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Friday, 27 April 2018

Thinking Ahead - Choosing Your Specialist Area

As we approach the end of the first year of the BTEC you should be researching your options for specialising in the second year of the course, this is an important decision and the more you can find out about the potential choices the better, here is a brief introduction to some of the main possibilities:
Specialist Areas

Fine Art

Fashion

Textiles

Three Dimensional Design

Graphics

Illustration

Animation

Film and Photography

Each of the above areas is an umbrella term for a variety of sub-specialisations that can be found within these disciplines.



Fine Art

Fine Art course cover painting, sculpture, printmaking, photography and film.  Most courses are modular and follow a fairly diagnostic first year, where differing areas are experienced with the intentions of specialising within the second year.  There are still a few which require you to opt beforehand. 

If you intend to follow Fine Art you need to be very self motivated, have good drawing skills, and be a person that is interested in ideas.  All courses will expect you to have your own visual language and body of work that is more or less self motivated.  Don’t consider Fine Art if you thrive upon other people’s starting points.  Colleges will expect you to work unaided for a lot of the time.  Good Fine Art courses are competitive.  Some like Goldsmiths and Central St Martin’s like particular sorts of students.  Goldsmiths for instance prefer mature, highly intellectual, independent and conceptual workers.  If you like painting landscapes in a fairly traditional way don’t consider the above course.  Make sure you view the college to check your suitability.



Fashion

This field covers designing, making, technical and business aspects.  It essentially trains you to design a collection for industry, however it does have many spin off career paths such as a buyer and image consultant, and numerous fashion management positions.  You may become an in house designer where you work with a team of designers under a particular label such as Gucci or freelance designer who sets up their own label. 

Many courses cover pattern cutting, fashion drawing, all manner of fabric production and technique.  They deal with business management and preparing you for employment.  This can be a large or small part depending upon the College.  Some courses require you to learn a language and want Maths, Language and English GCSE as part of the entry requirements.

Fashion is competitive.  To work within it you need to be a person who keeps abreast of current design changes both contemporary and historical and who enjoys designing for the body.  You will need good like drawing skills, the ability to draw quickly and must be able to work under pressure with a range of differing personalities.



Textiles

This area covers a broad subject area which breaks down into numerous sub-headings.  There are a diverse range of courses such as those that specialise in print, knitwear and weave, surface.  To do textiles you need to love ‘change’ trends and keeping abreast of design and art styles.  You need to be good at working with colour and a range of materials but also need an excellent drawing base and be a versatile worker.  You need to love surface manipulation.

 To do this subject area you need to be a person who loves experimenting with colour, fabrics, texture and manipulation of colour. You may be producing sample designs, liaising with clients, interpreting clients ideas, assessing production standards,  be an in house-designer or working freelance.

Career pathways may be postgraduate study, buyer and merchandising, retail sales and markets, fashion journalist, management. etc there are courses that combine fashion and textiles and those that let you work diagnostically during the first year and then choose within the second to specialise.



Three Dimensional Design

This covers a wide range of design specialisations:

Furniture                       Theatre and Costume Design

Product Design             Ceramics

Jewellery                      Industrial

Interior                         Glass

Architecture                  Automotive

Craft

 This area is extremely far ranging and can only be mentioned in fairly general terms here.  In most courses students learn about the design process as well as studying design history.  Many courses have good links with industry although they vary considerably in what they offer and how courses are structured.  Some courses endorse working in expressive sculptural ways, others put more emphasis upon function and commercial usage.  Manufacturing Technology, ergonomics and material use are all areas that courses cover.  Look carefully at the costs of some courses as these may be expensive according to specialisms.  metals and jewellery, for instance, incur a fairly expensive sub. 

 To work within three dimensional design you need to have a good aptitude for constructing and perceiving in three dimensions.  You should have the ability to work with a variety of materials and be able to communicate your ideas well.  Good problem solving skills, accuracy and attention to detail area all desirable.  


Graphic Design

This is essentially coming up with ideas, big ideas which lead to ‘concepts’ and ultimately can head a campaign to advertise a product, event or idea.  It isn’t just about working with text and image and liking layout in fact this is a minor part of this discipline the important part of this subject area is ‘lateral thinking’ and the number of ideas that it is possible to generate.    Courses will cover branding and logos, animation, photography, typography, concept development.

You need to be a dynamic thinker, versatile worker and enjoy working to deadlines. You will also need a  knowledge of trends, fashion, and contemporary design. it is useful although not essential to have some skills within CAD.  Courses will train you when you arrive.  Some  Graphic courses will encourage links with industry or give you opportunities to enter competitions then it is a good sign.

Career pathways may be:

Web design

Advertising

Marketing

Video Gaming

Exhibition design

Magazine design

Film and video design


Illustration

Illustration is drawing with a purpose. This means it is a design field that always works to a brief.  Illustration isn’t just drawing and painting for children’s books.  It may cover this but also considers packaging, advertising, narrative, sequential, concept art, gaming design, information leaflets and editorial works.  Courses will tend to want good skills within drawing and painting and people that can explore and develop their own style.  Some courses will cover CAD and digital imaging.  You need to be a person that loves drawing,  can come up with loads of ideas and interpret others’ text or idea inventively.  You also need to be able to solve/ produce imagery to deadline. Illustration falls into 3 main headings:

Narrative – books, fiction, non fiction, magazines, lyrics,

Promotional- any product, event, person to be promoted from trainers - breakfast cereals - live music.

Informational – anything that passes on information to others about a place, cause, conditions, tourism to a guide to making cup-cakes.

Drawing skills need to be good; you need to willing to work to others’ starting points and ideas.  Related fields are animation and graphics.  You should expect to be able to work quickly. A few graphic and illustration courses are combined.  Look for more expressive courses if you want to broaden your approach.

Animation

Animation can be drawn, imaginative three dimensional models, storyboarding and film.  It covers cinematography, traditional and contemporary methods of working as well as the latest innovations in electronic animation.

To follow animation you need to have good drawing skills, an ability to think sequentially and to convert your thoughts to the camera.  It is a very specialised area which is very competitive.  To go into this field you need to have a strong interest and knowledge of contemporary animation.  Good storyboarding skills and preferably evidence within your folio that you have an aptitude to work within this industry.


Photography and Film

Courses within these areas vary enormously. Some are directed towards graphics, advertising or journalism and concentrate upon the commercial side.  Photography courses break down into the following:

Fashion and Advertising

Commercial Photography

Journalism and Editorial

Others are Fine Art based and are much more expressive.  Some courses combine practical skill with Art and Design history and professional practice.

You need a good eye for composition, experience of SLR cameras and darkroom processes and for film, and an ability to think sequentially.  An interest in photographers and film makers is a must and a flair for leadership and organisational skills is desirable.

Some courses have a mixture of the two areas, others are completely separate.  Most students choose one or the other as in themselves they are diverse areas.

Film courses are often based on television studies, media and film making.  Students are required to have excellent storyboarding skills, ability to think about time, soundtracks and sequential imaging.   You will learn about digital and technical working and be trained in the use of editing.  You will be expected to work in a team and lead others within the direction of your vision and ideas.  You need to be an excellent communicator.

Thursday, 26 April 2018

Evaluation Guidance and Submission Checklist

“ILLUSTRATION DAHLING”
PROJECT EVALUATION
To accompany your project submission you need to complete a word processed evaluation of at least 500 words, illustrating your evaluation with photographs is helpful. Discuss anything you feel was relevant to your work in the project, but ensure you cover the following areas:
Starting out:
·        What Roald Dahl story did you choose to work with? What appealed about this particular narrative, which images and scenes captured your imagination?
·        Who did you look at in your initial research (into storyboarding and existing responses to Dahl’s work), did these responses appeal to you and help you to develop ideas for your own photoshoot?
·        How successful were your storyboards? Did they allow you to compose shots to photograph, make you aware of potential problems, help you to identify the locations/props/models you would need?
Your Photoshoots:
·        Describe how you went about your photoshoots. What lengths did you go to in order to source props/models/locations/make up.
·        In your photoshoots how did you employ lighting, camera angle, composition, gesture and expression to achieve dramatic results.
·        Do you feel your photoshoots were successful? Are there any aspects of your shoots you would do differently if you had the chance to do it again?
·        Which photographer/s work did you research? Did their work appeal to you? Explain why you liked or disliked their imagery. Was this research helpful in terms of how to approach this part of the project? If the Photographers influenced you in any way explain what that was.
Drawing and Printing:
·        What drawing techniques did you employ when responding to your photos, do you consider your drawings successful?
·        Which Illustrators who focus on drawing did you research? Did their work appeal to you or help you with your own images, how?
·        How successful were your prints, are there ways in which you could achieve even better prints in future?
Mixed Media and Photoshop:
·        What techniques and imagery did you use in your collaged illustrations? Do you feel your mixed media images were successful?
·        Which Illustrators who use a mixed media approach did you research? Did their work appeal to you or help you with your own images, how?
·        Did you develop your work through PhotoShop? Did you integrate text into your work in any way? Are you pleased with your PhotoShop images, why?
Your Final Book:

·        How did you select imagery for your final board? Did you need to produce imagery specifically for the book or adjust existing images?
·        Describe how you chose to lay out your final book. Talk about the way in which you decided to include text, and how you feel this complemented your illustrations.
·        Did you encounter any problems resolving your book? How did you overcome these challenges?
·        Having looked at the online preview are you pleased with your project outcome? If you were to do it again what changes would you be tempted to make?
The Project:
·        How do you feel you managed your time throughout the project, did you push yourself?
·        Identify two skills you have acquired or improved upon during this project.
·        Identify two areas you could improve upon in future projects.

Include a printed version of your evaluation in your sketchbook and submit with the rest of your work.
DEADLINE 4.00pm Tuesday 1st May


Submission Requirements:




  • Research into Roald Dahl (1 page is fine)
  • Research into Quentin Blake's illustrations for Dahl's books, include reproductions of his work, background information, analysis of his style and at least one visual response. (2 pages)
  • Research into 2 films inspired by the works of Roald Dahl, some background information, justified personal opinion and images from the films (1 page for each film).
  • At least 3 pages of storyboarding for your photoshoot, this should be a mix of quick sketches and annotation. Sketches should explore potential compositions for photos; annotation should include quotes from the book that you are illustrating and lists of requirements (models, postures, expressions, locations, props, costume, make up, lighting etc.).
  • 1 or more pages showing some good examples of existing storyboards, with brief analysis.
  • Contact sheets of prints from your first photoshoot.
  • Larger prints (A4/A5) of a range of your best shots.
  • Research into one narrative photographer with fantastical elements - e.g. Annie Liebovitz, Ruven Afanador, Viona Ielegems, Tim Walker. 2 pages with imagery, background and some of your own analysis of a couple of specific shots, consider what practical steps went into creating the image we see. So discuss location, models, postures, costume, props, make up, composition, lighting, camera angle, post-production.
  • At least 2 sustained full page careful observational drawings from your photographs, use different media for each of these - e.g. one tonal image in pencil, and one piece in biro. Fine liners or coloured pencils might be other media to consider using for these controlled pieces.
  • 4 or more quick expressive drawings.
  • Research into 2 narrative illustrators, these MUST be one historical and one contemporary practitioner. In this research it is important to give background biographical information on each illustrator, analyse some specific images in terms of content, technique and media and justify your own opinions on the work. You also need to compare the illustrators from different eras and describe how you feel illustration has changed over time. This research is set to meet the requirements of the Narrative Illustration Unit, so MUST be done well. 
  • Using your own photographs as inspiration produce 2 interpretations of your images in the style of each illustrator you have researched - that is 4 illustrations in total. Take time over these and do your best to really replicate the style and use appropriate media.
  • A second photoshoot (ideally if your first was in the studio then this should be done on location). Injecting your project with fresh imagery is key to achieving a good final book.
  • 2 Gold Card plates cut with a range of prints taken from them, one of these should be an ambitiously scaled piece (A3).
  • 2 or more good pieces of monoprinting.
  • A series of experiments with type/quotations from the Roald Dahl text.
  • 6 well resolved mixed media Collage images integrating the best of your drawing and printing along with other elements and text.
  • Ideally you should also complete some Photoshop developments from your Collage images.
  • Research into 2 Collage based illustrators.
  • Your word processed evaluation (see above).
  • A pdf link to your final book emailed to Ivan/Charmian/Gayle & obviously as soon as it arrives, hand in YOUR FINAL BOOK.
  • Monday, 23 April 2018

    Final Books - scanning and upload advice.


    You should now be at the stage where you are ready to scan and upload your selected images (15 - 20) to an online publishing service such as Blurb www.blurb.co.uk, the price for a 20 page standard size (20 x 25cm or A4) with softcover should be in the region of £15 - £20.
    The Blurb website has clear instructional videos on how to upload and arrange your imagery via their downloadable "Bookwright" software, I have arranged clearance to download and install this software on the college computers.
    Obviously this is a narrative illustration project, so having relevant text from the book either integrated into your illustration, thoughtfully positioned alongside or placed on the page opposite is a requirement.
    The inclusion of text needs careful consideration, you have a number of options, make sure you choose the best one to complement your illustrations:
    • Using text options from the online publication website (limited in terms of available fonts and placement options).
    • Collaging text by hand directly onto images before scanning (Flexible, but needs sensitivity so as not to interfere with the effectiveness of your images - a sensitive piece of drawing could be swamped by inappropriately chosen text slapped on top). Fonts (either hand created or sourced from magazines or websites like www.dafont.com) need to be carefully selected.
    • Scanning your illustration and then adding text through Photoshop (best done on a computer where you can upload fonts as typesets within Photoshop are limited).
    • Producing separate text (using direct quotations from the original story) to be uploaded as separate image files to be used on the facing pages to your illustrations. You can do this using downloadable fonts, by hand, through collage etc. This is probably the most flexible choice if you are keeping text and your images apart.
    Everyone should select, scan, adjust and upload  all imagery/text pages and order their books by the end of Friday 27th April. In addition to ordering the hard copy of your book order a pdf version, you should then email us the link to this so we can mark your work - this saves waiting for the books to arrive in the post.

    Scanning and PhotoShop tips:
    Remember that many of the illustrations you upload will benefit from some editing to ensure they have maximum impact in your final book; simple tweaks from the Image Adjustments menu in Photoshop can be highly effective, Contrast, Brightness and colour saturation are worth altering for almost all scanned images. Ensure you scan images at 300dpi resolution so that you get decent reproduction quality in your book.

    We will be delivering the briefing for the new GRAPHICS project next Wednesday 2nd May and you will have new work for that project from that point onwards.

    The FINAL DEADLINE for completed sketchbooks for this project is Tuesday 1st May, you should also email the link to your pdf final books should be handed in as soon as they arrive in the post.

    Thursday, 19 April 2018

    Some Ideas for Text Experimentation

    Modelling Wire

    Gold Card (remember to invert)

    Marker Pens

    Drawing Ink

    Cut Paper

    Ink manipulated through PhotoShop

    Ink

    Acrylic Paint

    Cut through letters

    Ransom Style Cut and Paste

    Inked perspex letters.

    Digitally Created.

    Press printed.