Architecture Update Week 2

So having been to London we now have the imagery to branch out and create some really exciting work. We were lucky with the light on the trip and lots of you have some excellent photography.
In addition to the work from the College Architecture (and the Architect research) from Week one (see earlier post) these are the things you should be completing by the end of Tuesday 27th Feb:

• Print out contact sheets of your London Photographs.
• Print out a range of your best shots at A5 or A4 for inclusion in the sketchbook.
• Produce at least one good sustained monoprint based on your London Photos (A4 or A3 in scale).
• Cut and print a good gold card plate (A4 or larger) based on your London imagery.
• Carefully cut a building to contribute towards the group paper city from white card. This can either be a façade with supporting struts or a self supporting 3D piece.
• Take a good range of "paper city" photos on the lightbox. Get in close to create some interesting angles, try to achieve the feeling of actually being surrounded by the buildings - look at the video clip below for inspiration and check out www.popupology.co.uk Print contact sheets and larger versions of your best shots.
• Research at least one Artist who uses paper engineering in their work, there are a range of names you could find out more about in this article http://weburbanist.com/2008/12/02/papercraft-creative-paper-art-design-sculpture/
• Create at least 3 photoshop experiments, these could be based on any of your London/paper city work, you might combine scans of your prints and layer these up with photographic imagery, try adding text and altering colours.

In the second half of next week we will focus on creating some inventive mixed media collage work, before we move our focus onto planning for final pieces in the last fortnight of the project.

Paper City

Architecture Week 1 - To Do List.

Architecture Project Week 1

Before the trip next Thursday you should all complete the following:

• At least 4 pages of research into 2 contemporary Architects (see the project brief below for names). Include background information and analysis of some specific buildings/projects. Discuss materials, aesthetics (form) and function. Include good reproductions of the Architect's work and take care over presentation.
• A selection of photos from the College Architecture, print contact sheets of your shoot and include the best shots printed out at A4 or A5 scale.
• At least one full page sustained careful pencil tonal drawing from your College photos (this should represent at least 3 hours work). Choose a complex composition that will challenge you.
• Minimum of one full page precise linear drawing using fine liner. 
• At least 4 other drawings exploring other techniques (expressive) and media (biro, ink etc.). Really focus on the quality of your drawings.
• Photocopier experiments with your drawings (inverts, blueprints).
• We will also aim to complete some printmaking before the London Trip.

So from Day One you will need:

• Cameras (with plenty of battery and memory capacity, also USB download cables or card readers if you have them).
• Memory sticks/online space for saving your photos, your college workspace is too limited. 
• Money for a new sketchbook (or purchase online) - A3 generally best for this project.
• Drawing media - pencils, fineliners, biros, erasers etc.
• Printing/photocopying credit.

New Project Brief - Architectural Forms

BTEC Extended Diploma 1^ST YEAR PROJECT BRIEF.

PROJECT:  Architectural Forms

TIME:  5 Weeks + Half Term

ASSIGNMENT OUTLINE:

We will be generating original 2D and/or 3D responses to modern architecture. We will develop our project outcomes through a sustained development of imagery gathered from primary sources.

We will begin the project by producing observational drawing from primary sources such as the college architecture and going to London to gather imagery from modern architecture such as The London Eye, The New Hungerford Footbridges, The Lloyds Building and Norman Foster’s “Gherkin” and Canary Wharf tube station.

Once we have accumulated adequate primary material we will begin to develop responses using drawing, painting, collage and 3D maquettes. After a thorough exploration of our imagery we will conclude our investigation by producing one ambitious outcome. This outcome can be figurative or abstracted and can be in either 2 or 3 dimensions.

Throughout the project we will enrich our practical work with research into relevant modern Architects, and Artists whose work has been influenced by Architecture.

GUIDELINES: 

• Ensure you begin the project with a range of high quality observational drawings. Good line drawings are particularly valuable as they reproduce well and can be used as a starting point for more experimental collage and mixed media work.
• Make the most of the trip, it is essential that you gather a rich and diverse body of imagery from the day. In addition to a sketchbook and basic drawing materials you will need to bring a camera (if you do not own one, borrow one or arrange to loan one from college).
• After the trip it is important that you process photographs within 2 days, as any delay will hinder your progress in the project.
• Once you have got your imagery you will need to be inventive and experimental in developing responses to it. Consider the following approaches: 

1. Line Drawing
2. Photocopying
3. Tonal Drawing
4. Painting
5. Integrating Text
6. Paint Transfer
7. 3D Maquettes
8. PhotoShop
9. Photo Montage
10. Collage
11. Mixed Media
12. Acetate Overlays
13. Monoprinting
14. Relief (gold card) printing
15. Film/animation
16. Sewing
17. Spray Stencils
18. Heat transfer

• Imagery derived from modern Architecture lends itself towards abstraction, try zooming in on shapes, overlaying them, repeating and rotating them to develop interesting compositions.
• Be thoughtful in your use of colour, subtle neutral colours can be very effective, and may be more in keeping with your Architectural sources.
• Once you find an approach/idea that has potential you need to explore it thoroughly in a range of studies before attempting to resolve it in a final piece.
• You will need to develop and realise an original and ambitious outcome. The outcome needs to express the Architectural theme in some way but the form is entirely of your choosing - it could be anything from a painting to a garment to a piece of animation. Your outcome should be clearly developed through a process of visual investigation and experimentation with your chosen media. 

ASSESSMENT CRITERIA:

You will be marked on how effectively you:

• Observe and record from primary sources.
• Demonstrate resourcefulness in gathering appropriate source imagery.
• Develop your observational studies through experimentation with media and mark-making.
• Generate ideas through purposeful investigation.
• Demonstrate inventiveness and skill in the handling of materials.
• Select and resolve compositions.
• Research and present information and imagery related to the project.

SUBMISSION REQUIREMENTS:

• Sketchbook including observational drawing, photography, developmental studies and research material.
• A fully resolved project outcome.
• Word-processed project evaluation (500-800 words).

(For additional guidance on submission requirements and evaluation see separate post)

REFERENCES:

Architects:  Richard Rogers, Norman Foster, Nicholas Grimshaw, Frank Gehry, Cesar Pelli, Mario Botta, Renzo Piano, Shigeru Ban, Daniel Libeskind, Santiago Calatrava. 

Artists:  Lyonel Feininger, Maria Elena Vieira da Silva, Charles Demuth, Charles Sheeler, Naum Gabo, Ben Johnson, David Hepher, Richard Galpin, Carla Klein, Brendan Neiland, Robert Rauschenberg.

WEB LINKS:

www.artcyclopedia.com/                                         www.GreatBuildings.com/gbc.html

www.artnet.com/                                                       www.archinet.co.uk/index.html

Fashion Project - Requirements and Evaluation Guidance

OK, so the deadline for your Fashion work is Monday 12^th January and this is the minimum you need to have in your sketchbooks:

Initial Research and Presentation:

• Observational drawing/s of your object.
•  At least 2 busy pages of visual research into your garment, different versions/styles/shapes, try to find inventive Haute Couture versions.
• Minimum 2 pages of visual research into your object - different versions, different uses, unusual applications of your object, if you can find examples of it in Fashion then include these.
• 2 pages where you find examples of Collections. Most designers/design houses release themed collections seasonally, look for examples of collections that are inventive, exuberant and perhaps use elements of recycling – for example the work of Martin Margiela.
• Copies of your presentation slides.
• Any notes relevant to your presentation.

Illustration and Design Development:

• 4 pages research into 2 Fashion Illustrators.
• Your photos from the figure (the ones you used as a basis for your Fashion Illustrator responses).
• 4 Well finished Illustrator responses based on your photos.
• 6 garment proposals (with notes, using the templates).
• A finished Illustration based on your best design - this should be developed independently and not based on an existing template. This might include sample pieces, annotations and colour swatches alongside.

Final Garment, Photography and Evaluation.

• 4 pages research into 2 Fashion Photographers.
• Your finished garment/accessory.
• A thoughtfully styled location shoot of your garment - be ambitious, think about the photographers whose work you have studied. Arrange model, location, props, make up. Consider posture and camera angle carefully. Take plenty of shots (20+) you might use PhotoShop to enhance your best shots for inclusion in your sketchbook.
• A studio shoot of your garment, ideally you should collaborate with the other students who shared your object and get some group shots of the collection together.
• Your word processed evaluation (see guidance notes below). 

RECYCLED FASHION EVALUATION GUIDANCE

In order to pass this project you must complete a word processed evaluation of 500-800 words, discussing the following ……

• What object and garment did you get to work with?
• How did the development of your Presentation help in understanding the possibilities offered by your object. What sources did you access in researching your object and garment?
• In what other ways did you respond to and investigate your object? (e.g. photography and drawing)
• Who were you collaborating with? How did you share tasks? Do you think you communicated effectively together? Did you find this collaboration helpful?
• Which designers/collections did you look at? What appealed to you about their work?
• What did you learn from looking at the designer’s work? Did their work influence your own garment designs later in the project?
• What were your first ideas for your garment design? Did these bear much relation to your final solution?
• What was it that appealed to you about the fashion illustrators you chose to research and respond to?
• What did you learn from recreating the styles of the illustrators you looked at, and how did this help you to understand the techniques employed in fashion illustration?
• How did you go about creating your own fashion illustrations – what processes did you employ in developing your final images? Describe how you used photography to style them initially and what you did to get them to a high standard.
• Which Fashion Photographers did you research? What appealed to you about their work?
• Describe the process you went through to create your initial garment designs, and how you decided upon the one you chose to make.
• What elements of your original garment did you retain and what was added/taken away?
• What materials and techniques did you employ in the production of your final garment and what problems did you encounter along the way?
• Discuss your final photoshoots, how did you style your garment? Mention aspects such as make up, props, location, models, postures, lighting, composition.
• Do you feel your final garment will work well with your collaborators? Did you maintain good communication throughout the project?
• What do you regard as the most and least successful aspects of your project?
• How well did you manage your time and what you would do differently if you did this project again?

Project Update & Fashion Photographer Research

OK, so you should all be well underway with garment construction by now. Make sure you have the resources you need: a garment/accessory to recycle and as many multiples of your object as your garment requires. You may need other things such as additional fabrics, dyes, zips, clasps, velcro etc.
If you have an ambitious plan it is essential to work in a focussed way to resolve it properly.
Any finishing work to your illustration research/design development needs to be completed as self-directed study now.
Thinking a little way ahead you should start giving some thought to your Photoshoot - you should be aiming for a professional approach with this that results in great imagery for your portfolio.
Consider who will model for you (or who will take photos if you are modelling your own garment), where you will base the shoot (what will complement the garment?), will you need props/make up?

In order for you to plan and execute effective final Photoshoots for your garments it will be helpful to make yourself aware of the work of some top Fashion photographers.
When looking at these Photographers work you should look for the following things and comment on them:

• Use of location/studio - how does this relate to enhance the garment?
• Use of make up.
• Use of props.
• Use of the model(s) consider things like body posture, what mood is the photographer trying to create?
• Use of lighting - natural/artificial? harsh/gentle?
• Composition/cropping - how is the figure placed within the image?
• Use of post production - has the image been manipulated via software such as PhotoShop to achieve the final result, how subtle/dramatic is this process?

You should look at 2 of the following photographers and provide a little background biographical information before analysing at least 3 images by each one in detail (2 pages per photographer, print out decent size reproductions of their work).

Steven Meisel

Corrine Day

Mario Testino



Ruven Afanador

Nick Knight

Perou

Tim Walker

Steven Klein

Illustrator Responses

OK, to ensure you are all crystal clear about what you should be doing over the next couple of days. What we want you to achieve is 4 beautiful responses to your 2 chosen illustrators using your own photos as the basis for these illustrations.

So you will need:

• A collection of images by your 2 illustrators - enough to get a really good feel for their style, technique and media.
• A range of photographs from the figure - try to get some good dynamic poses that have the feel of Fashion illustration/photography. If you are unsure what you are aiming for then flick through a few copies of Vogue and look at the fashion shoots and advertising images.
• The appropriate media to respond to your illustrators, identify what they use and do likewise. If their work is produced digitally then don't try replicating it by hand.

Once you have all these things you need to really focus on making some impressive responses that capture the feel of each Artist. Use the lightbox to start your drawings from your own photos off if it helps. You might want to use software to extend and stretch the figures in your photos and achieve something closer to the classic fashion illustration proportions (which are quite different to the real proportions of the human body).

Here's an example of what I'm talking about:

Raw photo file

Digital Illustration by Jocelyn Gravot

Digitally developed response to Jocelyn Gravot

Fashion Illustration Research and development of Fashion Illustration

You need to research the work of 2 fashion illustrators, here are a few good links to explore:

http://www.dripbook.com/top/browse/illustration-portfolios/fashion/

http://www.illustrationweb.com/styles/fashion

http://www.illustrationdivision.com/

Anna Higgie

Try to choose illustrators that have contrasting approaches and use different media, as you are going to have to respond visually to these illustrators BE REALISTIC and select styles you are confident you can reproduce effectively. For each selected illustrator print out 3/4 reproductions of their work at a reasonable size (A5ish).

You then need to provide some analysis of each illustrator. Find out what you can about them - where they trained, who they have worked for. Most importantly analyse the images you have chosen, identify what media have been used and discuss technique (expressive or controlled?), composition, use of colour. Give your personal opinion on the work, but ensure you give reasons for the views you express.

Present the work thoughtfully (2 A3 pages per illustrator), think about layout and text/titles etc.

Developing your own illustration work involves a number of stages:

• Using body templates we have distributed come up with a quick range of 6-8 design proposals for your garment (consider conversations you have had with your team when designing - e.g. if you have decided on theme colours or shapes then use them in your proposals).
• Do the Fashion Illustrator research as detailed above.
• Take a range of dynamic photos from the figure. Using a studio environment for this will be advantageous (either book the photography spaces in the Stevens block or at least use the booth and lights in the Art Department). Look at Fashion shoots and advertisements to get ideas about suitable poses, enter into the spirit of it and avoid "wooden" poses.
• Using your own photos as a basis produce two Fashion illustrations in the style of each Fashion Illustrator you have researched (4 images in all), make sure you use the most appropriate media. Take time over this and aim for some professional looking illustrations. See separate post for an example of this.

Having produced some design proposals and hopefully gained some knowledge about Fashion illustration styles the next stage is to put these two things together:

• In the last phase of the illustration you need to create a polished illustration of your final selected Design proposal. Again use your own photographs as the basis for this, but try to create a personal illustrative style. You might integrate elements of the techniques/media of the Artists you studied, but you should be aiming to take this final image further, and create something more personal.

Presentation Advice

You should be aiming for a presentation duration of between 5 and 10 minutes. Each person should contribute to the delivery as well as the creation of the slides. The simplest way to organise this is for each person to speak about their own slide for around 2 minutes. You might choose a more varied delivery though where each person is involved in the delivery of every slide for example.

• Stand up and speak clearly.
• Face your audience.
• Avoid being like a speaking statue, point to things in your slide, use gesture as well as speech to engage your audience.
• Don't just read from the Slide - expand and explain the imagery and information that is on screen.
• Use cue cards if they help, but don't hide behind them!
• Get together and do a practice run through, this will help with transitions between slides and getting overall timing right. Practice is a really important element of delivering a good presentation.
• Don't rush your delivery - it is easy to speed up when you are nervous, be aware of this, do your best to relax and slow down.
• Try to transmit some enthusiasm for what you are delivering, this is your project, so embrace it!
• You might consider using props (e.g. garments, experiments with manipulating your object) in addition to your slides - having something physical to talk about can help give your presentation a focus.

Trashion - Presentation Schedule

Wednesday 19th November
2.00	Coat Hangers	Jenna, Emilie, Annabelle, Alison
2.15	Plastic Cups	Jessie, Henry, Joe, Tyler
2.30	Clothes Pegs	Piers, Charlotte, Emilia, Ryan
2.45	Envelopes	Ciera, Lauren, Ruth, Alysha
Thursday 20th November
11.25	Cardboard Tubes	Nina, Alice, Honor, Rhys
11.40	Rubber Gloves	Ed, Seb, Jacob, Beth
11.55	Plastic Bottles	Charlie, Sam, Toby, Eva, Jade
12.10	Disposable Cutlery	Ophelia, Chris, Meg, Fran