ART BTEC 2015 intake!

ART BTEC 2015 intake!

Tuesday, 21 November 2017

Yes, rubbish can be beautiful!


So, we are aiming to create something beautiful from disposable items - seeing the potential for beauty in the everyday is something that sets good Artists and Designers apart. This short clip from the film "American Beauty" ...the dancing bag scene, is the embodiment of this. You can choose to walk on by or you can choose to open your eyes...

Friday, 17 November 2017

Trashion Presentations - Schedule and Tips.

All presentations to be given on Friday 24th November,       
Good luck! 

Presentation Delivery Tips:

  • All group members should contribute to the delivery of the presentation.
  • Plan who will say what. You will need to explain and expand upon the visuals you put up on screen (don’t just read text off the slides). 
  • Preparing and using cue cards is likely to be helpful. 
  • Presentations need to last approximately 10 minutes. 
  • Speak clearly (and not too fast), face your audience. 
  • Practice your delivery as a group in advance. When you practice time your presentation to ensure it is of a suitable length.


Schedule for Friday 24th November Trashion Presentations
Time
         Object
Students

2.05pm

Clothes Hangers


Mia Cockram (Skirt)
Shannon Cummins (Jewellery)
Flora Lewis (Trousers)
Beth Symmons (Bag)


2.15pm

Rubber Bands

Leah Foulds (Cape)
Lauren Hole (Cape)
Oli Snellings (Jewellery)
Laila Virji (Bag)


2.25pm


Clothes Pegs

Alicia Cannon (Cape)
Carly Everson (Dress)
Christina Linton (Cape)
Bee Rowe (Dress)


2.35pm

Corrugated Card
Caitlin Batterson (Headwear)
Sarah Buckley (Dress)
Robert Day (Headwear)
Katie Edwards (Jacket)
Lauren Smith (Headwear)
Freya Thomas-Taylor (Dress)

BREAK


3.00pm


Drinks Cans

Zoe Burstow (Jewellery)
Holly Clements (Jacket)
Jackson Jones (Jacket)
Steph Roke (Bag)


3.10pm

Plastic Cups
Alex Biggins (Skirt)
Luke Harrison (Skirt)
Missy Lody (Jewellery)
Liberty Robertshaw (Jacket)
Ellie Rosewarne (Trousers)
Oli Woolford (Trousers)

3.20pm


Disposable Cutlery

Tabitha Anderson (Jacket)
Eloise Burgin (Trousers)
Nyzha Firkins (Bag)
Laura Malschuk (Dress)


3.30pm

Envelopes
Amy Blair (Jacket)
Joanne Carter (Trousers)
James Lewcock (Dress)
Pip Lovelock (Skirt)
Freya MacDonald (Headwear)
Sam Stockel (Trousers)



Tuesday, 14 November 2017

Fashion Project Groups

So the mystery groups created by the draw from the magician's hats 🎩 look like this:



Disposable Cutlery
Tabitha Anderson (Jacket)
Eloise Burgin (Trousers)
Nyzha Firkins (Bag)
Laura Malschuk (Dress)



Corrugated Cardboard
Caitlin Batterson (Headwear)
Sarah Buckley (Dress)
Robert Day (Headwear)
Katie Edwards (Jacket)
Lauren Smith (Headwear)
Freya Thomas-Taylor (Dress)


Plastic Cups
Alex Biggins (Skirt)
Luke Harrison (Skirt)
Missy Lody (Jewellery)
Liberty Robertshaw (Jacket)
Ellie Rosewarne (Trousers)
Oli Woolford (Trousers)
Envelopes
Amy Blair (Jacket)
Joanne Carter (Trousers)
James Lewcock (Dress)
Pip Lovelock (Skirt)
Freya MacDonald (Headwear)
Sam Stockel (Trousers)



Drinks Cans
Zoe Burstow (Jewellery)
Holly Clements (Jacket)
Jackson Jones (Jacket)
Steph Roke (Bag)





Clothes Pegs
Alicia Cannon (Cape)
Carly Everson (Dress)
Christina Linton (Cape)
Bee Rowe (Dress)



Clothes Hangers
Mia Cockram (Skirt)
Shannon Cummins (Jewellery)
Flora Lewis (Trousers)
Beth Symmons (Bag)



Rubber Bands
Leah Foulds (Cape)
Lauren Hole (Cape)
Oli Snellings (Jewellery)
Laila Virji (Bag)





Fashion Presentation Format and Advice.

TRASHION GROUP PRESENTATION 

THEME ONE (one or two slides)
Introductory slide/s which shows what the group object is, which garments/fashion items are to be made and who the members of the group are. This should contain your own photography and drawing of the object and photos of the group members.
SLIDE 1 Example
You will need to compile something similar in your groups.
THEME TWO (one or more slides)
These slide/s should give a flavour of all initial information and findings about the object in question including its history/invention. Images about how it is standardly used and alternative uses (see if it has already been used in fashion). Also research some information about its general recyclability – i.e. plastic bottles are now widely used in the production of fleece material.
SLIDE 2 Example
THEME THREE (one or more slides)
Demonstrate and record ways in which you can manipulate/join/alter your object that might be helpful in garment construction. 
Explore processes like cutting, burning, laser cutting, heat pressing, appliqué, tearing, crushing, layering, stitching, riveting and photographing the object with a view to making a screen print.
Use a mixture of photographs of your processes, annotation and actual samples of your manipulated object to create your slides.

THEME FOUR (one or more slides)
A consideration of common element(s) which will bring all your garments/accessories together as a collection, this should include some early design idea sketches. You should also include some examples of what a fashion collection is, look for inventive Haute Couture and ideally find Designers who have used recycled materials (e.g. Martin Margiela, Jez Eaton, Gareth Pugh).


Further Tips 
Over the first couple of days of the project you need to research both your object and your garment - collect and print enough material for compiling your A1 moodboards. Photos of what you collect for this will form the slides for the first 2 Themes in your PowerPoint/Prezi.
KEEP THIS STUFF LOOSE, DON'T STICK IT DOWN:
  • Lots of visual research into the garment you drew from the "Hat", different versions/styles/shapes try to find inventive Haute Couture versions. Find 12 - 20 examples, print these images in a variety of sizes up to A4.
  • Plentiful visual research into the object you drew from the "Hat" - different versions, different uses, unusual applications of your object, if you can find examples of it in Fashion then include these. Again 12 - 20 examples in a range of sizes.
  • Other stuff you need includes: headings and titles (use interesting fonts), dictionary definitions of your object and garment, photos of yourselves, as well as your own good drawings and photographs of your object.
For sourcing imagery try using  http://www.pinterest.com/ (open a free account if you don't already have one). Thoughtfully selected search terms in Pinterest will lead you to a host of rich imagery and ideas.
After completing the research slides you need to concentrate on Themes 3 & 4. These are a little more demanding as they focus on experimentation and initial design ideas. 
  • For Theme 3 you will need to be imaginative in how you manipulate your object and record your experiments photographically. Explore processes like cutting, burning, laser cutting, heat pressing, appliqué, tearing, crushing, layering, stitching, riveting and photographing the object with a view to making a screen print.
  • For Theme 4 you will need to consult with all members of your Design team across the two groups to come up with some common themes for your collection (e.g. colours/particular ways of manipulating your object), after consultation you need to come up with some initial design ideas.  
  • For Theme 4 you will also need to find several examples of existing Collections and print 6 -10 images images of these . Most designers/design houses release themed collections seasonally, look for examples of collections that are inventive, exuberant and perhaps use elements of recycling - the work of Martin Margiela and Jez Eaton might be valuable starting points.
Photographing Moodboards and preparing Images for Presentation

You have the option of preparing your presentation slides either digitally or through manual layouts that you record photographically and then convert into a digital format. If you are making manual Mood boards here are a few steps you can take to make sure that they look good as presentation slides.
The first of those are in taking the photographs - make sure they are well lit and that you position your camera above the centre of the image to avoid getting a taper distortion, take several photos to ensure you get images with a good sharp focus.
An example of "taper distortion"
Once you have got decent photographs it is usually possible to enhance them in PhotoShop before you transfer them into your presentation. Here is a raw photographic image followed by an edit of the same photo.



To achieve this I did the following:
  • Rotated the original image.
  • Cropped the image to remove unwanted areas.
  • Adjusted brightness and contrast to give the image more on-screen "zip".
  • Used the "sharpen more" filter to add crispness to the image.
  • Created a new layer, made a rectangular selection and filled this with a pale blue colour, then applied the multiply Layer style to this blue box.
  • Using the text tool added notes (in a font downloaded from www.dafont.com). I then used the move tool to place the text over the blue area.
  • Finally from the Layer Menu I added a drop shadow to my text from the Layer Style options.
Having done all this I then saved the final image as a jpeg (option available from the dropdown menu when you save in Photoshop). Using jpegs as presentation slides works fine, if you upload .psd PhotoShop documents or high resolution digital photos you may find they slow your presentation down and stop it functioning properly.

After you have arranged and photographed your moodboards share the loose imagery out between you and collage this into sketchbooks, giving due consideration to layout and combining text and image effectively.

We will be giving Presentations at the end of next week (Friday 24th November).

New Project - Trashion

Jez Eaton

PROJECT– TRASHION

SPECIALISM:  FASHION DESIGN

TIME: 6 Weeks
MATERIALS: Mixed Media
RESOURCES: Sewing Machine, Computer, Camera, drawing media, Photocopier, basic hand tools, 3D workshop and an object……

ASSIGNMENT OUTLINE:

The idea of make do and mend is becoming more and more prevalent in modern day society, despite being born from war torn times when people really had to make the best of what they already had as little else was available to them, the concept couldn’t be more valuable today with depleting natural resources, and the constant anxiety of inadvertently increasing the size of our individual carbon footprints. What we are now seeing on both the high street and the catwalk firmly acknowledges that this is a very real problem and one which needs to be addressed and appreciated. The race is on, fifty years ago the earth was populated by half the number of people it is now, by 2050 this number is likely to be increased further, possibly up to 10 billion, and by all estimates there simply won’t be enough resources to go round. Deforestation, depleting food sources and a rampant consumerism are all taking their toll, and did you know that last year alone 1 in 50 people lost their homes due to either, war, natural disaster or foreclosure – this is a scary statistic and none of us are immune to this. It is believed that in the U.K. each year, we throw away an average of two million tonnes of fast fashion clothing that was probably only worn for around six times a piece. Fashion could probably be described as one of man’s biggest failures in the safeguarding of our planet with corporate groups encouraging dream lifestyles of selfishness, apathy, superficiality and greed. Something has to give and something has to change…. Few things touch as many people as fashion; therefore the continuation of what is beginning to emerge through sustainable clothing rests firmly on your shoulders.

Using just a single object which may be commonly found in the home and an existing item of clothing, you are being asked to create a hybrid piece which uses the idea of recycled fashion. Furthermore you will be working alongside other individuals in BOTH of the BTEC groups to develop the idea of a collection.

GUIDELINES

1.   The initial stages of this project should be spent on some thorough investigations. First of all you will be allocated your initial departure points for the project. As this is a random selection, your object, garment and fellow collaborators are all purely down to chance, so this could see you working alongside someone you currently know very little about. It is vital however, that you do work closely with your collaborators throughout the duration of the project in order to achieve a believable result, and by not doing so, you risk failing the overall project. This entire week is concerned with gathering material – this should consist of the sourcing of the various varieties of your individual objects, examples of how these may have already been used in fashion and a range of careful studies of these objects, both as photographs and illustrations. As a matter of course you should be thinking all the time about how you will combine them with your item of clothing to create something new and exciting, it will be up to you how flamboyant or understated your ideas/designs are, but you should bear in mind that you are actually going to have to realise one of them! With regards to your allocated garment, you should again be finding as many examples of this as possible and looking for ways that you will be able to adapt your own. Where your garment comes from is entirely up to you, but it must be something which has previously been worn. What you collect/produce is going to be presented as both moodboards and a “prezi” (www.prezi.com) or powerpoint next week, so at this stage it is advisable not to stick anything into your books…Week 1

2.   Once you have looked at your objects and garments in detail you will be required to present your findings visually, as previously mentioned. It is not always appropriate to hand over a sketchbook to a group when expressing your ideas purely because it is difficult for lots of people to be able to see the work at the same time, so in order to get your ideas across to the rest of the group effectively, you are going to work on a much grander scale! Following the guidelines given you will create a series of moodboards which will explain your ideas and concepts so far. A moodboard is an important tool in the design industry and will often be created at the beginning of a project as a means by which to maintain a constant flow of ideas, yours will be instrumental in helping you to get the most out of this project and will be photographed as you go along, so do make sure that you have a camera at the ready – NO EXCUSES. These images will then be used to create your Prezi, again, guidelines will be given so do not panic, this slideshow will be your first collaborative piece and will require good communication and a well organised plan of action as you will both be working on the same presentation. This will be added to as your projects develop and you will need to follow the checklist provided in order to ensure that you have provided all the necessary information…. The beginning of this week will also see you undertake some sustained investigations into what a collection actually is. Use www.style.com, www.elle.comhttp://fashionarchitect.blogspot.com/ , http://www.fashionisspinach.com/ http://thesartorialist.blogspot.com/ , look specifically at individuals like Hussein Chalayan the late Alexander McQueenJohn GallianoGareth Pugh and Commes des Garcons, for the more alternative in ideas! Sustainable fashion heroes are Gary HarveyMartin Margiela, Junky Styling, Ciel, and From Somewhere, and this one is just interesting if you want to get a bit more into the magazine side of things – good for layout etc….. http://magculture.com/blog/ . The library also has some amazing books – check out Maison Martin MargielaSkin and BonesA century of fashionTechno textiles volumes 1 & 2Extreme Beauty: The Body TransformedFashion at the edgeFashion: Concept to catwalk, to name but a few! Week 2

3.   Select two different fashion illustrators’ work and document it in your sketchbook, providing analysis on both their work and how you think their style of illustration might be appropriate to your own designs. You should endeavour to produce a design idea of your own in each style too. Following on from this you should now begin to produce further design ideas and start to physically gather more of the same object, and get stuck into manipulating them, seeing what works and what doesn’t work in order to apply it successfully to your garment. Remember to collaborate with your partner throughout –design ideas must actually look like they have come from the same collection! You will possibly need to compromise on things so prepare to be open minded….. There will also be workshops given to help you with your figure drawing, so do not despair! You may also wish to look at www.art-dept.com for further fashion illustration inspiration. Week 3

4.   Now, how you go about using your object(s) is up to you – I am looking for clever, inventive, original, technical and carefully engineered results – remember – we are not making costumes for the school play, this is a serious exercise, and the results will be going into your folios, so make the most of it, oh, and BTW, you will all be showing your work on the catwalk after Christmas too, there will be an audience and at least 4 photographers taking your photos – I probably wouldn’t want to look like a plank if I was you!  Think about weaving, stretching, melting, burning, adhering, scoring, rolling, wrapping, dissecting, reproducing, representing and smashing as considerations for getting the most out of not only your object, but your imagination too. Update your Prezi. Weeks 3 & 4

5.   Following your investigations and trials and tribulations you should now be able to come up with the definitive design – it is now time to make it…..Photograph every stage as you go so that you can continue to update your Prezi appropriately. Take a series of well styled photos of the final outcome – Do not just stand in the studio or corridor to do this, find an appropriate space, even if it means you have to put yourself out doing so, I cannot emphasise enough how even the best design can be completely ruined by a lack of attention to detail in its final documentation…… Use www.art-dept.com to help you in this too – someone like Rankin is really worth looking at, as is showstudio.com Tim Walker…. You could also check out James Carver on www.flickr.com – he is an ex-student here, who went on to study at London College of Fashion.
Week 5/6

6.   Write a 500-1000 word evaluation of the project – guidance notes will be given. Week 6

MINIMUM SUBMISSION REQUIREMENTS:

·         1 COMPLETED SKETCHBOOK.
·         A SERIES OF MOODBOARDS – PHOTOGRAPHS AS EVIDENCE
·         1 COMPLETED PRESENTATION – EACH PARTY SHOULD HAVE IT DOCUMENTED IN THEIR SKETCHBOOKS.
·         RELEVANT FASHION ILLUSTRATIONS.
·         FINAL GARMENT AND PHOTOS
·         WRITTEN EVALUATION


REFERENCES:
Use the internet.
Use the library.
Use your imaginations!

Thursday, 9 November 2017

Alphasemble - Evaluation Guidance and Submission Checklist

Hannah Bocutt
Your evaluation should be written as a flowing piece of text of 500 – 800 words, word processed and ideally should integrate images of your work (especially your 3D outcomes).
• Describe how you started the project, talk about how you selected typefaces and how you went about your initial letter overlay drawings.
• Identify things in your 2D work that went well, what elements did you carry forwards from your first studies in colour and print work.
• Which Artists and Designers did you research at this stage of the project? Did you find their work influenced or informed your own studio practice, how?
• Did you find the move into 3D an easy one to make? What elements from your 2D studies transferred into your 3D relief work?
• How did you find the practicalities of working in 3D? What techniques did you employ (e.g. cutting, scoring, glue, interlocking)? Describe any problems you encountered and how you dealt with them.
• Are you happy with your relief work, which elements of it do you regard as particularly successful?
• Which Sculptors did you look at? Did you find their work interesting, why? Did it inform your own work in any way?
• What additional challenges did your fully 3D sculptural piece present? Talk about how you addressed sculptural concerns such as points of balance, visual weight and rhythm and creating interest from all angles.
• Were there any different materials or techniques used that you didn’t use in your relief piece (e.g. constructing volumes, use of wire). Did you find the progression from relief to a fully 3D piece an easy one to make?
• Are you pleased with your 3D outcome? Identify strengths and weaknesses of this piece.
• Describe how you went about recording your work through photography and drawing. What steps did you take to ensure you got good images (e.g. lighting, selection of background, focus on details).
• Overall are you happy with your work and time management in this project? What could you do to be more effective in future?

MINIMUM SUBMISSION REQUIREMENTS

Sketchbook including:
  • 2 linear overlay letterform drawings.
  • One or more tonal/mark-making letterform drawings.
  • Your own photographs of letterforms (letterform alphabet).
  • At least 3 colour letterform compositions, these could be food dye/bleach, paint or collage.
  • Research into Jasper Johns’ Letter and Number drawings and paintings. Research should include Background information, your own analysis, good images of each Artist’s work and visual responses in appropriate media.
  • A gold card plate and several prints from it.
  • Minimum 2 images made using Photoshop.
  • A4 coloured card raised letter relief and good photos from this.
  • Research into Frank Stella’s relief sculptures.
  • At least 4 annotated developmental sketches illustrating your proposals for 3 Dimensional work.
  • Research into a sculptor e.g. Richard Deacon, Naum Gabo, David Smith, Eduardo Chillida.
  • Photographs of all your Relief/3D pieces, include detail shots and shoot from a range of angles, consider lighting carefully and shoot against a clean background.
  • A full page sustained drawing in response to photos of your final piece
  • A word processed project evaluation (see guidance above).

In addition to the sketchbook please clearly name and hand in your 3D work:
  • Grey Card Relief.
  • Well finished final 3D Sculpture.
Any additional work (e.g. further colour experiments with your letter compositions, further research) is obviously welcome and will create a favorable impression! 😊

    PROJECT DEADLINE:
    4.00pm on Monday 13th November.

    Wednesday, 1 November 2017

    Some Sample 3D Pieces from Last Year

    Diana Silva

    Abby Blakeley

    Joel Molyneux

    Madeleine Jay

    Sculptor Research

    To complement the practical work we are completing in Class you need to research at least one Abstract Sculptor. As usual with research this should be thoughtfully presented, include several images of the sculptor's work along with brief biographical detail and some personal analysis and justified opinions that relate to specific works. This work needs to be completed for submission with the rest of your project on Monday 13th November 2017.
    Some Sculptor's whose work might be particularly relevant include:

    Anthony Caro

    David Smith

    Eduardo Chillida

    Naum Gabo

    Philip King

    Richard Deacon

    Tony Cragg
    Stretch and Challenge: Research a second Sculptor from the list.

    Tuesday, 31 October 2017

    Moving into 3D

    It has been good to see some of the relief work you have produced this week, many of the grey card constructions are really sophisticated pieces. Strong photos of this work will look great in your portfolios in 12 months time.

    The next challenge is moving fully into 3 dimensions to create a free standing sculpture. Obviously what you have learnt from creating the relief work will be vital, but there are a host of new things to consider as well. Here is a brief guide to a few of them:

    BALANCE: The visual impression a sculpture gives to the viewer can be altered radically by how the piece is supported, pieces that are balanced on a few small points of contact with the ground tend to look more dynamic (for example the Eduardo Chillida piece below), whilst a sculpture with a large heavy base tends to give a much more stable, secure impression.
    Eduardo Chillida

    TENSION: Related to balance, this can refer to visual tension created by the impression that a structure is unstable. It can also be a reference to physical tension created by construction techniques, for example in this piece by Naum Gabo where the interconnecting wires are tensioned between the more substantial elements:
    Naum Gabo

    WEIGHT: This can refer to the physical weight of the sculpture (or elements of it), but more commonly would be used to describe the "visual weight", so a chunky solid volume (see the David Smith piece below) would tend to have more weight than a delicate linear element such as the wires in the Naum Gabo sculpture (above).

    SPACE: The elements of a sculpture interact with the space that surrounds them. Space is the unspoken part of any sculpture. Making interesting spaces between the elements of a sculpture is as important as the elements themselves. The way Deacon's open construction below allows your eye to move through the piece above is a good illustration of this.

    Richard Deacon
    VOLUMES/PLANES: These are elements of several of the sculptures illustrated. Some like the David Smith piece are constructed entirely from Volumes, others such as the head by Gabo or Alexander Calder's "Canine" rely exclusively on planes of material to create the sculpture. Interesting work can be created by combining volumes with planes and even linear elements such as those employed by Gabo.
    Alexander Calder
    David Smith

    Naum Gabo
    REPETITION: This is a useful way of making visual connections between different areas of your sculpture or adding visual emphasis and can be seen in the multiple globes in the Anish Kapoor piece below.

    Anish Kapoor

    CONSTRUCTION: This is vital. Whether sculptures actually stand, connect, balance and stay intact is dependent on how effectively they are constructed. With your own work you will find that measuring, cutting neatly and utilising joining techniques such as slotting and interlocking should minimise the need for glue and help you towards the best possible work.

    RHYTHM: In the same way that the abstract paintings we did in the first project had "Visual Rhythm" the same is true of 3 Dimensional Fine Art work. Directional elements can be used to lead the eye and repetition can create visual relationships. The steamed wood sculptures of Richard Deacon are a particularly good example of this.

    Richard Deacon

    SCALE: How we relate to sculpture is heavily dictated by its scale. Our reaction to a delicate piece we could hold in our palm (such as Tim Hawkinson's bird made of nail clippings) will be very different to how we respond to a piece such as Anthony Gormley's towering "Angel of the North" which is set on a hill top looming over Newcastle.


    Anthony Gormley - Angel of the North
    Tim Hawkinson
    SURFACE: The materials sculptors choose and the textures these give to their work play a major role in how we, as the viewers, respond to 3 Dimensional work. Consider the contrast between the highly polished metallic surfaces in Anish Kapoor's piece compared to the steam treated wood in the second Richard Deacon piece illustrated.

    Autumn Term Insight Reflections

    To complete your reflections go to your Insight Home Page and open the "student reflections" tab - this will open a box into which you can type your thoughts.

    So how am I doing? Let's think...
    To kick off the termly review process we ask you to consider how you are progressing, what is going well and what more you can do to improve your performance.
    So what things should you consider when you are writing your reflections? Say anything you regard as relevant, but make an effort to cover the following points:
    • Reflect on how the start of the course has been for you? Are you enjoying the work? Do you feel settled at College?  
    • Think about the work we have done this term (Colour, Tools, Alphasemble) and discuss some aspects of your work that you consider to be successful, explain why.
    • Improving is about identifying areas of your work/approach where change is going to be beneficial. Point out at least 2 aspects of your work you will target to work on in forthcoming projects and explain what practical steps you intend to take to address these areas.
    These could be things like: Your Attendance/punctuality; Your Observational Drawing; Your willingness to experiment; Your research; Your Focus in the studio; The presentation of your sketchbooks; Your time management skills/meeting deadlines; Your skills with specific techniques (such as PhotoShop).
    • What are you looking forward to over the rest of the year? Are there areas of Art and Design we haven't touched on yet that particularly interest you? What are these?