Sculptor Research

To complement the practical work we are completing in Class you need to research at least one Abstract Sculptor. As usual with research this should be thoughtfully presented, include several images of the sculptor's work along with brief biographical detail and some personal analysis and justified opinions that relate to specific works. This work needs to be completed for submission with the rest of your project on Monday 12th November.
Some Sculptor's whose work might be particularly relevant include:

Anthony Caro

David Smith

Eduardo Chillida

Naum Gabo

Philip King

Richard Deacon

Tony Cragg

Stretch and Challenge: Research a second Sculptor from the list.

Moving into 3D

It has been good to see some of the relief work you have produced this week, many of the grey card constructions are really sophisticated pieces. Strong photos of this work will look great in your portfolios in 12 months time.

The next challenge is moving fully into 3 dimensions to create a free standing sculpture. Obviously what you have learnt from creating the relief work will be vital, but there are a host of new things to consider as well. Here is a brief guide to a few of them:

BALANCE: The visual impression a sculpture gives to the viewer can be altered radically by how the piece is supported, pieces that are balanced on a few small points of contact with the ground tend to look more dynamic (for example the Eduardo Chillida piece below), whilst a sculpture with a large heavy base tends to give a much more stable, secure impression.

Eduardo Chillida

TENSION: Related to balance, this can refer to visual tension created by the impression that a structure is unstable. It can also be a reference to physical tension created by construction techniques, for example in this piece by Naum Gabo where the interconnecting wires are tensioned between the more substantial elements:

Naum Gabo

WEIGHT: This can refer to the physical weight of the sculpture (or elements of it), but more commonly would be used to describe the "visual weight", so a chunky solid volume (see the David Smith piece below) would tend to have more weight than a delicate linear element such as the wires in the Naum Gabo sculpture (above).

SPACE: The elements of a sculpture interact with the space that surrounds them. Space is the unspoken part of any sculpture. Making interesting spaces between the elements of a sculpture is as important as the elements themselves. The way Deacon's open construction below allows your eye to move through the piece above is a good illustration of this.

Richard Deacon

VOLUMES/PLANES: These are elements of several of the sculptures illustrated. Some like the David Smith piece are constructed entirely from Volumes, others such as the head by Gabo or Alexander Calder's "Canine" rely exclusively on planes of material to create the sculpture. Interesting work can be created by combining volumes with planes and even linear elements such as those employed by Gabo.

Alexander Calder

David Smith

Naum Gabo

REPETITION: This is a useful way of making visual connections between different areas of your sculpture or adding visual emphasis and can be seen in the multiple globes in the Anish Kapoor piece below.

Anish Kapoor

CONSTRUCTION: This is vital. Whether sculptures actually stand, connect, balance and stay intact is dependent on how effectively they are constructed. With your own work you will find that measuring, cutting neatly and utilising joining techniques such as slotting and interlocking should minimise the need for glue and help you towards the best possible work.

RHYTHM: In the same way that the abstract paintings we did in the first project had "Visual Rhythm" the same is true of 3 Dimensional Fine Art work. Directional elements can be used to lead the eye and repetition can create visual relationships. The steamed wood sculptures of Richard Deacon are a particularly good example of this.

Richard Deacon

SCALE: How we relate to sculpture is heavily dictated by its scale. Our reaction to a delicate piece we could hold in our palm (such as Tim Hawkinson's bird made of nail clippings) will be very different to how we respond to a piece such as Anthony Gormley's towering "Angel of the North" which is set on a hill top looming over Newcastle.

Anthony Gormley - Angel of the North

Tim Hawkinson

SURFACE: The materials sculptors choose and the textures these give to their work play a major role in how we, as the viewers, respond to 3 Dimensional work. Consider the contrast between the highly polished metallic surfaces in Anish Kapoor's piece compared to the steam treated wood in the second Richard Deacon piece illustrated.

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.

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 PROJECT UPDATE

PhotoShop Letter Overlays (with inverted sections)

So you have all (nearly) 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 and photographic tasks we want you to do to. 
So by Monday 29th 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.
• At least 2 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 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. Ink and bleach, spray stencilling, paint, cut paper collage.

Optional extra tasks you might include if you want to extend your work:

• An acetate collage, using cut photocopier experiments, along with other papers (newsprint, brown paper etc.) to fill spaces in your compositions.
• 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!

Half Term Tasks (not optional):

Sample photographic Alphabet

• Complete 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.

Frank Stella, relief sculpture.

• Also in preparation for the 3D phase of the project produce 2 pages of research into the 3D relief work of Frank Stella, the work we will do after half term will form the visual response, but you need to build an awareness of his techniques. You should be getting familiar with the format of research - you'll need brief background information about the Artist for context, good reproductions and analysis of some specific works, offering your own opinions and referring to formal elements such as technique, colour, form etc. 

ALPHASEMBLE - FIRST TASKS

• Choose 5 letters and 2 numbers from both serif font and non-serif font.   (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.  
• Find your examples from a range of sources - e.g. Font websites (see links in project brief below), magazines, newspapers. 
• Produce at least 2 ( more if possible) linear A3 compositions that show varied scale and compositions- at least  one  using serif font and one using non-serif font.  You will use these to work with differing processes and techniques. 
• Aim to have a range of large bold font rather than, thin script as these tend to work better in compositions.   Use tracing paper to transfer these onto your paper.  

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).

ALPHSEMBLE - NEW PROJECT

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.

TOOLS PART 2 - Evaluation Guidance and Submission Checklist

DEADLINE FOR SUBMISSION OF SKETCHBOOKS is 

4.15pm MONDAY 8th OCTOBER.

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

• 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 wallet size images  of your whole shoot and print the best shots at A5/A4 and put in sketchbook.
• Other drawings of your tool in your sketchbook, these could be in pencil/biro/fineliner/pencil and tippex pen, 
• At least 1 good monoprint.
• One or more Gold Card plates cut and printed (present plates and prints in your book).
• 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 ink 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).
• 1 or more Acetate Collages 
• Spray Paint Artist research (see earlier post for details).
• 400-600 word, word processed evaluation (see guidance below).

• If you had any work that was incomplete from Tools Part 1 then this MUST be finished and included. 

EVALUATION GUIDANCE
In order to pass this project, you will need to write a short evaluation.  This should 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? 
•     What have you learnt about the way you work best and how you approach tasks?
•    To make your thoughts clearer within your evaluation  please include images from your sketchbook that help illustrate your answers

Spray Stencil 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

Dot Dot Dot

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.