Spray Stencil Artist Research (IVAN's GROUP)

To complement the work you are doing in class you need to find an Artist who creates works which involve spray stencils, and base your research on this individual. Present your research over a minimum of two pages and use the guidance to ensure you cover the right stuff in your written analysis. Some works by potential Artists to study are featured below:

Bryce Chisholm

Banksy

Bernie Reid

RESEARCH

1. Identify your Artist and include brief biographical details/background information.

2. Find examples of artworks – get good colour copies, list dates, dimensions and media used.

ANALYSIS

3. If you can find them, include quotations from the Artist. Try www.artquotes.net

1. Give a detailed description of the artwork.

2. Analyse – comment upon use of colour, composition, media, technique, scale etc.

WRITTEN RESPONSE

1. Give an opinion on the Artworks, but ensure you justify what you say. Avoid simple value judgements (‘I really like/dislike…’) or vague, meaningless statements (’This piece is really effective’). Comment upon how successful or unsuccessful you find the artwork, and give specific reasons why you hold this opinion (I find this image particularly successful due to the dynamic way in which the Artist has combined spray stencils with other media).

2. What is the relationship between this work and your own? Identify and explain connections between this artist’s work and your own.

VISUAL RESPONSE

1. It is important to also include your own visual responses to artists’ work. In this case your own spray stencil work can be presented as your response, you might consider making an image that combines your spray stencil with other media if the Artist you have selected does this.

OVERALL PRESENTATION

1. Take pride in the overall presentation of your research, it should not be rushed. Consider each element carefully:  type, layout, titles, visual responses etc.

Abstract Artist Research (PAUL'S GROUP)

Choose two Abstract Artists and analyse at least 3 images by each painter (minimum of 6 Artworks in total). The work should be thoughtfully presented over at least 4 sketchbook pages. Some suggested Artists to research are listed below. This work will be marked with the rest of the project when you hand in next week.

Hans Hofmann, Howard Hodgkin, Albert Irvin, Gerhard Richter, Jackson Pollock, Willem de Kooning, Richard Diebenkorn, Cy Twombly, Gillian Ayres, John Hoyland, Fiona Rae.

Jackson Pollock at work

Gerhard Richter

Albert Irvin

Hans Hofmann

Willem De Kooning

RESEARCH

1. Identify each Artist and include brief biographical details/background information.

2. Find examples of artworks – get good colour copies, list dates, dimensions and media used.

3. If you can find them, include quotations from the Artist. Try www.artquotes.net

ANALYSIS

1. Give a detailed description of the artwork.

2. Analyse – comment upon use of colour, composition, technique, scale etc.

WRITTEN RESPONSE

1. Give an opinion on the Artworks, but ensure you justify what you say. Avoid simple value judgements (‘I really like/dislike…’) or vague, meaningless statements (’This piece is really effective’). Comment upon how successful or unsuccessful you find the artwork, and give specific reasons why you hold this opinion (I find this painting particularly successful due to the way in which the Artist has created a balanced composition by distributing the strong red colour evenly throughout the piece).

2. What is the relationship between this work and your own? Identify and explain connections between this artist’s work and your own.

VISUAL RESPONSE

1. It is important to also include your own visual responses to artists’ work. This can either be a copy of an artwork (or a detail of a work) with the purpose of analysing technique; a diagram or study that investigates certain formal elements of the artwork (composition, brushwork); or a piece of your own work that clearly uses some of the techniques, methods or aspects of this artist’s work.

OVERALL PRESENTATION

1. Take pride in the overall presentation of your research, it should not be rushed. Consider each element carefully:  type, layout, titles, visual responses etc.

Tools Project Checklist (IVAN's GROUP)

By the end of Monday 28th September the practical work for the Tools project you should have completed is:

• At least 1 sustained pencil drawing of your tool completed from direct observation.
• A series of thoughtfully lit and composed photographs of your tool, best ones printed out at A5/A4 and put in sketchbook, also have some (3-5) good shots printed and kept loose at A4 scale as we will need these for basing prints on. 
• 2 or more other drawings of your tool in your sketchbook, these could be in pencil/biro/fineliner.
• Expressive large scale stick and ink drawings. Photograph these and include the photos in your sketchbook.
• A3 chalk and charcoal drawing onto midtoned paper.
• 2 good monoprints.
• One or more Gold Card plates cut and printed (present plates and prints in your book).
• A3 Collage base with monochrome mixed media interpretation of your Tool  worked over the top.
• 2-4 images produced through creative use of the Photocopier - e.g. Inverts/Colour Overlays based on your existing drawings and prints. Research into Jim Dine and Florian Nicolle (see earlier post for details)

On Monday please remember to bring £2.50 as a contribution to group materials we will be using next week (spraypaints and food dyes).
Next week we hope to fit in food dye and bleach work, spraypaint stencilling, further Collage work using acetate and the sewing machine and some layering and manipulating of your imagery through PhotoShop.

Drawing Task (PAUL's GROUP)

To complement the work we have been doing in class you should make a sustained full page pencil tonal drawing from your still life photos. You should aim to spend 4-5 hours on this drawing and complete it by Monday 28th September (it will be assessed as part of your project).Select a good photographic image that is relatively complex (probably best to get something from a different viewpoint than your observational painting). Set your composition out carefully with a B/HB pencil in line then add a range of tones using softer pencils (2B - 6B), make sure your darkest tones use the full depth of tone you can achieve (press hard).
This should be a sustained piece that shows off your drawing ability to the full, you might use a rubber to help you pick out the highlights.

Photo Joiner Tips (PAUL's GROUP)

Don't forget to bring cameras/cameraphones/card readers/download cables in with you tomorrow (Weds. 23rd September).
You will also need to ensure you have some printing credit (or bring money to top up).

A few tips for when you do your photo joiners:

• It helps to take your photos all from approximately the same position. Move the camera to capture different sections, rather than wandering around - otherwise you may end up with a set of very disjointed images.
• Whilst you are going for a fragmented look if you vary the zoom or viewpoint too much the whole thing quickly becomes incoherent.
• You will be surprised at how many photos you need to make an effective joiner, as there is inevitably some that aren't useful - I'd suggest a minimum of 30 shots.
• I found for working at A3 scale selecting the "Wallet Prints" option from the printer wizard was the most effective - this gives you 9 images on an A4 printed page. 

TOOL PROJECT Supporting Research (IVAN's GROUP)

For homework you need to research the Artist's detailed below, refer back to the earlier post (on Hockney's Joiners, for tips on structuring the written content and presentation of research). You should complete this work by Monday 28th September at the latest.

Two pages of research into the Tool drawings of Jim Dine and the same for the mixed media collage work of Florian Nicolle - find good reproductions of their work, give a brief bit of background information about each Artist, provide some analysis and personal opinion on at least 2 specific images by each of them and make at least one visual response of your own to each Artist's work (this should be an interpretation of your tool in the style of each Artist).

Jim Dine

Florian Nicolle

Hockney Photographic Joiner Research (PAUL's GROUP)

Photo Joiner by Hockney - Portrait of his Mother

You need to find and print out at least 4 examples of David Hockney’s “Photographic Joiners”. Research this aspect of his work and analyse at least 2 of the images you have found in depth. This work should be thoughtfully presented over at least 2 sketchbook pages.

RESEARCH

1. Title your pages with the Artist’s name, in this case David Hockney, you might consider using fonts available online from sites such as www.dafont.com
2. Find good examples of Hockney’s photographic joiners – not paintings and not tiny jpegs that print out pixellated.
3. Give a little background information on the Artist, when he was born, when he started to make his photographic collages and why.
4. Include quotations from the David Hockney (ideally that relate to his photographic work). Try www.artquotes.net

ANALYSIS

1. Give a detailed description of the artwork.
2. Analyse – comment upon use of colour, composition, technique/media, scale etc.

WRITTEN RESPONSE

1. Give an opinion on the Artworks, but ensure you justify what you say. Avoid simple value judgements (‘I really like/dislike…’) or vague, meaningless statements (’This piece is really effective’). Comment upon how successful or unsuccessful you find the artwork, and give specific reasons why you hold this opinion (I find this joiner particularly interesting because of the way in which the Hockney has explored mixing up different scales and viewpoints).
2. What is the relationship between this work and your own? Identify and explain connections between this artist’s work and your own.

VISUAL RESPONSE

1. We will be responding to Hockney’s work by producing our own Joiners based on the still life arrangement, look at how Hockney makes his images to help you create your own.

OVERALL PRESENTATION

1. Take pride in the overall presentation of your research, it should not be rushed. Consider each element carefully:  type, layout, titles, visual responses etc.

Tools Photography (IVAN's GROUP)

For the printmaking you will be starting later this week you will need a range of photographs of your Tool. Make these as dramatic and interesting as possible. Zoom in, choose unusual angles, consider lighting, cropping and viewpoint carefully. You might make use of cast shadows or select a specific background for your shots.
Take 15 - 20 shots and print 4 - 6 of the best at A4 or A5 scale. Here are a few sample shots to give you the idea:

Tools Brief (IVAN's GROUP)

BTEC EXTENDED DIPLOMA in ART & DESIGN

1^st YEAR PROJECT BRIEF

PROJECT– Tool

SPECIALISM: MIXED MEDIA/TEXTILES 

TIME: 2 Weeks

MATERIALS: Mixed Media

RESOURCES: sewing machines, drawing materials, spray paints, printing press and photocopier/IT.

ASSIGNMENT OUTLINE:

Textile design is an ever growing and evolving area of art and design, with individuals involved in this field now implementing an impressive array of techniques and processes serve to enhance and enrich their work.

This project asks you to look at textile design from an entirely different perspective to that which you have possibly been previously accustomed.

By using a basic hand-tool as your starting point, you are required to produce a body of work, which represents your object in a number of different ways. You will, as part of the process, and by using a variety of techniques and materials, consider and tackle texture, mark-making, surface pattern, scale and form.

GUIDELINES

• Having selected an appropriate hand-tool (this should be an object which has a number of different working parts, textures, different materials in it’s construction, interesting negative shapes and strong structural elements). A mechanical hand whisk, hand drill or ‘lazy-fish’ corkscrew would all be good choices - you should begin by carefully examining and scrutinizing your object through sustained drawing; visually recording its basic construction and trying to understand exactly how it works and what it is used for.
• In order to get a real feel for your object you should produce a range of studies in a sketchbook, initially in pencil, which are the product of some careful observation and strive to record the different surfaces and textures that your object might possess as effectively as possible. Try to use relevant pencil grades and mark making in this process – for example, plastic handles might be better tackled with a softer B pencil, whereas metal blades would be more realistically documented through harder F/H pencils. Vary your scale and vantage point for each drawing, this will allow you to produce a good range of outcomes and also help you to produce the best images for the technique work that comes later on. At this stage you should also look at a range of artists who are particularly well known for their use of drawing as a means of recording an object. In order to do this properly, you should include visual responses and coherent written analysis which considers their use of mark making technique, exploration of line and tone how successful these are and how you might adopt the same methods yourselves. Good people to look at include Jim Dine and Peter Randall Page.
• Using your camera to record your object will also allow you to develop some interesting imagery which could be manipulated through IT later on. Take close-ups as well as long shots.
• Once you are happy with your initial studies, start to introduce some more adventurous and unusual drawing techniques/materials. Consider colour and some more expressive ways of recording what you see in front of you.
• You will be introduced to a number of new processes (printmaking and spray stencil for instance) and you will need to include examples of these in your sketchbook.  
• As the project progresses you will be encouraged to explore techniques such as photocopying, collage and stitching to create further imagery. Again, record all outcomes in your sketchbooks together with examples of the work of others who use such techniques in their own work, details of suggested research will be posted on the Blog.

MINIMUM SUBMISSION REQUIREMENTS:

1 x sketchbook

REFERENCES:

Use the library and the internet in order to source this information – this will help to develop your individual research skills and vary the research material obtained. Lists of appropriate individuals may be given at certain points of the project to help you.

COLOUR BRIEF (PAUL's GROUP)

BTEC Extended Diploma 1^ST YEAR PROJECT BRIEF.

PROJECT:  Colour.

SPECIALISM:  Fine Art (painting).

CONTENT:

Initially working from direct observation we will be exploring different aspects of colour by creating a series of images. Our visual reference material will be a still life made up with a variety of brightly coloured hanging drapes and objects. As we move through the project our focus will shift from observation towards more intuitive and abstract uses of colour. Over the course of the project we will use paint, photography, drawing media and collage techniques. We will enrich our understanding of how Artists approach abstraction through sketchbook based research.

Week 1: Observational Painting:

We will be producing 1 or 2 observational paintings on an A2 scale. Alongside this we will be undertaking some photography and making collages and drawings.

GUIDELINES for your Observational painting:

·         Think carefully about your composition, how much of the still life arrangement should you include to achieve the most visually stimulating image?

·         Look hard at what you are painting, you should visually analyse shapes, colours and tones and observe how they relate to each other.

·         Use paint with confidence, you need to approach your piece with energy and enthusiasm. Start with your biggest brush, and don’t be afraid of making mistakes.

·         Be imaginative in your interpretation of colour: Look for and exaggerate hints of colour within colours (e.g. cool blues in areas of shadow).

·         Mix colours do not use colours straight from the pot. When lightening and darkening colours use other colours other than black and white to do this (you should not need black at all).

·         Use your water to alter the consistency and quality of the paint, use a range of applications from thin washes to thick impasto.

·         Look around you and learn from the approaches of other people in the group.

Week 2: Mixed Media Abstraction

In the second week of the project we will produce a sustained A1 mixed media abstraction. Initially we will work rapidly with a series of different materials (charcoal, newsprint, paint, pastels, tissue, scrim and hessian), before spending time refining and balancing our final images. We will conclude the project with a group crit and produce a written evaluation.

GUIDELINES for your Mixed Media Abstraction:

·         Be bold and experimental with the range of materials available to you, ensure you utilise the range of mark making techniques these materials allow you to achieve.

·         After using the still life as a starting point try to put all thought of representation out of your mind, and work within an entirely abstract context.

·         Be aware of the decision making processes that go into producing a successful abstract composition, good abstract work does not occur through accidental means.

·         Use colour imaginatively, to lead the viewer’s eye, to provide an illusion of depth, to create mood and atmosphere etc.

·         Work on your image from all sides. Rotate it, try working flat and at an easel for different effects.

·         Change the consistency of the paint to change the character of the marks you make.

·         Use texture carefully, large build ups of material can easily unbalance an image.

·         Don’t be afraid of making mistakes or making radical changes to your painting.

·         Taking material away (e.g. tearing layers back) can be just as effective as adding to an image constantly.

·         Continue to mix colours and avoid the obvious.

 ASSESSMENT CRITERIA:

You will be marked on how effectively you:

·         Demonstrate confidence and skill in the handling of paint and mixed media.

·         Select and resolve compositions.

·         Observe and record.

·         Demonstrate understanding of techniques and concepts (such as spatial use of colour) and effectively integrate these into your practical work.

SUBMISSION REQUIREMENTS:

·         At least one well resolved A2 observational painting.

·         Fully finished A1 Mixed Media Abstraction.

·         A set of at least 20 photographs of the still life arrangement (print thumbnails of them all and include the best 3 or 4 shots as larger A5 printouts)

·         At least one photomontage/joiner based on the Still Life inspired by David Hockney’s work.

·         2 pages of research into David Hockney’s photographic joiners thoughtfully presented alongside your own analysis.

·         A sustained Tonal pencil drawing based on your still life photography in your sketchbook.

·         A collection of images (minimum 6) by abstract artists, thoughtfully presented in your sketchbook with analytical comments and visual responses.

·         Word-processed project evaluation (300-500 words).

REFERENCES:

For Photography: David Hockney.

Abstraction: Hans Hofmann, Howard Hodgkin, Albert Irvin, Gerhard Richter, Jackson Pollock, Willem de Kooning, Richard Diebenkorn.