This resource looks at ‘Flowers in a Glass Vase’ by the Dutch painter, Jan Davidsz de Heem (1606-1684), on permanent display at the Fitzwilliam Museum, Cambridge, and how it might inspire your own creative responses and experimentation with colour.

Setting the Scene

In February 2020, a group of primary school teachers explored the oil painting Flowers in a Glass Vase, by the Dutch painter Jan Davidsz de Heem, at the Fitzwilliam Museum, Cambridge with the museum’s education officer, Kate Noble, the museum’s Senior Research Scientist, Paola Ricciardi,  and Sheila Ceccarelli from AccessArt.

We hope that the resource below will inspire open-ended, creative responses to the painting, from a distance. The ideas are suitable for exploration by all ages and abilities and on the kitchen table or anywhere.

Still Life

Flowers in a Glass Vase is a Dutch Still Life painting that was painted in the 1660s ‘when there was a growing interest in the natural world’*. You can read more about it here*.

Looking and Drawing Challenge

Exercise 1: Pointing and Looking

Look at the close-ups of Flowers in a Glass Vase below and choose one to work from.

With one eye squinted, point, with your index finger at a flower – you might feel silly, but this is a really good way to slow down your looking and concentrate on what you are seeing. Slowly move your index finger around the contours of the flower and, with your open eye, follow your index finger’s journey around the rest of the painting. What do you see?

Exercise 2: Contour Drawing

On a piece of paper or sketchbook and with a pencil or drawing tool of your choice, continue your exploration around the painting. Try not looking at your drawing but continue your search for details in the painting. What do you see?

Exercise 3: Drawing the ‘Negative’ – or – Spaces ‘In-between’ 

After having explored and considered the contours of the flowers you will have discovered many details.

Now we are going to construct a drawing using a different approach. Instead of drawing around the flowers, we’re going to draw the shapes in-between them. This can be tricky but use the strong contrasts in the painting and the dark background to look at the shapes between the flowers and build your drawing by looking at, and drawing these spaces. What do you see?

Painting Flowers

You Will Need:

• Flowers – Either cut flowers or flowers growing in the garden or your surrounding area;
• Primary Colours (Primary Yellow, Primary Red or Primary Blue) in:
  • Powder paint, or
  • Watercolour paint, or,
  • Gouache paint, or,
  • Acrylic paint, or,
  • Watercolor pencils.

Exercise 1 – Colour Matching

Choose a flower and choose your painting medium.

Exercise 2 – Colour and Form

As you start to gain confidence and pleasure in exploring colour, you might want to start to experiment with form. Remember your drawing exercises and how to look and see what’s in front of you and enjoy experimenting with mark making with liquid paint. If you want to add line, you might want to experiment with water-soluble graphite and watercolour pencils too. Enjoy!

Many thanks to the teachers who participated in this CPD training session for sharing their processes with AccessArt and The Fitzwilliam Museum, Cambridge.

Many thanks to the museum’s education officer, Kate Noble, the museum’s Senior Research Scientist, Paola Ricciardi. Many thanks to Lynda Clark, Image Library Manager at the museum, for providing AccessArt with images of Flowers in a Glass Vase. This post was written by Sheila Ceccarelli for AccessArt with photos by Sheila Ceccarelli and Rachel Thompson.

Supporting Resources

The Wildflower Meadow by Rachel Burch

The Wildflower Meadow

Rachel Burch, Head of Art at Burton Hathow Preparatory School and her pupils explore simple drawing, collaging and painting techniques to create beautiful artworks inspired by a summer meadow.

Minibeast Artwork by Tracy McGuinness-Kelly

The Minibeast Project

Tracy McGuinness-Kelly creates a beautiful collaborative piece of work with children for permanent display inside a school.

Painting a Bluebell Forest in Cyan, Magenta and Process Yellow on a Large Scale

Painting a Bluebell Forest in Cyan, Magenta and Process Yellow on a Large Scale

Inspired by the spring, teenagers work on a large scale in red (magenta), cyan (blue) and process yellow.

Look, Think, Do by The Fitzwilliam Museum Education Team

Vanessa the Lost Butterfly written and narrated by Nicola Wallis

This story is based on ‘Flowers in a glass vase’ by Jan Davidsz de Heem at The Fitzwilliam Museum. It links with a Look, Think, Do Activity on the painting fitzmuseum.cam.ac.uk/work/flowers-glass-vase Written and narrated by Nicola Wallis.

UK Charity AccessArt created this resource in collaboration with the Fitzwilliam Museum, Cambridge.

AccessArt has over 850 resources to help develop and inspire your creative thinking, practice and teaching.

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.

See This Resource Used in Schools…

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Pathway: Gestural Drawing with Charcoal

Featured in the ‘Gestural Drawing with Charcoal Pathway’

Session Recording: exploring Charcoal

Molly Hausland

The ancient art of konan

A collection of imagery and sources which you can use to prompt drawing in schools and community groups. 

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

Nests

Use the film below to enable children to explore drawing nests. Try to create a sense of momentum – for example you might pause the video 4 times and ask the pupils to make a 1 minute, 2 minute, 3 minute and 4 minute drawing at each pause. 

Encourage close and slow looking by talking as they draw – use your voice to attract their attention to qualities of the nest.

Try the same exercise using different materials, ie handwriting pen, ink and nib, pastel, watercolour…

Canaan Valley National Wildlife Refuge, Davis, United States. Original public domain image from Wikimedia Commons

Bird nest hanging on a tree. Free public domain CC0 photo.

Birds nest in tree, nature photography. Free public domain CC0 image.

Birds nest in tree, nature photography. Free public domain CC0 image.

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Pathway: Sculpture, Structure, Inventiveness & determination

This is featured in the ‘Sculpture, Structure, Inventiveness & Determination’ pathway

using sketchbooks to make visual notes

Find out how pupils can respond to artists work in sketchbooks

Show me what you see

Enable close looking and drawing with this exercise

Since 1994, AccessArt has worked to shape high quality visual arts education. As a Subject Association, we have attended All Party Parliamentary Groups and Roundtable discussions with various art specialists, organisations and Unions, to come together to advocate for the importance of art education. At these meetings arts organisations and experienced individuals agree:

• We need to better value the arts in education, placing arts subjects on an equal footing with STEM subjects, creating time and space for exploration and experience, as well as knowledge.

• We need to invest in Initial Teacher Training and CPDL.

• We need a reprieve from assessment which creates a climate of fear and drives us towards limited outcomes, in direct opposition to the kind of nurturing space art requires to flourish.

• The current Curriculum needs rewriting to ensure it is relevant, diverse and accessible to all.

Art education has been systematically attacked for many years. Art educators have had to defend, and therefore our dialogue has been defensive. We have defended the subject by using language we hoped would be understand by those in government – language which asserts itself but is spoken in their terms. We have taken the current model, shown its shortcoming, and the effects of those shortcomings, and suggested solutions. But all that has been done using the existing vocabulary which defines education today. And that is a problem, because it limits ambition and vision. We are driven to talk about assessment, monitoring, progression and knowledge, when the subject we hold needs a very different set of words to describe its rich, organic nature and build understanding of the potential for the subject to change lives.

The accidental or deliberate (depending on your viewpoint) misunderstanding of the subject area shown by those in power has demerited the importance of art education. By pushing a knowledge-rich, assessment-heavy, STEM-prioritised curriculum, the government has created a system in which the very words we need to use, as creative practitioners, teachers and pupils have been taken away from us. There is no space in the current curriculum to use words like “intuition,” “growth,” “personal,” “organic,” and “experimental.” We could hold such a rich, exciting, enabling subject in our hands – a subject which should be oozing with joy and richness, discovery and vision, but instead the government wants us to grip it as if it were a beast we need to beat down and control; something to be scared of which offers no real benefit to anyone. Is this misunderstanding on the part of the government, or is this fear? Fear that if we enable personal creativity we create a beast which enables free expression, resulting in a population not so easily “controlled”?

The language used by any government creates the culture through, and in which, we act, and in that way we become conditioned. We forget there are always other options, other approaches, and other words which describe other philosophies open to us. All the while we have been trying to defend art education by using the words they want us to use, and in that way we are becoming complicit, despite our intention, because we are not using the words we really need to use.

This struck home, finally, when I realised through conversations with school leavers that they could no longer use words like intuition, entitlement, dreaming, invention, play. These words are unfamiliar to them, and they no longer resonate.  These words, and therefore the ways of being they describe, are not available to them right now. They find it hard to embody these words. (Embody is an important word by the way).

So, yes, let’s keep defending the importance of art education, but let’s take a much firmer stance. We need to unfurl our own language – the words we really need to use – the words which more accurately describe an exploration of the future role of education in general and value of art education in particular. I am no longer going to be embarrassed to use the word love in relation to education. I am no longer going to purposely not use the words intuition, passion, fun and play, for fear of making art education seem less than; for fear of being dismissed.

Their words have been hurled at us for years – and now our whole educational and societal bedrock is built on silt. We need to start using words which build a solid place on which our children and young people can stand, and from which they can grow.

The language needs to be visceral. Honest. Brutal. We need to nail it and say it as it is. We have listened to and struggled with their vocabulary, and now they are going to hear ours. Please join us; let’ s use the words we really need to use, not the language we have been forced to use in a system which has been using the wrong language in the first place. We are artists after all, and we should not be apologetic that our vision, wisdom and insight comes from a very different place, is highly relevant, and to be listened to. Let’s use our language, and in doing so say exactly what we need to say.

As artist, educator, CEO and parent – this is what I really want to say…

Where do we stand, at this point in time?

How are our children standing on the earth, at this point in time?

How are we serving them, in terms of education, health, wellbeing?

Are we helping them build their sense of self? Sense of safety? From which they can grow?

Are we helping them understand the relationship between sense of self and connection with others? The relationship between compassion and action? Action and impact?

Are we helping them understand what makes them human? What makes a community? A society? Are we helping them think about purpose?

Are we showing them what healthy relationships look like? With each other? With themselves? With the planet?

Are we empowering them to dream, to envision, to imagine? Are we enabling them to communicate so that they can inspire and collaborate? Are we skilling them to affect, enable and build?

Are we enabling them to think critically and creatively, and to understand the difference between the two?

Where do we stand at this point in time?

We stand at a point, caught between the way society has been shaped by previous government policy (or lack of policy), and the future. We are ALL held at that point, no matter our privilege.

But it is not the only way to stand. And we should not accept it, or think we can’t affect it.

So how do we enable every person to stand on the earth grounded, belonging, able to dream, empowered to act?

Can we even imagine such a thing, or have we been so stripped of our ability to dream, confidence to be optimistic, ability to think?

Think about it now. Can you even imagine everyone you know being able to feel like they are able to work towards their full potential? Feel appreciated, valued, have something to offer, and able to contribute?

If you can’t imagine that, then please get angry and ask if we have perhaps been conditioned?

Don’t say it is idealistic.

Why do we stand the way we do, on the earth today? And how can we make change?

When we look, what do we see with our own eyes?

We see teenagers, emerging from their knowledge-rich, assessed-heavy, education, uncertain. Uncertain as to how they feel about their place in the world and unsure what their entitlement is to dream, act and affect, because they have been stripped of their permission. Ask a school leaver about intuition, and see how they answer. Do they know what that word means? Ask a school leaver about their dreams and hopes, and see how they answer. Ask a school leaver if everyone has equality of opportunity and see how they answer. Have they been enabled?

We see children and teenagers holding so much anxiety. Flight, fright or freeze – sense of self becomes fragmented and constricted and in that state we cannot go out into the world feeling safe and grounded ready to explore and contribute. Ask them if they feel safe and enabled. Ask them if they feel held. Ask them if they understand how what manifests as anxiety often starts as sensitivity – which can be a beautiful and vital thing which in turn can be explored, expressed and shared through art. Sensitivity need not develop into anxiety. It is not inevitable.

We see children and teenagers avoiding school, because their nervous systems know that school in its current state does not feel like the safest place for them. Do we understand what their bodies and minds need, now, to enable them to learn? Ask a child: What would keep you in school? In which lessons do you feel listened to and can flourish? What does flourish even mean? Has anyone asked you?

We see no time, no space. We send them hurtling, ticking off a list. Towards what? And the existential skills they have learnt are? Have we been brave enough to create generations who are curious? Brave enough to embrace the “other” – to explore differences and yet to be able to connect? Ask a child: Do you feel you have had the space to follow your interests and really understand? Have you ever had the experience of exciting an other?

We see a climate of crippling fear. Everyone looking over their shoulder, or averting their eyes. Ask a teacher: Can you imagine overtly valuing things that can’t be measured?

We see everything treated the same. Vanilla subjects. Tidy, neat, convenient. Don’t risk, don’t dare. Don’t create mess. Don’t give access to that tool. Don’t let them fail. Ask a teacher and ask a child: In what ways is art unique? What does art need to be allowed to flourish in your school? What even is “art”?

We see teachers who cannot find joy and love in teaching, because they are not enabled to find joy and love in teaching. Does Ofsted ask: Do you find joy and love in teaching? Do your pupils find joy and love in learning? What do we feel this takes from us, to ask this question? What are we scared of? Why can’t we use those words?

We see young parents and teachers whose own education has not shown them the promise of a more creative, holistic education, so they do not see the possibilities, do not know what their own children are therefore missing. Ask a young teacher: What is art for? How does it serve us? In what ways is it a catalyst? In what ways is it a sensor? In what ways is it a release? How can art make children feel safe?

We see how a curriculum which places emphasis on measurable knowledge which can be pedantically defined and assessed has destroyed the space for exploration, discovery, self-learning. Ask a child: Are you able to explore uncertainty without fear of being judged? Do you feel like you are only valued when you can achieve? Do you feel like you are valued enough for the journey you are on to be the thing which is celebrated? Ask the teacher: How do you feel about the facilitation of an exploration of unknowledge? How do you feel about a child discovering something you didn’t know could be taught (or measured)?

We see lack of vision. Our education system is a run-down version of a Victorian model. Does our education system embody aspiration? Just as the language we use reflects and shapes the culture we are in, our schools are a physical manifestation of our educational values. Ask a child: Does the environment in which you learn fill you full of excitement? Does it fill you full of confidence for the future? Ask a teacher: Does the pedagogy by which you teach stir your soul? Do you believe you are part of a system which is inclusive and aspirational?

We see whole communities who don’t feel any sense of cultural entitlement. It starts with valuing finger painting which seems so throwaway. Anyone can finger paint. But if you don’t let the exploration follow and grow, art remains just finger painting and of course we can do away with that. We see a basic misunderstanding that art cannot be facilitated with as much rigour as any other subject. That if we assume art is just “nice” then it is a luxury we don’t need. Ask a child: When was the last time you (choose a word: made, drew, painted, sung, acted, were introduced to an artist who shared your values, celebrated your creativity…)?

We see a culture in which we are embarrassed to use words like love, play, curiosity, and nurture in schools beyond EYFS. We have been disempowered to use language which celebrates individuality, and which acknowledges what it is to be human in schools. Ask a child and a teacher: Do you feel better after your day of education than you did before the start? Does the environment make you feel cared for and supported? Do you feel emotionally and intellectually richer? Was it fun? Do you feel fulfilled? Do you even know what that means?

Does this sound idealistic? Too big a job? Shall we just continue as we are? Turn our cheek. If being brave, visionary, radical feels hard, even impossible, then please understand the way we currently stand on the earth has not encouraged that kind of approach. By taking away our right to nurture our creative and critical thinking skills, we are being disempowered. It’s happening already. The books are already burning – smouldering rather than flames so we do not notice. 

Being brave can be small and quiet. We don’t have to shout. It doesn’t have to take years (it can’t). 

More heart. Less arrogance, less bullishness, more listening. More seeing with our eyes wide open. Less measurement. More holistic approaches. Less binary choices. A big re-think about what purpose education serves. Radical rethink about what a curriculum is. Greater ability to understand education has a responsibility to go beyond knowledge, which can be googled or accessed in the blink of an AI. More recognition that we are humans and we have traits, needs, desires which can be developed and tapped into. More modelling of who we would like to be as a society. More emotional intelligence to counterbalance artificial intelligence. More problem solving through experience. And willingness and ability to see the far, far bigger perspective.

So that one day, we might look on this point in time, as we stand upon the earth, and see it for what it is: a very small contracted dot, tight and defensive, that we have been engineered into through lack of vision, insight, confidence and love. From here we have to feel able to relax and expand outwards. To use the word love in education without embarrassment, and in doing so ensure we give opportunities to teachers and pupils which enable them to feel grounded, appreciated, empowered, connected and safe. And from there, we can all move forwards.

Which words would you like to use?

Paula Briggs, CEO & Creative Director, AccessArt, April 2024

Explore…

Not just ideas: Action Too

“One cold, rainy morning in January 1999, I received a phone call from the then DfES. The woman started the call with the words: “What is the best news someone could call you with on such a rainy January day?”

Explore and understand all that AccessArt has achieved and the impact we are making

Why AccessArt Can’t support oak national academy

“Like many educational publishers, we were concerned at the time about both the nature and quality of the resources created, the ethics of the creation of a curriculum by government, and also the potential impact of a so called “free” curriculum on commercial and charitable educational suppliers…”

Read why we think Oak is a flawed idea…

A collection of sources and imagery to explore the work of Hormazd Narielwalla.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Hormazd Narielwalla

Hormazd Narielwalla works across a number of artistic disciplines including printmaking, sculpture and artist’s books but he is best known for his intricate paper collages and assemblages, which are made on the surfaces of antique, vintage and bespoke tailoring patterns. – Hormazd Narielwalla

Explore more of Hormazd’s  figure work on his website including his Diamond Dolls.

Questions to Ask Children

What do you like/dislike about Hormazd’s work?

Why do you think that Hormazd works on brown paper/used patterns?

Are there any collaged designs that stood out to you? Which ones and why?

This Talking Points Is Used In…

Pathway: Fashion Design

This is featured in the ‘Fashion Design’ pathway

using sketchbooks to make visual notes

Show me what you see

A collection of sources and imagery to explore artist Laura McKendry’s love of nature.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

Laura McKendry

Laura McKendry is an artist who lives and works in London. She takes her inspiration from wildlife and nature.

Explore more of Laura’s work on her website.

In this video Laura McKendry explains how the natural world inspires every aspect of her work – from the art itself to the materials with which she works.

Questions to Ask Children

Which season is your favourite? Why?

Is there a space in your local area where you would like to sit and draw?

How do you think sitting in nature whilst drawing differs to working in a studio?

A collection of imagery and sources which you can use to prompt drawing in schools and community groups. 

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

This resource is free to access and is not a part of AccessArt membership.

Drone Footage Over Natural Landscape

Use the film below as source material to enable an exploration of drawing natural landscapes. You can also try to find drone footage of your own environment, or that of areas relating to projects you are covering in school.

Pause the footage at points which catch your eye and invite the children to make timed drawings – 15 minutes, 10 minutes, 5 minutes, 2 minutes or 1 minute. 

Vary the drawing materials you use and work in sketchbooks or sheets of paper of different sizes and textures. You may also like to make multiple line drawings over one page – each with a different colour or line weight, to describe different pause points in the same film to capture a moving landscape. 

Dixie National Forest, Utah

Howqua Hills, Australia

Reading, UK

The Netherlands

This Source Material Features in…

Pathway: Cloth, thread, paint

This is featured in the ‘Cloth, Thread, Paint’ pathway

Pathway: Mixed Media Land and city scapes

This is featured in the ‘Mixed Media Land and City Scapes’ pathway

using sketchbooks to make visual notes

Show me what you see

A collection of sources and imagery to explore the work of graphic artist Shaun Tan.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Shaun Tan

Shaun Tan grew up in Perth and works as an artist, writer and film-maker in Melbourne. He is best known for illustrated books that deal with social and historical subjects through dream-like imagery, widely translated throughout the world and enjoyed by readers of all ages. –Shaun Tan

See more of Shaun Tan’s work on his website.

Shaun Tan’s Sketchbook Work

Watch the film below to hear how Shaun approaches his early sketchbook work, and how he then develops this into more finished artwork. 

Stop the video at various points so that you can have a discussion with the children to help them think through what Shaun might mean by his various working practices.

The Arrival

Watch the trailer for ‘The Arrival’ by Shaun Tan.

Watch the video above to see the full animation of Shaun Tan’s graphic novel. 

Questions to Ask Children

Do you like Shaun Tans work? Why?

How do his drawings make you feel?

What kind of atmosphere did you pick up in’The Arrival’? How do you think he achieved this?

Do you think that Shaun Tan was successful in capturing the story without any writing or text? Why?

This Talking Points Is Used In…

Pathway: Storytelling through drawing

This is featured in the ‘Storytelling Through Drawing’ pathway

Additional Pathway: Drawing and Making Inspired by Illustrators

This is featured in the ‘Drawing and Making Inspired by Illustrators’ pathway

using sketchbooks to make visual notes

Show me what you see

A collection of sources and imagery to explore the work of illustrator Laura Carlin.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Laura Carlin

Primarily known for her work as an illustrator, Laura Carlin’s ambitious and emotionally resonant work has led to some of the most striking contemporary books for children, including her award-winning illustrations for The Iron Man, The Promise and for her solo project A World of Your Own. – Waterstones

Explore all of the books that Laura Carlin has illustrated here.

Questions to Ask Children

Do you like the illustrations in The King of the Sky? Why?

How do they make you feel?

What colours might you feature in an illustration if the story was about being hopeful? Fearful? Lonely? Happy?

How has Laura’s use of materials and composition helped with the storyline? 

This Talking Points Is Used In…

Pathway: Storytelling through drawing

This is featured in the ‘Storytelling Through Drawing’ pathway

using sketchbooks to make visual notes

Show me what you see

As part of our 25 year celebration, and to help advocate the importance of art education at all stages of life, AccessArt is pleased to announce we have partnered with Postcard Models, makers of beautiful models, based in South East Kent.

The AccessArt Art School

We are so excited! To help us celebrate our 25th birthday, Postcard Models have designed a very special kit for us.

The AccessArt Art School is a beautiful industrial building that you can make and customise so that you can create your very own Art School.  There is even an empty “billboard” so that you can paint or write your own message to the world about the importance of art to you. 

We have a number of these kits to give away at our upcoming Zoom CPD events. You can also win a kit via submitting your response to “Shout Louder About Art education” opposite. The kits are available to buy directly from Postcard Models.

Tag @accessart.org.uk @postcardmodels and #AccessArtSchool on Instagram when you share your AccessArt School!

Please note these kits are not for children. 

Shouting Louder About Art Education

AccessArt has been advocating for the importance of visual arts education for 25 years. 

We are collecting evidence from individuals as to why visual arts education is important to you and your audiences. 

Whether you are a parent, carer, or educator (any setting) please take the time to tell us what art education means to you. We hope to build a library of testimonies which help us further campaign for, and support, the need for visual arts education at all stages of life. 

Shout Louder About Art Education now. 6 respondents will win one of the Postcard Models AccessArt School kits (deadline 31st May 2024).

Thank you, Paula Briggs, CEP & Creative Director AccessArt

A collection of sources and imagery to explore the paper cut outs.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Phillipp Otto Runge

Red Currant, Philipp Otto Runge (German, Wolgast 1777–1810 Hamburg) Late 18th–Early 19th century, Silhouette, sheet: 13 9/16 x 11 5/8 in. (34.5 x 29.5 cm), Janet Lee Kadesky Ruttenberg Fund, in honor of Colta Ives, and Mary Martin Fund, 2010

Questions to Ask Children

Describe what you can see.

Describe the different types of edges that you can see.

Henri Matisse Cut Outs

Questions to Ask Children

Describe what you can see.

What do the cut outs remind you off?

Pippa Dyrlaga

Questions to Ask Children

Describe what you can see.

How do you think the artist has created this?

How has the artist used negative space?

See more of Pippa’s cut outs on her website.

Thomas Witte

Questions to Ask Children

Describe what you can see.

How has the artist used negative space?

How does Thomas’ work make you feel?

What do you like/dislike about his work?

Visit Thomas’ website to find more of his work.

This Talking Points Is Used In…

Pathway: Shadow Puppets

This is featured in the ‘Shadow Puppets’ pathway

using sketchbooks to make visual notes

Show me what you see

A collection of sources and imagery to explore the work of Davy and Kristin McGuire.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

This resource is free to access and is not a part of AccessArt membership.

The Paper Architect

The Paper Architect is a play combining paper-craft, animation, projection mapping and performance. It tells the story of an old model-maker who uses his paper creations as vessels for his imagination.

The show features tiny, accurately mapped animations playing across intricate paper sets. 

See more of their work on their here.

Questions to Ask Children

How do the Paper Architect make you feel?

How would you describe the atmosphere of The Paper Architect?

Do you like it? Why?

If you could cut a paper structure and make it come to life what you it be? Why?

The Icebook

The Icebook – the world’s first projection mapped pop-up book. An exquisite experience of fragile paper cutouts and video projections that sweep you right into the heart of a fantasy world. It is an intimate and immersive experience of animation, book art and performance.

This Talking Points Is Used In…

using sketchbooks to make visual notes

Find out how pupils can respond to artists work in sketchbooks

Show me what you see

Enable close looking and drawing with this exercise

A collection of imagery and sources designed to explore the work of Nicole Dyer.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Nicole Dyer

Like the 14th-century Dutch still-life painters who depicted tabletops piled high with edible symbols of wealth, power, and mortality, Dyer, a 2013 BFA graduate of the Maryland Institute College of Art, compulsively catalogs the objects that attract their attention with the allure of satiety and wholeness and packs them into dense tableaus of excess. –BMoreArt

Explore more work by Nicole Dyer here.

Ladies, Ladies, Ladies, 2018 Acrylic, ink, collage, and ceramic on canvas 16” x 12”

Questions to Ask Children

Describe what you see in the paintings.

How does it make you feel?

What do you think the artist is trying to say with this work?

Describe the colour palette. How does the colour effect the mood of the painting?

If you were to include some of your favourite books in a still life painting, what would they be? Why?

Questions to Ask Children

Describe what you see.

How does it make you feel?

What materials do you think were used to make these food sculptures?

Which sculpture is your favourite? Why?

This Talking Points Is Used In…

Pathway: Festival Feasts

This is featured in the ‘Festival Feasts’ pathway

using sketchbooks to make visual notes

Show me what you see

A sculptural challenge encouraging the exploration of colour.

Artwork by Krijn de Koning

Questions for Children

How would it feel to be in the spaces Krijn creates?

How do you think he chooses the colour for each wall? How do you think the shape and size of the wall affects the colour too?

Find more of Krijn’s work here.

Sculptural Challenge! 

Use Krijn’s work as your inspiration, think about how you might make a series of colourful walls. You won’t be building a life-size sculptural installation (not today anyway!) but instead you can either make a model or create a piece of 2d artwork which shares your vision. Remember, because you are not creating the artwork then you can really be imaginative and dream!

Here are some clues, but you may have your own ideas too:

Use your sketchbook to “collect” colours that you like. Find them in magazines by cutting swatches out, find them by mixing paints, find them by mixing other materials. Record them, test them, label them, make notes (what colours did you mix?), name them (the names you give them might help you to describe the affect they have on you).

Next think about what the “walls” would be like. What shape? What size? Would they enclose? Would they have holes? Would there be a roof? How do they connect? How would the person get in to the space? How would you want the person to feel? Again, use your sketchbook to plot and plan. 

Think too about the location or context you would like your sculptural installation to be in. Would you like it to be in the Antarctic? The jungle? The high street? Again, use your sketchbook. 

Think about how you would apply your colours to the walls? Would each wall be one colour? Would you introduce pattern? Images? Again, use your sketchbook.

Finally, either make a model using card, paint, fabric etc to share your vision, or make a 2d artwork. 

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Pathway: Brave Colour

This is featured in the ‘Brave colour’ pathway

Talking Points: Yinka Ilori

See how Yinka Ilori transforms spaces with colour and pattern

Talking Points: Morag Myerscough

Explore installations and immersive spatial artworks that transform places

A sculptural challenge to encourage the exploration of colour, light and form.

Questions for Children:

Can you imagine what it would be like to be in a room with the installations in the videos above? How would it make you feel? What do they remind you of?

How do you think the colour affects the mood?

Sculptural Challenge! 

Using the artwork in the videos above as your inspiration, think about how you might design a sculptural installation which involves light, form and colour. 

You won’t be building a life-size sculptural installation (not today anyway!) but instead you can either make a model or create a piece of 2d artwork which shares your vision. Remember, because you are not creating the artwork then you can really be imaginative and dream!

Here are some clues, but you may have your own ideas too:

Use your sketchbook to “collect” colours that you like. Find them in magazines by cutting swatches out, find them by mixing paints, find them by mixing other materials. Record them, test them, label them, make notes (what colours did you mix?), name them (the names you give them might help you to describe the affect they have on you).

Think about the kinds of forms (shapes) you would like the coloured light to fall on to. Would you like the coloured light to surround a person, or would you like the person to pass near the objects? How would the person enter the space? Would the space be very small or very large? How would you want the person to feel? Again, use your sketchbook to plot and plan. 

Think too about the space you would like the coloured light to be in. Would you like it to be a dark space so that the lights show up against the darkness, or would you prefer a light space, so that it feels floaty and ephemeral? 

Think about how you would apply your colours to the walls? Would each wall be one colour? Would you introduce pattern? Images? Again, use your sketchbook.

Finally, either make a model using card, paint, fabric etc to share your vision, or make a 2d artwork. If you make a small space, you might like to be inspired by the Mini Art World Resource and use coloured filters and torches to replicate the space. 

You May Also Like…

Pathway: Brave Colour

This is featured in the ‘Brave colour’ pathway

Talking Points: Carnovsky

Explore different colour profiles and see how light can transform art

Which Artists: Liz West

Find out how Liz West is inspired by light, colour and reflections

Talking Points: Olafur Eliasson

See how Eliasson uses elemental materials such as light, water, and air temperature

A collection of sources and imagery to explore the work of Olafur Eliasson.

Please note that this page contains links to external websites and has videos from external websites embedded. At the time of creating, AccessArt checked all links to ensure content is appropriate for teachers to access. However external websites and videos are updated and that is beyond our control. 

Please let us know if you find a 404 link, or if you feel content is no longer appropriate. 

We strongly recommend as part of good teaching practice that teachers watch all videos and visit all websites before sharing with a class. On occasion there may be elements of a video you would prefer not to show to your class and it is the teacher’s responsibility to ensure content is appropriate. Many thanks. 

*If you are having issues viewing videos it may be due to your schools firewall or your cookie selection. Please check with your IT department.*

This resource is free to access and is not a part of AccessArt membership.

Olafur Eliasson

Olafur Eliasson’s interest in light came from growing up in Iceland, where for half of the year the country is in darkness. 

Olafur is known for sculpture and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience.

Explore more of Olafur’s work here.

Questions to Ask Children

Describe what you see.

How does this make you feel?

How would it feel to be in that space, interacting with the light?

How do you think the artist creates these playful light installations?

Questions to Ask Children

Describe what you see.

How do you think it would feel to interact with the light installations?

Does it make you think about space and colour in different ways?

This Talking Points Is Used In…

Pathway: Brave Colour

This is featured in the ‘Brave colour’ pathway

using sketchbooks to make visual notes

Find out how pupils can respond to artists work in sketchbooks

Show me what you see

Enable close looking and drawing with this exercise