Project Evaluation (PAUL'S GROUP)

TOOLS PROJECT EVALUATION

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, i.e., what design and drawing opportunities it could offer you. You could talk about the range of pencil grades you needed to use in order to record it accurately & the individual shapes within the object that you could isolate and use within your experimental pieces.

·        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.

·        Talk about the artists you researched, why they were relevant and how you used what you learnt about them in your own work.

You should, all through this evaluation, analyse each step, talk about how successful it was & how you might improve upon it.

This should be 400-600 words, included in your sketchbook and word processed.

Spray Paint Artist Research (PAUL'S GROUP)

To complement the work you have been 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 (IVAN'S GROUP)

You need to research and analyse at least 3 different abstract paintings by 2 different Artists (minimum of 6 paintings in total). The work should be thoughtfully presented over at least 4 sketchbook pages. Some suggested Artists to research are listed below. We will look at this work in a lesson on Friday (19th September) and it will be marked with the rest of the project when you hand in on Monday 22nd September.

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.

Drawing Homework (IVAN'S GROUP)

For the beginning of next week (15th September) you should make a sustained full page pencil tonal drawing from your still life photos. We will look at these drawings on Monday in a lesson.
Select a good photographic image and 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.

Sample Photo Joiner (FOR IVAN'S GROUP)

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. 

Progress Checklist for Tools Project + Research (FOR PAUL'S GROUP)

By the end of Wednesday 16th September the 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.
• 2 or more other drawings of your tool in your sketchbook, these could be in pencil/biro/fineliner.
• Expressive large scale charcoal and/or stick and ink drawings.
• A3 chalk and charcoal drawing onto midtoned paper.
• Minimum of one well finished carbon print.
• At least one Gold Card plate cut and several prints taken from it.
• A3 collage base drawing.
• At least one good detailed monoprint.
• One or more cut silhouette paper collages.
• Minimum of 1 food dye and bleach experiment, working into a copy of an existing print/drawing.
• At least 2 images created with spray stencils, try overlays and consider using photocopies of existing work as a base. 
• 2 pages of research into an Artist who uses spraypaint (see separate post for more detail).
• 4 pages research work into Jim Dine's Tool drawings and the Collage work of Florian Nicolle (see below).

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).

If you get the opportunity there is currently an exhibition of Jim Dine's work (including some of his Tools prints) at the Alan Cristea galleries on Cork Street in London (Piccadilly or Green Park tube). Have a great day out in London and enhance your Art education as a part of it - win, win!



Jim Dine

Florian Nicolle

For next week please bring in £2.50 as a contribution to group materials we will need to purchase for technique work (coloured dyes and spray paints).

WELCOME Class of 2014!

Welcome to a new year of students here at Alton - This Blog is the place to come for course news, to do lists, project information, practical tips, example work and  forthcoming events (trips etc.).

So here is your first project brief (FOR IVAN'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.

DEADLINE: Monday 23rd September 4.30pm

...and here are details of your first research homework:

 

David Hockney Photographic Joiner Research

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.

Life Cycles - to do list

It is good to see that many of you have made a strong start to the new project. There has also been a little bit of late finishing of the illustration work, but this does need to be "put to bed" so we can all get focussed and productive with the graphics work.
Graphics really depends on 3 main ingredients:

• Idea/message
• Communication
• Visuals

At this stage you really need to be exploring a wide range of initial ideas through brainstorming. Thinking about a personal concept/take on your life cycle (this is where the message bit comes in), then gathering visuals from primary and secondary sources that are going to allow you to communicate your ideas.
So the following need to be completed by the end of Tuesday 13th May:

• Word association brainstorms for at least 4 different life cycles from the brief.
• More detailed additional brainstorms for 2 Life Cycles - this is where you should try to develop an original theme based on your selected cycle.
• Visual brainstorming (collected collage material) for 2 Life Cycles - at least 4 pages - mix text and imagery.
• Notes and brainstorming for a first Photoshoot - go through what you need: props, make-up, model/s, location, lighting, posture, perhaps storyboard ideas for individual shots that you have.
• Your first photoshoot - take at least 30 photos, print contact sheets of all your shots and blow 5 or 6 of the best ones up to A4.