Alphasemble Checklist after Week 2

PhotoShop Letter Overlays (with inverted sections)

So you have all survived your first half term on the Art BTEC at Alton :) Hopefully half term will offer you (and the staff) a chance to recharge your batteries, but you do need to make sure you are up to date with your current Alphasemble project when you return. Mostly this is a case of finishing and presenting the work we have done so far in class effectively, but there is some additional research we want you to do to prepare for the 3D phase of the project (see the bottom of this post).
So by Monday 31st October the work you should have completed is:

• At least 2 really effective full page linear compositions based on your letterforms - these shouldn't include tone or colour so they can be photocopied and worked into with other media.
• 1 or more carefully built up A3 tonal/pattern based compositions developed from your linear work - use pencil, biro or fineliners.
• Photocopier inverts of your tonal pieces.
• At least 1 colour collage piece created by combining 2 or more "colour conversion" copies of your tonal work.
• 2 pages of well presented thoughtful research into Jasper Johns (number/letter work). Include at least one sensitive visual response. 
• A photographic Alphabet, find or create letterforms in the environment around you and record them with the camera. Pay attention to the aesthetic aspects of each of your 26 shots (lighting, composition etc.). Present these effectively in the sketchbook.
• An acetate collage, using cut photocopier experiments, along with other papers (newsprint, brown paper etc.) to fill spaces in your compositions.
• A gold card plate cut and printed with the prints and plate mounted into your sketchbook.
• At least 2 printed out PhotoShop letter compositions, experimenting with layers, opacity, colour etc.
• Several other colour experiments with your letter compositions e.g. Food Dyes and bleach, spray stencilling, paint, cut paper collage.
• Coloured Card with cut and raised letters and some dramatic photography from this on the lightbox - zoom ins/interesting angles/use of the coloured filters. Print out several of the best shots at A4 or A5 for inclusion in your sketchbook.
• 2 pages of research into a second Artist/Designer who works with letterforms in an innovative way (e.g. Michael Craig Martin or David Carson). Analyse some specific works in detail, provide brief background biographical information, quotes from the Artist, a visual response ...you should be getting familiar with the drill!

Frank Stella, relief sculpture.

• Also in preparation for next week 2 pages of research into the 3D relief work of Frank Stella, the work we will do next week will form the visual response, but you need to build an awareness of his techniques.   

Autumn Term Insight Reflections

To complete your reflections go to your Insight Home Page and open the "student reflections" tab - this will open a box into which you can type your thoughts.

So how am I doing, let's think...

To kick off the termly review process we ask you to consider how you are progressing, what is going well and what more you can do to improve your performance.

This is intended to be done in relation to the target grades you will find on your Insight page, but be aware these are set at a very high level - especially for this stage of the course. It will take time to reach these levels and they are very much aspirational targets for the end of the course, do not worry if you are below target at this stage.

I am confident many of you will go on to achieve Distinction and Distinction Star grades, but the important thing at present is to focus on how you can advance on your present level of achievement. 

So what things should you consider when you are writing your reflections? Say anything you regard as relevant, but make an effort to cover the following points:

• Reflect on how the start of the course has been for you? Are you enjoying the work? Do you feel settled at College?  
• Think about the work we have done this term (Colour, Tools, Alphasemble) and discuss some aspects of your work that you consider to be successful, explain why.
• Improving is about identifying areas of your work/approach where change is going to be beneficial. Point out at least 2 aspects of your work you will target to work on in forthcoming projects and explain what practical steps you intend to take to address these areas.

These could be things like: Your Attendance/punctuality; Your Observational Drawing; Your willingness to experiment; Your research; Your Focus in the studio; The presentation of your sketchbooks; Your time management skills/meeting deadlines; Your skills with specific techniques (such as PhotoShop).

• What are you looking forward to over the rest of the year, are there areas of Art and Design we haven't touched on yet that particularly interest you? What are these? 

ALPHASEMBLE - Week 1 Checklist

Jasper Johns

A checklist of things you should all have done by Monday 17th October, look on this as a minimum, some of you might manage more...

• At least 2 really effective full page linear compositions based on your letterforms - these shouldn't include tone or colour so they can be photocopied and worked into with other media.
• 1 or more carefully built up A3 tonal/pattern based compositions developed from your linear work - use pencil, biro or fineliners.
• Photocopier inverts/colour conversions of your tonal pieces.
• 2 pages of well presented thoughtful research into Jasper Johns (number/letter work). Include at least one sensitive visual response.
• An A3 Gold Card plate cut and ready for printing on Monday (build areas of tone and pattern into your composition patiently). 

• 

  Sample photographic Alphabet

• A photographic Alphabet, find or create letterforms in the environment around you and record them with the camera. Pay attention to the aesthetic aspects of each of your 26 shots (lighting, composition etc.). Present these effectively in the sketchbook.

Stretch and Challenge/Directed Study
Some of you have already started to experiment with other collage and colour work, which is great to see. If you are looking to extend your work you might try things like 

• Cut letter collages from different papers (map, newspaper, brown paper, graph paper etc.). 
• Ink and bleach experiments.
• Painted compositions.
• Digital experiments.
• Collages intermingling different photocopier variants (colour conversions/inversions)

Next week

We will all be making more developments based on our compositions using colour, printmaking and PhotoShop. You will need to look at a second 2D Artist from the brief (e.g. Michael Craig-Martin or David Carson), and research the relief work of Frank Stella in preparation for moving into 3D after half term.

Michael Craig Martin

Some Work from the Colour Project

A few highlights from the Observational and Abstract paintings completed by both groups:

Elise Costain

Holly Holburn

Izzy Killen

Lily Cush

Tom Malone

Trinity Howard

Abby Blakeley

Ella Francis

Issy Mealey

Joel Molyneux

Jaime Heath

Lily Cush

ALPHASEMBLE - First Tasks

Layered Text

Following the project briefing things you need to do before your first lesson in the new project are:

• Choose 5 letters and 2 numbers (these could be from your name/date of birth or just randomly selected), try to get a range of different characteristics in the letters/numbers - curved, straight, open, contained spaces etc.
• For each of these 7 characters find 5 varied examples (35 characters in total) find your examples from a range of sources - e.g. Font websites (see links in project brief below), magazines, newspapers.
• Cut out/print out all these letterforms and bring them to your next session (a large envelope is a good way to keep them together).

Jasper Johns 

• You should also complete 2 pages of research into the letter/number inspired works of Jasper Johns - try to find a range of his images in this style, so ideally some drawings/prints and some paintings.
• As always with research consider layout carefully, keep pages busy and visually stimulating. The written content is also important, provide a brief section of background information about the Artist, but make sure you go on to analyse individual works in some detail.

You will need an A3 sketchbook for this new project. Either softback stapled @£3 (you might fill 2 of these) or hardback ringbound @£8 (one should do it).

New Project Brief - ALPHASEMBLE (for both groups)

Digital response to Jasper Johns (Huw Williams)

BTEC Extended Diploma 1^st YEAR PROJECT BRIEF

PROJECT: ‘Alphasemble’, 

Specialist: Typography/Sculpture

Project Outline:

This project presents an opportunity to further develop your drawing, printing and mark-making skills, to come to a better understanding of colour and composition and to work in both controlled and expressive ways.  It also offers the opportunity to manipulate materials in the process of exploring 3 dimensional forms. 

This project is divided into two sections. The first requires you to work in your sketchbooks to explore 2-dimensional space, form & line, layered shapes, mark-making, surface quality, colour, composition & layout and to develop an awareness of good design and composition using letterforms and different typefaces as a starting point

The second requires you to interpret your 2 dimensional designs/ images into 3 dimensional forms using abstraction and to explore the language, techniques and materials of 3 -dimensional design (3DD) and sculpture.

In both sections you will study various artists in order to enhance your working practice and place the project into a relevant historical context.

Materials, equipment & resources

Pencil, fine-liner, biro, paint, pastel, collage, photo-shop, photocopy, acetate, food-dye, ink, bleach, spray paint, relief printing.

Card, paper, glue guns etc.

Artist Research: Jasper Johns, Frank Stella, David Carson, Michael Kenny, Michael Craig Martin, Frank Gehry, Naum Gabo, Philip King, Richard Deacon.

Resources:  Fonts - www.dafont.com, www.font.com, www.font101.com etc.  Modern Sculptors: www.sculpture.org

PART 1: Week 1

·     Start by choosing 5 or more different letters from your name. Begin to research into a variety of different type-faces and collect examples of these: Use websites, magazines, newspapers, computer fonts etc.

·     Using pencil/fine-liner/biro or pen & ink, experiment with the letterforms as compositional elements to produce several different designs/images.  Start by using the letter outline only and create several overlay examples (see Jasper Johns numbers).

·     Get out and see where you can see or create letterforms in the environment, record your discoveries through photography.

·     Next explore more ideas based on your selected typeface/letters by considering the following: changes of scale, symmetry & non symmetry, positive and negative shapes and close cropping so that only part of the letter form is visible.

·     Now start to play with some of this imagery by working into the negative and positive shapes with different types of mark making to create lively and interesting surface effects and a sense of depth and perspective. Your surfaces could be very expressive with an emphasis on fine art painting/ collage mark making etc or they could be more graphic.  Look at repetition and pattern, or combine both. An illusion of space can be created by considering the scale, weight and density of marks, and their relationship to areas of solid and void.

·     Produce research into Jasper Johns and either Michael Kenny, Michael Craig-Martin or David Carson. Your research should be presented carefully over several sketchbook pages, find images of the Artists work and analyse these alongside providing background information and visual responses for each Artist selected.

Week 2

·         Select the strongest of your drawings and start to introduce colour. You may work on the whole design or take a section and enlarge it.  Explore the use of the following colour mediums: paint, oil pastel, food dye & bleach and mixed media collage. You will be shown any new techniques as you progress.

·         Explore your compositions by devoting some time to cutting and printing a detailed gold-card relief print.

·         Now take the development further: photocopy some of your images onto paper and acetate; play with scale, inversion etc. Look at cutting away, layering and overlay to create collages. Scan some of your images into the computer and manipulate further using PhotoShop.

Part 2: Week 3

·  Select two or three of your strongest ideas/ designs. Start by identifying some of the formal elements of your images - i.e. both positive & negative shapes that represent the whole or parts of the letter forms you have been looking at.

·  Look at the work of Frank Stella and one other sculptor from David Smith, Eduardo Chillida, Naum Gabo and Richard Deacon produce research that analyses specific works by these sculptors and includes your own visual responses to their work.

·  Having looked at the work of Frank Stella use strong shapes from your drawings/designs cut-out, raise and interlock shapes to produce a ‘relief’ version of your image.

·  Begin exploring how to interpret these 2D images into 3D forms using twisted, torn and scored paper combining these with cardboard. You will also be expected to introduce colour and surface into your maquettes. As you progress you will probably need to sketch out some of your ideas in your sketchbook to help resolve ideas and problems.

·  You will need to carefully consider negative as well as positive space.  By the end of this week you should have at least one successfully resolved relief piece as well as 3D experiments that will help you to move onto the production of a final sculptural piece.

·  Take some dynamic photos of your maquettes using strong light and interesting viewpoints and angles. Include close up details as well as views of the entire piece.

Week 4

·         You are now expected to produce a final, well finished 3 dimensional piece that will demonstrate a refined application of the materials and techniques that you have experimented with in the previous week. You will need to pay special attention to scale, surface (colour and texture) and ensure that your final piece works well from all angles. This sculpture should be no larger than 40cm in any direction.

·         Ensure you obtain good photographs of your final piece and include these in your sketchbook. When taking these photos you should use a plain clean background and again consider lighting, viewpoint, details etc.

·         Complete a word-processed project evaluation (further guidance on this will be issued)

Minimum submission requirements:

·  1 x sketchbook packed with ideas, drawings, experimentation and that shows the development of your ideas.

·  Also in sketchbook: research into letterforms type-faces etc, relevant artist/sculptors etc. A series of photos of your maquettes and final 3D outcome.

·  Relief sculptural piece, plus any additional 3D experiments.
·  A final sculptural piece.

·  A word-processed evaluation.

GROUP 1 - Tools Project Evaluation Guidance and Checklist

DEADLINE FOR SUBMISSION OF SKETCHBOOKS is 

4.30pm MONDAY 10th OCTOBER

In your sketchbooks the following work should be present, please annotate your pages with some brief notes about the techniques you've employed:

• At least 1 sustained pencil drawing of your tool completed from direct observation.
• A series of thoughtfully lit and composed photographs of your tool, include thumbnails of your whole shoot and print the best shots at A5/A4 and put in sketchbook.
• Expressive large scale stick and ink drawings, photograph for inclusion in sketchbook.
• Expressive large scale charcoal drawing into mid-tone, photograph for inclusion in sketchbook.
• At least 1 good monoprint.
• One or more Gold Card plates cut and printed (present plates and prints in your book).
• A3 Collage (card base) with monochrome mixed media interpretation of your Tool worked over the top.
• 2 images produced through creative use of the Photocopier - e.g. Inverts/Colour Overlays/Colour Conversions based on your existing drawings and prints.
• Minimum of 2 good Food Dye and bleach pieces (working into photocopies of existing drawings/prints).
• Several spray stencil experiments, layering and repeating your motif to create interesting compositions.
• Research into Jim Dine and Florian Nicolle (see earlier post for details).
• Acetate Collage (ideally worked into with sewing machine).
• Spray Paint Artist research (see earlier post for details).
• 400-600 word, word processed evaluation (see guidance below).

Optional Extras:

• Layered Photoshop developments of your work, scan existing pieces and combine them, consider addition of text. Print out and include.
• Other drawings of your tool in your sketchbook, these could be in pencil/biro/fineliner.

EVALUATION GUIDANCE
In order to pass this project, you will need to write a short evaluation.  This will clearly define the processes and techniques you have investigated, as well as outlining any high moments and low moments.

•    Begin by giving a brief outline of the project – describing what you were being asked to do. Talk about why you selected your particular tool, what design and drawing opportunities did it offer you? What visual qualities appealed about your tool?  - mention specific shapes, colours, textures, surfaces, details etc.
•    Talk through all the different processes you encountered, keeping it brief & informative, which were the most successful in your view, & how have your existing skills been extended in the process. Use the checklist of techniques above to ensure you cover everything.
•     Talk about the artists you researched (Dine, Nicolle, Banksy etc.) why they were relevant and how you used what you learnt about them in your own work.
•    Reflect on how you worked throughout the project, did you manage your time well? What things might you have improved upon? 

GROUP 2 - Colour Evaluation Guidance and Checklist.

John Hoyland's Shoes.

Write your evaluation as a flowing piece of text, using full sentences, but ensure you cover the following points, it is helpful to include photos of your two main paintings alongside your evaluation:

• Identify at least two aspects of your observational painting that you consider to be successful. (These could be things such as composition, use of colour, creation of space, observation of detail or painterly technique). Justify and explain your choices.
• Identify an aspect of your observational painting that you could improve, explain your choice.
• Have you learnt anything from producing the observational painting? Did you find this straightforward or a difficult task?
• Overall are you satisfied with your observational painting? Give reasons.
• Do you think your photographic joiners were successful? Did you enjoy making them? Identify some strengths and weaknesses of the images you made, did you find this a challenging activity?
• Identify at least two aspects of your mixed media abstraction that you consider successful. Explain your choices.
• Identify an aspect of your mixed media abstraction that you could improve, explain your choice.
• Explain something you have learnt from producing the mixed media abstraction.
• Overall are you satisfied with your mixed media abstraction? Give reasons.
• Over the project which Artists did you research? What appealed to you about their work? Did your research help or influence any of your own work in any way? Describe how.
• Which of the painting methods did you enjoy the most?
• Which painting do you consider your most successful; why?

PLEASE COMPLETE AND HAND IN YOUR WORD-PROCESSED EVALUATION 

With the rest of your work BY 4.30PM ON MONDAY 10th OCTOBER.

MINIMUM SUBMISSION REQUIREMENTS:

• A well completed A2 observational painting.
• Fully finished A1 Mixed Media Abstraction.
• Full page tonal pencil drawing based on the Still Life in your sketchbook.
• 2 pages research into David Hockney’s photographic joiners.
• 2 resolved photographic joiners of your own based on the still life.
• 4 pages of research into Abstract painters including at least 2 visual responses (1 to each Artist).
• Word-processed project evaluation (300-500 words).

GROUP 1 - Spray Paint Artist Research

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.

GROUP 2 - Abstract Artist Research

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.