ART BTEC 2015 intake!

ART BTEC 2015 intake!

Sunday, 21 January 2018

Paper City - Maciek Janicki

Architecture Update

Human Pyramid!
So having been to London we now have the imagery to branch out and create some really exciting work. From what I have seen you all have some excellent photography - we were pretty lucky with the light, even if the trains were a pain.
In addition to the work from the College Architecture (and the Architect research) from Week one (see earlier post) these are the things you should be completing by the end of Wednesday 24th January:
  • Print out contact sheets of your London Photographs.
  • Print out a range of your best shots at A5 or A4 for inclusion in the sketchbook.
  • Complete at least one A4 or A3 sustained and detailed monoprint based on a London photograph.
  • Cut and print a detailed A3 Gold Card plate.
  • Complete an ambitious A4 carbon print from a complex London image.
  • In preparation for the paper city work towards the end of the week you need to research at least one Artist who uses paper engineering in their work, there are a range of names you could find out more about in this article
Tasks to complete before we start developing and completing our independent project outcomes:
  • Finish printmaking based on London imagery.
  • Carefully cut a building to contribute towards the group paper city from white card. This can either be a fa├žade with supporting struts or a self supporting 3D piece.
  • Take a good range of "paper city" photos on the lightbox. Get in close to create some interesting angles, try to achieve the feeling of actually being surrounded by the buildings - look at the video clip post (above) for inspiration and check out Print contact sheets and larger versions of your best shots.
  • Produce a range of mixed media Collages (4-6) making use of the bank of Architecture based printing, drawing and photography you have accumulated and adding paint, coloured papers, acetate overlays, text etc.
You need to be completing this work by Wednesday 31st January, the end of next week will be dedicated to planning your final pieces, then you will have 2 weeks + half term to resolve your ideas. Final pieces will need to be supported by appropriate research (more guidance to follow).
Be ambitious­čśâ - Good Luck!

Monday, 8 January 2018

Architecture Project - WEEK 1

Architecture Project Week 1

Before the trip next Thursday you should all complete the following:
  • At least 4 pages of research into 2 contemporary Architects (see the project brief below for names). Include background information and analysis of some specific buildings/projects. Discuss materials, aesthetics (form) and function. Include good reproductions of the Architect's work and take care over presentation.
  • A selection of photos from the College Architecture, print contact sheets of your shoot and include the best shots printed out at A4 or A5 scale.
  • At least one full page sustained careful pencil tonal drawing from your College photos (this should represent at least 3 hours work). Choose a complex composition that will challenge you.
  • Minimum of one full page precise linear drawing using fine liner. 
  • A set of rapid expressive drawings - we will complete these as a class exercise.
  • Photocopier experiments with your drawings (inverts, blueprints).
  • We will also aim to complete larger scale (A1)drawings and hopefully some printmaking before the London Trip.
So from Day One you will need:
  • Cameras (with plenty of battery and memory capacity, also USB download cables or card readers if you have them).
  • Memory sticks/online space for saving your photos, your college workspace is too limited. 
  • Money for a new sketchbook (or purchase online) - A3 generally best for this project.
  • Drawing media - pencils, fineliners, biros, erasers etc.
  • Printing/photocopying credit.



PROJECT:  Architectural Forms

TIME:  6 Weeks + Half Term
We will be generating original 2D and/or 3D responses to modern architecture. We will develop our project outcomes through a sustained development of imagery gathered from primary sources.
We will begin the project by producing observational drawing from primary sources such as the college architecture and going to London to gather imagery from modern architecture such as The "Walkie-Talkie", Tower 42, The "Cheese Grater", The Lloyds Building, 1 Canada Square as well as Norman Foster’s “Gherkin” , British Museum Courtyard and Canary Wharf tube station.
Once we have accumulated adequate primary material we will begin to develop responses using drawing, painting, collage and 3D maquettes. After a thorough exploration of our imagery we will conclude our investigation by producing one ambitious outcome. This outcome can be figurative or abstracted and can be in either 2 or 3 dimensions.
Throughout the project we will enrich our practical work with research into relevant modern Architects, and Artists whose work has been influenced by Architecture.

  • Ensure you begin the project with a range of high quality observational drawings. Good line drawings are particularly valuable as they reproduce well and can be used as a starting point for more experimental collage and mixed media work.
  • Make the most of the trip, it is essential that you gather a rich and diverse body of imagery from the day. In addition to a sketchbook and basic drawing materials you will need to bring a camera (if you do not own one, borrow one or arrange to loan one from college).
  • After the trip it is important that you print photographs within 2 days, as any delay will hinder your progress in the project.
  • Once you have got your imagery you will need to be inventive and experimental in developing responses to it. As a group we will produce some printmaking and collage based images, but we would encourage you experiment widely with a range of the following approaches: 
  1. Line Drawing
  2. Photocopying
  3. Tonal Drawing
  4. Painting
  5. Integrating Text
  6. Paint Transfer
  7. 3D Maquettes
  8. PhotoShop
  9. Photo Montage
  10. Collage
  11. Mixed Media
  12. Acetate Overlays
  13. Monoprinting
  14. Relief (gold card) printing
  15. Film/animation
  16. Sewing
  17. Spray Stencils
  18. Heat transfer
  • Imagery derived from modern Architecture lends itself towards abstraction, try zooming in on shapes, overlaying them, repeating and rotating them to develop interesting compositions.
  • Be thoughtful in your use of colour, subtle neutral colours can be very effective, and may be more in keeping with your Architectural sources.
  • Once you find an approach/idea that has potential you need to explore it thoroughly in a range of studies before attempting to resolve it in a final piece.
  • You will need to develop and realise an original and ambitious outcome. The outcome needs to express the Architectural theme in some way but the form is entirely of your choosing - it could be anything from a painting to a garment to a piece of animation. Your outcome should be clearly developed through a process of visual investigation and experimentation with your chosen media. 
You will be marked on how effectively you:
  • Observe and record from primary sources.
  • Demonstrate resourcefulness in gathering appropriate source imagery.
  • Develop your observational studies through experimentation with media and mark-making.
  • Generate ideas through purposeful investigation.
  • Demonstrate inventiveness and skill in the handling of materials.
  • Select and resolve compositions.
  • Research and present information and imagery related to the project.
  • Sketchbook including observational drawing, photography, developmental studies and research material.
  • A fully resolved project outcome.
  • Word-processed project evaluation (500-800 words).
(For additional guidance on submission requirements and evaluation see separate post)
Architects:  Richard Rogers, Norman Foster, Nicholas Grimshaw, Frank Gehry, Cesar Pelli, Mario Botta, Renzo Piano, Shigeru Ban, Daniel Libeskind, Santiago Calatrava. 
Artists:  Lyonel Feininger, Maria Elena Vieira da Silva, Charles Demuth, Charles Sheeler, Naum Gabo, Ben Johnson, David Hepher, Richard Galpin, Carla Klein, Brendan Neiland, Robert Rauschenberg.
WEB LINKS:                                             

Wednesday, 20 December 2017

Trashion - Submission Requirements and Evaluation Guidance.

Phoebe Reynolds
When we return after Christmas we will be undertaking studio shoots of your garments/collections, date and timings to follow (Your sketchbooks will need to be submitted before you get the studio collection photos, so these are not on the requirements list below).
The first day back will be an opportunity to tie up any loose ends with your Fashion projects, such as printing off and mounting your location shoots.
On Tuesday 9th January we will be briefing you on the Architecture project and you will need to get started with this work straight away.
The deadline for your Fashion work is Monday 8th January @ 4.00pm and this is the minimum you need to have in your sketchbooks:

Initial Research and Presentation:
  • Observational drawing/s of your object.
  •  At least 2 busy pages of visual research into your garment, different versions/styles/shapes, try to find inventive Haute Couture versions.
  • Minimum 2 pages of visual research into your object - different versions, different uses, unusual applications of your object, if you can find examples of it in Fashion then include these.
  • 2 pages where you find examples of Collections. Most designers/design houses release themed collections seasonally, look for examples of collections that are inventive, exuberant and perhaps use elements of recycling – for example the work of Martin Margiela.
  • Copies of your presentation slides.
  • Any notes relevant to your presentation.

Illustration and Design Development:
  • 4 pages research into 2 Fashion Illustrators.
  • Your photos from the figure (the ones you used as a basis for your Fashion Illustrator responses).
  • 4 Well finished Illustrator responses based on your photos.
  • 6 garment proposals (with notes, using the templates).
  • A finished Illustration based on your best design - this should be developed     independently and not based on an existing template. This might include sample pieces, annotations and colour swatches alongside.
Final Garment, Photography and Evaluation.
  • 4 pages research into 2 Fashion Photographers.
  • Annotated photographs documenting the making process with your final garment (2 pages).
  • Your finished garment/accessory.
  • A thoughtfully styled location shoot of your garment - be ambitious, think about the photographers whose work you have studied. Arrange model, location, props, make up. Consider posture and camera angle carefully. Take plenty of shots (20+) you might use PhotoShop to enhance your best shots for inclusion in your sketchbook.
  • Your word processed evaluation (see guidance notes below). 

In order to pass this project you must complete a word processed evaluation of 500-800 words, discussing the following ……

  • What object and garment did you get to work with?
  • How did the development of your Presentation help in understanding the possibilities offered by your object. What sources did you access in researching your object and garment?
  • In what other ways did you respond to and investigate your object? (e.g. photography and drawing)
  • Who were you collaborating with? How did you share tasks? Do you think you communicated effectively together? Did you find this collaboration helpful?
  • Which designers/collections did you look at? What appealed to you about their work?
  • What did you learn from looking at the designer’s work? Did their work influence your own garment designs later in the project?
  • What were your first ideas for your garment design? Did these bear much relation to your final solution?
  • What was it that appealed to you about the fashion illustrators you chose to research and respond to?
  • What did you learn from recreating the styles of the illustrators you looked at, and how did this help you to understand the techniques employed in fashion illustration?
  • How did you go about creating your own fashion illustrations – what processes did you employ in developing your final images? Describe how you used photography to style them initially and what you did to get them to a high standard.
  • Which Fashion Photographers did you research? What appealed to you about their work?
  • Describe the process you went through to create your initial garment designs, and how you decided upon the one you chose to make.
  • What elements of your original garment did you retain and what was added/taken away?
  • What materials and techniques did you employ in the production of your final garment and what problems did you encounter along the way?
  • Discuss your final photoshoots, how did you style your garment? Mention aspects such as make up, props, location, models, postures, lighting, composition.
  • Do you feel your final garment will work well with your collaborators? Did you maintain good communication throughout the project?
  • What do you regard as the most and least successful aspects of your project?
  • How well did you manage your time and what you would do differently if you did this project again?

Friday, 15 December 2017

Fashion Project Update and Photographer Research

Garment Completion and Sketchbook Content
OK, so you should all be well underway with garment construction by now. Make sure you have the resources you need: as many multiples of your object as your garment requires and potentially a base garment to reconstruct/work over. You may need other things such as additional fabrics, dyes, zips, clasps, velcro etc.
This weekend is a good opportunity to shop for any bits that you are currently short of. If you have an ambitious plan it is essential to work in a focussed way to resolve it properly.
Any finishing work to your illustration research/ responses/design development needs to be completed as self-directed study now. 
From now until when the project is submitted the things that need to be added to sketchbooks are:
  • Some photographic documentation of stages of your making process, with annotation/explanation.
  • Contact sheets and larger prints of the best images from a location shoot.
  • 4 pages of research into 2 Fashion Photographers (see information below for guidance).
  • Word-processed Project Evaluation - guidance for this will be issued.

Studio Photography (after Christmas)
We will also arrange a studio shoot for your garments in the week when we return after Christmas, we will get some of the second year students specialising in Photography to work with you to get the best imagery from this session. This will be an opportunity to record your garment alongside the other creations in your collection. 

Location Photography (over Christmas break)
Thinking a little way ahead you should start giving some thought to your location Photoshoot - this should be completed over the Christmas break, but your planning should start now. You should be aiming for a professional approach with this that results in great imagery for your portfolio.
Consider who will model for you (or who will take photos if you are modelling your own garment), where you will base the shoot (what will complement the garment?), will you need props/make up? Taking a professional approach may mean doing things like researching the weather (if you are looking at a shoot outdoors) and working around when it looks likely to offer you the best light/conditions.

Fashion Photographer Research
In order for you to plan and execute effective final Photoshoots for your garments it will be helpful to make yourself aware of the work of some top Fashion photographers.
When looking at these Photographers work you should look for the following things and comment on them:
  • Use of location/studio - how does this relate to enhance the garment?
  • Use of make up.
  • Use of props.
  • Use of the model(s) consider things like body posture, what mood is the photographer trying to create?
  • Use of lighting - natural/artificial? harsh/gentle?
  • Composition/cropping - how is the figure placed within the image?
  • Use of post production - has the image been manipulated via software such as PhotoShop to achieve the final result, how subtle/dramatic is this process?
You should look at 2 of the following photographers and provide a little background biographical information before analysing at least 3 images by each one in detail (2 pages per photographer, print out decent size reproductions of their work).

Steven Meisel
Corrine Day

Mario Testino

Ruven Afanador

Nick Knight


Tim Walker
Steven Klein

Tuesday, 5 December 2017

Illustration, Garment Design and Making.

You need to finish your illustration work through the remainder of this week, so that you can move onto garment construction next week.
You should finish the tasks outlined below before next Monday (11th December) at the latest so that you can have almost 2 weeks (we break up at lunchtime on Thursday 21st) to make your piece. If you are able to conclude your illustration and design work this week then making an earlier start to the making would be wise (especially important for ambitious or complex garments).
We will arrange a studio photoshoot opportunity in the first week back after Christmas and we will be asking you to complete location shoots over the Festive break. Some fashion photographer research will support this phase of the project.
  • 4 pages of research into 2 Fashion illustrators, include a range of their work and your analysis of their technique.
  • A range of your photographs of the figure in "fashion" poses, printed out and included in your sketchbook.
  • 4 illustrator responses developed from your own photos (2 in the style of each illustrator you researched).
  • 6-8 quickly sketched design proposals for your garment/accessory, you could use a template for these. Annotate alongside to explain your ideas and techniques you intend to use. These ideas can be variations on a theme, each one does not need to be radically different.

  • A well finished illustration of your selected design (the one you intend to make) - you might choose to do this in the style of one of the illustrators you researched or develop a more independent illustrative approach of your own.

    You also need to think ahead and gather everything you need for your making, make a list of your requirements and order online (eBay is your friend here) or find other ways of obtaining your resources - suppliers such as Fabricland in Basingstoke may prove valuable. Charity shops are a good source for garments.
    Things you might require include:
    Garments to reconstruct/embellish, Cotton thread, zips, velcro, fabric, dyes, iron-on transfer paper, multiples of your object (clothes pegs, rubber bands etc.). 

    Monday, 27 November 2017

    Illustrator Research and Responses

    You need to research the work of 2 fashion illustrators, here are a few good links to explore: 

    Anna Higgie
    Try to choose illustrators that have contrasting approaches and use different media, as you are going to have to respond visually to these illustrators BE REALISTIC and select styles you are confident you can reproduce effectively. For each selected illustrator print out at least 4 reproductions of their work at a reasonable size (A5ish).
    You then need to provide some analysis of each illustrator. Find out what you can about them - where they trained, who they have worked for. Most importantly analyse the images you have chosen, identify what media have been used and discuss technique (expressive or controlled?), composition, use of colour. Give your personal opinion on the work, but ensure you give reasons for the views you express.

    Present the work thoughtfully (2 A3 pages per illustrator), think about layout and text/titles etc.

    So you will need:
    • To do the Fashion Illustrator research as detailed above.
    • To get a collection of images by your 2 illustrators - enough to get a really good feel for their style, technique and media.
    • To take range of photographs from the figure - try to get some good dynamic poses that have the feel of Fashion illustration/photography. If you are unsure what you are aiming for then flick through a few copies of Vogue and look at the fashion shoots and advertising images.
    • Using your own photos as a basis produce two Fashion illustrations in the style of each Fashion Illustrator you have researched (4 images in all), make sure you use the most appropriate media (identify what they use and do likewise, if their work is produced digitally then don't try replicating it by hand). Take time over this and aim for some professional looking illustrations. See separate post for an example of this.
    Once you have all these things you need to really focus on making some impressive responses that capture the feel of each Artist. Use the lightbox to start your drawings from your own photos off if it helps. You might want to use software to extend and stretch the figures in your photos and achieve something closer to the classic fashion illustration proportions (which are quite different to the real proportions of the human body).

    Here's an example of what I'm talking about:

    Raw photo file

    Digital Illustration by Jocelyn Gravot

    Digitally developed response to Jocelyn Gravot

    Fashion Sketchbooks - Guidance

    So what should be going into your sketchbooks over the first week/10 days of this project?
    Well, one reason behind using photography to record your Moodboards and not sticking everything down is that it means that the material you have gathered is then available for inclusion in your sketchbook.
    So once you have got good photos of your Moodboards you need to divide (and potentially duplicate) the visual material amongst your design teams, and then compile the following:
    • 2 or more Sketchbook pages of visuals and information on your garment/accessory. Different versions - traditional and radical, history, definition.
    • 2 or more Sketchbook pages of visuals and information on the object you need to recycle. History, typical uses, unusual uses, previous applications in Fashion.
    • 2 Pages showing some examples of collections, ideally exploring some recycling, try looking at Martin Margiela, Gareth Pugh and Jez Eaton. Provide some analysis.
    • One or more good observational drawings from your object.
    • At least 2 pages recording experimentation and manipulation of your object.
    • At least 2 annotated design sketches outlining your initial garment/accessory proposals.
    • Printouts of all the slides from your presentation, plus copies of any cue cards you use.
    Now the Presentations are complete we will start to explore approaches to Fashion Illustration, responding to existing Illustrational styles, before trying to develop a more personal style with which to illustrate your own design proposals.

    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...