ART BTEC Header

ART BTEC Header

Wednesday, 4 July 2018

New 1st Years - Getting Ahead Work

Welcome to the BTEC at Alton and welcome to the Blog - your go to reference for all Course related stuff.

We want you to enjoy your Summer, but it would be great if that included some Cultural enrichment, so how about:

Soaking up some Culture and getting enthused by visiting exhibitions and galleries in London. Have a great day out and visit some of these:

NATIONAL PORTRAIT GALLERY: 
St Martin's Place, London WC2H 0HE
https://www.npg.org.uk/

Michael Jackson: On the Wall
A landmark exhibition that explores the influence of Michael Jackson on some of the leading names in contemporary art. 
28 June - 21 October 2018
Tickets with donation from: £17.50 - £22 



BP Portrait Award 2018: 
The BP Portrait Award is the most prestigious portrait painting competition in the world and represents the very best in contemporary portrait painting.
14 June – 23 September 2018 
Admission Free

TATE MODERN Bankside, London SE1 9TG: 
https://www.tate.org.uk/visit/tate-modern

The Shape of Light: Tells the intertwined stories of photography and abstract art. 
2 May – 14 October 2018. 
£18 / FREE for Members
Admission £18 (Advance booking £16) 
Concession £17 (Advance booking £15)
Family child 12–18 years £5 
Are you aged 16–25? Register for Tate Collective and get tickets for only £5


Picasso 1932 - Love, Fame, Tragedy: 1932 was an intensely creative period in the life of the 20th century’s most influential artist. This is the first ever solo Pablo Picasso exhibition at Tate Modern. It will bring you face-to-face with more than 100 paintings, sculptures and drawings, mixed with family photographs and rare glimpses into his personal life. 
8 March – 9 September 2018
£22 / FREE for Members
Concession £20 (£22 with donation) 
Family child 12–18 years £5

Are you aged 16–25? Register for Tate Collective and get tickets for only £5

TATE BRITAIN Millbank, London SW1P 4RG:

All Too Human: Bacon, Freud and a century of painting life. All Too Human celebrates the painters in Britain who strove to represent human figures, their relationships and surroundings in the most intimate of ways.
28 February – 27 August 2018
£19.50 (Advance booking £17.00)
Concession £18.50 (Advance booking £16)
FREE for Members
Family child 12–18 years £5
Are you aged 16–25? Register for Tate Collective and get tickets for only £5


Aftermath: Art in the wake of World War I. Marking the 100 years since the end of World War One, Aftermath looks at how artists responded to the physical and psychological scars left on Europe.
5 June – 23 September 2018
£18 / FREE for Members (Advance booking £16)
Concession £17 (Advance booking £15)
Family child 12–18 years £5
Are you aged 16–25? Register for Tate Collective and get tickets for only £5

SAATCHI GALLERY: King's Road, London SW3 4RY
https://www.saatchigallery.com/

Known Unknowns: Selection of work by 17 rising contemporary Fine Artists.
21 MARCH – 12 AUGUST 2018  
Admission Free

ROYAL ACADEMY OF ART: Piccadilly,London, W1J 0BD
https://www.royalacademy.org.uk/
 

250th Summer Exhibition: This summer, Grayson Perry RA coordinates the biggest, brightest and most colourful Summer Exhibition yet, in our 250th annual celebration of “art made now”.
12 June - 19 August
Admission £14/£9 Students and 16-18 year olds with iD

FASHION & TEXTILES MUSEUM: 
83 Bermondsey Street, London SE1 3XF
http://www.ftmlondon.org/

Orla Kiely, A Life in Pattern: Featuring over 150 patterns and products, as well as collaborations with photographers, film directors and architects, Orla Kiely: A Life in Pattern emphasises the role of ornament and colour in our everyday lives. 
25May - 23 September 2018
Admission £9.90/£7 Students with iD

V & A MUSEUM: Cromwell Road, London, SW7 2RL
https://www.vam.ac.uk/

Fashioned From Nature: The first UK exhibition to explore the complex relationship between fashion and nature from 1600 to the present day.
21 April 2018 - 27 January 2019
Admission £12/£10 12-17 years or Students with iD


The Future Starts Here: Showcasing 100 Design Projects shaping the world of tomorrow.
12 May - 4 November 2018
Admission £16/£12 12-17 years or Students with iD


Frida Kahlo: Making Herself Up: Experience a fresh perspective on Kahlo's compelling life story through her most intimate personal belongings.
Until 4 November 2018
Admission £15/£11 12-17 years or Students with iD

HAYWARD GALLERY: Belvedere Rd, London SE1 8XX
https://www.southbankcentre.co.uk/venues/hayward-gallery

Lee Bul, Crashing: Brings together more than 100 works from the late 1980s to the present day, including a new sculptural work and a site-specific commission.
1 June - 19 August 2018
Admission £13/£10.50 Students with iD

BARBICAN CENTRE: Silk St, London EC2Y 8DS
https://www.barbican.org.uk/

Dorothea Lange, Vanessa Winship: A double bill of exhibitions featuring pioneering documentary photographer and visual activist, Dorothea Lange, and award-winning contemporary photographer, Vanessa Winship.


Standard Ticket £13.50
Students with ID and 14-17 year olds: £9.00

DESIGN MUSEUM:  
Kensington High Street, London W8 6AG
http://designmuseum.org/

Azzadine Alaia, The Couturier: Celebrate ‘couture’s rebellious outsider’ in the first UK solo exhibition of his work.
Until 7 October 2018 
Admission £14.50/£10.75 Students with iD


Hope to Nope, Graphics and Politics 2008 - 2018: Discover how graphic design has played a pivotal role in dictating and reacting to the major political moments of our times.
Until 12 August 2018
Admission £10.90/£8.20 Students with iD
Combined Student ticket (Alaia + Hope to Nope) £17.50

SERPENTINE GALLERY: 
Kensington Gardens, London W2 3XA
http://www.serpentinegalleries.org/

Christo and Jeanne-Claude: The London Mastaba. New floating installation by the veteran large scale practitioner. Plus retrospective of works in the gallery.
18 Jun 2018 to 23 Sep 2018

Admission Free


If you really can’t get up to London…

Then do something else to extend your knowledge of contemporary Art:
Contribute: If you produce a fantastic creative piece of your own over the Summer, then photograph it and use the #iamartataltoncollege to add it to our Instagram page www.instagram.com/iamartataltoncollege 


Deadline: Ensure you’ve Read, Visited or Contributed something before term starts on 10th September, even better do all three!

Wednesday, 27 June 2018

LIFE CYCLES - Submission Checklist and Evaluation Guidance


CHECKLIST LIFE CYCLES PROJECT: 
SUBMISSION MONDAY 2ND JULY

Then and Now - Life Cycles

Remember there are assessed Units in this submission, so handing in on time is essential.

·        Word association mind-mapping for 2 life cycles
·        Visual mood boards for chosen life cycle (2 pages A3, 4 pages A4).
·        6 pages of specific mind-mapping pages developing a personal theme/concept within your chosen Lifecycle
·        2 Storyboards with plans for 2 photoshoots, annotated to make clear what your intentions are with regards to location, models, props, make-up, costume, lighting, camera angle, depth of field etc.
·        2 strong photographic shoots each 10-15 strong location images
·        wallet images of your unedited images
·        large prints of edited ones that are the most effective.
·        Detailed annotation in your sketchbooks regarding your photographs answering questions for unit 30 (Location Photography).  See blog for details
·        Analysis of the work of 2 photographers who use location in their work. (350 words each photographer, look at Robert Doisneau and one other)
·        4 sustained images from printmaking.
·        Sustained and expressive drawings in class
·        2 interesting leaflets with questions answered
·        4 apt slogans relating to your life cycle that have been experimented
·        Series of experimental positive or negative slogans to accompany your images for the leaflet.
·        Research on 2 graphic designers - one historical and one contemporary with questions answered from the blog.
·        4 responses to these using your photographs.
·        1 sustained painterly piece.
·        Mixed media collages – acetate collage and one other.
·        Inventive use of font within a moodboard
·        Look up https://handmadefont.com/ and  visualise 3 fonts that are expressive and inventive.
·        3 expressive messages using varying materials and found objects.
·        Handouts, experiments produced in Photography with Amanda annotated.
·        Practical work for this project should amount to 15-20 pages within sketchbook
·        At least 3 varying mock ups that show your leaflet imagery in varying ways. 
·        Final 6 sided leaflet with boxes  printed and mocked up
·        2 Evaluations with in-depth intelligent analysis answering questions each at least 700 words long

Evaluations for Life Cycles project
You should answer questions in depth.  You should use thumbnail sketches, diagrams or scanned imagery to make your points clearer. 
Evaluations should be a minimum of 700 words each, word-processed and checked for spelling with images to make your points clear.
EVALUATION  GRAPHIC IMAGE MAKING 
1.   Pick 2 of your graphic images that you feel are important within your leaflet and evaluate them in minimum of 800 words:

2.   Describe the two pieces, what techniques and decision making have you decided upon to use to create your image and how effective has this been to help communicate the’ tone’ of your idea.  ie scratchy writing to suggest anger or teenage angst  or soft vintage filters on Photoshop to suggest time and marriage past.   How successful do you think these graphic effects are at generating the feel you were after and why?

3.   What symbols have you used within your graphic images on any parts of the leaflet or sketchbook?  Symbols are universally understood such as kisses, crosses, thumbs up, hearts, ying and yang, religious symbols etc

4.   How have you edited your images to fit the format of the leaflet, what did you do to these?  Write in detail describing your efforts within Photoshop, Adobe Bridge, cropping, saturation, tone, contrast, brightness, clone tools etc.

5.   Which designers or artists have helped you to create a graphic style, and can you describe the style you have adopted and reasons how this relates to your life cycle group?  ie you could use words such as surreal, distressed, montage, chaotic, simplified etc
6.   What do you want the viewer to think when they see these images - a feeling for the moment, a sense of nostalgia, atmosphere, poignant reflection.
7.   How has text appeared on your leaflet?  What font have you chosen and what feel have you tried to communicate with it?
8.   Of the differing approaches to image making that you were asked to explore, which final images do you think are the most successful and why? Discuss each approach in turn.   Consider mentioning graphic image making ideas such as layout, composition, sequence of ideas, aesthetics, the use of tactile qualities, mark making, simplicity, linear effects, layout, experimental use of media and of course
9.   How would you resolve, modify or change the final piece of work you have produced if you had a further 5 weeks of study. Do you think you have used your time wisely within this project?  How have you used lessons, private study times and have you stuck to the interim homework deadlines?


EVALUATION LOCATION PHOTOGRAPHY

1.   Explain what you understand by the term location photography, what kinds of photography do you think this covers and bearing in mind the practitioners you have looked at, what aspects do you think are important?
2.   Compare one of your favourite photographs on location in relation to one of the photographer’s pieces. Please show these examples and compare and contrast these.
3.   What photographic equipment did you use to capture your photographs?  Please detail this and the settings you used on your camera/phone.?
4.   Show an example of a before and after image that has improved since you have manipulated or practised your photography to get the best from this.   Did you take the image multiple times and use different equipment, lenses? Did you choose more varied lighting? Was using reflectors or other equipment helpful to make this image effective?  Was it within post production editing such as Photoshop that you found it really developed or refined your image? 
5.   Which photographer did you look at for this project that really made a difference (this does not necessarily have to be one off the blog, was there anyone else that impacted upon your ideas?) Please be specific ie discuss elements of atmosphere, composition or concept that helped your work and show the work you are influenced by.
6.   Discuss everything that has gone towards making your photographs effective -  your intention of location, composition, lighting, shutter speed, filters, and any other production techniques, use of digital, organisation of models, making of props or styling these , editing that you used to modify or enhance your image?  Use photographs to make your answers clearer.

Tuesday, 26 June 2018

New Designers Work - Design Diary Part 2

YOU NEED TO MAKE YOUR ARRANGEMENTS TO VISIT NEW DESIGNERS. THURSDAY - SATURDAY THIS WEEK FOR FASHION, TEXTILES AND DESIGN CRAFTS. 
NEXT WEEK FOR GRAPHICS, PRODUCT, FURNITURE, INTERIOR ARCHITECTURE, PHOTOGRAPHY, ILLUSTRATION, ANIMATION ETC.
SEE PREVIOUS POST AND THE NEW DESIGNERS WEBSITE FOR MORE DETAILS:
http://www.newdesigners.com/



BTEC 1ST YR EXTENDED DIPLOMA IN ART & DESIGN

DESIGN DIARY SUMMER  PROJECT  NEW DESIGNERS

PART 2 
                      
Rationale:

This project is part 2 of the work to cover unit 5 and in addition to your first year essay and the review of our art exhibition will cover the criteria required for this. The Design Diary is an ongoing resource  that can be added to at a later date and something that will be taken to interview to show you are aware of the history and the context  of your specialist area.

Aim:

Ø   From your visit to New Designers pick 4 artists or designers from your chosen specialist area that you feel  you are strongly drawn to. At least one of these should be from the ‘One year in’ room which is practitioners who have been out a year already.

Ø   Answer the questions 1-9.  Present this written work within your design diary.  Produce 15 A4 pages showing a coherent analysis of this work.  Inventively present this using photographs, postcards and other information Comments should be in as much detail as possible and have the analysis and evaluation of an essay.

Ø  Make your own responses to this work within 2 responses to each artist/designer- 8 in all.  Spend time on these trying to create these to look as professional as possible.  Use manual or digital ways of working to respond. 

1.      Try to answer the following  questions.  If you cannot find out the answers to these easily try being creative, try emailing the artist/ institution that represents them or using face book, or following a blog/website for info  to discuss etc to gain information on them. 

2.       What is their work like?  How would you describe it?   What makes them stand out from other exhibitors for you? What techniques or processes do you think they use and what exactly makes them so successful?

3.      Who do you think has influenced them and what is their work like?   Have things such as - politics, music, fashion, changes in materials or technology processes had an effect? Can you show influences and compare or contrast these similarilties together?  

4.      What themes or ideas are in their work ? How do these artists\designers communicate messages or meaning within their work?  What logos, slogans, visual imagery or mark-making do they utilise to produce their work?

5.      Who are some of the clients they have worked for?  What internships do they have planned?  Can you document this work and give examples of large and small commissions/ jobs they have covered?

6.      Give evidence of quotes, opinions and comments from other people if available .  These may be from catalogues, newspaper cuttings, websites, TV programmes, blogs, face book etc.  The more variety of information,  the more interesting your diary.  They may lead you to look at other artists whose work you like.  You will probably have to dig around to get this and anticipate this will take time - be persistent.

7.      Why have you chosen these artists\designers to analyse?  What relevance does their work have on your own interests?  Do you use similar techniques etc or do  the concepts/ideas they promote appeal to you? Why are you so attracted to this work?  Is it that you find the markmaking original, messages in adverts inventive, appreciate the form and structure of a sculpture etc.?  Please elaborate as much as possible.

8.      What materials, processes and technology have they adopted that have shaped their ideas and given the work a distinctive style.

9.      Produce 8  sustained responses to the designers you have looked at (minimum  2 for each artist/designer) by making samples, tryouts, drawings, typography in the style of this work to show your interests.  Present this in an appropriate way next to your analysis.

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 2018 first day back along with Design Diary, part 2