Beruflich Dokumente
Kultur Dokumente
AUSTRALIAN LANDSCAPES
STAGE 3
OUTCOMES VAS2.4
VAS3.2
VAS3.3
INDICATORS -examines the use of concepts to selected forms and
experiments with the abstract qualities of landscapes
-identifies the connections between subject matter and the
media and techniques used
-recognises that an artist may have a different interpretation of
the artwork to that of the audience
SUBJECT AUSTRALIAN LANDSCAPES
MATTER
FORMS Drawing, Painting, Printing,
RESOURCES RESOURCES: works of John Wolseley and Paddy Bedford,
bush areas within the school, selected flowers, insects and
bones
MATERIALS: oil pastels, watercolour paints, acrylic paints,
Artline pens, insect stamps, rubbing crayons, collage paper,
charcoal
APPRECIATION -expresses opinions about how well subjects are represented
and appreciates the skills involved
-recognises that views about artworks can change over time
and are affected by life experiences
- considers a range of artworks and can talk about their
response to their own and others concepts
PERSPECTIVES Environment, Contemporary Technology
LINKS HSIE
STAGE 3
SUBJECT MATTER : AUSTRALIAN
LANDSCAPES
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2. PADDY BEDFORD LANSCAPES DURATION: Three Lessons
Students will-
- View the work of aboriginal artist Paddy Bedford
- Discuss the types of landscapes he paints and the lack of detail that he
sees in the Australian outback
- Use small pieces of artpaper to draw basic shapes of rocks, trees and
waterways
- Simplify these shapes into a series of lines
- Compose two of these shapes into a basic landscape
- Use charcoal on large artpaper within a drawn border to reproduce the
composition
- Smudge the charcoal with their finger to soften the lines
- Paint with a palette of white, sepia and yellow acrylic paint filling in
the areas inside the charcoal shapes allowing the paint to pick up
charcoal and discolour the light paint
- When dry use the charcoal again to delineate the form and the border,
again smudging the lines to soften them
- Verbally clarify the forms within their landscape to their peers and
interpreting the colours in the work