ART BTEC 2015 intake!

ART BTEC 2015 intake!

Tuesday, 20 June 2017

Design Diary Part 1 - Exhibition Review


Fashion

3D Design

Graphic Design

Illustration

Fine Art

Textiles

DESIGN DIARY PART 1

RATIONALE

This review is designed to give you the opportunity to develop your critical skills to be able to evaluate others work and in doing so find out what interests you within art and design. It will also give you a deeper insight into the area you wish to specialise in.

AIM

Write a 1,000 word review of one student’s work in the final major project show. Inventively present this work to start the ongoing sketchbook of the Design diary.
Camera and photocopying card required.

GUIDANCE

You must take photographs of :

• the whole show
• individual pieces
• details
• evaluation
• sketchbook immediately so you have a record of this show before it comes down.

Have a good look around all of the show soaking up the ideas, exhibits and range of pieces students have worked on. Try to find one person’s work that you really feel drawn to and that is within a specialist area you feel interested and inspired by. Study this work in detail looking at final pieces presented as well as exploring sketchbooks, development pieces and reading the evaluation that will explain the project this person set themselves. You will discover a lot of answers from analysing this. Answer the following:


1. Why is this work interesting? Describe the work in front of you, what specialist area is it and why have you picked this one to discuss?

2. What primary sources photographs and drawings did this student have? Discuss who or what has been involved in these and how well you think the student has done to achieve this imagery. In what ways have they then gone on to using this primary sources and making it express an idea? Did they draw from it, use gold card, manipulate on top of it, turn it into a screen print etc

3. Why are you drawn to this work? What aspects interest you? Is it the inventive way a message or idea is expressed, ability to observe or draw, the ability to manipulate materials or is it thought provoking and does it make you consider things around you differently? Please expand. Is it the interpretation of the idea, use of colour, process or technique that makes it enjoyable? Discuss their use of type or style of messaging they have used. How has attention to detail been considered?


SKETCHBOOKS

4. Analyse their sketchbooks and within your report discuss these in detail. How many are there for 9 weeks work? Do you think there is enough work? In what ways do these sketchbooks develop and unfold ideas? How are connections made between imagery? Look at the artists used, the websites chosen etc look in the back of the evaluation at the bibliography.


5. Who or what has been their inspiration for this project? Have there been a number of different influences to bring this show together? Which artists and designers have they been influenced by and how have they made their final pieces reflect a sense of this work? Can you show imagery of their influences.?

6. What have they produced to show development and ideas that have produced this work. Are there studies, maquettes, try outs of some sort or further images not chosen in the show that you consider pivotal to this work?

PRESENTATION


7. What do you think about the choice of things they have mounted up. Has this person selected the best images in your opinion? Is it ambitious and if so how exactly? What makes it so, is it the range and diversity of garments, quality of drawing or objects etc?

8. How have these students exhibited their work? Draw a plan of the layout and review this. Do you think it was presented appropriately? What makes it look professional and how have they used additional objects, materials or colours to set off their pieces?

9. Draw a plan of their work and discuss what you think about the presentation of this. How have they used the space? Discuss how the work has been mounted and what you feel about this work?

10. Do you think there is enough work here for 9 weeks work? If this was you putting on a show, what aspects do you think are essential to creating a successful body of work that is presented well.

MINIMUM SUBMISSION REQUIREMENTS:

· 1,000 words within an illustrated annotated review presented within a sketchbook.
· At least 5 pages within a sketchbook.

Deadline: Sept 2017 first day back along with Design Diary, part 2

Monday, 12 June 2017

Lifecycles, this week's work plus checklist

HOMEWORK AND CLASSWORK THIS WEEK 12TH JUNE:
PHOTOGRAMS
· PRODUCE A TEST STRIP AND DESCRIBE HOW YOU HAVE PRODUCED THIS. WHAT EXACTLY DID YOU DO?
· PRODUCE AT LEAST 12 HIGHLY EXPERIMENTAL AND EXCITING IMAGES THAT SHOW TRANSLATIONS OF SOME OF YOUR IMAGES FROM YOUR DRAWING, PHOTOGRAPHS AND FOUND OBJECTS YOU HAVE ALREADY PRODUCED FOR THE FIRST PART OF THIS PROJECT.
· USE AT LEAST 3 SETS OF EXPERIMENTAL PIECES OF TEXT WITHIN YOUR IMAGES.
· EXPERIMENT USING MAGAZINES AND NEWSPAPERS TO GENERATE INTERESTING EFFECTS
· LAYER UP ACETATES TO MAKE EXPRESSIVE IDEAS AND THEN TRANSLATE THESE INTO EXPERIMENTAL PHOTOGRAMS.
· SPRINKLE WATER ON YOUR PAPER BEFORE YOU EXPOSE IMAGES
· WRITE 500 WORDS ON WHAT PROCESS YOU HAVE LEARNT THIS WEEK AND THE PROBLEMS YOU HAVE ENCOUNTERED AND HOW YOU HAVE OVERCOME THIS?
· EXPLAIN HOW YOU HAVE ACHIEVED THESE EFFECTS, WHAT DID YOU DO TO EXPERIMENT WHICH WAYS OF WORKING WERE MOST EFFECTIVE AND WHY?
· LOOK AT ONE OF THE PHOTOGRAM ARTISTS ON THE HANDOUT AND DOCUMENT IDEAS ABOUT THEIR WORK. ANNOTATE WHY YOU LIKE THIS WORK AND WHAT IT IS WITHIN THEIR PROCESS THAT IS INTERESTING AND EFFECTIVE?
· CATCH UP ON ANY WORK YOU ARE BEHIND WITH. THIS SHOULD BE ALL COMPLETED FOR FRIDAY 16TH JUNE WHEN THE PROGRESSION WRITTEN WORK IS DUE IN.
WE START THE DESIGN DIARY ON FRIDAY SO VERY IMPORTANT WRITTEN WORK IS COMPLETE

CHECKLIST SO FAR. YOU SHOULD HAVE DONE THE FOLLOWING:
Mind mapping and visual mood boards for at least 2 life cycles .
• Further more specific brainstorming developing a theme/concept within your chosen Lifecycle. 6 Pages in all.
• 2 Storyboards with plans for photoshoot, annotated to make clear what your intentions are with regards to location, models, props, make-up, costume, lighting, camera angle, depth of field etc.
Analyse the work of 4 location photographers who use location in their work. 350 words each photographer
• A Historical – Robert Doisneau documentary photographer https://www.photographersgallery.com/by_artist.asp?id=201
• Contemporary photojournalist – Martin Parr http://www.martinparr.com/:
• Fashion photographer Emma Summerton http://www.emmasummerton.com/
• Travel photographer Steve McCurry http://stevemccurry.com/
·        A sustained piece of drawing from observation of objects/objects associated with your Life Cycle.
·        Two photoshoots on location using good camera angle, showing effort in utilising relevant environment , light, props if necessary, styling and committed models.
·        Wallet images of your best shots showing unedited images and then a few larger prints (A4) of edited ones that are the most effective.
Annotations in your sketchbooks next to you images regarding :
·        Character or message your photos convey
·        How the location is relevant to this idea, and has improved or been important to this shoot.
·        Composition
·        Depth of field
·        Contrast
·        Texture
·        Colour
·        Framing and Subject placement- how have you placed your subjects with reference to the light source and location?
·        Lighting- spot lamp, soft, torch, natural,
·        Technical details like – SLR use, lens size ISO macro lens, flash, wide angled panoramic etc. Even if you shot these on your phone you can find out some of these details. If you have edited any of these on apps or photoshop then please discuss what tools, adjustments you have used.
• A Series of sustained drawing using images from your photoshoots.
· 2 good monoprints.
· 2 gold cards with prints included on a variety of papers/surfaces.
· 2 sustained and varied carbon prints
A series of experimental hand rendered typography using 2 phrases:
· Stencil and spray.
· Stick and ink.
· Punch letters into a variety of papers.
· Coloured inks and bleach.
· Wire.
· Glue gun on metal.
· Plasticine.
· Letterpress and other stamps.
· Photographs of letterpress.
· Found objects at home spelling words.

· Combinations of the above with inverts.

Thursday, 11 May 2017

Life Cycles WEEK 2 Work

LOCATION PHOTOGRAPHY

Risk Assessment for each location advised!!

* Print out wallet images of your unedited images and then a few larger prints (A4) of edited ones that are the most effective. For the location unit you are required to annotate in your sketchbooks next to you images. IF YOU DO NOT DO THIS YOU WILL NOT PASS THIS UNIT.
* Discuss the following:
* The character or message your photos convey
* How the location is relevant to this idea, and has improved or been important to this shoot.
* Composition
* Depth of field
* Contrast
* Texture
* Colour
* Framing and Subject placement- how have you placed your subjects with reference to the light source and location
* Lighting- spot lamp, soft, torch, natural.
* Technical details like – SLR use, lens size ISO macro lens, flash, wide angled panoramic etc. . Even if you shot these on your phone you can find out some of these details. If you have edited any of these on apps or photoshop then please discuss these.

OTHER WORK
• A series of sustained drawing using images from your photoshoots.
* 2 good monoprints.
* 2 gold cards with prints included on a variety of papers/surfaces.
* 2 sustained and varied carbon prints
* 2nd photo shoot showing another set of different aspects of your life cycle again, within a location.
* This might be another way of saying something about the same theme in a different way smaller, simpler ideas like people holding symbols or objects like a heart, skull, toys, lipstick, flowers, metaphors for your project or characters posing in different ways to supplement your imagery.

Wednesday, 3 May 2017

LIFE CYCLES - WEEK 1 Things To Do

·                    Mind mapping and visual mood boards  (gathered and collaged secondary imagery and text – use Pinterest and Google Image) for at least 2 life cycles (between written and visual content this should  total at least 6 pages)
•         Further more specific brainstorming developing a theme/concept within your chosen Lifecycle.
•         2 Storyboards with plans for photoshoot, annotated to make clear what your intentions are with regards to location, models, props, make-up, costume, lighting, camera angle, depth of field etc.  Try to go out somewhere relevant to your theme and make an effort to get strong images planning composition, lighting, angle etc.
Analyse the work of photographers who use location in their work.  350 words each photographer
·    A Historical – Robert Doisneau documentary photographer https://www.photographersgallery.com/by_artist.asp?id=201
·   Contemporary photojournalist  – Martin Parr http://www.martinparr.com/:
·   Fashion photographer Emma Summerton http://www.emmasummerton.com/
·   Travel phtophotographer Steve McCurry http://stevemccurry.com/

ANSWER WHAT, WHEN, WHO, HOW, WHY.
·             Give examples of their work and then analyse this in depth using the questions below as starting points.
·            HOW DO THEY USE LOCATIONS WITHIN THEIR WORK?
·            Who are they and what kind of photography are they known for.
·             Give brief biographical background and tell us what work they have had published.
·            What ideas are they interested in?
·            What techniques or technology do these practitioners use to create interesting photographs? ie lenses. shutter speed, camera tripod, ie dark room black and white, digital, manipulation of this etc
·            What are they most known for, who have they worked for ?
·            How do they capture or utilise light, texture, movement of the place or moment images are taken?
·            Do they use candid shoots or are these planned?
·            Do they work with colour or monochrome?
·            How do they work with the model and the location?  What do they use to visually connect the two aspects together? P1, M1, D1
•     A sustained piece of drawing from observation of objects/objects associated with your Life Cycle. (Students take a photograph of an object relevant for their theme and draw it )

•         One photoshoot asap on location using good light, props if necessary, styling and committed models completed by Tuesday 9th May.  All students will need imagery to work with from this shoot in lessons from Wednesday 10th May.

New Project: LIFE CYCLES (Graphic Design)

BTEC EXTENDED DIPLOMA IN ART & DESIGN 1ST YEAR
LIFE CYCLES - GRAPHIC DESIGN
Unit 45 Graphics Media, Techniques and Technology


Unit 30: Location Photography


RATIONALE
You will experience the area of Graphic Design: how to mind map, develop slogans, captions and take these through to a concept. This project requires you use photography and create your own inventively manipulated imagery.  It encourages you to explore different visual language within Art & Design i.e. the difference between abstract figuration, collage and photomontage. 

TIME:

·     3 weeks normal teaching leave Friday May 19th May
·     22nd May 1 week study leave 
·     (open days to Universities begin, students to book up and visit)
·     29th May Half term
·     5th June study leave continues
·     RETURN TO NORMAL LESSONS 12TH JUNE
·     4 weeks of normal teaching
·     END OF TERM THURSDAY 13TH JUNE

Project begins:
Wednesday 3rd May – Friday 19th May  in existing base room.
Monday 12th June normal timetable resumes in photography rooms as base rooms used for show.

DEADLINE:  Monday 10 July .

·         Life cycles project to be completed 2 summative units covered.
·         Visit to New Designers to be confirmed unit 5 summative unit
·         Personal statement written
·         UCAS registration and  applications underway
·         Holiday work- Design diary summative unit 5, set in last few days.
·         College breaks up Thursday 13th July.
AIM:

On the theme of ‘life cycles’ produce a 6 sided leaflet on 1 stage in life .  Within the leaflet you will need to follow a grid format that will form part of your leaflet. You will use workshops within lessons to explore a wide variety of techniques and processes.

  •  3 weeks before study leave-  Mindmapping,  research, development of concepts, photography shoots, drawing, workshop techniques     
  • Study leave 3 weeks including half term  –  a  further location shoot , research and  specific workshop techniques working from your photographs .
  • On your return 12th June,-  developing producing mock ups, and resolving the leaflet, evaluation
Materials

·         printmaking - monoprints, gold card, letterpress                
·         photography –  2 good shoots working within your theme, using dramatic lighting and extreme viewpoints.  You must use locations photography and studio based experimentation


·         sewing machine
·         acetate collage
·         spraypaint stencils
·         collage
·         image transfer with emulsion
·         photomontage
·         food colouring/ink and bleach
·         pencil/biro drawing
·         hand rendered slogans and sayings



LIFE CYCLES to choose from:



BIRTH
PARENTHOOD
TODDLER
DIVORCE
TEENAGER                              MIDLIFE CRISIS
LOVE                                     RETIREMENT
MARRIAGE                          DEATH



PROCEDURE:  Week 1

1.       Produce at least 1 page of  initial brainstorming for at least  2 of the  life cycles

2.       Choose 1 to explore in as much depth as possible.  Produce 6 pages that explores your ideas. This should include:  mind mapping, word association, mood boards, photographs, photocopies of objects, magazine cuttings, extracts from poems, slogans, observational drawings etc.  Write down everything to do with an idea not just a single word but everything to do with that theme:  e.g. marriage could be mind mapped in the following way:  - an American Las Vegas styled marriage. 

Brainstorm: Las Vegas , the chapel of love, Elvis impersonator, side burns, 1 armed bandits, double your money, everyone a winner , poker, lots of tack gold, American flag, dollars signs, Stretch Limousine Cadillacs, wedding lyrics, four weddings and a funeral, white veil, Elvis white jumpsuit, renting a witness, best man, lady in waiting lyrics from songs about getting married, honeymoon suites, the film ‘Leaving Las Vegas’ and famous sayings from this.  All of these words could be visualised in varying imagery, textures, found objects and marks – make yours as exciting as possible!

3)   Come up with a definite ‘concept’.  A concept is a way into your life cycle that makes us think in a certain way.   i.e. different ways to get married to might  be :- a tacky wedding ceremony  in  Las Vegas, an extreme parachuting/ bungee jumping experience or  ‘my big fat gypsy wedding’ .

4)  Begin to generate ideas for a photo-shoot by producing  storyboards showing extreme viewpoints - close ups, low angle, high angle, things in and out focus, shadows, lighting, action and movement.  Make it achievable for yourself by using friends and family easily available in locations that you can return to if necessary.  Produce an in depth storyboard showing viewpoints, styling, ideal lighting, shadows etc  and how location is appropriate to this idea.P2,M3,

5) Analyse the work of photographers who use location in their work.  350 words each photographer


ANSWER WHAT, WHEN, WHO, HOW, WHY.
·          Give examples of their work and then analyse this in depth using the questions below as starting points.
·         HOW DO THEY USE LOCATIONS WITHIN THEIR WORK?
·         Who are they and what kind of photography are they known for.
·          Give brief biographical background and tell us what work they have had published.
·         What ideas are they interested in?
·         What techniques or technology do these practitioners use to create interesting photographs? ie lenses. shutter speed, camera tripod, ie dark room black and white, digital, manipulation of this etc
·         What are they most known for, who have they worked for ?
·         How do they capture or utilise light, texture, movement of the place or moment images are taken?
·         Do they use candid shoots or are these planned?
·         Do they work with colour or monochrome?
·         How do they work with the model and the location?  What do they use to visually connect the two aspects together? P1, M1, D1

Print out wallet images of your unedited images and then edited ones that you feel are the most effective.
Annotate  in your sketchbooks your use of :
  • Composition
  • Depth of field
  • Contrast
  • Texture
  • Colour
  • Sense of movement if appropriate
  • Framing and Subject placement- how have you placed your subjects with reference to the light source  and location
  • Lighting- spot lamp, soft, torch, natural

4)        Produce at least 2 sets of  strong photo shoots of 10 images using specific locations, considering light, props and camera angle.  Use cameras from photography and consider the use of  tripods, filters and wide angled, macro lenses.   Translate these images in class and at home in a variety of  ways.    P2,P3,,M2, P2, P3,M2,M3, D2,D3,

5)        Begin translating these images in a variety of hand rendered ways.  Produced a whole range of mixed media pieces to utilise within the leaflet.  P2,P3,M2,

6)       Select apt slogans to work with to relate to your life cycle and begin experimenting with techniques to enrich your work.   Begin to develop layouts, thumbnail sketches, using text along with image . Develop positive or negative slogans to accompany your images.  Have a look at http://www.handmadefont.com/

7)       Make your own homemade font and photograph each letter separately using found objects or materials on white paper. Make it appropriate to your idea and use materials that are fitting to your theme ie an addiction theme for teenagers may be made up from cigarette butts but toddler might use toy cars and crayons.  P2,P3,M2,

RESEARCH TO BE DONE OVER STUDY LEAVE

  1. Research 2 well designed leaflets.  Find examples of creative leaflets. Annotate and answer the following: P1,M1

  • How does information flow from one panel to the next?
  • How is colour, text and image unified?  Comment on the layout
  • Is there a regular position/scale/ for the text on the page?
  • How is the type face integrated or contrasted with the other imagery?
  • How is the front and back cover connected?
  • How many images are used?
  • What is the tone of the the message? ie fun and feel good, shocking and serious etc
  • Can you explain how ideas and images have they been cleverly put together?

ARTISTS
Look at one artist or designer from each of the 8 lists.
   
Collect information on each and analyse their work. P1, M1,
 Answer the following questions:

  1. How have they composed their imagery?
  2. What media have they used?
  3. What processes and techniques have been included and what do you think about them?
  4. What mood, idea or concept does it reflect?
  5. Do you think the work is successful?  Why?
  6. What style would you say this work reflects?
  7. What makes this work interesting?       
  8.  Work in the style of 2 of these artists/designers and produce 4  images that reflect their work using some of your own photos.


ARTIST\DESIGNER REFERENCES

1.Abstract Imagery
        Jean Michal Basquiat, John Hoyland,
       Howard Hodgekin, Sean Scully,
       Franz Kline, De Kooning, Jackson
       Pollock

2.     Representational  Drawing
         David Hockney,
        Jenny Saville, Egon Schiele, THS,
Kelly Roper, Tim Tomkinson, David Foldvari

3.     Collage
        Kurt Schwitters, , Katy Lemay
        Eduardo Recife, Sara Fanelli
       Dawn Dupree, Tim Marrs, Alex
       Williamson

4.     Photography.
        Henri Cartier Bresson, Bill Brant, Bill Viola, Martin Parr,
Cindy Sherman, Corrine Day, Olivero Toscani,  Mario Testino, Nick Maplin, Robert Mapplethorpe

5.  Pop Art
       Richard Hamilton, Peter Blake,
       Jasper Johns, Robert Rauschenburg,    Andy Warhol, Roy Lichenstein


6.   Linear Drawing
       Keith Haring, Michael Craig-Martin,
       Cy Twombly, Jasper Johns,
       Neasden Control Centre

7.   Photomontage
       Eduardo Paolozzi, John Heartfield, Raoul Haussmann, Helen Chadwick, David Mach, Terry Gillam

8.   Text
       Stefan Sagmeister,  David Carson, Fuel,
       Why Not Associates, Tomarto, Neville
      Brody, Barbra Krugar, Tom Hingston,
Designers Republic

N.B before Study Leave you will be expected to clear out your drawers and take all work home. by Friday 19 May  Be warned anything left in drawers will be thrown!

6.      Continue to develop ideas within workshop sessions.  You will need considerable amount of experimental ideas and imagery to make your leaflet. P2,P2,P3,M2,

7.      Having developed your images begin to consider the format. You are to include a grid for one of your panels within the leaflet. The size of your Leaflet should be 28 x 14cms.  Within each Leaflet you should produce 1 page that is equally divided into 8 sections [each section is 7 x 7cms] This can be on any of the sides.It could be that the Leaflet is unfolded to reveal a central page or be any other of the panels  Other panels can be developed as you wish but must look appropriate to the 8 grid section. M2,M3,P4,P2,

8.       For each of the boxes you should show a developed image using the following in any order:
·         Abstract:
An image showing a section, portion or heavily cropped image that has been developed using paint\expressive mark making.
·     Representational:
An image taken from observation or a photograph that resembles an object or figure.
·         Linear:
An image using line only but can involve colour and surface additionally.

·         Collage:
An image using found materials newspapers, magazines, fabrics, metals etc.

·         Pop Art:
An image which uses symbols, signs and other well understood images within our culture i.e. male ♂ and female ♀ symbols, x and y chromosomes, kisses xxx, targets, +,  =  signs  → ?  ♥   £  †  $,  icons of popular culture, film stars, pop stars, images of consumerism e.g. packaging labels, advertising, domestic appliances.

·         Photographic:
This includes photogrammes, location shots, studio set ups, black and white, colour, digital photography experiments with Polaroids.

·         Photomontage:
Collage using photographic imagery cut and pasted together.  Humorous or satirical images e.g. Monty Python’s Meaning of Life.

·         Text:
An image made up entirely from layered text using provocative statements, information, famous sayings, a line from a poem, personal important diary entry dates etc.  Your message should be clear and emphatic and come from your life cycle.

9.      Produce at least 2 mock-ups for your leaflet.  These should show scanned in print outs  showing sections, details, heavily cropped areas of interest etc. P3,M2,M3,

10.   Before you start printing, make sure you are completely happy with your outcome.  Let a tutor see your rough colour print outs before you print finally.

MINIMUM SUBMISSION REQUIREMENTS

A full sketchbook.  The following should be inside:
§  1 page  each of mind mapping for  2 life cycles .
§  6 pages  on 1 life cycle in more depth-  mind mapping and mood boards,
§   8 pages of research on artists’ work with annotations and questions answered by the side
§  6 responses to 2 of these artists
§  2 leaflets with research answering questions.
§  25 pages of research, development and resolvement on your chosen life cycle. These pages should show logical development and differing ways of presenting layouts for your leaflets - i.e. mock ups, varying images together, differing captions etc.  This sketchbook should be highly annotated
§  1 final leaflet based on your chosen life cycle
§  2 evaluations – one evaluating location photography  and one summarising the whole  design process unit 45.  This should cover techniques, artist research, development and experimentation