KS3 (ENG), KS4 (ENG), KS3 (NI), KS4 (NI), CfE L4 (SCO), CfE L3 (SCO), KS3 (WAL), KS4 (WAL)
How and why do artists use pattern in their work? The following lesson ideas are inspired by the work of practising sculptor Halima Cassell and the influences which inform her patterned ceramic pieces. Through these activities, students can:
This Art and Design resource offers a series of activities that can be used together as a lesson plan or as individual components to integrate into your own scheme of work. It is devised for Key Stage 3/Level 3 but may also suit Key Stage 4/Level 4.
Art and design
- Produce creative work
- Become proficient in sculpture and design techniques
- Evaluate and analyse creative works
- Know about great artists and understand the historical and cultural development of their art forms
- Actively engage in the creative process of art, craft and designs
- Develop and refine ideas and proposals
- Develop an awareness of the purposes, intentions and functions of art, craft and design
Art and design
- Developing students' own personal and creative responses
- Developing creative thinking skills through designing and making
- Investigate and respond to works of art that relate to their lives and experiences
Art and design
– I have experimented with a range of media and technologies to create images and objects, using my understanding of their properties (EXA 3-02a)
– While working through a design process in response to a design brief, I can develop and communicate imaginative design solutions
– I can respond to the work of artists and designers by discussing my thoughts and feelings. I can give and accept constructive comment on my own and others' work (EXA 3-07a)
Art and design
- Students use their knowledge about the work of other artists to enrich and inform their work through analysis and evaluation
- Students use a variety of processes
- Students evaluate their work through discussion
Expressive Arts
Exploring the expressive arts is essential to developing artistic skills and knowledge and it enables learners to become curious and creative individuals.
Progression step 4:
I can explore and experiment with my own and others’ creative ideas, demonstrating increasingly complex technical control, innovation, independent thinking and originality to develop my work with confidence, being able to explain my reasons behind choices made and evaluate their effectiveness on my creative work
I can explore creative work, understanding the personal, social, cultural and historical context, including the conventions of the period in which it was created.
I can investigate and understand how meaning is communicated through the ideas of other artists.
Progression step 5:
I can explore and experiment with my own creative ideas and those of others, demonstrating technical control, innovation, independent thinking and originality, showing confidence to take risks and developing resilience in order to overcome creative challenges.
I can investigate and analyse how creative work is used to represent and celebrate personal, social and cultural identities.
Responding and reflecting, both as artist and audience, is a fundamental part of learning in the expressive arts.
Progression step 4:
I can effectively evaluate my own creative work and that of others showing increasing confidence to recognise and articulate strengths, and to demonstrate resilience and determination to improve.
I can apply knowledge and understanding of context when evaluating my own creative work and creative work by other people and from other places and times.
I can evaluate the effectiveness of a wide range of artistic techniques in producing meaning.
Progression step 5:
I can critically and thoughtfully respond to and analyse the opinion and creative influences of others in order to independently shape and develop my own creative work.
I can critically evaluate the way artists use discipline-specific skills and techniques to create and communicate ideas.
Creating combines skills and knowledge, drawing on the senses, inspiration and imagination.
Progression step 4:
I can use my experimentation and investigation to manipulate creative work with purpose and intent when communicating my ideas.
I can apply specialised technical skills in my creative work.
I can purposefully use my design skills and apply a range of solutions to clarify and refine final creative ideas.
I can draw upon my experiences and knowledge to inform and develop strategies to overcome creative challenges with imagination and resilience.
Progression step 5:
I can synthesise and apply experience, knowledge and understanding with sophistication and intent when communicating my ideas.
I can use professionally established, discipline-specific techniques confidently and convincingly in my creative work and work towards industry standards.
I can use effective strategies to take risks with my own creative work and can display resilience to overcome creative challenges.
Halima Cassell is a sculptor who is best known for her intricate and beautiful ceramic pieces. She combines her love of maths and architectural geometry in her art through the exploration of simple repetitive geometric shapes. She was born in 1975 in Pakistan and grew up in Manchester. Her Asian roots influence her work, as well as her fascination with Islamic design and African pattern work.
In this short video, Halima Cassell describes her creative journey and practice.
In this video, Cassell describes university projects that had a significant impact on the direction of her practice and designs.
In this practical activity, students will research, choose and deconstruct patterns – and may go on to transfer their ideas to a clay relief, inspired by Cassell's clay relief Fan.
To research and deconstruct patterns:
To work with clay:
Task your students with researching different patterns found in and on the artworks on Art UK. Ask them to select one or two of these patterns and to deconstruct the pattern down into its simplest forms, in a similar way to Halima Cassell. They can do this by saving and annotating images on mobile devices or by printing out examples and marking out sections of repeat patterns, colours and shapes.
The artworks below offer a starting point, but students may want to pursue their own interests by searching Art UK or using the artwork shuffle.
For inspiration from architecture, explore RIBA's image library.
For inspiration from Islamic design, explore the Victoria and Albert Museums' online collections.
Islamic Series 76
Deanna Petherbridge (1939–2024)
Breath of the Compassionate
Zarah Hussain (b.1980)
BHS Relief 1978 or before
Henry Collins (1910–1994) and Joyce Pallot (1912–2004)
Minaret: Ostergan 1984
Tess Jaray (b.1937)
Disciples of Sheikh San'an 1975
Parviz Tanavoli (b.1937)
The Extended Shadow 1994
Shirazeh Houshiary (b.1955)
Walking the Dog I, II and III 2009
Peter Randall-Page (b.1954)
Red Movement 2005
Bridget Riley (b.1931)
Cloud 10 2012
Zarah Hussain (b.1980)
Stonehenge, June 1997
Stephen Morris (b.1935)
Seven Reliefs
William Mitchell (1925–2020)
Spinner
Raymond Haslam (b.1942)
War Sonnet 1969
Anwar Jalal Shemza (1928–1985)
Abstract Composition in Red, Yellow and Blue with White Ground 1990/1991
John Michael Emile Butterworth (1944–2010)
Jahrenstellar '78 1978
Eduardo Luigi Paolozzi (1924–2005)
Spatial Construction in Steel 1956–1957
Marlow Moss (1889–1958)
Task your students with creating their own patterned relief in clay using the examples of pattern they have researched. Once students are happy with their selected pattern, they may wish to copy it onto tracing paper, and then use this copy to make indentations on a rolled out square of clay multiple times to create their repeat pattern. Otherwise, they may want to work freestyle, creating an asymmetrical pattern. They can use tools to remove clay to create negative space in their pattern and/or add more clay to build up a three-dimensional effect.
Encourage your students to try out different methods, such as cutting out sections of the clay (like the individual squares in Cassell's Fan) and then piecing them together in different formations.
You may wish to cover unfinished pieces in plastic bags or lightly spray them with water in between classes. Air drying clay should take around two weeks to fully dry, while firing clay should be fired at the temperature suggested by the manufacturer.
Students can develop their work further by applying their patterns to a three-dimensional form.
Working very carefully, students can try their hand at clay carving by rolling out a clay tile, allowing it to dry until leather hard, and cutting a simple pattern into the surface with a kitchen knife or craft knife.
