ART BTEC 2015 intake!

ART BTEC 2015 intake!

Tuesday, 20 February 2018

Term 2 Reflection Guidance

PART 1. Reflecting on Progress: 



When writing your reflections you should be considering the work we have been doing since the last review – the Fashion and Architecture Projects.

  • ·        In which of the two projects do you think you produced stronger work? Explain why you feel you were successful, look at the list of skills below and mention the areas in which you feel you performed well. 
  • ·        Identify 2 aspects of your work/approach where you feel like a change would benefit your progress. Be honest and try to choose the things that will make the greatest impact on your future projects. 

Some areas you might consider discussing in relation to the previous 2 points: 

Self-Management Skills:
  • ·        Attendance.
  • ·        Preparation for lessons (making sure you have all the right equipment and are aware of what you will be doing and mentally prepared).
  • ·        Focus in the studio and use of lesson times.
  • ·        Enthusiasm and positivity about the work set.
  • ·        Ability to complete private study at College (and at home).
  • ·        Your time management skills (keeping up and meeting deadlines).
  • ·        Avoiding distractions (phone/social media etc.), and using time productively.
  • ·        Getting the balance right between College work and outside College commitments.

Subject Specific Skills: 
  • ·        Observational drawing. 
  • ·        Research. 
  • ·        Presenting and talking about your own work.
  • ·        Willingness to experiment and take risks. 
  • ·        Presentation of your sketchbooks. 
  • ·        Ambition and sophistication of your outcomes. 
  • ·        Use of IT, including subject specific software (e.g. PhotoShop). 

Having thought about the strengths and weaknesses of your approach you should now identify at least 2 specific actions/targets that will help you to improve.

For example:
·        “No unauthorized absences and arrive to all lessons on time”
·        “Cut down hours in part time job to allow more time for College work”
·        “Keep phone off in lessons and limit my time on social media to 2 hours a day”
…or
·        “Take more care over my sketchbook layout, keep pages visually busy and consider title fonts carefully”
·        “Make the effort to analyse Artist’s work in my own words, commenting on technique, mood, line, colour in depth and explaining links to my own work”

Talk about any new skills/techniques you have learnt in the last 2 projects.
Are these skills that you are likely to use again?
These might include: 

  • ·        Creating and delivering a Presentation. 
  • ·        Compiling Moodboards. 
  • ·        Fashion Illustration. 
  • ·        Garment construction techniques. 
  • ·        Arranging a photoshoot. 
  • ·        Mixed media collage. 
  • ·        Paint transfer. 
  • ·        Using PhotoShop.
  • ·        Planning and completing an independent piece of work.

PART 2. Looking Ahead:


Have you decided what area of Art and Design you want to specialise in next year?
What draws you towards this area?
If you are not clear on your direction next year mention areas you are considering and ones you know are not in the running. 
Some of the main areas you should consider are: 

• Fashion Design/Styling/Marketing 
• Texile Design (Print/Constructed/Interior) 
• Fine Art (Sculpture/Painting/Print/New Media) 
• Illustration 
• Animation 
• Photography 
• Graphic Design 
• 3D Design (Product/Furniture/3D crafts etc.) 

Thinking ahead explain what you think your next step will be after Alton College (e.g. University, Apprenticeship, Employment).
Identify what practical actions you are taking/planning to help you towards your goals.

For example:
·        “Go to the Surrey UCAS fair, collect prospectuses, shortlist 5 University courses to visit and research when their open days are”.

·        “Book appointment with the College careers advisor and find out about employment and apprenticeship opportunities in creative areas”.

Tuesday, 6 February 2018

Final Piece - Complementary Research

Matthias Heiderich - Graphic architectural photography
Zee Nunes - Archifashion (photographer)

Zimoun - Sound Sculpture

James Gulliver Hancock - Gherkin (Illustration)

Teh Chankerk - painting

Kerrie Jane Stritton - mixed media illustration

Samantha Fortenberry - manipulated photography

Iris Van Herpen - constructed fashion
It is good to see a wide range of final pieces taking shape in the studio. 
To complement your final piece you need to compile 2 pages of research into an Artist/Designer whose work is closely associated with the approach taken in your final piece - so this could be a Fashion Designer, Fine Artist, Illustrator or Graphic Designer for example. 
There are a variety of potential research sources illustrated above (and included in previous posts and list within the project brief). If none of these feel like a good fit with your own creative direction then ask staff for suggestions ...or, even better, find your own.
As usual with research pay attention to visual presentation/layout. Get a range of good reproductions of the Artist's work, keep pages busy, but in sympathy with the style of the work you are studying.
Written content is important, engage your brain, don't just lift from the internet. Provide brief background biographical information, but go on to analyse specific works in detail. Offer your own opinions and explain why you hold them. Discuss aspects of images such as technique, scale, colour and composition; and make sure you say how the Artist selected relates to your own work.

This will complete your research for this project, in total you should have looked at: 2 Modern Architects, 1 Paper Engineering Artist, 1 Mixed Media Artist or Illustrator and 1 Artist specific to your Final Piece.

Wednesday, 31 January 2018

Architecture Checklist

Leah Foulds - Digital Collage
So to recap on what you should have before you embark on development/realisation of your project outcomes:
  • 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). 
  • Minimum of one full page precise linear drawing using fine liner. 
  • A set of timed expressive drawings.
  • Photocopier experiments with your drawings (inverts, blueprints).
  • A Gold Card print based on your College photos.
  • 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.
  • Contact sheets of your London Photographs.
  • A range of your best London shots at A5 or A4 included in your sketchbook.
  • At least one A4/A3 sustained and detailed monoprint based on a London photograph.
  • A detailed A3 Gold Card based on London, cut and printed.
  • An A4 carbon print from a complex London image.
  • Research into at least one Artist who uses paper engineering in their work, references here http://weburbanist.com/2008/12/02/papercraft-creative-paper-art-design-sculpture/
  • "Paper City" photos - include 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.
  • 2 pages of research into one Collage/mixed media Artist (see post below for names).

Monday, 29 January 2018

Project Outcomes

Monoprint (Mia Dove)

Project Outcomes:


As you complete the Collage stage you should start thinking ahead towards planning your project outcome. The format of this is entirely down to you, it just needs to be inspired and visually informed by Modern Architecture.
In the past we've had paintings, large scale mixed media work, sculpture, series of prints, animations, graphic magazines, books of illustrations, garments, jewellery, even a board game!
It makes sense to produce an outcome in the area you intend to specialise in next year (if you know what this will be) as this will be of more value to your portfolio for application to Higher Education. The piece might be an extension of things we have already tackled in the project (a more ambitious collage or drawing for example) or it might explore an altogether different creative area.

There should be clear planning for your final piece in your sketchbook, so this means both annotation and imagery outlining your intentions. The nature of the imagery will depend on what you are planning, but it could take the form of painted studies, fashion illustrations, trial page layouts, photos of 3D maquettes or many other things.
You should be aiming to complete this planning (over several sketchbook pages) over the remainder of this week and the weekend, so that we are ready to start working on project outcomes in earnest on Monday. If you have particular material requirements for your final piece (e.g. Canvases, fabric for garments) then start organising these now.

As you begin work on outcomes next week remember to record your progress so you can include photos and imagery of the creative journey you take with this piece.

Architecture Collage Work and Supporting Research

Some examples from previous students.

By the end of Wednesday this week you should be aiming to create 4 (or more) mixed media collages. Use your existing Architecture imagery as the basis for this - prints, photos and drawings. Try manipulating them on the photocopier or through photoshop too. Combine this imagery with the additional collage ingredients supplied - coloured papers, stickers, tape, squared/graph paper, raffle tickets etc. 

A few pointers:
  • Inclusion of text, numbers and symbols can be very effective.
  • Using strong focal points (e.g. a larger image of a particular building) often helps your collages becoming too fragmented.
  • As well as papers you might work back into your collages with paint, spray stencils, pens etc.
  • Along with addition be aware that subtraction can be a key part of the collage process. If your images become overcrowded using areas of plain papers or white paint can be an effective way of freshening up your piece. Careful consideration about the retention of areas of space as you make the collage is another way to do this.
  • As with other images we have created this year producing a composition with balance that leads the viewer's eye as you intend is the ideal. Repetition of colours or symbols can help achieve this, along with strong directional elements.
Supporting Research
To inform your own collage experiments you should look at the work of all the following Artists/Designers who use collage techniques in creating their work. Once you have familiarised yourself with their work choose one of the Artists whose work is illustrated below and produce 2 pages of research into their practice. As usual obtain several good reproductions of their work, provide some background information and analyse at least 2 images in depth, identifying what media are being used and commenting on how they are being handled is particularly important. 

Richard Galpin

Martin O'Neill

Robert Rauschenberg

Nazario Graziano

Tim Marrs

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 http://weburbanist.com/2008/12/02/papercraft-creative-paper-art-design-sculpture/
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 www.popupology.co.uk 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.

New Project: ARCHITECTURAL FORMS

BTEC Extended Diploma 1ST YEAR PROJECT BRIEF.

PROJECT:  Architectural Forms


TIME:  6 Weeks + Half Term
ASSIGNMENT OUTLINE:
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.

GUIDELINES: 
  • 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. 
ASSESSMENT CRITERIA:
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.
SUBMISSION REQUIREMENTS:
  • 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)
REFERENCES:
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:
www.artnet.com/                                                       www.archinet.co.uk/index.html

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). 

RECYCLED FASHION EVALUATION GUIDANCE
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?