Lesson video

Hello.

My name is Mrs. Mayes, and I am so pleased you have chosen to learn with me today.

We are going to have a great lesson.

And I'm here to support you for any challenges you might encounter.

Let's get started.

Let's have a look at the outcome of today's lesson.

"I can use sketching marks and wax resist to paint water." I think it's going to be a really fun lesson today.

Let's have a look then at our key vocabulary.

I'm going to say the word, and I would like you to repeat after me.

Sketch.

Great job.

Portrait.

Wonderful.

Landscape.

Excellent.

And wax resist.

That's a bit trickier.

Let's try that again.

Wax resist.

You've done so well repeating those words back.

Let's have a look at their meanings.

When we sketch, it means "a quick, simple drawing which is not detailed or perfect." Portrait is "when the paper is taller than it is wide." Landscape is "when the paper is wider than it is tall." And a wax resist is "where an artist draws on paper, and then paints over the top." Let's have a look at our first learning cycle.

In our first learning cycle, we're going to be learning to sketch an outline.

Let's get started.

Have a look really carefully at these two lines.

What do you notice about them? You may have noticed that one line is lighter than the other.

"When an artist begins an artwork, they might plan how they want it to look.

They might use light marks to sketch their ideas." Light marks are "easy to change, can be rubbed out." Dark marks are "hard to change, and they are difficult to rub out." Let's have a go with our sketching technique.

I'm going to "practise sketching light marks with a pencil." This is what my sketching looks like.

I'm pressing really lightly with that pencil so I only get the faintest of marks.

Now it's your turn to "practise sketching light marks with a pencil." I'm going to pause here to give you a chance to have a go at that task.

A great job.

Lots of light lines that you've made with your sketching technique.

This is how your lines might have looked.

"Light marks are easier to change than dark marks," which makes them a really useful technique when we are planning our drawing.

"To sketch, an artist might use their elbow to make wide arm movements." You might want to practise that.

"This can help them to draw a line from one side of the page to the other." They're moving from this part of their body, their elbow.

Have another go at practising that.

Superb job.

We're gonna have a go with a pencil in our hands now.

I'm going to "move my arm from the elbow to sketch a line across the page." This is what this looks like.

I'm still using my light marks to help create that sketching technique.

Now it's your turn to "move your arm from the elbow to sketch a line across the page." I'm going to pause here to give you a chance to have a go.

Let's have a look at how you got on.

Your lines might have looked light, and you'll remember that you're moving from your elbow.

Well done.

A great job.

"By moving your elbow rather than your wrist, you can sketch really long lines.

Izzy is thinking of beginning a painting.

She is thinking about which way round to place her paper.

This paper is landscape.

This means that it is wider than it is tall." So it is longest where we see that purple arrow going across the top of the paper.

"This can be useful for painting wide scenes, like a view of a beach.

This paper is portrait.

This means the paper is taller than it is wide.

This can be useful for painting people, tall buildings, or trees," as they are taller than they are wide.

Izzy says, "How do I know which way round I should place my paper?" That's a really good question, isn't it? "Some artists hold their paper landscape for outdoor scenes, while others choose portrait.

It is up to each artist to decide." Now it's your turn to answer a question.

"Which image shows a piece of paper in a portrait position?" I'm going to pause here, or you can pause the video, to give you a chance to think really carefully about your answer.

Well done, that was some hard thinking.

Let's have a look at the answer together.

It was A.

"This paper is portrait as it is taller than it is wide." Did you get that right? A great effort.

"Izzy is planning to sketch this scene." Ooh, that's a very dramatic, stormy picture possibly out at sea.

If you were going to paint this scene, "would you hold the paper in a portrait or landscape position?" Think really carefully.

Izzy is looking at the same scene.

She says, "I am going to use a landscape position as the waves are wider than they are tall." Did you choose the same as Izzy, or did you go for a different option? "Like Izzy, artists might choose to use a landscape or portrait position, depending on what they are painting.

True or false? Artists must hold their paper in a landscape position if they are painting a scene outside." I'm going to give you a chance to really think carefully about your answer, or you can pause the video.

Some great thinking going on there.

What do you think the answer might be? Let's have a look together.

It was false.

"Why? It is up to each individual artist how they choose to hold their paper.

Izzy is looking at the scene of water again.

To begin her outline, Izzy is going to sketch the shapes she can see with light marks.

I can see lots of lines between different areas of water." Can you see those lines too going across the waves? Here they are.

She's also put a line in for her horizon.

Let's have a look at how that looks in Izzy's sketchbook.

She has used those light marks and her elbow to move across the page.

She looks again "at her water scene closely." Izzy says, "I think I can sketch the cloud outlines too." I think that's a really good idea, don't you? So using her light pencil and curving her marks, she's moving her light sketching marks across the page again.

Now it's time for your first task.

You are going to "choose a water scene from the images below." You are going to "decide if you will use landscape or portrait for your paper." There are three scenes here for you to choose from.

Your second task is to "sketch your outline using those light marks" that we have practised.

I'm going to pause here, or you can pause the video yourself to give you a chance to complete that task.

I know you are going to do an amazing job.

Remember light marks and moving from your elbow.

Let's have a look at how you got on.

I could see you were thinking really carefully about moving your hand in the right way.

You might have "used light pencil lines to sketch." You might have "rubbed out lines and placed them somewhere else" when you changed your mind.

And you might have "placed your paper in a landscape or a portrait position," depending on what water scene that you chose.

Well done.

Some great thinking going on there.

Now it is time for our second learning cycle.

In this learning cycle, we are going to paint a water scene with wax resist.

Let's have a look at what that involves.

Have a look really carefully at this image.

"How do you think the artist created the lighter marks? Artists can use watercolour paints with other materials.

Some artists might choose to use their watercolour paints with wax crayons or oil pastels." These might be materials that you have come across before.

When an artist use this technique, it is called a wax resist, just like the image we've looked at.

"The wax in the crayons or oil pastels stops the paint from sticking to the parts where the wax is applied.

Because both oil pastels and crayons are waxy, they will both resist" the wet watercolour paint.

"What do you notice about the wax resist technique?" Let's have a look at how we might make those marks using wax resist.

I'm going to make a wax resist here.

I use my wax crayon to draw light marks, and then I use wet watercolour on a paintbrush to paint over them.

And then suddenly, we can see those wax marks coming through the paper, where the paint will not stick to them.

Now it's your turn to have a go making marks using wax resist.

Have a go at drawing with your wax crayon and then using paint over the top of your wax marks.

I'm going to pause here to give you a chance to have a go at that technique.

Let's have a look at how your work may have looked.

Where we have drawn the wax marks, "the watercolour cannot stick to the wax in the crayon," leaving behind those wax marks that you can see here.

"Izzy goes back to her sketch of a water scene." She says, "I think I will add wax resist to my sketch to make the water." I think that's a great idea, don't you? "Izzy thinks about where she could use a white wax oil pastel." Hmm, there certainly are a lot of white marks in that picture, aren't there? She says, "I will use a white oil pastel on some of the foamy waves." What a good idea.

"Izzy thinks about what oil pastels she could add next." She says, "I will use grey and blue oil pastels to draw swirling waves and clouds." Let's have a look at how that might look.

So she's used her oil pastels in a mixture of different colours.

"Now, Izzy is going to add paint.

I am going to add watercolour paint in dark blues for the sky and parts of the water." That's a really good choice of colour because we can see the dark blue in the sky of the image.

Here is what Izzy's artwork now looks like.

"Izzy is thinking about how she can show the texture of the water." She says, "I think I should use curves and splatters to help me show the rough waves." I think that's going to really add something to her artwork, isn't it? Here she has added those curves with her paintbrush and some of the splatters as well.

Let's have a look at how she did that.

I'm going to "add curves and splatters to my wax resist artwork." I move my paintbrush in a curve to get some of those swirls.

I then use my thumb to create splatters over my artwork.

It makes it look like the sea foam is coming off of the waves.

Now it's your turn.

You are going to add "curves and splatters to your wax resist." I'm going to pause here, or you can pause the video to give you a chance to complete that task.

Well done.

Some really careful thinking about how to use our splatters and curves.

Your artwork might have looked a little bit like this.

"Curves and splatters help to make the waves look like they are rough" and stormy.

Here is your final task of today's lesson.

You are going to "use wax resist and watercolour to add to your sketch from Task A." Here are the steps that might help you with this task.

First, you are going to "sketch lightly." You will then "add oil pastel over your sketch lines." Next, you might "paint over with watercolour." And then finally, "use curves and splatters to create movement." I can't wait to see how your artwork looks.

You might want to pause the video here so you have a chance to complete that task.

Well done.

It was great to see you use so many of those techniques that we've discussed.

Let's have a look at what you might have done.

You might have "used a light oil pastel or crayon to show the foaming waves." You might have "made marks with wax" or oil pastel.

And you might have "included curves or splatters" within your artwork.

Let's recap on what we have learned today.

You have learned that "light marks can be used to sketch an outline." You have learned that "artists can choose to hold their paper in a landscape or a portrait position." And finally, you have learned that "oil pastel or crayons and watercolour can be used to make a wax resist artwork." I think you have done a wonderful job today.

And your artwork looks amazing.

Thank you so much for joining me.

I'll see you again soon.

Bye-bye.