COLLAGE WORK TO TRY OUT WEEK 4

Ben Allen

Mario Wagner

Mark Powell

You should complete at least 6 collages using a range of media, some of these can be produced digitally, but there needs to be some hand produced imagery as well.
Use copies your existing photographs, drawings and prints to base your collages around and integrate some of the coloured papers, graph paper, newspaper etc. Layer up your imagery, use text (quotes from your narrative), consider techniques like: 

• Acrylic paint transfer
• Acetate collage
• Photocopier experiments
• Spray stencils 
• Stickers
• Paint

Some you might consider are Mario Wagner, Ben Allen, Nazario Graziano, Tim Marrs, Martin O'Neill, Eduardo Recife or Mark Powell.

We will set looking at these  artists next week for collage as you have your illustrator research to do at the moment. 

ILLUSTRATOR RESEARCH WEEK 4

You need to undertake thorough research into 2 narrative illustrators, these MUST be at least 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. Write at least 600 words answering the following:

For each of the two illustrators answer the following:

• What techniques and processes have they worked within and why is this effective in your opinion? 
• What or who has influenced their illustration? How does this relate to technology, materials or other practitioners that have been around at the same time?  
• How would you describe the characters that have been developed and why is this interesting to look at? Consider how they express emotion?expressions, gestures, poses, character idiosyncrasies
•  Is imagery surreal and dream like, simplified or stylized and why is this engaging?
•  How does their character sum up a sense of the scene or character they portray?
• How is colour utilized? why is this successful in your opinion?  How does this compare with how you use colour within your images?
• Discuss the viewpoints that you are presented within these illustrations, how is this effective or successful as a piece of design, how is it original or interesting? 
• What age group do you think this work appeals to most?  Why do you think this particular audience would like it?  
• What has the illustrator done to appeal to this audience? Is it playful, provocative, overly sentimental,? Consider marks, texture, styilization, mood etc and how the illustrator has used these to communicate a sense of the narrative. 
• What makes them different to each other, please compare? How does this relate to the era they are working within?   

This needs to be a distinct section of analysis that compares the illustrators from different eras and describes how you feel illustration has changed over time. This research is set to meet comparison requirements of your criteria. Choose one from each of these lists (if you have different Illustrators in mind there should be enough information on them for you to find out.  Do run them past staff before doing your research): 

CONTEMPORARY:

Chris Haughton

Peter Brown

Shaun Tan

Oliver Jeffers

John Hendrix

Dave McKean

HISTORICAL:

Randolph Caldecott

Sir John Tenniel

E.H. Shepard

Arthur Rackham

Harry Furniss

Beatrix Potter

Get imagery by these 2 illustrators, and start the written aspect of the research. You  will be producing some visual responses to their work in lessons. These responses should be undertaken in a similar way to how we approached the responses to Fashion Illustrators in the Trashion Project:

• 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.

WEEK 3 PHOTOGRAPHS

WEEK 3 

Photographs 

In addition to work on the blog this week you need to be preparing to take photoshoot 2 and 3  either on location over the weekend or in the studio early next week. Book your studio times well in advance and get technical help from Photography staff.  
Produce at least 10-15 of showing strong viewpoint and wonderful characterisation.  Please make sure you have a mix of long shots, action and dramatic imagery.   Print wallet size images of your efforts and a few large A3, A4 images of your images. 
In taking photographs please make sure you are up to date with everything from the previous blogpost this week 

CHECKLIST SO FAR.. ROALD DAHL WEEK 3

Some fabulous photography from last week - well done all !

So far you should have the following work in your books:

• Research into Roald Dahl and  Quentin Blake's illustrations for Dahl's books, include reproductions of his work, background information, analysis of Blake's style  (2 pages)
• Research into  the works of Roald Dahl, moodboards of these and brief analysis. 
• 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.
• Wallet prints from your photoshoot.
• Larger prints (A4/A5) of a range of your best edited 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.

•  series of quick expressive drawings - if you want to add to/replace those we produced in class then do so!

WEEK 3 DRAWING AND PRINT 

• At least 2 sustained full page tonal pencil observational drawing from your photographs
• A 3rd full page observational drawing from your photographs, using  different media for this one - e.g. biro, fine liner, coloured pencils. This is an independent study task.
• At least one sustained piece of mono printing (A4 or A3), we'll do this in class.
• At least 1 in depth sustained  Gold Card printing (A4 or A3), we'll do this in class.
• 2 carbon drawings from photographs

PHOTOGRAPHY RESEARCH WEEK 2

In order to complement the photography you are doing you should look at a photographer whose work explores fantastical themes and makes extensive use of props, make up, costume and location. Annie Leibovitz's Alice in Wonderland or Peter Pan photos are a good example of this or work by Ruven Afanador or Viona Ielegems.   Please try to give valued analysis as well as biographical background, collect a range of good images then analyse the formal qualities of a couple of shoots.  Please produce 

•  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.  Critically evaluate what aspects of their practise are effective and why.  

Glossary of terms to discuss when you are talking about this :

Photography and Film

- Story boarding, narrative, aesthetics, time and motion, sound, sequential imaging, photo montage, genre, cultural reference, 
- composition, formal elements, mind mapping, lateral thinking, use of  primary and secondary sources, effectiveness of communication, product, target audience, styling, costume, props, hair and make up, colour, models, intention, model gaze, symmetry, framing, movement, atmosphere, viewer's gaze etc etc

Annie Leibovitz

Ruven Afanador

Viona Ielegems

After this week you should have a strong set of photographs to work from and be producing a series of sustained tonal drawings- use a range of dark B pencils. 

ROALD DAHL INITIAL STEPS

Fantastic Mr. Fox, directed by Wes Anderson

https://www.youtube.com/watch?v=O0drdslGnUE&list=PL1AEZsofRS5tXz-Xs2ZaLavsJPJNtuuM6&index=4

• Find out about the writings of Roald Dahl and the range of what stories he has done, look at both children's' books and adult stories.  Provide 1 or more pages on his work, provide some analysis of this. 

• Research into Quentin Blake's illustration (a moodboard of his work and include personal analysis of his technique, background information and how he has been successful. 1 page or more
• 1 or more pages showing some good examples of existing  contemporary storyboards, with brief analysis. Josh Shepperd, etc

• At least 3 pages of story boarding for each of your 3 photo shoots, 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.)

• Make practical preparations for your shoot - ordering gathering/making props, costume, planning make up, arranging use of locations, booking models, checking weather forecasts.  This is the most important and needs you to commit 100% to getting AMAZING photographs.  If you need to order something then act very quickly as these will take time to get.
• As soon as you feel you are ready take some photographs for one of your scenes. 
• Wallet prints from your photoshoot.
• Larger prints (A4/A5) of a range of your best edited shots.

• You should be aiming to take  photographs asap this week if possible but at the latest over the weekend or in the studio early next week. Book your studio times well in advance and get technical help from Photography staff and technicians (Paul and Josh) to use the studio lights safely and properly.

ROALD DAHL PROJECT BRIEF

ROALD DAHL PROJECT

SPECIALISM: ILLUSTRATION AND GRAPHICS

Please see link below for details of the unit criteria that this project covers

UNIT: 1 Introduction to visual language in art and design

UNIT: 2 Introduction to research skills in art and design

UNIT 3: Introduction to critical and contextual awareness in art and design

UNIT 4: Introduction to materials, processes and technical skills in art and design

UNIT 5:  An integrated approach to 2D problem solving in art & design

https://www.arts.ac.uk/__data/assets/pdf_file/0014/14243/Level-3-Diploma-and-Extended-Diploma-in-Art-and-Design-specification-v11.pdf

A Publisher has commissioned you to produce a book of contemporary illustrations that interpret the idea of one of the writings by Roald Dahl 13^th Sept 1916 – 23^rd November 1990.  Dahl was a novelist, poet and screenwriter most famous for his Childrens’ books that we all grew up with.

In this project you will be responding to a piece of narrative text (selected from the works of Roald Dahl), initially through photography, which will give you the imagery to develop towards making illustrations in a range of media.

The final objective is to produce a book of your illustrations. Your final images could depict a sequence of events or you may wish to select and portray several different scenes from the same book.

Time 6 Weeks week starting 7^th January – 24^th February 

Week 1 –  Research, Storyboards and Photography

Week 2 and 3 –  Drawing

Week 4 and 5- Printmaking and Mixed Media Experimentation

Week  6: Selection, Presentation and Evaluation. 

Some student work for this project:

The Witches

Fantastic Mr Fox

Dirty Beasts - The Scorpion

WEEK 1

In the first week of the project you will need to select and familiarise yourself with a book by Roald Dahl, many of you will know these stories well, but refreshing your memory through some reading will help you to visualise characters and scenes more effectively.

A full list of Roald Dahl’s work can be found online at www.roalddahl.com but here are a few you may want to consider:

Charlie and the Chocolate Factory, Fantastic Mr. Fox, George’s Marvellous Medicine, James and the Giant Peach, Matilda, The BFG, The Twits, The Witches, The Magic Finger.

As soon as you have selected your text you need to start shortlisting scenes that interest you in terms of developing photographic and illustrational work.

Choose at least 3 separate scenes. Now you need to deconstruct these scenes, what do they include in terms of characters? Props? Costume? Location? Make Up? 

You need to consider all these things carefully as you will be need to be resourceful and prepared in order to get as good a photoshoot as possible. To help you prepare for this you need to complete several pages of storyboarding for your shoot. 

Fantastic Mr. Fox Storyboard

Your storyboard must show a sequence of ideas over time to pass this project.  Find some good examples of these online and include them in your sketchbook with some analysis on why they work well . Remember a storyboard should be a functional tool that helps you resolve potential problems and prepare effectively,  it must include:

·                a sense of text and narration of the story
·        drawing that communicates clearly and reflects good layout
·        dramatic viewpoint and injection of theatre within characters
·        larger than life characters and dramatic expressions
·        lists of props, models, costume, make up
·        thoughtful annotation.
·        locations required. 
Think ahead, if you need to book studio time then do this in advance (use photography if possible, otherwise a small space exists within the Art department).

This week you should also look at how others have interpreted the work of Roald Dahl, this will involve collecting imagery and analysing Quentin Blake’s original illustrations and films made by Tim Burton (Charlie and the Chocolate Factory) & Wes Anderson (Fantastic Mr. Fox). 

WEEK 1- 2 Photography

You need to carry out your photoshoot(s) as soon as possible. Remember the imagery generated from this shoot will be sustaining your work for the next 6 weeks, if you get fantastic photos you are already a huge step down the road towards a successful project, poor or limited imagery will make the next 6 weeks a real struggle.

Consider every aspect of your photos and be resourceful. If you have ambitious ideas about location shoots make every effort to carry them out, if you need time away from the college campus to do this, then this can be arranged, but staff must know of your plans in advance.

Use your storyboards for inspiration and direct your models to get the shots you need, don’t forget that dramatic lighting and camera angles can help create powerful imagery.

Take lots of photos and print off contact sheets for your sketchbook. Select your favourite 12 images to start your illustrations from and print these out at A5 or A4. You may need to tweak your selected images with Photoshop to ensure you have optimum colour, definition and contrast.

Alongside your photography you need to research at least 2 photographers who explore narrative or fantastical themes through their work. Some good examples of this are Annie Leibovitz, Mert Alas & Marcus Piggott, Ruven Afanador, Viona Ielegems and Steven Klein.

WEEK 2 and 3 Drawing

Through weeks 2 and 3 we will be concentrating on making a range of good drawings from your photographic source imagery.  We want to see you explore drawing more thoroughly than you have done before: sustained studies, quick sketches and experimentation with a range of media.

Research 2 Artists/Illustrators whose work is focussed on strong drawing technique for example John Hendrix, Peter Brown, Chris Haughton,  Esra Roise, Hope Gangloff, Dave McKean

WEEK 4 and 5

 Printmaking and Mixed Media Experimentation

Some time will be focussed on producing strong monoprints and relief (gold card) prints from your photos. We will then use the work you have generated to this point in the project to experiment with a mixed media approach. Use the photocopier, drawn elements, text, image transfer, photomontage, collage, printmaking, paint, acetates, photoshop etc. to come up with some inventive responses.

Research the work of at least 2 of the following illustrators to gain ideas for ways of applying a mixed media approach Eduardo Recife, Martin O’Neill, Tim Marrs, Dave McKean, Nazario Graziano, Mario Wagner, Eva Han, Tez Humphreys.

WEEK 6 Selection, Presentation and Evaluation.

In the final weeks of the project you will select, scan and print your best work from the preceding weeks then compose these images onto a booklet to show consecutive moments of your story.  This should compose of 10 sides Be inventive, resourceful and ambitious. You may find some images need to be reworked through PhotoShop so that they interact together effectively. Other images might require further hands careful colour coordination to show coherency and flow of the story. You should complete your project with a word-processed evaluation of 600 – 800 words (further guidance for this will be given out nearer the time).

MINIMUM SUBMISSION REQUIREMENTS:

A full detailed list will be given towards the conclusion of the project, but the following will all be required:

·       1 (or more) Sketchbooks with all the relevant research, storyboards, photography, drawing, printmaking and mixed media work.

·       A 10 page booklet planned and selected showing a sequence of ideas and highlighted strong moments within your story.

·        A word-processed Evaluation of 600-800 words.

REFERENCES: See the text in the brief. Use the internet, use the library, use your imaginations!

DEADLINE: Monday 24^th February – first day back after half term.

Project title/s ROALD DAHL
2	Be able to apply visual language to a range of art and design activities.	2.1	Apply visual language across a range of contexts, to influence appearance and meaning in art and design.
		2.2	Critically compare the use of visual language, across a range of contexts, to influence appearance and meaning in art and design.
UNIT: 2 Introduction to research skills in art and design
1	Understand research tools, methods and skills.	1.1	Critically compare a range of research tools, methods and skills.
2	Understand primary and secondary research sources.	2.1	Critically compare a range of primary and secondary research sources.
3	Be able to use research tools, methods and skills to inform ideas for creative activities.	3.1	Apply research tools, methods and skills to record and interpret information and develop ideas for creative activities.
		3.2	Evaluate the effectiveness of research tools, methods and skills to develop ideas for creative activities.
UNIT 3: Introduction to critical and contextual awareness in art and design
1	Understand critical perspectives that influence the analysis of art and design activity.	1.1	Critically compare a range of critical perspectives that influence the analysis of art and design.
		1.2	Apply knowledge of critical perspectives to the analysis of a range of art and design activities.
		1.3	Apply knowledge and understanding of a range of critical perspectives to support own art and design practice.
2	Understand the contexts within which art and design is positioned.	2.1	Critically compare a range of contexts within which art and design is positioned.
		2.2	Apply an understanding of a range of contextual parameters to support own creative development.
UNIT 4: Introduction to materials, processes and technical skills in art and design
	Understand materials, processes and technical skills used in art and design.	1.1	Critically compare a range of materials and processes used in art and design through experimental application.
		1.2	Apply understanding of materials and processes to support own art and design activities.
		1.3	Apply understanding of technical skills to support own art and design activities.
		1.4	Evaluate the use of materials, processes and technical skills to support art and design activities.
UNIT 5 An integrated approach to 2D problem solving in art and design
1	Be able to analyse and research a two-dimensional problem in art and design.	1.1	Analyse the requirements and parameters of a two-dimensional problem in art and design.
		1.2	Apply research activities to support solutions to a two-dimensional problem in art and design.
2	Be able to use an integrated approach to two-dimensional problem solving in art and design.	2.1	Demonstrate the ability to plan, organise and prepare solutions to a two-dimensional problem in art and design..
		2.2	Apply practical skills, understanding and methods to solve two-dimensional problems in art and design
3	Be able to use evaluation to support solutions to problems in two dimensions in art and design.	3.1	Analyse the effectiveness of solutions to two-dimensional problems in art and design.