Teaching Sequence

Work through this resource material in the following sequence:

20 minutes – Part A: Investigating the landscape
20 minutes – Part B: Creating a landscape artwork
20 minutes – Part C: Relinquish perfectionism
10 minutes – Reflection

Part A: Investigating the landscape

Step 1.

Refer back to the video of Joshua Yeldham presented in the first lesson and reflect on how Joshua works in nature and with nature to create art.

Source: https://vimeo.com/625980093/1ecddb0c62?share=copy

As a class, investigate how Joshua considers nature in every element of art-making and pose the following question:

What is different about the way Joshua makes art compared to other artists you have studied?

Invite students to consider how and where Joshua is physically placed in relation to his art and the dialogue you heard in the video.

Lord Howe IslandJoshua Yeldhamart lessons _lesson 03

Step 2.

Split students into groups of 3 or 4 and ask your class to discuss the following questions:

Where was the artist standing or sitting in relation to the artwork or environment?
What type of materials did the artist use?
How do you think the artist’s environment impacted the outcome of his work?

Step 3.

Invite students to locate an artwork by Joshua Yeldham in the student resource booklet: Joshua Yeldham Student Resource and discuss some of the terms and metalanguage that can be used to create a landscape artwork such as:

Foreground: The foreground of a landscape is generally closer to the bottom of the composition, although that isn’t always the case. Because this part of the scene is closest to the viewer the objects appear to be larger)
Middle ground: The middle ground is the space naturally occurring between the foreground and the background)
Background: The background of a scene is the furthest away. It gives some context to the scene, where it might be taking place. Because items in the background are meant to appear farther away they are much smaller in size, duller in colour, and contain less detail than objects that are close to the viewer).

Step 4.

Hand out the Student Worksheet or project the questions on the board and ask your class to observe an artwork by Joshua Yeldham and discuss whether and how the artist has depicted foreground, middle ground and background.

How are various subjects in the artworks depicted in terms of size, tone and form?
Observe a subject and discuss why the artist drew it that way.
How does the use of colour, line and patterns emphasise particular subjects within the image?

Lord Howe IslandJoshua Yeldhamart lessonslesson03artwork

Joshua Yeldham: Lion Island, Pittwater acrylic on hand-carved board with cane. 191 x 253.5 cm.

Lord Howe IslandJoshua YeldhamLesson03_artwork: catching emus

Joshua Yeldham: Catching Emus mixed media on paper 28.5 x 47 cm.

For example:

In the artwork catching emus, the artist has drawn white unexpected swirls and lines which take you on various journeys as you walk along the artwork to discover the multiple trails left behind. The artist has created perspective by narrowing the path or river and embedding it with trees, bush and shrubbery. Although there is an obvious use of tone and shading to create a slight contrast within each subject, it is subtle and delicate to the eye.

You can locate other examples of Joshua's artwork in the booklet: Joshua Yeldham Student Resource.

Part B: Create your landscape artwork

Step 1.

Find an opportunity for students to choose a study location to interact with the natural world. Ask your students to choose colours that represent their mood, aura, personality and consider how they would like their artwork to feel and what emotions they want to evoke.

Some students may like to bring various shades of red, orange or brown whereas others might prefer to interact with cool tones. This process is entirely up to the student.

Step 2.

Invite your students to set up their working stations in the natural world.

In case students are working from various study locations, students can bring a photo or image of a landscape that they wish to recapture. Alternatively, students can reimagine a natural world that is sacred and one they have conjured up in their minds.

Encourage your class to sketch their landscape very lightly to help them become familiar with the space they have to create, and what their main subject matter might be.

In this lesson, you may notice that some students might like to explore a more methodological approach. Whilst other students might like to work in a style similar to Joshua Yeldham where they explore their environment as it comes through. Once they are pleased with their sketch they can colour or paint their landscape.

Step 3.

During the task ask students to conduct a short gallery walk to look at what other students are painting while out in nature. Ensure you reinforce the importance of language during a gallery tour and that students consider the following phrases when providing their opinions:

I noticed in your work you did this, can you tell me about it…
I find it interesting that you chose those colours…what prompted you to do so...
Why do you think you were interested in drawing that tree, insect, hill, pond…

While students are painting you may like to discuss the importance of sharing ideas, colours, how to create new tones, shapes, depth etc. The tasks are designed to encourage students to remove the negative stigma associated with copying, protecting work or hoarding ideas. Instead, the understanding that we are a culture that is built on culture.

Part C: Relinquish perfectionism

Step 1.

Students learn how to let go of perfectionism and traditional means of art-making.
Invite your students to revisit their artwork and change, ruin, break, smudge and paint over their artwork. Ask students to let go and to understand that nothing is too precious, everything is changing and evolving.

Step 2.

Once students have decided to put their paintbrush down they will be asked to step back and ponder their experience in nature and their art. Go around to each student and ask them to reflect on the following and share their experiences with the class:

What type of feelings or emotions has developed from changing this artwork?
How did you accept change and overcome perfectionism?

Step 3.

Facilitate a gallery tour to discuss their art, nature, the notion of change and that in this natural world nothing is perfect because it is growing, falling, sprouting every second just like you.

Step 4.

Paste your artwork in your artist portfolio and annotate the art based on the questions and discussions during steps 2 and 3.

Reflection

At the end of each class ask students to pick from a couple of questions presented on the board and write in their journal a reflective piece in response to one of the following:

What happens to your mood when you create in nature?
What did you discover today about your environment and how it impacted your art?
How did you experience letting go of something precious?
How did your original artwork reflect you and your position in nature?
Was there an internal dialogue that took place while you were creating your artwork? Explain it to me.

Teacher Reflection

Take this opportunity to reflect on your own teaching:

What did you learn about your teaching practice today?
What worked well?
What didn't work so well?
What would you share?
Where to next?
How are you going to get there?

Lord Howe - Painting Landscapes and Creating Mindscapes

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