric can be rolled around.
6. Marbling
 The fabric is screwed tightly and tied .
 The same marbling technique can be used without tying by making folds
and sprinkled dye.
 Pleating the fabric making diagonal patterns .
 Way of pleating determines the type of pattern.
 Small objects can be tied into the cloth.
  Can also knot the fabric.
Discharge tie and die
 You first of all tie your fabric and breach the fabric to remove die.
 After remove the die and die it with a different colour.
 The difference between the discharge tie and die and the tie and dye
is that in tie and dye you will be adding where as in discharge tie and
dye you will be removing colour.

PERSONAL NOTES

NAME NYAKWIMA SIMON

 COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC WAX BATIK

DEF-

 Batik is dying process in which designs are painted in wax or wet flower or
cloth.
 When the cloth is dyed the portions treated with wax remain uncoloured.
 The wax is then removed.
 Is a style of resist printing on which the pattern is achieved by preparing
certain areas to resist the dye.
 The origins of batik are obscure and it is not possible to say where and
when it was practised.
 Some experts mention that batik is indigenous to the Marley Archipelago,
while others are of the opinion that it was brought to the islands at various
periods by people from the Arsiatic manland.
 It is very common in Indonesia , Japan North China as well as in some
African countries.
 The process of batik involves applying hot wax or wet flour which act as
resist to the part of the fabric which are not to be dyed.
 Was traced onto the cloth with a tainting tool.
 The tainting tool is a cup like vessel with a long bamboo or wooden handle
with a small spout.

Steps for creating wax batik

1. Draw the design lightly on the cloth .

2. Apply the liquid wax or wet flour to the cloth you can use an old tooth brush.
 Be careful not to let the wax drip when it should go.
3. After the design areas of the fabric are covered with the wax the fabric can
be dipped into the dye bath.
  Dye the fabric with the lightest colour dye first and move on the darkest
colour dye e.g start with yellows and go to oranges and reds then to the
green blues and purples. .
 Black is your last colour dye.
 With each colour more wax is painted on to the fabric .
 For small detailed areas dyes maybe brushed onto the fabric .
4. When waxed the cloth is dipped into the dye removed and then left to dry.
 More wax can be applied to block out other areas and the cloth can be
dipped into another colour of dye.

PERSONAL NOTES
 NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC aesthetic

Definition

 It is used to beautify the body. It includes necklaces , bracelets,

brotches, earrings and rings.
 It can be made from shell , beads, wool, metals , bone, wire, leather or
anything found objects.

Necklace and earrings

 materials which can be used are

(i) pumpkins
(ii) maize
(iii) paper, bottles, scissors , razor blades can also be used.
(iv) Sand paper , bones, sticks.

Using paper

 You can try strips from any tough paper experiment with triangles and
rectangle shapes.
 Roll the strips of paper over pencils and strips.
 Fixed rolled paper in position with any clear adhesive cellotape.
 Remove the stick carefully and use the role for threading.

Metal jewellery

Such as tin, wire and nails.

Purpose of jewellery

 ornaments.
 To decorate the body.
 To form part of traditional ceremonies e.g Moslim and Hindu women
before wedding ceremonies.
 Identification.
 Source of income

PERSONAL NOTES
NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

Date 19- 11-12

TOPIC LANDSCAPE PAINTING

DEFINITION

 Is a scenery that you see when you are at a particular section of the
land.
 Generally landscape consists of the land , the sky, physical features such
as water , vegetation animals and manmade structures.

Levels of the landscape

1. Foreground
 Is the land nearest to you.
2. Middleground
 Is the portion just behind the forehand.
 In most cases stretches to the horizon.
3. Background
 Is the furthest to you and in most cases behind the horizon.
4. The horizon
 Is the line at which earth surface and the sky appear to meet.
 Is the horizontal line separating the earth with the sky.

Horizon

Background

Middle ground

Foreground

Steps taken within painting landscape .

1. Decide on the theme you want in the painting ie. Rural landscape.
2. Select part of the landscape that can best describe the characteristics of
the landscape.
3. Determine the centre the centre of interest to be placed at the
foreground of painting.
4. Which at the landscape of a rectangular window which is called view
finder.
5. Include only the objects that are considered essential while opposing the
picture – feel free to re- arrange the ground if you think it is necessary.
6. As you paint divide the surface of the paper into foreground , middle
ground and back ground.
 Put a mark at the centre of the paper.
 Place the centre of interest slightly to the right of this mark.
7. Decide on the proportion of the paper surface to be covered by the sky
e.g in some landscape paintings of sky occupies such a portion.
8. Use elements of art and design to direct the eye to the centre of interest.

Important points to consider

 Perspective is important if the object is near.

 It appears big and if it is , far away it appears small.
 Objects should be wrapped.
 There should be variation of colour , position and a variation of details.

PERSONAL NOTES
 NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

Date 24-09-12

SUBJECT ART APPLIED

TOPIC tie and die

 it is a type of fabric work where cloth /seams are tied around a piece of
cloth to the dye from going into the cloth.

Tie and dye

 can be used to decorate clothing , cushion covers, table cloth and

curtains.
 It is one of the simplest method of patterning materials.
 It has a long tradition of use in many parts of the world.
 As the name implies the design is obtained by tying up parts of the
materials so that those parts are not affected by the dye.
 The principle of the tie and die is simple.
 String or raffa tied around a fabric which is subsequently dyed will cause
it to have areas of texture where the dye is resistant by the string and
tightly packed .

Handling cloth

- There are many ways you can fabrics before submerging it in the dye baths.
- You can want to experiment by trying out the different methods on old sheeting
line expensive materials.
- These methods are simple but they can be elaborated upon singly or in
combination so that their variation becomes endless.
- Each individual craft man has to decide for himself / herself which way of trying
or which type of fold he/she likes best.
- Circular , angular and geometric patterns can be achieved by positioning the
ties and fabric in various ways.
- A dye is a substance that changes the colour of something.
- Cloth fabric, fibres can be coloured by using natural or manufactured dye.

Natural dyes

- These are produced for plants soils and insects e.g barks of trees , flowers and
onion skin.
- These are boiled so as to get colour.

Chemical dyes

- These are produced in factories some dyes need salt .

- Dyes must have a fix to keep the colour from washing out when we wash dyed
material.
- When we purchase dyes we must check to see it they are colour fast .
- If the dye is not colour fast as is with case of natural dye you can add a fix wich
works as a natural fixing agent to the dye.

Dying.

- Damp the cloth into the dye both.

- Fabrics can remain in the dye boths as long as desired.
- Depending of colour intensity required.
- The fabric should be dyed in a container burger enough for it to be more freely
and be completely covered in dye.

Untying the fabric .

- After dyeing the fabric ,the ties can be cut with a scissors or sharp knife
- Exercise care when cutting so that the fabric will not be damaged in anyway.

Dyeing by bleaching.

- A bleaching agent like jik can be used for dyeing .

- Calico in white .
- Stones or bottle tops.
- Folding and knot and dye the ends.
- Draw a shape in the middle of a cloth following lines sew taking right round the
shape and pull the string and dip in dye.
- Roll the cloth on string fold cloth and pull string.
- The tightly the dip into dye, salt , rice ,grass(dry) can be sprinkled on dyed to
bring another effect.
- For dyeing by bleach only dark colours are suitable blue, black and brown.

PERSONAL NOTES

NAME NYAKWIMA SIMON

 COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC CONSTRUCTION

COLLAGE

- Collage is a fresh term used to describe the pictorial representation/

composition created out of different textured materials such as paper , textiles,
wood , seeds, etc. Pasted on a suitable surface (support) e.g a suitable stiff
card, wood or canvas.
- Unlike mosaic which is made up of tesserae of one type of materials which is
basically flat and has emphasis on colour
- Collage places emphases on the textual qualities of different materials and is
often dimensional
- Collage comes from the French word “papiper colles” which means pated paper
- Collage is often combined with painting on drawing
- 2 techniques closely related to collage are montage and photo-montage
- Montage is the arrangement of pictures to create a composition
- Photomontage is the arrangement of photographs to them a composition
picture
- In all 3 techniques the materials and pictures being used are often justposed
and superimposed to create interesting effects
- Collage is a versatile art form which can be used to create interesting pictorial
composition to use to use in the home , office public buildings to use and
galleries
- It can be inco-operated in poster design , illustrations and for experimental
purposes which a view to understand the different textural qualities of materials

HISTORICAL DEVELOPMENTS OF COLLAGE

- Collage evolved between 1912-1944 during the peak of cubist of the

movement which began in 1909
PICCASO AND GEORGE BRAC BECOME INCREASING

- Became increasingly interested in textures and used bits of news

paper , wall paper , oil clothes and fabric and canvas
- They incorporated varicose materials and paints of musical instruments
fragments of topograph and textures of wood
- This technique of posting textured materials onto canvas become
known a collage
-

MATERIALS AND WOOD

- Collage allows for the use of all sort of materials which can easily be
collected easily for the environment
- Apart from sharp exercise and may be a sew for sewing wood , no tools
are needed

THE FOLLOWING LIS IS TO BE USED AS A GUIDELINE

It is not exhausted collect and experiment which all time of material

- Supports
- It is important to take into account the weight of materials being used
when choosing a support for a collage
- Heavy materials need a steady support , sturdy support to hold the weak
eg thin paper is used as a support for heavy material
- A support can take the form of a canvas which can be stretched on a
frame , a stiff card such as manila and cardboard, wood ,such asply
wood or hard board

ADHESIVES

- As for mosaic , collage recquires the use of a good adhesive which will
crack with dry and which will not lose bonding qualities with time
- If wood is being used in the collage composition a good wood adhesive
should be used
TEXTURED MATERIALS

- All types of materials can be used

- Collect sweet rapings , tissue paper , crepe paper, news paper ,
magazine paper , textiles , fibres ,such as sisal or wood , cotton ,
banana ,maize ,bamboo and backs , wood , sawdust metals etc

PAINTING AND DRAWING

- Artists paint both ais and powder household paints ,pigments from the
environment such as coloured soils pastels
- Charcoal are nessesary when cambling collage painting or drawing
- Natural soill such as red soils can be filterd

TECHNIQUES AND PROCCESES

- Collage is created from a variety of dirrerent textured materials posted on

a suitable surface as stiff card , wood and canvas

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

 TOPIC PAPER CRAFTS

TYPES OF PAPER CRAFTS

1. Paper doyles
2. Paper dolls
3. Paper weaving
4. Crowd building
5. Window which a review

PAPER DOYLES

Pie art styles of cutting art pieces of paper from the major paper

COLAGE

- Is an art technique for decoration made by bits plasticing tiny materials

onto a pre-sketchily picture

FANCY ART

- Japanese art that have found its way into Zimbabwe and has beautified
the art field into general
- Compromise the folding of the paper concreting method (tie and die )
with one part of the folded have been where a picture was drawn
- The frame work of the picture is then cut out to remind the actual; shape
this results in a joined art feature
WEAVING
- Generally a Zimbabwean tradition art done with reeds or
pure grass in the making of mats and winnow baskets
- In the art field generally at primary level is practiced in
paper
- It is one of the oldest art education topics that has been
around and is mastered by pupils left , right and central
- It is one of the oldest art education
 - It is quite a good and educational topic in the hands of an
artistically based teacher
- What it all calls for is the rejuvenation revitalisation and
revival of this topic
- The various contents so attached bring no rejuvenation in
pupils if the same called concepts are radically taught
- Worse still learning comes to an end if revival and vitality of
the topic are at stick during the course of the lesson
- Weaving is in reality a cultural history topic but teachers
have come too smart and dedicated it to pupils
- Weaving to the pupils should be artistic and impressionistic
engaging pupils in functional weaving activities is
paramountly educational

NAME NYAKWIMA SIMON

 COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC PRINT MAKING

BLPCK PRINTING (POTATO)

MATERIALS : potatoes , paints , art knives ,foster ,cartridges, newsprint ,paint

METHOD

- Cut potato into halves or into substantial chunks so that the surface is
level
- Clear the stack from the sides near the printing surfaces
- If desired shape the surface into the desired motif eg square ,
triangle ,diamond and hexagon
- Cut away portions of the surface as desired
- Apply paints using form rubber on the motif and print using a slightly
roding movement to ensure that the surface is printing
- Repeat the motif in the desired way to produce a repeat pattern
- To change colour wash the potatoes and dry itr when you use the
second colour
- Byu varying the position of the repeats many problems can be
produced sales of tennis shoes , match soxes
- Paper tubing plans , lids of markers and corks , screws , bolts ,
colgated card and orange pockets

METHODS

- Cut junk to small size e.g diamond shapes from soles

- Seled three junk items to combine
- Test print on newspaper
- Repeat the layer motif to cover the design space
- To change colour do as in block and banana leaf printing
- Produce a positive and negative design and even change colours
NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC SAND COLLAGE

Reference

Forester , E (1989) Art for ourselves ,Longman Zimbabwe (pvt)ltd

- Use a salt shaker for the sand because they are easy for little hand to
hold with a bit of type stick to the lid.
- You can control the speed of the bottle.

Materials

- Craft knife.
- Coloured stock or construction paper.
- White and clear.
- Coloured sand.
- Salt shakers.
- Tape

Instructions

- Use a craft knife to create a frame by cutting out the centre of the
cord, stock leaving in inch its slightly smaller than the frame then set
the paper face down and peel off the backing.
- Carefully lay the frame over the sticky surface to press tin place.
- Pair the sand into the salt shakers then put on the lids and covers of
the notes with tape.
- Give the child the bottle and let him pour the sand over the surface
one colour at a time all at once as he likes.
- Pump off the extra sand as he fill the space .

When he is alone you can set pre-off clear can paper the front to help preserve
the design.
 PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

Date 25-07-12

SUBJECT ART APPLIED

TOPIC colours

Reference : Varundi Harens (1999) Art Craft and Design Longman, Botswana.

- Colour is an art element that comes from reflected light.

- It is the way something looks light strikes it page 67.
- Without light we cannot view the world around us.
- In order to see colour the following must be present – light , surface
or an object or your eyes.
- It is very important in composition in Art craft and design .
- Colour is used to decorate artwork , is used to create mood or to
express personal feelings and emotions , seasons time of day or types
of weather.
- Page 75 warm and cool colours are colours that remind us of things
that are warm like the sun , cool like a day with no sun or the cool
rain.
- They are also associated with moods .

Warm colours with happy moods or cool colours with sad ones.

- Eg of warm colours are red , orange and yellow.

- Cool colours are : purple, blue and green.
 Amount of warmness in colour depends on the ratio of the warm
colour e.g if you increase ratio of warm colour when mixing a
secondary green , you then turn of green .
 Brown can either be a warm or a cool obtained by mixing 3
primary colours , red , blue, and yellow.
 Warm colours have a stimulating effect on us (p78).
 Meaning of green have a calming effect on us (happy mood)
 Black – mysterious or depressing themes, sadness .
  Page 33 colour is more than just white it changes under different
conditions size affects colour appearance.
 Colour can be used to express mood.
 Science of colour is based on the spectrum of light.
 Colour carries a feeling of temperature.
Red means blood (p.g 35)
- Green means vegetation/ plant life in a river bed in the rainy season.
- Black and brown to capture divesting effects of the drought on the
land.
- Colours are to make points , crayons and other art materials come
from natural and man-made sources.

Examples of warm colours are:

Red

Pink

Orange

Yellow

- red as in fire , sun, glowing, coals.

- Brown is derived from combination of warm and cool colours.
- Colour can make a strong impact when combined with certain
questions of other elements e.g a brown with a high proportion of red
in it will be warmer like colour of bricks however a deep brown toned
down with black will be cooler like dark rich soil.
- Cool colours can be changed to warm colours by increasing the warm
colours.
The meaning of colour depends on the eyes of the individual
colours enhance the appearance and proportion of the room.

PERSONAL NOTES
NAME NYAKWIMA SIMON
COLLEGE NUMBER G41-278-12
 SUBJECT ART APPLIED
TOPIC still life drawing
- This refers to something that is stationery.
- It is an object which has no life.
- Life is anything that exists or living.

Still life

- These are two words which contradict.

Guidelines

(a) Keep your eye fixed on the object that you are drawing.
(b) Use a sharp pencil.
(c) Do not use a rubber.
(d) Avid using a bold line
- It is the light and darkness it will give shapes to the objects .
- The point that receives the most light is the lightest part of the object.

PERSONAL NOTES
 NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

SUBJECT ART APPLIED

TOPIC CONSTRUCTION

Collage

- It is a design or picture made by cutting out and sticking it.

- Collage comes from the word coller.

Advantages are:
- design can be completed in one session.
- Most of the material are scrap such as old newspaper , old magazines ,
wool , bus tickets , used envelopes , stamps , braids etc.
- The varieties of mats used act as the stimulus for imagination.
- It is available to all as a means of expression and offers flexibility
when designed .this is because the slaps can be labelled in many
ways.

String collage.

Materials needed

- My type of string or thread , paper for paper ground , point brush,

brush, pair of scissors and adhesive.
- Brush adhesive on paper or cloth.
- Put a string onto it and to the desired shape.
- Experiment in a variety of strings thread , varied colours, texture and
loyalty but do not mix many schemes of work.
Seed collage
Materials needed
- Different types of seeds from grasses, trees cereals.
- A strong adhesive , paint brush ,strong background.
(a) Sketch the design on the card.
(b) Have the seed ready on a separate container.
(c) Apply glue on small proportion. If seeds are big apply using a hand.
- If they are small sprinkle them on and shake off the extra seeds.
Oil paint can be used to stick the paint on. Use of contrasting
seeds can give cut strong decorating.

PERSONAL NOTES

NAME NYAKWIMA SIMON

COLLEGE NUMBER G41-278-12

DATE 18-06-12

SUBJECT ART APPLIED

TOPIC CURRICULUM

Reference :

Ballantine , J. H and Hammade , P.M(2012) The sociology of Education: A

systematic Analysis, Pearson- London.

Curriculum is valid knowledge that is approved and transmitted

to student.
Curriculum has been defined as the sum total of what happens
as the sum total of what happens in the school or in a teaching
and learning set up.
Art education is a subject included in the primary curriculum.
Art involves a number of topics e.g stone carving and weaving.
Art plays a good role in promoting culture and passing it from
one generation to another.
Art gives rent to emotions and to joys of life .
Art education develops of avenue of appreciation and preserves
culture e.g the carving of the Zimbabwe bird.
It promotes cooperation when pupils will be sharing resources,
brushes and ideas as well.
Art promote creativity would lead to self – reliance e.g when
pupils are used to draw and painting a person will realise how
talented he/she when his paintings are appreciated.
Art also enables pupils to acquire knowledge on how certain
groups of people did stone carving and painting showing their
life styles.
Pupils in the skills of painting, decorating and drawing.
 It also teaches the skills of weaving culturally pupils will accept
and appreciate traditional items rather many beds which are too
expensive.
It enables pupils to develop the attitude that help them
understood the needs of others and as well as to express their
thoughts , feelings, interests and knowledge.
Implications
In classroom activities what promotes cultural traits are group
works e.g when pupils are painting, drawing or modelling , the
learn to share ideas materials , cooperate and develop a sense
of belonging .
Pair work on weaving would make pupils develop a sense of
belonging and love for one another.
The craftsman in the local community cannot be overlooked.
These includes patterns , moulders, businessman , shopkeeper,
farmers et.c.

All primary schools teachers are taught some of the

programmes they include:

(a) Colouring.
(b) Painting
(c) Shading
Resource persons van be invited to the class and bring their products e.g
craftman and women can visit the class with their baskets and chairs.
Man- made and natural resources can be obtained from the surrounding
environment including rubbish , shapes e.tc.
Most pupils have natural Art skills which they possess but many be deprived
of the opportunity to pursue art because of lack of support.
It is the duty of the teacher you can use different techniques of skills to make
fine toys, model clay pots, print or weave the skills can be developed in many
different ways.
The teacher can explore various skills within community by liaising with local
craft man
The teacher is therefore advised to be sociable to create a positive
relationship with her community.

PERSONAL NOTES
NAME NYAKWIMA SIMON
COLLEGE NUMBER G41-278-12
SUBJECT ART APPLIED
 Date 17-09-12
TOPIC child art

Development stages in Art

Scribbling 2-4 years

- It tends to follow a fairly predictable order.

- They start with random marks on a paper and gradually involve into
drawings that have content recognisable to adults.
- It starts at about 1 and half years to 4 years.
- It falls into 3 categories which are:
(a) Disordered scribbles.
(b) Controlled
(c) Named

Disordered scribbles.

- The first marks are usually random they vary in length and direction ,
although there may be some repetition as the child swings her/his arm
back and forth.
- Often child looks away while making these marks and continue
scribbling.
- The line vary considerably with accidental results.
- They may hold the pencil or crayons upside down or sideways.
- They are not even able to copy circles but 2years maybe able to copy
a line.
- It is inconceivable to for this age to draw a picture or something real.

Controlled

- Children will discover that there is a connection between their motion

and the marks on the paper.
- They approach scribbling with great deal of enthusiasm.
- They discover the coordination between visual and motor activity.
Pre schematic stage

- Where children make their first representational attempts.

- Starts at about 4 yrs and up to 7 years.
- Here children the typical head feet representation of a person and
begin to draw a number of other objects within the environment.
- The figures appear somewhat randomly placed on paper.
- They vary from size.
- They are eager to explain and show what they have done without self
consciousness.

Schematic stage 7-9 years

- Starts around 7 lasts until about 9

- The develop a definite form concept .
- Their drawing symbolise parts of the environment in a descriptive way.
- They usually repeat with some variation the schema that they have
developed for a person again and again.
- They arrange the objects they are portraying on a straight line and
across the bottom of the page.
- These works of art look quite decorative.

PERSONAL NOTES
NAME NYAKWIMA SIMON
COLLEGE NUMBER G41-278-12
SUBJECT ART APPLIED
 Date 17-09-12
TOPIC child art

Gang stage (9-11years ) Lowenfeld

- Dawning realism as process becomes important.

- Group friendships of the same sex are common and self awareness to
the point of being critical.

Realism

- Not in the photographic sense, more on expensive with a particular

object first time that te child becomes aware of a lack of ability to
show objects the way they surrounding environment.
- The human is shown as girl, boy, woman, man clearly defined with a
feeling for data, a stiffness of representation.
- Perspective characteristic of this stage on awareness of the space
between the base.
- Overlapping of objects- types of point perspective and use of small to
large objects are stage.
- Objects no longer stand on a base line.
- Three dimensional effects are achieved along with shading and use of
subtle colour.
- Because of an awareness of lack of ability drawing often appear less
spontaneous than stages (less vital and lively )

Transition

1. A symbolic world is create lived out on paper where ordering and arranging
relationships can take place.
2. This helps the child to become objective and no longer tried to subject –
object interpretations.
3. If you ask the child to tell the story their meaning of the story will unfold.
PERSONAL NOTES
NAME NYAKWIMA SIMON
COLLEGE NUMBER G41-278-12
DATE 28-05-12
 SUBJECT ART APPLIED

TOPIC CHILD DEVELOPMENT

REFERENCE

- CHILD art – Lowenfeild .V and Lambert K, Brittan Creative and

Mental growth 8th edition (1987) Macmillan Publi-Company a
division

Scribbling 18months /2years to 4years

 Scribblers tend to follow a fairly predictable order.

 Children start with random marks on a paper and gradually revolve into
drawings that have content recognisable to adults.
 When the first visual image appears a great deal of development takes place.
 It is rather surprising that to find that only recently has much research been
done on these early drawing attempts.
 Disordered scribbles controlled scribbles and named scribbles

Disordered scribbles

 The marks are random.

 They vary in length and direction as they might be repetition as the child
swings her arm back and front.
 A child may look away to scribble line quality varies considerably with some
not accidentally results.
 Various methods are used to hold the pencil or crayon sideways or upside
down grasped in the first or held between clenched fingers.
 The fingers and wrist are not used to control the drawing instrument.
 the size of the motions shown on the paper is relative to the size of the child.
 If an adult swing his arm back and forth he would cover an inch of about
three feet a child would tend to draw an arch only about 12 inches long.
 It has not developed fine muscle control larger sweeps will be repeated.
 The child scribbler with a big motion for her although to an adult the result
may appear on a small scale.
  Scribblers do not attempt on at portraying the visual environment.
 The scribblers are based upon physical and psychological development of the
child upon some representational intent.
 If proper tools are not provided it may be done on walls or furniture.
 Don’t draw areal picture for the child
 An interest is important the child feel a venue acceptable.
 It is a form of expression to a 2 yr old child while to young one would be
interested at feel and taste of the crayon.
 Scribbling is a form of expression and natural whether African, American, or
European reflecting total development.

Controlled scribbling

 About 6 month or so children find out that there is a connection between their
motion on a paper because they have discovered visual control over the
marks they are marking through usual glance may show no difference gaining
control over motion is an impor accomplishment
 Most children approach scribbling at this stage
 With a great deal of enthusiasim
 When they discouverd the co-ordination between visual and motor activity
they are stimulated to vary their great deal of vigour horrizontaly , vertically
or in circles
 Do so on repeated patterns may be found since they can now take the crayon
off the page
 They still experiment with different methods of holding crayons thry come
closer to an adult help
 Children can now upstand more about technique to cope with