GCSE lesson inspired by Francis Bacon. Coloured Chalk Pastel on Sugar Paper.

2. Learning Objective
•To complete a distorted PORTRAIT drawing using
PASTELS and OBSERVATIONAL SKILLS inspired by
the SELF-PORTRAITS of FRANCIS BACON.
•To understand and explain the CONTENT,
CONTEXT and MOOD of FRANCIS BACON’S self-
portraits.
•To effectively ASSESS the work of your peers
against the GCSE assessment criteria.

3. Post-war artist FRANCIS
BACON has created some
of the most iconic images
of traumatized humanity.
What descriptive words
would you use to
describe the work of
Bacon?

4. Bacon concentrated on
portraiture, often depicting
habitués of the bars and
clubs of London's Soho
neighbourhood.
What colour palette has
Bacon used and how does
this affect the way you
view the work?

5. His subjects were always
portrayed as violently
distorted, presented as isolated
souls imprisoned and
tormented by their dilemmas.
How is Bacon expressing
feelings of anxiety and
alienation in his work?

6. Bacon not only pioneered
new ways to suggest
movement in painting, but to
bring painting and
photography into a more
coherent union.
Do you think it is
important that artists like
Bacon work in an
autobiographical way?

7. Family relations became
increasingly tense as Bacon dealt
with his homosexuality. He was
finally expelled from the house in
1926 after his father caught him
trying on his mother's clothing.
How might this have
impacted the life and
work of the artist?

8. KEY ELEMENTS of Bacon’s portraits:
• Movement (blurred effect)
• Unblended skin tones
• Exaggerated skin tones
• Negative and anxious
emotions
• Unidentifiable features

9. Using the sticker provided, set yourself one of
the following targets: (2mins)
‘To make outstanding progress I need to’:
1. EXAGERATE and DISTORT the shapes to ensure
a sense of MOVEMENT.
2. Use DIRECTIONAL BLENDING to show FORM.
3. Use LAYERED colour to create SKIN TONE.
4. Show STRONG CONTRAST between highlights
and shadows to increase the depth of skin
contortions.
- SHARE THIS WITH YOUR PARTNER -

12. KEY ELEMENTS of Bacon’s portraits:
• Exaggerated movement
(smudged effect)
• Unblended skin tones
• Heightened skin tones
• Negative and anxious
emotions
• Unidentifiable features

13. 1) Use WHITE to block in highlights—areas on the face, around
chin/nose/forehead/brows etc – use to define edges of KEY
DISTORTED SHAPES.
2) Using dark blue and purple overlays look for the CREASES and
SHADOWS in the skin – e.g chin/nose/eyes/lips nostrils/cheeks etc.
3) Begin building layers of skint tone in the following way:
 Red
 Orange
 Yellow
 White
4) Blend the skin tone into the shadow areas to avoid harsh lines.
Use your fingers to blend together and shake off excess dust.
REMEMBER… the colour of your paper
will effect the skin tone. E.g my pink
paper increases natural pink tones
meaning I used less red.

14. Mid-Point Assessment:
Look at the work of your partner and their targets set at the
beginning, consider: Are they working towards their target?
Set one further target for your partner using the second space
available:
1. EXAGERATE and DISTORT the shapes to ensure a sense of
MOVEMENT.
2. Use DIRECTIONAL BLENDING to show FORM.
3. Use LAYERED colour to create SKIN TONE.
4. Show STRONG CONTRAST between highlights and shadows to
increase the depth of skin contortions.

15. 1) Use WHITE to block in highlights—areas on the face, around
chin/nose/forehead/brows etc – use to define edges of KEY
DISTORTED SHAPES.
2) Using dark blue and purple overlays look for the CREASES and
SHADOWS in the skin – e.g chin/nose/eyes/lips nostrils/cheeks etc.
3) Begin building layers of skint tone in the following way:
 Red
 Orange
 Yellow
 White
4) Blend the skin tone into the shadow areas to avoid harsh lines.
Use your fingers to blend together and shake off excess dust.

16. Plenary:
Using the GCSE assessment
criteria - A03 you will self-
assess the work you have
produced.
Write your comment into the
tracking booklet – give
yourself a positive comment
and a target.
You can refer back to your
targets and use key terms.
Assessment Objective 3 (AO3)
IDEAS, OBSERVATIONAL DRAWINGS & EXPLANATIONS
Record ideas, observations and insights relevant to their intentions in visual
and/or other forms.
Work not worthy of any credit
Minimal ability to record ideas, observations and insights relevant to intentions in
visual and/or other forms.
Written communication to record ideas, where appropriate, is at a very basic
level.
Some ability to record ideas, observations and insights relevant to intentions in
visual
and/or other forms.
Written communication, to record ideas, where appropriate, is at a limited level.
A generally consistent ability to effectively record ideas, observations and insights
that are generally relevant to intentions in visual and/or other forms.
Written communication to record ideas, where appropriate, is reasonably clear.
A consistent ability to skillfully record ideas, observations and insights relevant to
intentions in visual and/or other forms.
Written communication to record ideas, where appropriate, is clear and coherent.
A highly developed ability to fluently and skillfully record ideas, observations and
insights relevant to intentions in visual and/or other forms.
Written communication to record ideas, where appropriate, is fluent and
accurate.
Marks
out of 20
0
1 – 4
15/80=G
5 – 8
22/80=F
29/80=E
9 – 12
36/80=D
44/80=C
13 – 16
52/80=B
60/80=A
17 – 20
68/80=A*