Teesside Art Studio Suite · Trinity Arts Award Explore · Explore Part B · Explore Artists' Work
| Key Word | Definition |
|---|---|
| Content | What an artwork literally shows |
| Form | The elements that dominate it |
| Process | How it was physically made |
| Mood | The feeling it creates — anchored in form |
| The steal | A method transferred to your own work |
| Organisation | A gallery/studio that shows, makes or commissions art |
Name: ____________________ Class: __________ Date:
How do artists and organisations transform place, industry and community into cultural work?
your artist card notes + one 'steal like an artist' sentence (Part B: explore the work of artists and organisations).
1) Name two formal elements.
2) Name anyone who makes art for a job.
3) Name one big Teesside structure an artist might draw.
4) Point at one image on the board you like. Just point.
1) Which mark did we use for rust?
2) Is a bridge engineer a kind of maker? Why?
3) Name a place near here where art is shown or made.
4) What does it mean to be 'inspired by' an artist?
1) Why label every sketchbook experiment?
2) Content, form, process, mood — what are these?
3) How did industrial Teesside END UP in art galleries?
4) Copying vs stealing-like-an-artist — the difference?
Key Question: Painters, photographers and printmakers have been working the Tees for 150 years — smoke, steel, river and all. What did they see that we walk past?
🏭 Industrial landscape painter, 📷 Documentary photographer, 🎨 Community muralist, 🖨️ Printmaker, 🖼️ MIMA (organisation), 🏺 Ceramicist
Draw lines to match:
📦 CONTENT · 📐 FORM · 🖌️ PROCESS · 🌫️ MOOD · 🌍 CONTEXT · 🎯 THE STEAL
When/where/why was it made? · How was it physically made? · What is literally shown? · Which method transfers to MY work? · Which elements dominate? · What does it make you feel — and why?
artist, maker, method, steal, tone, paint, because
"This maker is a ___ who makes ___" | "Their method is ___" | "I will steal ___ for my ___"
Content: point-at list. Form: dominant elements. Process: the making, visible in marks. Mood + anchor: feeling BECAUSE of form. Steal: method → my work.
"For my brief, ___'s method beats ___'s because ___" | "The mood is caused by ___, evidenced by ___" | "The method transfers to my subject by ___"
Artist Card
Maker type: ______________
They make:
Their method (my words):
"I will steal ___ for my ___":
Organisation Card (Part B needs an artist AND an arts organisation)
Name of gallery / studio / arts organisation: ______________
What they do (show, make or commission):
One thing I noticed about them:
Two Artist Cards
Card 1 — content/form/process/mood + steal:
Card 2 — content/form/process/mood + steal:
Organisation Card (Part B needs an artist AND an arts organisation)
Name of gallery / studio / arts organisation: ______________
What they do (show, make or commission):
One thing I noticed about them:
Cards + Comparison
1) Both cards complete □
2) My Week 4 brief (one line):
3) Which method serves it better, and why:
Organisation Card (Part B needs an artist AND an arts organisation)
Name of gallery / studio / arts organisation: ______________
What they do (show, make or commission):
One thing I noticed about them:
Research only counts when it changes something. A fact that changes nothing is biography. Fill the middle and right columns and your artist research becomes Explore Part B evidence.
| What they DO (a visual method) | The DECISION it offers me | Where it will show in MY work |
|---|---|---|
| e.g. exaggerates rust colour so it reads from far away | e.g. use one exaggerated colour instead of the real one | |
Supported: one row. Standard: three rows in your own words. Stretch: three rows plus the rejection below, argued.
The one thing I am deliberately NOT taking, and why:
My arts / cultural organisation: ____________________ — and one way it could put work like this in front of an audience:
Explore Part B needs an artist or maker AND an arts or cultural organisation.
1) Name the four analysis moves.
2) What goes at the bottom of an artist card?
3) Name one Teesside arts organisation.
1) Copying vs stealing-like-an-artist — one line.
2) Which move asks 'how was it made'?
3) Give one steal from today and whose it was.
1) Why is curating a creative act?
2) Which analysis move is hardest to evidence? Why?
3) Defend your chosen steal against your Week 4 brief.
Space → Voice → Audience → Influence. The adult’s first job is Space: regulate before you educate.
| Space | The Makers Wall accepts any artist YOU rate — bring a name, a photo, a screenshot; the wall isn't teacher-curated. |
| Voice | Nominate one maker (famous or local, any art form) out loud or on a card — one line on why. |
| Audience | Your steal sentences are read anonymously to the room — the class guesses which maker each steal came from. |
| Influence | The most-nominated maker type becomes the featured technique in Week 3's Skills Lab. |
Closing the loop: out loud, as a class, is enough here. Any inclusion counts — a nod, a word, a pointed finger. If a pupil wants theirs written down, an adult scribes it in their words. Pass is always allowed.
Keep with your sketchbook / portfolio.
| Pupil name: | Date: |
| WWW (What Went Well): | |
| EBI (Even Better If): | |
| Level worked at: Supported / Standard / Stretch | Arts Award evidence filed: Yes / Not yet |
| Authorship — what I chose or decided myself: | |
| Support given — prepared / scribed / modelled / hand-over-hand: | |
| Pupil response — my next step: Ring this yourself — an adult may write your words if you ask. | |
| How I answered it — ring one:👉pointed🗣said it✋showed🖼picture🔁tried again🎬filmedNothing yet is a real answer — leave it blank. Pass is always allowed.Filmed or photographed: work, not faces, unless consent is filed.R — adult initials that they received it: ____________ | |