Creative Arts

Visual Arts
Grade 7
 Visual Art Grade 7

Term 1
Figurines

1
 Visual Art Grade 7

Table of Content

Term 1
1. Topic according to the ATP
2. Art Elements: Line
3. Activity 1
4. Tone
5. Activity 2
6. Texture
7. Activity 3
8. Activity 4
9. Colour
10. Balance
11. Emphasis
12. Activity 6
13. Activity 7: Mark making
14. Activity 8
15. Activity 9
16. Activity 10
17. Activity 11: Masks
18. Activity 12
19. Proportion
20. Harmony
21. Rhythm
22. Activity 13 and 14
23. Rubric on mask making
25. Reflection
26. Create in 3-D: Earthen Ware Figurines
27. Rubric

2
 Visual Art Grade 7

Term 2

1. Own and wider world: Still live

2. Activity 1
3. Scraperboard
4. Informal rubric on the scraperboard
5. Activity 2
6. Reflection
7. Topic 3: Visual Literacy
8. Investigation of a local crafter
9. Noria Mabasa
10. Mbongeni Buthelezi
11. Activity 3: Formal activity
12. Rubric

Term 3

1. Heritage
2. Useful containers
3. Activity 2: Architecture
4. Introduction
5. Paper cut collage Formal Activity
6. Reflection
7. Drawing with wet material

Term 4

1. Still life drawings

2. Formal activity: Section A
3. Still life drawing stage 2
4. Rubric
5. Recyclable objects
6. Addendum Research of artists
7. Website information

3
 Visual Art Grade 7

Topic Content ATP %

Drawing and painting: exploring with a variety of media
and techniques: Line, Tone, Texture & mark-making

Art elements:
Line,
Tone,
Topic 1 Texture,
Create in 2 D Shape 1.5%
Design principles: use in description of artworks:
Balance
Emphasis
Contrast
Themes to explore observational projects (small objects and still
life arrangements)
Variation of paper size and format

Line

• A line is a mark which connects two points on a 2-dimentional surface.

• A line does not exist in three dimensions.
• A line is a dot on a walk. It starts at one point and has an end point.
• It is everywhere around us and we get many different types of lines.

Meanings of Lines
• A line implies action because action was necessary to create it.
• A line can suggest direction, movement, and energy.
• A line as such doesn’t exist in the real-world Lines are manmade inventions to record what he sees on
paper.

4
 Visual Art Grade 7

Vertical Lines:
• Example Vertical lines have stateliness, lack of movement, dignity, strength, and are resistance to
change.

Horizontal lines:
• Show calm, rest, and death. A horizon line is a good example of a horizontal line.

Diagonal Lines:
• Diagonal lines show action, instability, and the act of changing.
• The diagonal lines in this example are the outside edges of the plane.
• Since the image is coming at an angle it seems like it could fly off the page.

Straight Lines: Straight lines are harsh, geometric, and mechanical.

Curved Lines:
Curved lines are graceful, soft, organic, and growing. Curved lines in this picture create the edges of the
flower.

Activity 1 Date: ____________________

Informal
After we have looked at different pictures of lines you need to practice these lines.

Recourses
Grey pencil Sharpener Eraser
Colouring pencils OR Wax crayons OR any other medium

Steps
Step 1
Study the picture below and on page 7 use the provided grid lines to redraw the picture with a grey pencil
so it will be a replica of this picture.

Step 2
Use different kinds of lines to show what lines you have learnt about to decorate the redrawn picture using
any media that you have available e.g. colouring pencils, wax crayons, different kinds of grey pencils etc.

5
 Visual Art Grade 7

6
 Visual Art Grade 7

7
 Visual Art Grade 7

Tone
Tonal value adds the illusion of 3 dimensions on a 2-Dimensional service.
Tone is how dark or light a part of an image is.
Tone is used to show depth, space and atmosphere.
Another word for tone is called value.

Activity 2 Date: _______________________

Informal

8
 Visual Art Grade 7

Texture

• Something you can feel whether it is rough or smooth to the touch. This is called “tactile”.
• Texture is also something you can see e.g. you can see that paint on a surface of a canvas is rough
or raised. Texture can be rough, smooth, soft, hard, pointy, bumpy, slick etc.
• We can get textures through : using any type of materials e.g. different kinds of paper, beans and
legumes, sand, fabric etc.
• Textures can be made by using different kinds of lines, texting, folding papers, dripping paints, drops,
dots, rubbing, stamping etc.

Activity 3 Date: _______________________

Informal

Study the pictures below and create your textures in the zentangle blocks given of the leave picture.
You need to do this in mix mediums.

9
 Visual Art Grade 7

10
 Visual Art Grade 7

Shape

Activity 4 Date: __________________

Use the shapes below to create a picture that forms unity.

sample

11
 Visual Art Grade 7

12
 Visual Art Grade 7

Colour

Monochromatically Colour

Monochrome means one colour with different shades and tints of the
same colour.

13
 Visual Art Grade 7

Design Principles
Balance

• The need to have all parts of an artwork in exactly the same in weight.

• Balance is achieved by the arrangement and rearrangement of forms, shapes, colours and lines.
• Symmetrical balance is the simplest, least interesting type of balance. It is when the parts of the
design on the one side match the parts on the other side, thus creating a mirror image.
• Asymmetrical balance is much more complex and interesting. To balance a scale one needs to
hang weights on it. They have to weigh the same, even if they don’t look the same. In art we don’t
have actual weights, but work with visual weight instead.
• No balance can also be important and depends on the theme of a work.
• Radial balance radiates from a central starting point.
• Visual weight works as follows:
• Big shapes seem heavier than small shapes.
• Warm colours seem heavier than cool colours.
• Bright colours seem heavier than pastel colours.
• Course textures appear heavier than smooth surfaces.
• Shapes that are low down in a work appear heavier.
• Small, detailed, interesting objects are heavier than big, bland shapes.

14
 Visual Art Grade 7

Emphasis

15
 Visual Art Grade 7

Activity 6 Date: ________________

Informal Activity

Contrast

• This is another principle artists can use to emphasise, to provide variety and interest, or to create a
certain feeling in the work.
• High contrast (black and white, for example) serves to emphasise differences, while low contrast
(two shades of grey, for example) serves to de-emphasise differences.

16
 Visual Art Grade 7

Exploring media and techniques:

Mark-making

Activity 7 Date: _____________________

Informal

In this activity you are going to experiment with mark-making.

What is mark-making?
Mark-making involves using an instrument/tool to apply various materials to a surface.
Dots, stippling and cross-hatching are just some of the ways in which you can make marks on a surface.
Suggested materials for this activity: Pencil, charcoal, wax crayons, coloured inks, paint
What other materials could you use? Think of the less obvious ones as well. Be creative and experimental
in your approach. Write your answers below.

In your Visual Diary:

• Create a mark-making library. Play around with different instruments/tools, as well as a variety of
materials.
• This will help you to expand the ways in which you express yourself and serve as a quick way of
finding inspiration for your artworks.
• Here are a few samples of making a mark that counts. Try to use your own pictures if possible.
• Explore different paper size and shapes.
• Your teacher will show you a video or two on drawing. Observe and listen. This will help you in
creating your pictures.

17
 Visual Art Grade 7

18
 Visual Art Grade 7

Activity 8 Date: __________________

Informal Homework
In your Visual Diary:
• Collect pictures or photographs of different trees, flowers and/or other plants.
• Make thumbnail sketches (small, quick drawings that explore an idea visually) of trees, flowers
and/or other plants.

In class:

• Choose a picture of a tree, flower or other plant from your collection in your Visual Diary that you would
like to draw.
• Decide how you will make use of the following art elements to create your drawing: line, tone, texture
and shape.
• Refer back to your mark-making library in your Visual Diary to help you develop and use the above art
elements in your drawing.
• Do your drawing on an A6 piece of white paper.
• Use a pencil for your drawing so that your drawing is in shades of grey.
• Finish your drawing at home, and make sure that it is completed by the following date: _____________

19
 Visual Art Grade 7

Activity 9 Date: ______________________

Informal Activity

• Divide into small groups that the teacher divided you into.
• Discuss the following question:

• What is a craft? Write down an explanation before refining it into a definition.

20
 Visual Art Grade 7

Activity 10 Date: ________________________

Informal Activity
Homework

• Visit local craft markets and take pictures of all the interesting crafts you find, or consult a variety of
resource books or the internet to find photographs/pictures of local crafts.
• Choose one example of a local craft item and fill in the information required.
• Paste the picture/photograph of your chosen craft item in the space below; ,or make a drawing of it.

10.2 Describe the use of the following art elements in your chosen craft item:

Shape: ______________________________________________________________________________

Line: ______________________________________________________________________________

Tone: _______________________________________________________________________________

Texture: _____________________________________________________________________________

Colour: ______________________________________________________________________________

21
 Visual Art Grade 7

10.3 Discuss the following design principles in the pictures below:

Balance:

Proportion

22
 Visual Art Grade 7

Emphasis

Contrast

23
 Visual Art Grade 7

Activity 11 Date: ______________________

Informal activity

Choose a craft you would like to learn and find out more of this craft.
Write a short essay and place some pictures of the craft you chose and present it in class.

24
 Visual Art Grade 7

Topic Content / Concepts and Skills ATP %

Topic 2 Art elements used in description of artworks: 0.5%
Create in 3D Line
Shape
Monochromatic Tone
materials Texture
Monochromatic colour
Design principles: use in description of artworks: 0.3 %
Proportion
Emphasis
Contrast
Good Craftsmanship: pasting, rapping, tying, 0.5 %
constructing, joining etc.
Concern for the environment: Use of recycled 0.1 %
materials
Sharing resources 0.05%

Create in 3 D
Monochromatic colours
Activity 12

Study the masks below and answer a few questions.

25
 Visual Art Grade 7

12.1 When comparing mask A with mask I what similarities do they have and what differences are
there between them?

Similarities
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

Differences
A I

12.2 Which mask has the most lines used? Name the lines that were used in this mask.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

12.3 Choose any mask that you would like to create and draw the picture below.
Colour this mask in with monochromatic colour.

26
 Visual Art Grade 7

12.4 Make a African or any other mask using recycled materials.

Use the rubric below to check if you have the following with your end product.
Rubric
Exchange your mask with the person sitting next to you in class.
This person will be giving you marks on your mask you created.
Markers make sure you are honest and that you do not use favouritism during your marking
process.
Content / Concepts and Skills Allocation Marks
marks
1. Were there lines used on the construction of the mask? 1
2. Did the creator of the mask used more than four different types of 4
texture on the created mask?
3. Were different tones (4)used of the same colour to decorate the 2
mask with?
4. Is the mask done in a monochromatic colour? 1
5. Is the mask created with different proportion? 1
6. Is there any contrast and emphasis added to the mask? 2
7. Were recycled material used to create the mask with? 1

What do you think was not up to standard in the mask and give a reason for your answer?
_____________________________________________________________________________
_____________________________________________________________________________

12.5 .Discuss the following design principles in your chosen craft item:

Balance

Proportion

27
 Visual Art Grade 7

12.6 What specific function does your craft item serve? Discuss.

Activity 13
Formal: 2 D
Drawing of a figurine (own choice)

Topic Content ATP %

Topic 3 Art Elements: use in description of artworks 0.2 %
Visual Literacy Shape
Line
Tone
Texture
Colour

Design principles: use in description of artworks: 0.2 %

Proportion
Harmon
Rhythm
Emphasis
Contrast

Emphasis on learners’ personal expression and interpretation 0.3%

Communication: Express, identify/name, question and reflect 0.1 %

through looking, talking, listening and writing about the visual world:
interpret, analyse and recognise symbolic language with reference
to groups of figures (e.g. musicians)

What is Proportion?

• Proportion in art can be defined as the relation based on size between parts or objects within a
composition.
• It should not be confused with scale, which defines relation between different artworks and their sizes.
• Proportion is one of the principles of art and design that organizes and arranges their structural
elements , together with balance, unity rhythm and emphasis.

28
 Visual Art Grade 7

Activity 13.1

Redraw the horse in the grid provided to you.

You need to nr the blocks in any order for yourself to draw the horse correctly.
In the picture below you need to place outlines there to make it easy for you to redraw the horse in the
provided grid.

29
 Visual Art Grade 7

13.3 Study the pictures below and discuss these pictures in groups on proportion.
Questions you need to look at are the following.

Picture Were is the Give a reason for What is your own

proportion in this the answer you opinion on the
picture ? gave in the picture?
previous column.

30
 Visual Art Grade 7

31
 Visual Art Grade 7

Harmony

• Harmony in art is about creating a visually stimulating image by creating

similar elements throughout the frame.
• Some elements that can be used is colour, shape and texture.
• This image uses harmony in a few different ways.
• The brown colour brings along the whole image in different ways.
• The brown colour spreads evenly throughout the whole image.

Rhythm in Art

32
 Visual Art Grade 7

• Another word for rhythm is movement.

• .Rhythm is a principle of art that can be difficult to describe in words.
• We can easily recognize rhythm in music because it is the underlying beat that we hear.
• In art, we can try and translate that into something that we see in order to understand an artwork's
visual beat.
• A pattern has rhythm, but not all rhythm is patterned. For example, the colours of a piece can
convey rhythm, by making your eyes travel from one component to another.
• Lines can produce a rhythm by implying movement.
• Forms, too, can cause rhythm by the ways in which they're placed one next to the other.

13.4 Discuss how Harmony and rhythm is used in the pictures below.

A
B
C
D

33
 Visual Art Grade 7

Activity 14
Formal

Beginning Date: _______________ End Date: ____________

What is a figurine?
Definition: It is a small statue especially one in a human form.
Possible resources to be used for researched by the artists and art piece: Noriah Mabasa, Dr.
Phutuma Seoka, Hummel, Dylan Lewis etc.

34
 Visual Art Grade 7

Planning
Study the pictures you have chosen and answer the question below. (10)
Compare the two pictures you have pasted on the worksheet and complete the columns below.

Figurine 1 Figurine 2
Title of figures

Artist name

Medium used

Types of lines used

Colours used

35
 Visual Art Grade 7

Rubric
Criteria 3 2 1 0
Brought pictures, chose 2, pasted them Various interesting figurine Attempted to bring pictures and Brought one picture and the Didn’t bring any pictures to
and completed the discussion sheet on pictures brought to school and discussed most of the comparisons information discussion was school and could give no to
comparing the two artworks on the the pictures were discussed of the two pictures little to none poor input on discussions
name of the artist, the art piece name, where learner had to compare
line and colour usage two pictures

Drawing the picture on the provided Excellently drew a figure with Attempted to draw a balanced Struggled to draw the picture Did not meet the criteria and
White unlined page and the placing of the correct body proportions composition of the figure and the of the figurine and the the placing of the figurine was
the figurine in the middle of the page and the balance of the art placement of the figurine on the placement of the figurine on done poorly and unbalanced
work was considered page was done mostly correct the page was not correct
regarding the space

Shading technique imitating the Excellent use of visual tactile Clear indication of texture used Struggled to use texture No texture indicated
textures usage with shading techniques texture
by applying the correct medium

Using three different line techniques in Excellent display of the Three different lines were used in Minimal / Limited use of lines One kind of lines were used
the construction of the drawing understanding of the use of the construction of the figurines
lines
Usage of monochromatic colours in the Excellent usage of Very good use of monochromatically Monochromatic colour usage Limited to no use of
background. monochromatic colour and colour and shading was average monochromatic clolour and
shading shading
Learner adhere to the time allocation of Learner followed all steps and The learner followed most steps and The learner followed the most Little to none instructions were
the product handed in the product on time handed the product in a day late instructions and handed the followed and the product were
product in handed in after the
submission date
18
TOTAL

36
 Visual Art Grade 7

Reflection
Discuss on what you did wrong during your activity and indicate what you need to improve. (7)
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________

TOTAL 25

37
 Visual Art Grade 7

Create in 3-D
Formal Assessment
Earth ware figures
Own choice

TOPIC CONSEPTS AND SKILLS ATP’S

Topic 2 Art elements: shape/form, texture
Create
in 3 D
Design principles: balance, proportion, emphasis, contrast
Modelling techniques: pinching, rolling, joining techniques, surface
texture

Beginning Date: _________________ End Date: ________________

Recourses:
- Clay
- A sharp stick, tooth picks, tongue stick (doctor) or ice scream stick
- A flat pièce to mount your figurine e.g. wooden plank or stick, 2litre plastic container lid, off cut
cardboard, polistairine etc.
- Plastic bag

Instructions

38
 Visual Art Grade 7

Step 1:
Prepare your clay.
Wedge or knead the clay with your hands to remove air bubbles and make it smooth.
Step 2:
Use the figurine you have drawn as a 2D product to construct the 3D product.
Step 3:
Make your figurine using the following technique:
• Roll some of the clay into a ball and flatten it. This flattened clay will be the base of your clay
figure.
• Place a ‘sausage’ around the edge of the base. Press this clay ‘sausage’ down on the inside
so that it gets attached to the base.
• Add more coils and build up the shape. Place the joints at the different parts of the circle.
• Press the coils together on the inside and the outside. While you press, support the outside
surface with your other hand.
• As you put more coils on, you can change the form. If you want it to go wider, add each coil
slightly to the outer edge of the coil beneath.
• If you want it to go narrow, add each coil slightly to the inside of the coil underneath.

39
 Visual Art Grade 7

Step 4:
At this stage, your model looks like a pot.
Turn it into a figure by joining arms and head onto it.

The joining technique:

• Scratch the surfaces to be joined with a sharp stick, making criss-cross patterns (that
you planned).
• Paint the rough surfaces of your pot with watery clay called slip and press both surfaces
together.
• When you have finished, cover your figure with a plastic bag so that it does not dry too
quickly and store it safely.
Step 5:
• After a few days when your sculpture is hard, you can add details and create textures.
• Use a sharp tool to scratch textures.
• Carve away parts where you feel you need to.
• Create details by adding small pieces of clay.
Step 6:
• Paint the figurine using a monochromatic colour.
• You need to enhance different contrasts and shading techniques in the usage of the
colour.
Step 7:
Mount your figurine on the mounting block of your choice.

40
 Visual Art Grade 7

Formal Rubric: 3 D: Creating a figurine

Rubric 1

Criteria Mark Learners

Mark
1. Art Elements:
1.1 Use of shape and form 2
1.2 Use of different kinds of textures 2
2. Design Principles: (pays attention to):
2.1 Balance 2
2.2 Proportion 2
2.3 Emphasis 2
2.4 Contrast 2
3.Modelling Techniques
3.1 Use pinching 2
3.2 Use rolling 2
3.3 Use joining 2
3.4 Use surface texture/ decoration 2
TOTAL MARKS: 20

Reflection
Describe in your own words what you have to improve on for the next 3 D product after this was
discussed with you by the teacher. (5)

____________________________________________________________________________

____________________________________________________________________________

____________________________________________________________________________

____________________________________________________________________________

TOTAL 25

OR

41
 Visual Art Grade 7

Rubric 2

Assessment criteria: Possible Learner’s Comments:

mark: mark:
Learner’s skill in using modelling techniques : 4
pinching, rolling, joining.
Learner’s use of art elements:
Line 2
Tone 2
Texture 2
Shape 2
Learner’s use of design principles:
Balance 2
Contrast 2
Proportion 2
Using of a monochromatic colour with different 2
tones
Total: 20

42
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 43

Reflection
Discuss on what you did wrong during your activity and indicate what you need to improve. (5)
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________

TOTAL 25

43
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 44

44
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 45

Topic 1: Create in 2 D
Activity 1
INFORMAL
Own and wider world: still life arrangements

ATP’S
Art elements: Shape, line, tone, texture
Design principles: contrast, proportion, emphasis 2%
Simple etching techniques: etching, drawing, scratching

What is a Scraperboard ?
Scraperboard is a versatile and inexpensive medium, especially if you prepare your own boards in class.
Provisional artists generally buy prepared boards which are made with White China clay and Black India
ink.

Materials to be used
• White wax crayon
• Black waterproof ink
• Black tempera paint
• Hard cardboard or paper. (A4)
• Small amount of dishwashing liquid
• Simple etching tools e.g. sharp found objects: nails, pins, compass points, etc.)
• Old newspapers or a black bag cutted in half to cover the work area.
• Container to mix the paint and dishwasher soap in e.g. ice cream container, margarine tub etc.

Instructions

• Read the rubric before you start with the instructions and scraperboard
• Cover your workstation with the newspapers or plastic bag.
• Note: If you make a mistake in your picture, simply fix it by painting that part with another layer of black
paint!

1. Place the A4 cardboard in front of you. It can be placed horizontal or vertical. This is your choice.
2. Use the bright colour pastels or wax crayons ( you may not use Black or Brown) to colour the
whole surface of the A4 page. Colour using big patterns or lines.
There may not be any open spaces on your page after you have coloured it.
Look at the example below.

3. Place two table spoons of black paint in your mixing container. Drip 5 drops of dishwashing soap into
the container with the black paint. Mix the paint and dishwashing soap thoroughly. One must not be
able to see the dishwashing liquid.

45
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 46

4. Use the paint brush and paint the whole surface of the cardboard that
you just covered with the pastels or wax crayons. The paint must be
painted on in a thick layer. The layer of paint must be painted on evenly.

5. After completing this task, place the A5 cardboard aside to dry. The drying of the cardboard will take up
to an hour if it is placed in the sun but it could take longer as well.

6. Use a A5 paper and plan how your design is going to look on your
scraperboard.

7. After your planning follow the instructions:

• Choose a scrap board instrument that you will be drawing e.g. toothpick, old pen, paper clip. You may
also use a combination of these instruments.
• Draw the musical instrument you chose in the middle of the A5 that has been painted.
• The musical instrument has to contain the following art elements: line x6 types, form x 4 types and 2
types of texture techniques.
• You have to draw a frame onto the A4 page.
• The frame has to be decorated in repetitive form with any types of line concepts you have learned in
Term 1, e.g. wwwwww, ccccccc,vvvvvvvvv .
8. Use the scraperboard pen or stick and start drawing. While you are drawing you will see the wax
crayons colours coming through the black.

9. You can use the lines or even scrape out bigger sections where you want to emphasize more detail on
the picture.
- Don’t blow or sweep the pieces away that you have scraped out. Rather pick up
your page and let it tilt to the side so that the pieces that were scraped out will slide
off the A5 page. Please do this over the dustbin.
10. After you have completed your work, past the page into your scripts or place it
into the portfolio file.

46
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 47

Informal Rubric

Description of the specific instruction sheet Allocation of Learner

Marks Marks

Was the picture planned and completed in the acquired time? 1

Was the image of the topic you chose clearly identifiable and placed in 2
the middle of the A4 to create a focal point?

Did the learner made use of different types of lines; 7 in total? 7

Did the learner use three different forms in creating the object? 3

Are texture clearly visible and do one see at least two techniques? 2

Different patterns had to be used in the frame. Did the learner 2

incorporate these patterns and were they repetitive patterns.
Did the learner use at least 4 design principals when doing planning and 4
excavating the task?

The space of the image in relation to the page is used well. 2

The planning was well executed and neat. 2

Total: 25

47
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 48

Beginning Date: __________________________

Activity 2 Date to be completed: ____________________
Informal

Reflection

1. Why did you choose the topic you used as your theme on your scraperboard?
__________________________________________________________________________________

2. What did you learn by making the scraperboard? Discuss the Art elements: shape, line, tone, texture.

3. How did you use the following Design Principals: contrast, proportion, emphasis

4. What will you improve on the next time and why?

48
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 49

Visual literacy
Topic 3

Formal Activity
Investigation of a local crafter
Essay

Content/concepts/skills ATP

Art elements: use in description of artworks – line, tone, texture, shape, colour
Design principles: use in description of artworks – balance, proportion, harmony, emphasis,
contrast 6%
+0Interpret, analyses and recognize symbolic language with reference to still life
Express, identify/name, question and reflect through looking, talking, listening and writing about
still life

Famous Crafters in South Africa

Noria Mabasa
Noria Mabasa was born May 10, 1938 in Xigalo in the Limpopo Province in South Africa. She received
formal education for only one year, having to walk three hours a day to the nearest school. She carried out
household chores throughout her childhood.
At the age of 14, Mabasa moved to her brother’s house in Soweto to assist her brother’s wife, who had
gone blind during childbirth. At the age of 15 Noria moved to Johannesburg with her cousin. It was there
that she met Jim Mabasa got married but devorced him years later
In the early 1970’s, after a long struggle for economic survival, Mabaso began making clay sculptures of
Domba figures. In 1983, after meeting the Venda sculptor Nelson Makhuba, she was encouraged to
venture into woodcarving. Her skill made her the first black woman, and the only Venda woman in South
Africa, to become a famous wood carver. She also began to create works which followed more
contemporary themes.

Her figures of traditional ceremonies, women with babies, and those that capture daily life around her reflect
profound expressiveness and mastering of her craft. She conveys the experience of apartheid from a Venda
women’s perspective focusing in the exploration of her origins, displacement, race, and sex.

Her work contemplates the feeling of social rejection, censure, and disapproval that comes with diverging
from the established guidelines of accepted and expected behaviour. Although she had no formal art training,
Mabasa’s natural artistic talent manifests extreme sensitivity. This has given her national and international
recognition.

In 1985, she was introduced to Ditike – The Craft House of Venda, a project of the Venda Development
Corporation which recognized her ability, and began promoting her work.

49
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 50

Mbongeni Buthelezi

Mbongeni Buthelezi recycles plastic litter, adds some heat and melts it all on to his canvas to create
some of the most audacious pieces of art. A regular exhibitor on the local and international art
scenes for almost 20 years, he has been hailed as one of the country’s most innovative artists.
At the age of 16 years he’s made a name for himself as one of South Africa’s boldest and most original
artists. He chose to work with plastic during his art school days as a way to draw attention to the medium
and as a way to stand out in the often crowded local art scene. The combination of the tangible method of
sculpting plastic on to canvas was also a way for him to work through his creative process.
Buthelezi has been a regular and popular exhibitor on the South African art circuit for years, and has
garnered positive attention from international galleries and art schools. Art lovers are intrigued by his use of
discarded consumer plastic in crafting vibrant and engrossing African story-portraits. In these works, he
makes bold statements about the world as he sees it, addressing social and environmental issues.
His artistic process involves melting down strips of coloured plastic on to the canvas surface, itself often also
made from plastic. He understates the creation process as simple and haphazard, but the final Pollockesque
pieces speak for themselves, enjoyable and provocative on all levels, from all distances.

In addition to being recognized with a number of local art awards during his career, including semi-finalist in
the 2007 Sasol Wax Art Awards, Buthelezi has also won a Visi Design award and a Mail & Guardian Green
Trust award for “commitment and contributions to the environment (with) social conscience and creativity”.

He is artist-in-residence at the Omni International Arts Centre in New York City and for the South African
National Arts Festival. He has exhibited in Germany, the US and Holland, and has been commissioned to
make exclusive works by companies such as Mercedes Benz South Africa and the Daimler art collection in
Stuttgart, Germany

50
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 51

1. Compare and discuss both the artist work according to the following: (14)

Art Elements Nora Mabasa Mbongeni Buthelezi

Colour usage

Line

Contrasts

Tone

Shape

Texture

Materials used

2. Which one of these two artist that you have discussed did you like the most and give a
reason for your answer? (1)
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

51
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 52

3. Analyse the following pictures and discuss these pictures according to your
Design principles: (15)

Balance :

Proportion:

Harmony:

52
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 53

Emphasis:

Contrast:

4. The following work is your research work on a famous crafter.

Please follow the instructions below and while working on your presentation, tick off every thing you have
completed on the rubric so it will assist you in completing your task.
NAME OF ARTIST

BORN:
WHERE DID THE ARTIST LIVE?
WHERE DID THE ARTIST GO TO SCHOOL?
EXRA INFORMATION THAT YOU THINK IS INTERESTING

In this section talk about the techniques and inspiration the artist used in their work.
Put it in your won words. (No copy and pasting it you are doing this on a computer because it will
be plagiarism)

The issues to be discussed are:

1. What media did the artist use?
2. What is the main style and characteristics of the artists work?
3. What influenced the artist work?

53
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 54

Insert a picture here of the artist and choose one of the art products he/she has made and past a picture
here as well

54
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 55

Annalise the artwork through discussing the following:

What can you see in the picture?

55
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 56

What medium did the artist use to create the artwork?

In the medium that the artist use, how did the artist apply the medium in the art work?
(look at paint or texture etc.)

Name the types of colour the artist used in his/her work?

Discuss the following art elements:

Line
Shapes
Textures
Tones
How did this artwork let you feel and why did you choose this specific art work of the artist?

Rubric on the research work

Criteria Tick 5 4 3 2 1 0
list

Planning: Completed sections in workbook

Written presentation was neat and complete

Addressing the colours used in the artist work

Understanding of the artist’s/crafter’s use of art l

elements

Understanding of the artist’s/crafter’s use of design

principles

Understanding of the artist’s/crafter’s work

Personal meaning explained

Analysing of the art piece you chose

Media that the artist used were discussed

Presentation: Time-limit adhered to

Presentation: Format appropriate

56
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 57

Presentation: Delivery of a high standard

Attitude towards quality of work

5. Did you name the artist? Yes/No (1)

6. In your opinion, where do you think you could have improved on your project and give reasons. (4)
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

57
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 58

Topic 1
Create in 2D
Activity 6

Content/concepts/kills ATP’S

Art elements: shape, line, tone, texture, complementary colour, tints and shades
Design principles: contrast, proportion, emphasis, unity 2 %
Emphasis on the observation and interpretation local still life arrangements
Painting: colour-mixing: tonal range, shades and tints

Recommended resources
(e.g. still life painting: local interpretation)

Materials
A5 x3 to do pre sketches of the still life.
HB, 2 B and H pencils.
Tempera paint in limited
Colour range and white and black.
A3 paper for your final product

Instructions
1. Collect a few still life pictures and bring them to class.
2. Make a collage of the still life’s you have collected.
3. Paste these pictures in your book.
4. Use your 3 A5 White pages and re draw the still life’s onto the papers.
5. These still life compositions have to be drawn and planned with your HB pencils.
6. After you have experimented paste your work into the workbook.
7. Select a few items in each picture that you have drawn.
8. Choose the items carefully and wisely (choose the items you could draw properly and in
perspective).
9. Create your own still life onto a A4 page with the objects you have chosen from the three A5
pictures you have practiced.
10. Read your rubric before starting your end product.
11. Look on how you have placed your composition on the paper and how you have used the Art
Elements and Design Principals.
12. Choose the still life picture you have done the best with your Grey pencils.
13. Re draw your still life picture you have decided on, onto the A3 page with a colourd board crayon.
14. Choose the colours you are going to do your artwork with.
15. Complete your artwork and do the reflection sheet after completing your work and after your teacher
gave you feedback on the still life composition.

58
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 59

Rubric

Outcomes Possible Learners

Marks Marks
The learner collected a few still life compositions and made a collage with it 3
and it was pasted into the book.
Planning was done on the A5 papers, they were all completed and pasted 3
into the book.
The learner used the A5 drawings to create a still life composition on a A4 3
page. The drawing was done as a pretext and Art elements and Design
principals were used to complete the practice run.
The learner redrew the still life onto the final A3 page and used the right 2
composition.
The colour combinations were used: Primary, Secondary and Tertiary 6
colours were used.
The still life has a focal (emphasis) point. 1
The perception factor were used in the final product 1
The composition has depth. 1
Line , tone, texture and shape were used. 4
Contrast and proportion were used in the still life 2
The background of the still life composition enhances the objects in the 1
composition
The art work were completed on the right date. 1
The art work is neat and the end product is rounded off. 2

TOTAL 30

59
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 60

Activity 6 Beginning Date: __________________________

Reflection
Date to be completed: ____________________

1. Which element of art is the most dominant in your painting? Give a reason why you used it. (2)
_____________________________________________________________________________
_____________________________________________________________________________

2. What message did you try to convey? Explain why? (2)

_____________________________________________________________________________
_____________________________________________________________________________

3. Did you use symbolism to convey this message/theme/idea? Discuss in detail. (8)

4. Explain what makes your drawings inspired by local still life paintings unique. (8)

TOTAL: 20 / ____

60
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 61

61
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 62

Content/concepts/skills: ATP’s
Topic 2:
Create
in 3D • Art elements: shape, line, tone, texture, colour
• Design principles: proportion, emphasis, contrast – construction and modelling
techniques
• Craftsmanship: pasting, cutting, wrapping, tying, stitching using a variety of
materials 1.5 %
• Pattern-making: creates own. Experiments with art elements and design
principles in pattern-making as surface decoration; repeat pattern
Use of tools: safety, consideration of others, sharing resources

Activity 1 Date: __________________

Informal
Useful
containers

In your Visual Diary:

• Make thumbnail drawings of different useful containers that you can find in your living environment.
• Collect photographs and pictures of containers.

Homework:

• Start to collect recyclable materials such as fabric off-cuts, beads, coloured cottons, ribbons, braids, etc.
which you will use to make your chosen container.

• Make sure you have your Visual Diary with the completed homework, as well as all the materials you
need for this activity, in class on the following date: __________________

62
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 63

Classwork :

• Decide on the type of container that you want to make.

1. Write down the name of the container and explain why you have decided on it.

2. Make a list of all the materials you have collected to make your container.

3. . Experiment with creating a pattern that you will use to decorate your container. Make sure that you
will be able to create the pattern you design with the materials you have collected.

63
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 64

4. Think carefully about how you will make use of colour, shape, line, tone, and texture to achieve the
desired proportion, emphasis and contrast in your container. Explain how you will do this below.

Colour:

Shape:
Line:
tone:
Texture:

5. What tools will you use in the creation process? List them.

64
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 65

6. Once you have finished your planning, make a final design drawing of your container below. Provide as
much detail as possible in your drawing to make sure that you are making use of the art elements you
have learnt about in order to achieve the correct proportion, emphasis and contrast.

7. Construct your container

• Pay attention to the skills needed to create your container (pasting, cutting, wrapping, tying and
stitching) as you will be assessed on good craftsmanship. In other words, make sure that your work is
neat and of a high standard!
• Make sure you take your peers into consideration as you will be sharing your working space. Always
use any tools in a safe and considerate manner and share your resources with one another. Remember
that sharing means giving and taking, and not just taking.
• You are not allowed to work on your container at home, so be sure to make effective use of your time in
class to create a product that you will be proud of.

• Once you have completed your project, you need to reflect on it. Is there anything in the process of
making the container or finished product itself that you would do differently if you had to repeat the
activity? Explain.

8. Are you proud of your finished product? Explain.

65
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 66

HOW TO MAKE A DECORATIVE CARDBOARD BIRD HOUSE

Materials Needed to make a decorative bird house :

1. Cardboard (like cereal boxes)
2. Patterned or bright coloured paper
3. Coloured Foam sheets
4. Foam cut-outs or other embellishments
5. Craft sticks
6. Washi tape
7. Glue Gun
8. Scissors

Step 1

• Print the Template – on an A3 Sheet.

• Cut the outline. Trace onto a Card board.
• Cut out the cardboard.
• The flaps should overlap to form the floor of the birdhouse and the rectangular flaps on top should align
with the pointed roof.
Step 2

• Cut out the circle too, and cover the cut cardboard with patterned paper, leaving out the rectangular roof
flaps. Use a spring themed pattern, or bright colours which you can decorate later.
Step 3

• Now fold the house properly and stick the flaps in place with tape or glue.
• Cover the bare roof flaps with glue and line them with ice cream sticks, cut to size.
• Spread a line of glue in between to hold both sides of the roof together.
• Stick a lolly stick under the circular hole for a bird rest.
• Decorate with washi tape.
Step 4

• Now your house needs a birdie!

• Cut shapes for the body, wing and beak from foam sheets and stick them together.
• Add a little googly eye and a piece of pipe cleaner on the back to twist it around the bird rest.
Step 5

• Fix the birdie in front of her house and decorate it for her.
• Use foam cut-outs or a craft punch to get some decorative shapes.
• To keep it spring specific, use flowers or greenery.
• You can even paint the roof, though a plain, ‘woody’ look works as well!
• You can make miniature versions and place them together for a cute cluster. Or make a bigger one with
more rests and different coloured birds – the options are endless!

66
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 67

67
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 68

Content/concepts/skills: ATP’s

• Art elements and design principles: use in the description of artworks

(e.g. buildings)
Topic 3: • The role of the artist in society: role of artist as contributor to society
Visual • Emphasis on learners’ personal expression and interpretation of
Literacy architecture
• Social development: similarities and differences, respect and
understanding of self and community; the arts as heritage 1.5 %
• Values development: respect for the opinions of others; investigate
and understand the contribution of the arts to heritage
Communication skills: express, identify/name, question and reflect
through looking, talking, listening and writing about buildings

Activity Date: ______________________

Informal
Architecture

In class:
Divide into small groups of 3–5. Discuss the following questions and make notes:

1. What is architecture?

2. What role does an architect play in society?

3. Would you say that an architect is an artist? Explain.

68
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 69

69
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 70

Your teacher will show you pictures of a specific building or group of buildings that you and your group
must discuss under the following headings:

4. Name of the building / group of buildings and where it is located

Name:
Located in:

5. Name/s of the architect/s who designed it

6. Purpose of the building

7. Discuss any 3 design principles used by the architect/s in the design of the building.

70
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 71

8. What would you say the architect/s of this building / group of buildings contributed to our society and
heritage? Explain.

71
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 72

Topic 1: Content/concepts/skills:
Create in 2D

• Cut paper collage: buildings as heritage

• Art elements: shape, geometric and organic, line, tone, texture, colour
to include monochromatic colour
• Design principles: balance, contrast, harmony, proportion
• Pattern-making: in collages, designs – exploration of various repeat 8%
methods
• Emphasis on the interpretation buildings in paper-cut collage – cutting,
layering, pasting, monochromatic colour
• Variation of paper size and format: different scale and degrees of detail

Cut paper collage

Activity

The Union Buildings

In this activity you are going to make a cut paper collage of a South African public building. Choose a
building that is a reflection of, or important to, South Africa’s heritage.

Section A: (10)

1. Name of the building (1)

2. Explain why you have chosen this building. (2)

72
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 73

• Collect as many different pictures/photographs as you can of the building you have chosen
and paste them on the next page.

In your Visual Diary:

• Experiment with drawing or doodling a variety of organic and geometric shapes (p. 4).
• Experiment with how you can repeat the organic and geometric shapes to create patterns.
• Use these pictures/photographs as inspiration to make a couple of thumbnail drawings in which you
interpret the building in your own unique way.

73
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 74

Paste pictures/photos of the building here: (3)

74
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 75

75
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 76

3. Choose 3 colours to work with in your collage. Only one of these colours can be used as a
monochromatic colour, in other words tints and shades of the same colour. Write the colours down
and indicate which one will be used as a monochromatic colour. (3)

• You should make use of the following materials: recyclable paper in a limited range of colours from
found sources, white paper, paint, glue, cardboard strips for applying glue, and scissors.
• Choose a white or coloured (in one of your chosen colours) piece of paper on which to do your
collage. This piece of paper should be in an unusual shape: a circle, triangle, rectangle or any other
shape of your choice. It should be big enough for you to create an interesting detailed collage.

Make sure you have your Visual Diary with the completed homework, as well as all the materials you need
for this activity in class on the following date:

In class:

• After looking at all the different ideas you have experimented with, make a final drawing of the
building you will use in your cut paper collage. Include the geometric and organic shapes, as well as
specific patterns that you will make use of to create your final artwork. (3)

76
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 77

• Take a good look at your final drawing and decide if you are happy with the shapes and lines you
have used. If not, think about how you will change it in your final artwork.
• Decide if you are happy with the balance, harmony and proportion of your drawing. If not, think
about how you will change it in your final artwork to achieve the results you are looking for.

4. How will you create contrast through your use of tone and texture? Explain. (3)

• In order to create a cut paper collage, you have to layer different paper cut-outs on top of one
another to create the desired effect. You can make a variety of cut-outs from white paper which you
can paint in different tints and shades to create your monochromatic colour. Think carefully about
how and where you will make use of the different colours.
• Finish cutting out all your shapes, layer them, and once you are happy with the effect, glue all the
pieces of paper onto the background.

Total Section A: _____/15

77
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 78

Section B: Rubric
Total Section B: _____/30
Section C: Reflection

1. Are you happy with the end result? Explain. (2)

2. Were you successful in creating a collage? Explain. (2)

3. If you could change anything, what would it be. (2)

4. Which part of the project did you find the easiest? Explain (2)

5. Which part of the project was the most difficult to complete? Explain (2)

6. What tools and/or materials did you use to create your collage? List at least. (5)

OR

Planning
What did we do to support the CAPS and Educators in this time

• A on site workshop was held with the HOD on how we need to do the formal assessment task for Visual
Art.
• Collage of a building is the formal task.
• It will be done as follow:
Planning
1. Collect pictures of different kinds of buildings.
2. Cut out these pictures and paste them on a A4 white page and place it in the learners books.
3. Do pre drawings of buildings e.g. it could be buildings that children can draw as in the types of
houses and flats they drew when they were in foundation phase.
4. Make sure the drawings overlap and that there is a foreground, middle ground and background

78
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 79

5. The top drawing must have line, texture, tone and colour so that the learner will be able to
understand the concepts of the Art Elements and Design Principles e.g. as the samples of the
pictures below.

Execution (Rubric)
6. Redraw the picture for a third time on schale on a white A4 paper.
7. Search for coloured paper in different textures, tones and colours. (This can be found in old
magazines)
8. Let the learners now plan on how they will be doing their mosaik collage on their buildings.
They will use tones and tints as well as texture to decorate their building.

79
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 80

80
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 81

Reflection
• What is mosaick?
• What is a collage
• What art elements did you use the most and motivate your answer?

81
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 82

FORMAL ASSESSMENT: CREATE IN 2D

Rubric
Cut paper collage

MARKS
Criteria Outstanding achievement Partially achieved Not achieved

2 1 0

1. Planning: Visual Diary and/or completed There is ample evidence of There is some evidence of There is not enough evidence of
sections in workbook thinking about and planning thinking about and planning for thinking about and planning for
this activity. this activity.

2. Understanding and use of art elements: The learner clearly The learner communicates some The learner is unsuccessful in
Colour communicates an understanding understanding of the use of communicating an understanding
of the use of colour, especially colour, especially the use of of the use of colour, especially
the use of monochromatic colour. monochromatic colour. the use of monochromatic colour.

3. Understanding and use of art elements: The learner communicates an The learner communicates some The learner is unsuccessful in
Shape excellent understanding of the understanding of the use of communicating an understanding
use of shape. Excellent and shape. Average use of geometric of the use of shape. An
imaginative use of both and organic shapes. unsuccessful attempt at using
geometric and organic shapes. geometric and organic shapes.

4. Understanding and use of art elements: The learner clearly The learner communicates some The learner is unsuccessful in
Pattern communicates an understanding understanding of the use of communicating an understanding
of the use of pattern. pattern. of the use of pattern.

82
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 83

5. Understanding and use of design principles The learner clearly The learner communicates some The learner is unsuccessful in
communicates an understanding understanding of design communicating an understanding
of design principles through the principles through the use thereof of design principles through the
use thereof in their work. in their work. use thereof in their work.

6. The learner has added detail by layering No detail added A little detail added by layering Fair amount of detail added by
paper paper layering paper

7. Use of tools, materials, resources The learner successfully made The learner was only partially The learner was unsuccessful in
use of the expected tools, successful in making use of the making use of the expected
materials and resources expected tools, materials and tools, materials and resources.
resources.

8. Craftsmanship and/or neatness The learner succeeded in The learner succeeded in The learner did not complete the
completing the activity with a completing the activity with an activity with an acceptable level
high level of craftsmanship average level of craftsmanship of craftsmanship and/or
and/or neatness. and/or neatness. neatness.

9. Creativity Creativity The learner managed The learner was partially The learner was unsuccessful in
to create a cut paper collage that successful in creating a cut paper creating a cut paper col lage that
is highly creative and collage that is creative and is creative and imaginative.
imaginative. imaginative. Time-management:

10. Time-management: class time The learner was highly The learner was partially The learner was unsuccessful in
successful in managing the time successful in managing the time managing the time they had in
they had in class to complete this they had in class to complete this class to complete this activity.
activity. activity.
Total / 20

83
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 84

Topic 1: Content / Concepts and Skills ATP’s

Create in • Art elements: shape, line tone, texture
2D • Design principles: contrast, proportion, emphasis
• Emphasis on the observation and interpretation of the small objects
• Variation of paper size and format: different scale and degrees of detail 1%
• Drawing: observational drawing: small objects – wet drawing media

Drawing with wet media

• You are now going to use wet materials to create a small drawing.
• When we make small drawings, we can include quite a lot of detail.
• Wet drawing means that the lines that you make will be different from the lines that you make when
you use a pencil.
• First, decide what size paper you will use.
• You can also choose to use your paper upright (portrait shape) or you can turn your paper so that your
drawing will be a landscape shape.
• Practise on a spare sheet of paper, and see how you can create different lines. Experiment with texture
so that you create different tones.
• Use different drawing implements - you can use sticks, toothpicks and cane.

Activity Date: ____________________

In your Visual Diary:

o Make a variety of thumbnail sketches of different small objects.

o Have these drawings ready on the following date: ___________________

At home:

o Visit your library or type ‘Rembrandt drawings’ into www.google.com to look at

different drawing techniques this great master used in his artworks. You can
paste examples of his work into your Visual Diary.

You will need the following materials: Small brushes, dipping implements (sharp
sticks, pieces of cane, etc.) of various thicknesses, waterproof ink or food
colouring, A5 paper

In class:

o Choose one of the thumbnail sketches you made in your Visual Diary to draw with a wet drawing
medium.
1. Do you know what the difference is between wet and dry drawing media? Discuss this with the rest
of the class before writing your answer in the space below.

2. How will you create tone and texture with a wet drawing medium?

84
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 85

3. How will you create contrast and emphasis?

o Make your drawing on white A5 paper.

o If there is time left, take another of your thumbnail sketches in your Visual Diary and make another
drawing. The more you draw, the better you will get at it.
o Once you have completed your drawing/s, you should reflect on your experience.

4. Which part of the process did you enjoy the most? Explain.

5. Which aspect of drawing with a wet medium could you improve on? How could you improve the
techniques you used?

85
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 86

86
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 87

Topic 1 Content / Concepts and Skills ATP’s

Create in 2 D • Art elements: line & shape
Formal assessment • Design principles: contrast, proportion, balance, emphasis, direction
Project • Drawing: life drawing on large scale in line only 3.3 %
(3 stages) • Exploration of media

Life drawing: Stage 1 Date: ___________________

Formal assessment

Class Work

• Your teacher will place a life still live l in the middle of the class so that the person can be seen from
many angles.
• In the first half of the activity you have to make as many thumbnail sketches in your Visual Diary as
possible, from as many different angles as possible.
• Your drawings should be simple line drawings only.
• Look at your notes of the art elements of line and shape, as well as the design principles of
contrast, proportion, balance, emphasis and direction before you start making your thumbnail
sketches.
• Choose the thumbnail drawing you like best, and draw it in the space below:

87
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 88

• In the second part of the activity you have to transfer your line drawing onto an A 3 sheet of paper using
charcoal.
• If you want to, make a smaller drawing first on A4 paper to get the feel of working with charcoal before
attempting your large drawing.

SECTION A

Once you have completed your line drawing you need to write a reflection on your experience.
Consider the following questions before writing your reflection:

1. Was it difficult to draw the model? Why? Why not? (1)

2. Did you manage to draw a variety of different thumbnail sketches? (1)

3. Which angles were the easiest to draw, Why? (1)

4. Describe your experience of transferring your chosen drawing to an A1 sheet of paper

using charcoal. (2)

Total Section A: ______/5

88
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 89

Topic 1 Content / Concepts and Skills ATP’s

Create in 2 D • Art elements: tone, texture
• Design principles: contrast, balance, emphasis 3.3 %
Formal assessment • Emphasis on the observation and interpretation of tone in a
project measured block within the format of the life drawing
Stage 2

Activity Date: _______________

Formal assessment
Life drawing: Stage 2

Class Work

• This part of the project is a continuation of the work you started during the previous lesson/s.
• Using a pencil and ruler, divide in half your A1 paper on which you have done the charcoal sketch.
• This division can either be horizontal or vertical.
• Stage 2 of your project should be done on only one half of your drawing.
• Using charcoal and 2B and 3B pencils shade in the outline of your life drawing to create different
tones and textures.
• Make use of the design principles of contrast, balance and emphasis to create texture and tone in
your picture.

Once you have completed this part of your drawing you should reflect on the following:

1. How well did you manage your time? Explain. (2)

2. Are you satisfied with the end result? Explain. (2)

3. How well did you manage to create tone and texture? Explain. (2)

4. Which design principle do you think you mastered the best in this project? Explain. (2)

89
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 90

5. Do you prefer working with pencil or charcoal? Explain. (2)

Topic 1 Content / Concepts and Skills ATP’s

Create in 2 D • Art elements: tonal range of colour
Formal assessment • Design principles: contrast, balance, emphasis 3.3 %
project • Emphasis on the interpretation of a tonal range of colour in a
Stage 3 measured block within the format of the life drawing

Activity 3
Formal Assessment Date: ____________________
Life drawing: Stage 3

Class Work

• In this part of the project you have to complete the other half of your
drawing.
• You have to use pencil crayons for this part of the drawing and should
therefore pay special attention to the tonal range of the colours you are
using.
• Think carefully about how you will make use of the design principles of
contrast, balance and emphasis to create an interesting end result.

Once you have completed your drawing you should reflect on the following:

1. Which part of this activity did you find the most challenging? Explain. (1)

2. Which part of this activity was the easiest? Explain? (1)

3. Are you satisfied with the end result? Explain. (1)

90
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 91

4. If you could change anything to the drawing, what would it be? Explain. (1)

5. How well did you manage to make use of a tonal range of colour? Explain. (1)

91
 Section D: Criteria  3 2 1 0
Marks ➔ Level 1
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 92

Planning: Completed all section in Completed all Done partially No attempt made
workbook sections

Attitude towards quality of work Excellent Acceptable Bad attitude

Participation and cooperation Excellent Acceptable No ne given

Respect for other learners and artwork Excellent Acceptable None given

Time-management: class time Excellent Acceptable Not good

Use of tools, materials, resources Excellent Acceptable Not good

Craftsmanship / originality / creativity Excellent Acceptable Not good

Total: _____/14

Section E Criteria  Marks ➔ 4 3 2 1 0

Level 2
The learner created a line drawing of a The learner made a The learner made a The learner made anThe learner made anThe learner made no
figure draped in a scarf, sheet or blanket carefully observed carefully observed appropriate attempt attempt but did not attempt
drawing that drawing complete the drawing
exceeded
expectations

The learner explored line and texture The learner The learner made The learner made The learner made The learner made
showed an a substantial an appropriate an elementary no attempt
outstanding ability attempt to explore attempt to explore attempt but did not
to explore line and line and texture line and texture explore line and
texture texture

92
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 93

The learner explored tonal range of The learner The learner made The learner’s The learner made The learner made
related colours, including tints and showed an a substantial attempt to explore an elementary no attempt
shades outstanding ability attempt to explore tonal range was attempt but did not
to explore a wide a wide tonal range satisfactory explore an
tonal range, including tints and appropriate tonal
including tints and shades range
shades

The learner explored contrast and The learner The learner made The learner’s use The learner made The learner made
emphasis showed an a substantial of contrast and an elementary no attempt
outstanding ability attempt to explore emphasis was attempt but did not
to explore contrast contrast and satisfactory display an
and emphasis in a emphasis understanding of
unique way the principles
Total: _____/16

EXAMINATION: CREATE IN 2D
Life drawing
Level 1: 0-1 – Not achieved; 2 – Elementary; 3 – Substantial; 4 – Outstanding
Level 2: 0-2 – Not achieved; 3-4 – Elementary/Adequate; 5-6 – Substantial; 7-8 – Meritorious; 9-10 – Outstanding
Section A: _____/5
Section B: _____/10
Section C: _____/5
Section D: _____/14
Section E: _____/16
Total: _________/50

93
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 94

Content/concepts/skills: ATP’s
Topic 2
Create in 3 D • Design: experiments with art elements and design principles in
metamorphosis of a common recyclable object 2.6 %
• Craftsmanship: unfamiliar and familiar techniques – pasting, cutting,
modelling, wrapping, tying, stitching, joining, scoring and other
• Spatial awareness: conscious experience of working with shapes in the
construction process
• Concern for the environment: use of recyclable materials
• Manipulation of a variety of materials
Use of tools: safety, consideration of others, sharing resources

Activity4 Date: _____________

Informal
Transforming a recyclable object

In this activity you have to choose a common recyclable object and transform it into a work of art.

Homework

• Collect at least 5 different recyclable objects. Clean them and store them until you need them.
• Collect a variety of recyclable materials that you could use to transform your object into something else.
• Do not limit yourself but collect as many different things as you can.
• You will sort through your collection later to see what you will use.

TIP: This is the ideal activity to make use of all the odds and ends that were left over from your previous art
projects.

94
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 95

In your Visual Diary:

• Take each of the objects that you have collected one at a time, and scribble down ideas and drawings
in which you look at different ways of transforming this object into a work of art.
• Play around with as much detail as possible to explore the many creative possibilities available to you.
• Allow your environment to inspire new ideas and learn how to look at your environment through an
artist’s eyes.
• Repeat this process with the other four objects.
• Look at all your ideas before choosing one object to transform for this activity.

95
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 96

96
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 97

Class Work

• Write down the name of the object you have chosen to work with and list the materials you will make
use of during the transformation process.

• Make a list of the skills, as well as the techniques you need, in order to successfully complete the
transformation of your object into a work of art that displays excellent craftsmanship.

97
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 98

• Draw a rough design of your artwork. You can always change things as you start working on it, but
without a vision there will be no direction.

98
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 99

• Create your work of art.

• Remember to manage your time well, as you have to finish your project in class.
• Once your artwork is finished, you need to reflect on the process and the product.

1. Which part of the process did you enjoy the most? Explain.

2. Which part of the process did you find the most challenging? Explain.

3. Are you satisfied with the end result? Explain.

4. Which art elements and/or design principles do you think you mastered the best in this project? Explain.

99
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 100

Addendum !
Research work on crafters and artist

Nora Mabasa
Noria Mabasa was born May 10, 1938 in Xigalo in the Limpopo Province in South Africa. She received
formal education for only one year, having to walk three hours a day to the nearest school. She carried
out household chores throughout her childhood.
At the age of 14, Mabasa moved to her brother’s house in Soweto to assist her brother’s wife, who had
gone blind during childbirth. At the age of 15 Noria moved to Johannesburg with her cousin. It was there
that she met Jim Mabasa got married but devorced him years later
In the early 1970’s, after a long struggle for economic survival, Mabaso began making clay sculptures of
Domba figures. In 1983, after meeting the Venda sculptor Nelson Makhuba, she was encouraged to
venture into woodcarving. Her skill made her the first black woman, and the only Venda woman in South
Africa, to become a famous wood carver. She also began to create works which followed more
contemporary themes.

Her figures of traditional ceremonies, women with babies, and those that capture daily life around her
reflect profound expressiveness and mastering of her craft. She conveys the experience of apartheid from
a Venda women’s perspective focusing in the exploration of her origins, displacement, race, and sex.

Her work contemplates the feeling of social rejection, censure, and disapproval that comes with diverging
from the established guidelines of accepted and expected behaviour. Although she had no formal art
training, Mabasa’s natural artistic talent manifests extreme sensitivity. This has given her national and
international recognition.

In 1985, she was introduced to Ditike – The Craft House of Venda, a project of the Venda Development
Corporation which recognized her ability, and began promoting her work.

100
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 101

Mbogeni Buthelezi
Mbongeni Buthelezi recycles plastic litter, adds some heat and melts it all on to his canvas to
create some of the most audacious pieces of art. A regular exhibitor on the local and
international art scenes for almost 20 years, he has been hailed as one of the country’s most
innovative artists.
At the age of 16 years he’s made a name for himself as one of South Africa’s boldest and most original
artists. He chose to work with plastic during his art school days as a way to draw attention to the medium
and as a way to stand out in the often crowded local art scene. The combination of the tangible method
of sculpting plastic on to canvas was also a way for him to work through his creative process.
Buthelezi has been a regular and popular exhibitor on the South African art circuit for years, and has
garnered positive attention from international galleries and art schools. Art lovers are intrigued by his use
of discarded consumer plastic in crafting vibrant and engrossing African story-portraits. In these works,
he makes bold statements about the world as he sees it, addressing social and environmental issues.
His artistic process involves melting down strips of coloured plastic on to the canvas surface, itself often also
made from plastic. He understates the creation process as simple and haphazard, but the final Pollockesque
pieces speak for themselves, enjoyable and provocative on all levels, from all distances.
In addition to being recognised with a number of local art awards during his career, including semi-
finalist in the 2007 Sasol Wax Art Awards, Buthelezi has also won a Visi Design award and a Mail &
Guardian Green Trust award for “commitment and contributions to the environment (with) social
conscience and creativity”.

He is artist-in-residence at the Omni International Arts Centre in New York City and for the South African
National Arts Festival. He has exhibited in Germany, the US and Holland, and has been commissioned
to make exclusive works by companies such as Mercedes Benz South Africa and the Daimler art
collection in Stuttgart, Germany

101
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 102

Study these pictures below and discuss them according to the questions below.

3. Compare and discuss both the artist work according to the following:

Art Elements Nora Mabasa Mbongeni Buthelezi

Colour usage

Line

Contrasts

Tone

Shape

Texture

Materials used

4. Which one of these two artist that you have discussed did you like the most and give a
reason for your answer?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

5. Analyse the following pictures and discuss these pictures according to

your Design principles:

102
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 103

Balance :

Proportion:

Harmony:

103
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 104

Emphasis:

Contrast:

104
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 105

Joao Dikuanga These ingredients were ground and mixed

San artist with fat, blood, water, egg white or plant
juices. They painted with their hands or with
Both Dikuaga and Kuiper are considered to little bundles of hair or grass, with a stick or
be San people (Bushmen). They were the bone or even with a reed or a feather. It is
first inhabitants of Southern Africa and not clear who created these works of art.
belonged to an early human society called
hunter-gatherers, which means they lived Some researchers claim that a shaman
from wild animals and plants. (religious leader who was supposed to be
Archaeologists found (through excavations) able to enter the spirit world) was the artist.
that implements such as spear points, as San art does indeed contain some images
well as rock engravings and rock paintings and symbols which cannot be literally
left by San people were thousands of years explained, but can only be speculated about.
old. Joao Wenne Dikuanga was born during the
The rich legacy of rock art (there are about late 1920’s in Cuito, Angola. He experienced
15 000 rock art sites in S.A.) not only his traditional education with his family, who
expands our knowledge on how they made made a living from hunting and gathering. In
art, but also on how they lived. These the late 1950’s, Dikuanga worked in
unique forms of art are justly considered to Johannesburg in a gold mine for a few years
be one of South Africa’s biggest art before returning home. When his parents
treasures. were killed in the Angolan war in the late
There are many two types of rock art. Rock 1970’s, he fled to Omega in Namibia, where
engravings are colourless line drawings of he was employed as tracker and kitchen
which the lines are carved with a sharp worker by the South African Defence Force.
object. They are found on dolerites on the After the war he and his family moved to
plains (e.g. in the Northern Cape). The Schmidtsdrift. They lived in tents together
subject is mainly animals and they are with other !Xun and Khwe San people During
usually older than paintings. Rock paintings the late nineties, these people received their
are simplified painted scenes in colour. own land on the Plantfontein and Wildebeest
They are found in caves and mountains and Kuil farms near Kimberley where they could
the subject is mainly hunting scenes and live permanently.
other rituals with animals and people. The
colours are shades of red (red rocks, mud
or soil), yellow (yellow rocks, mud or soil)
black (charcoal) and white (lime or white
clay), or even bird droppings.

105
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 106

106
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 107

Dikuanga is part of he cultural project at this Joao’s art features as the cover picture for Marlene
settlements and he paints, without any training, Sullivan Winberg’s book, My Elands Heart, which
dreams and events. documents many of the San artists, including Joao and
This is what he says about his won work: his wife Zurietta Dikuanga, and their artwork.

“I think of the old stories when I paint. Then I

have the bush and the eland in my heart.”

“This is an old story…The hunter needs to

make a new bow and arrow. He must hunt a
good eland. He walks into the bush to find a
good tree. He finds one and cuts its branches
off. Yes, just like that. He chops the branches
off with his axe.”

“Suddenly, the tree’s heart starts to bleed. The

tree is bleeding from its branches.”

“The tree grows feet and hands. The feet and

hands start to bleed.”

“Then the hunter’s fingers grow. It becomes

branches. He grows another arm and another.
It looks like branches!”

“The hunter is fading now. His soul leaves him.

His spirit flies up into the air. His spirit goes up
to the sky village.”

“Then this spirit becomes a new hunter. It

appears instead of the old hunter.”

“The new hunter becomes a good hunter now.

He is the best hunter.”
“He can tell which eland has a good heart and
which eland has a bad heart. Now he knows
that he can only hunt an eland with a good
heart.”
107
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 108

108
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 109

Esther Mahlangu’s presence is striking, like her art. The 80-year-old I started painting on canvas and board as I realized not everybody will
South African artist wears the traditional dress of her Ndebele be able to see the Ndebele painting in Mpumalanga where I live, and I
heritage: thick, beaded necklaces; gold bangles, chokers, and ankle felt I need to take it to them to see.
bracelets; patterned head adornments stitched together from While Mahlangu’s artistic foundation is in the centuries-long tradition of
hundreds of beads; and voluminous textiles in vibrant colors Ndebele craft, she has developed a visual lexicon and color palette that
wrapped around her body. She could step right into one of her vivid is specific to her. “In the old days, the decoration on the houses was
murals or wall-size paintings, which similarly stop you in your tracks. always done with natural pigment and cow dung as that was the only
Mahlangu’s work speaks a visual language that spans disciplines, material available,” she remembers. “We were very limited with colors
from pop art to graphic design. and used monochromatic yellow, white, ochre, black, and red clay. Then
She imagines her compositions without the help of preliminary acrylic paint in lots of colors was introduced, which was more durable in
drawings, and, with superhuman precision and using a delicate the rainy season and it was adopted by the younger generation of
chicken feather as her brush, she applies thick black lines in painters like myself.” For her breakout exhibition, in the group show
patterns that echo Ndebele beadwork but in paint, then adds “Magicians of the Earth,” at the Centre Pompidou in 1989, Mahlangu
swathes of rich colour. used acrylic paint.
“I always watched my mother and grandmother when they were
“The Ndebele started using the colors and patterns that Mahlangu plays
decorating the house,” says Mahlangu of her start in painting. “The
with now only around the 1940s, around the time when Esther was
original patterns that were painted on the houses in the past were
born,” says Thomas Girst, an art historian, author, and Head of Cultural
part of a ritual of Ndebele people to announce events like a birth,
death, wedding, or when a boy goes off to the initiation school Engagement at BMW.

109
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 110

The company recently commissioned the artist to paint the interior panels of Esther Mahlangu was born a member of the Ndebele tribe in 1935 in
Middelburg, a small town in the north-eastern province of Mpumalanga. At the
a BMW Individual 7 Series, 25 years after they asked her to paint their 1991
early age of 10, she began to paint under the guidance of her mother and
BMW Art Car. grandmother.

Traditionally, Ndebele women decorate the exterior walls of houses with

elaborately painted patterns and graphic elements, symbolising important
events such as weddings or other celebrations, thus the walls are used as
active communicative media within the community.

Esther Mahlangu has separated these decorations and patterns from her
people's traditional art of painting. In the form of pictures, vessels or carpets,
she has constantly brought it into new contexts, thereby combining her artwork
with items used in everyday life.

Mahlangu herself points out the influence of African art on Western culture.
“There has always been a fascination, demand, and admiration for art from
Africa,” she says, “and the Ndebele style is one of the most significant styles
of painting that still resembles original shapes and forms. It is colourful and
abstract and lends itself to incorporation into modern design.”
But she also sees the importance of inserting Ndebele painting into the
Western art canon in order to preserve its history. “Sadly there are very few
traditional Ndebele painters left, as girls no longer stay home,” she says.

110
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 111

111
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 112

African jewellery’s are known for the quality and beauty all over the world. Beads and handmade jewellery have played an important role in Africans life
There are many types of African jewellery such as pendants, bracelets, and in the court life of African kingdoms, being valued sometimes as currency
earrings, necklaces and other types of tribal African jewellery. Jewellery and sometimes as an artistic creation. The materials used to make those
made from Africana and Africa can be great gifts for men and woman. African products have varied over time, and include stone, clay, paper, metal,
wood, shells and glass.
Continent of Africa is the birth place of human and mankind civilization. It is
also the place where people first wore and made jewellery. In Kenya over Handmade African Beads has often been complemented and enhanced with
40,000 years ago, beads were made from different materials and most of the other beads like, brilliantly white cowrie. Those beats have also served as
time wood and different stones were the main materials. As time moved on source of embellishment and currency and have been widely traded around
Africa, the Africans craftsmen improved and developed their jewellery making Africa. White stone beads have been found near Nigeria- Nok. Those have
techniques and today those products of the most beautiful jewellery in the been discovered 1588 years ago. In the 15 century, artists in Nigeria (the
world. The oldest African jewellery were discovered in 2004, in the place Kingdom of Benin), have started to use coral beads, brought in large
called Blombos cave on the southern tip of South Africa. Those jewellery are quantities by people in Portugal, to make elaborate regalia and clothing for
estimated at being over 75 500 years old and most of them are pea-sized or their kings.
mollusc shell beads that had been pierced a long time ago.
Glass originally in the sort of imported beads or bottles, is another important
Throughout history Africans have tended to develop their work and they have uncooked material in African bead creating. The bead makers either terrain
started to use different organic materials and other materials that were readily up or broke the glass and then they melted it, along with produced new
available and suitable in their region to create their jewellery. Africans has products of beads.
used a different materials to make their products. First they started with those
materials that they used to find in nature and then as the time moved they
started to make different combinations and today they use almost every
material for their jewellers. Jewellery may indicate an individual’s power,
wealth and of course their standing in the society. The materials that Africans
uses today range from sea shells and beads to gold and silver.

112
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 113

Throughout history, Africans have imported glass beads along with used them for The Fulani which are also called the Fula or Fulbe, are well known all over
add on and elaborate beadwork. At Djenne’, Mali, Roman-style along with Egyptian the world for their jewelry crafting. The special super-large gold twist
Ptolemaic period (304-30 M. C. ) glass beads, traded across the Sahara, are found earrings can be up to five inches long and usually is made out of silver or
at sites dated from 300 B. H. to A. D. 250. Along the coast of eastern Africa, opaque gold.
glass beads from India are discovered in sites dated to your. D. 200. A bead market As is true with most African this specific quickly and thoroughly conveys the
also existed in Mapungubwe, South Africa, from A. N. 600 to 1200. It’s not known wealth and status in the wearer. Traditionally the nomadic Fulani, wear their
whether the goblet for these beads was produced locally or brought in. wealth inside their jewelry. They can carry this using them wherever they
go; and then easily buy goods from people they meet.
Since the fifteenth century, Europeans have brought to Africa millions of goblet beads
from Italy, The Netherlands Bohemia and (now part of the Czech Republic).
European companies specialized in bead trade to Africa and offered many designs.
They produced “trading cards” showing the assortment of bead types thus to their
African customers and visitors.

Chevron beads, produced mainly in Venice along with shipped to Africa since the
sixteenth century, have been especially popular in Western side Africa. Today, these
samples and cards allow researchers to spot and date specific sorts of beads. In
many areas, men wear them during necklace ensembles to show their status and
prosperity.

Fulani gold earrings

113
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 114

114
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 115

There’s no denying that elephants are majestic. Not only that, but they The interesting aspect of the work of Falko One and other graffiti artists
is how public it is. While most fine artists create work with the end goal
also seem so ethereal and gentle. These big blessing of nature, which
being for the work to be owned by an individual or organisation. Work
seem a little like one of us. Emotionally and socially at least. Even in that will be displayed and viewed at that individual or organisation’s
whim, graffiti artists do work that is freely accessible to the public.
spirituality, Hinduism and Buddhism for example, elephants show up
again and again to symbolise important virtues. Perhaps it’s because of Free to view by everyone who passes one of his murals, Falko One
what elephants symbolise: strength, steadfastness, commitment to the does incredible street art and has been going strong since the 1990s.
There’s no missing the happy factor of the artist’s work. To date, he’s
path. painted over 200 elephants across the country and a few
internationally. Falko One murals are always big and bright. The
elephants are a surprise but they always end up fitting into
Falko One, the graffiti artist who was raised in Mitchelle’s Plain in the
their environment or transforming that one wall and its
late ‘80s and early ‘90s, went from painting elephants as a political surroundings to fit the mural.
message to a personal stance. While the artist still believes that
elephants symbolise community and care, he’s turning the message
\ inward. That the artist admires the traits of the majestic animals is his
own business. Falko One’s Elephants are up to the viewer’s
interpretation in the end.

What I’ve found, looking at and experiencing Falko One’s elephants, is

a sense of joy and wonder. From the city and its townships to rural
areas, Falko One creating his signature elephant mural adds a sense of
whimsy to those environments. Think a wall in Newtown, painted a
warm pink, with two elephants painted on it, towering over the passers-
by.

115
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 116

Kudzanai Chiurai
He started his career by painting landscapes and portraits until he left his
Known for
country Zimbabwe for South Africa where he developed interest in using art
Painting, drawing, film, sculpture, photographs
as a form of activism. In 2004, Chiurai went on a self-imposed exile after he
Notable work
received arrest threats following his exhibition of Rau Rau and the Battle of
Graceland, Since 1990, Fela, Iyeza
Zimbabwe, two controversial artworks that depicted Robert Mugabe as a
demonic figure during the build-up to the 2008 Zimbabwean general election.
Kudzanai Chiurai (born 1981) is a Zimbabwean artist and activist. His
repertoire of art combines the use of mixed media which involves the use of In 2012, his short still film Yeza was screened during the 2013 Sundance
paintings, drawings, videos and photographs to address and tackle social, Film Festival. Kudzanai was a winner of the FNB art prize in South Africa
political and cultural issues in Zimbabwe.
Since his first solo exhibition in 2003, his artworks have been exhibited in the
Museum of Modern Art in New York City, in London, Frankfurt, Kassel and
Germany . Forbes listed him among "Thirteen Africans To Watch In 2013".
Kudzanai is not only an artist but also a poet, an activist and a cultural
philosopher who uses all of his talents to address social and political
injustices in Zimbabwe. Kudzanai is not known as a photographer, but he
collaborates with other photographers to diversify the studio photography.
Chiurai was born in 1981 in Harare, the capital of Zimbabwe, but spent most
of his later years in South Africa where he became the first black student to
graduate with a bachelor's degree in Fine Arts from the University of Pretoria.
Kudzanai is also considered as part of the "born-free" generation since he
was born one year after the independence of Zimbabwe .

116
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 117

117
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 118

118
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 119

Carol Boys She says, “Expanding so rapidly was certainly not in my vision for myself.
I just wanted to satisfy my creative needs and put food on the table.
She remains at heart the country gal who grew up in Pretoria with trips However, because the business grew so rapidly, I was able to make
to her father’s farm in the lush subtropical area surrounding Tzaneen in others’ lives better as well as my own.”
Limpopo province, north of the country. As a child, she was intrigued by
artists who painted portraits realistically. Carrol drew her parents and Essentially though, Carrol has a Proudly South African soul. She says, “I
grandparents relentlessly and thus honed her skills for drawing the have travelled the world, seeing beautiful places and meeting amazing
human form. When she was starting her factory, people but, as soon as I get home, I know this is still the best place on the
planet.” Carrol feels it is important for her products to be recognisably
Carrol turned to the local Shangaan artists to help her bring her vision to South African. Not so much in the subject matter, which is universal, but
life. Their age-old talent for three-dimensional design through wood in the ‘South African handwriting’ of the aesthetics of her work, which
carving, as well as their ability to see things and translate them into form reflects all her past experiences growing up in this country. “South
were skills she admired and could use in her factory. Africans have embraced my product and are proud of it. Somehow
Carrol’s designs are organic and flowing. “From people to places, the best people responded to it and there’s nothing more satisfying to an artist,”
source of inspiration is usually part of your immediate environment,” she says Carrol.
says.
As an artist, Carrol sees something new in everything around her, from Although the production method varies greatly depending on the
the patterns in the cobblestones to the soap foam swirling down the materials used, the creative process remains much the same for Carrol.
plughole. “If you are creative, it is part of your make-up to see everyday She visualises something in her head and immediately jumps in to begin
things in a new light. If you get stuck, you don’t grow creatively, so for the moulding process, or else she draws a sketch first, builds an armature
your own sanity and creativity you need to explore new colours, and then a prototype in Plasticine and clay. This is then given to the art
patterns, materials and techniques,” she says passionately. It’s department which moulds it and creates a resin casting. If everything
obviously a winning formula because Carrol has a slew of awards under works, the design goes to the mould-making process and is sent to the
her belt, including SA’s Most Influential Women in Business and factory for production.
Government, and the 2008 Rapport/City Press Prestige Women’s
Awards for Phenomenal Women.
However, the success of Carrol’s unique and sensual metalwork has
surprised even her.

119
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 120

120
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 121

Jacobus Hendrik Pierneef was born on 13 August 1886 in Pretoria from Dutch In 1911 Pierneef took part in a group exhibition in Johannesburg and submitted
parents. Pierneef started his high school career at the Staatsmodelschool in two etchings which were both sold. It was however his first solo exhibition in
Pretoria and it was here that he started his art classes. Pretoria in 1913 that lead the critics to describe his work as that of a Genius.
This inspired him greatly to continue working even harder and more
With the war of 1900 between the Boers and the English, the Pierneef family disciplined.
decided to move back to the Netherlands in 1901 where Hendrik continued his
schooling. This experience brought Pierneef into contact with the works of the His second solo exhibition was held two years later and this show included a
old masters and it had a lasting impression on him. He studied part time at the large contingent of new work as well as some graphic works. The exhibition
Rotterdamse Kunsakademie. He was a changed man when he returned to was reviewed favorably. Pierneef researched South African Art and the
South Africa at the age of 18. Back in Pretoria the young artist crossed paths influences thereon and often spoke about this subject.
with other already established artists like Anton van Wouw, Hugo Naude,
Frans Oerder, and also the Irish artist George Smithard who played an During this period, he did various illustrations for a number of periodicals and
important role in the teaching of the graphic mediums like etching- and books including Die Brandwag in 1917 and The Independent in 1919. In 1918
linocuts. after 9 years in the State Library, Pierneef started a career as an Art Lecturer
at the Heidelberg College of Education. In 1919 he also started teaching
It was only in 1902 that Pierneef showed his works on an exhibition for the first drawing at the Pretoria College of Education. He never stopped exhibiting and
time. It was a group exhibition with Anton van Wouw and Hugo Naude and was constantly took part in various group exhibitions.His new career as art lecturer
visited by various well known personalities. It was of great comfort to the young didn't work out as Pierneef had planned since the curriculum and the
aspiring artist to hear the good comments from the public. Department of Education's system was based heavily on the English system
which he didn't believe in. He felt that the South African artists should have
Pierneef married Agatha Delen a woman 12 years his senior against all advice their own style and set of rules to follow. He resigned and decided to spend all
from both families on 16 February 1910. Pierneef was 23 and his new bride his time on his painting career and became a full time artist. It was a difficult
was 35years old. He worked at the State Library at night and during the day he time in the life. His wife suffered from a mental disorder and also started to lose
painted in his studio. her sight country, lectured and exhibited extensively.

121
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 122

In 1920 Pierneef had a major exhibition in Pretoria with more than 300 These were not accepted as well as his traditional works that he
works in various mediums. He received very favorable reviews. became known for and after bad reviews from people like Anton Van
Wouw, he had to revert back to his old style.
In 1921 he exhibited in Stellenbosch. He went back to Pretoria an
started preparing for an exhibition in Cape Town. This exhibition whichIn 1929 Pierneef was commissioned to do the 28 panels for the inside
was held in 1921 was also a very successful event and only two years of the new Johannesburg Station Building which kept him occupied for
after becoming a full time artist Pierneef realised that there was finally
the next three years. He however continued working for exhibitions
recognition for his work and that he was setting the trend for an unique
during this time and also designed various catalogues and brochures.
South African style. The panels were completed in 1932 and is till on display today and
He started working for a Mr. Johan Schoeman at the seen as one of the highlights in his career. In 1933 he received his
Hartebeespoortdam with an advertising project to sell the land around second commission to do seven murals for South Africa House in
the dam. He stayed in the Hotel Agnes and here he met his second London which he finished in 1934. Back in South Africa he was painting
wife, a Dutch woman May Schoep. In 1923 he got divorced from his first again and had major exhibitions in Cape Town and Pretoria in 1935. He
wife and in 1924 Pierneef married again. died in 1957.

In 1925 he had an exhibition in Johannesburg and it was clear that the

fifty works on show showed a new vitality and enthusiasm. In 1925 the
couple went to Europe were Pierneef worked hard to promote himself
but also to learn about the different art movements. In the same year he
also had an exhibition in the Netherlands and it was especially the
Bushmen drawings that sparked great interest. In 1926 they returned on
a ship which sailed along the east cost of Africa and he sketched the
ports where they docked. In 1927 after the birth of his daughter Pierneef
had a very successful exhibition of 86 works in Pretoria.
In 1928 Pierneef shocked the traditionalists by including some abstract
modern and as some called it " Futuristic " works in an exhibition.

122
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 123

123
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 124

124
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 125

Gerard Sekoto (9 December 1913 – 20 March 1993), was a South Graduating as a teacher from the Diocesan Teachers Training College
African artist and musician. He is recognised as the pioneer of urban in Pietersburg he taught at a local school, Khaiso Secondary, for four
black art and socialism realism. His work was exhibited in Paris., years. During this time he entered an art competition (the May Esther
Stockholm, Venice, Washington and Senegal as well in South Africa. Bedford) organised by the Fort Hare University, , for which he was
awarded second prize. George Pemba was awarded the first prize.
Sekoto was born on 9 December 1913 at the Lutheran Mission
Sekoto had a secret passion for doing art, but was divided between his
Station in Botshabelo near Middelburg, Mpumalanga. He was the son
love for teaching and art. He would hide his work whenever anyone
of Andreas Sekoto, a leading member of the new Christian converts.
came near it, and would only show his work to his closest friends. He
Sekoto was schooled at Wonderhoek, which was established by his
only let Louis Makenna Nimrod Ndeble and Ernest Mancoba look at
father, a priest and teacher. As the son of a missionary, he
his paintings .
experienced music as a part of his life and was introduced to the
family harmonium at an early age.
In 1938 at the age of 25 he left for Johannesburg to pursue a career as
As a child, Sekoto would draw with chalk, paper, and colored pencils. an artist. He lived with relatives in Gerty Street, Sophiatown.. He held
His art skills emerged in his teenage years, when he attended the his first solo exhibition in 1939. In 1940 the Johannesburg Art Gallary
Diocesan Teachers Training College in Pietersburg. This school, purchased one of his pictures; it was to be the first picture painted by a
unlike most, featured drawing classes and other craftwork. Grace black artist to enter a museum collection. In 1942 he moved to District
Dieu had a number of skilled woodcarvers producing sculptures on Six in CapeTown where he lived with the Manuel family. Here he met
commission as well as for competitions such as the annual South George Pemba (who was visiting from Port Elizabeth. In 1945 he
African Academy exhibition. The sculptor Ernest Mancoba was a moved to Eastwood, Pretoria.
close friend of Sekoto's at Grace Dieu, and the two dreamed of going
to Europe to attend art school.Ernest Mancoba was also his mentor
who encouraged Sekoto to pursue a career in art. Sekoto, though,
never fit within the paternalistic, prescribed sculpting style at Grace
Dieu, preferring to paint and draw on his own.

125
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 126

Subject Website used Page

matter no
Line teacherspayteachers.com 5
https://www.artsy.net/artwork/matt-shlian-process-series-2-wave 5
https://www.artsy.net/artwork/matt-shlian-process-series-2-wave 5
Tone https://www.tes.com/teaching-resource/sphere-pebble-drawing-tonal- 8
value-
http://www.printablee.com/post_value-scale-worksheet- 8
printable_401989/
https://brogitsune.tumblr.com/post/134355964109/anatoref-color- 8
value-scales
Texture https://lauwpauw.com/how-to-draw-with-texture/?lang=en 9
http://arteascuola.com/2015/03/bicycle-texturized-20-printable- 9
worksheets/
https://hercrochet.com/article/447193437981906161/Kid-s-Craft- 10
stained-glass-leaves-free-printable
Shape and http://www.canyoncrest.provo.edu/Site_School 10
Form
Mark https://ilovetodraw.siterubix.com/steps-portrait-drawing-charcoal? 16
making
Video link https://www.slideshare.net/ljohnson60/multiple-views-and- 16
perspectives
http://theotherartone.blogspot.com/
https://tractorgirl.com.au/ 17
Pintress.com 17
Craft https://origami.nitromaxi.com/cute-black-pink-paper-cat-craft-basteln/ 18
product
https://theculturetrip.com/
https://za.pinterest.com/ 19
Masks https://graphicriver.net/ 23
https://graphicriver.net/item/aztec-mask-set-on-transparent-
background

Proportion https://openlab.citytech.cuny.edu/ 27
https://i.pinimg.com/ 28
https://www.redbubble.com/ 29
https://che-fundamentals.tumblr.com/ 29
http://art.pinkpanther.site/through-the-looking-glass 29
Harmony https://image.slidesharecdn.com/hum-150816103846-lva1- 30
app6891/95/the-elements-of-visual-arts-and-performing-arts-61-
638.jpg?cb=1439721835
http://image.slidesharecdn.com/ 30
https://www.teacherspayteachers.com/ 30
Rhythm http://victorcmmaviscom.blogspot.com/ 31
https://www.thoughtco.com/rhythm-definition-in-art-182460 31
http://arrowfxtrading.blogspot.com/ 31
Term 2
Scraperboard https://www.artfinder.com/product/eggs-and-feather/#/
https://www.ebay.com/itm/Bird-ACEO-TW-NOV-Scratchboard-Art-
Painting-Female-CARDINAL-SNOW-Animal-Wildlife-
/233387734367
Term 3

126
Creative Arts Workbook: Visual Arts Grade 7 – Term 3 Page 127

Front cover http://4rtgallery.blogspot.com/ 59

page
Bird house https://runningwithsisters.com/flea-style-birdhouse/
https://www.solteirasnoivascasadas.com/
Chicken https://www.etsy.com/listing
Term 4
Front cover https://i.pinimg.com
page https://www.artyfactory.com
https://www.dlfriedman.com
https://www.dlfriedman.com
https://sotafoundations2.files.wordpress.com
https://i.pinimg.com
images.fineartamerica.com
https://img0.etsystatic.com

127