Architecture Collages and Planning Final Pieces

Some of your Collages - Nice Work!

Ok, I should do this more often, photograph some of your work and post it to the blog, because there is lots of exciting stuff being produced. This morning I had to record some of the Collages you've been completing this week as I was genuinely excited when I walked in and saw the display of what you'd been doing over the last couple of days. Keep up the good work.

Project Outcomes:

As you complete the Collage stage you should start thinking ahead towards planning your project outcome. The format of this is entirely down to you, it just needs to be inspired and visually informed by Modern Architecture.

In the past we've had paintings, large scale mixed media work, sculpture, series of prints, animations, graphic magazines, books of illustrations, garments, jewellery, even a board game!

It makes sense to produce an outcome in the area you intend to specialise in next year (if you know what this will be) as this will be of more value to your portfolio for application to Higher Education. The piece might be an extension of things we have already tackled in the project (a more ambitious collage or drawing for example) or it might explore an altogether different creative area.

There should be clear planning for your final piece in your sketchbook, so this means both annotation and imagery outlining your intentions. The nature of the imagery will depend on what you are planning, but it could take the form of painted studies, fashion illustrations, trial page layouts, photos of 3D maquettes or many other things.

You should be aiming to complete this planning (minimum 2 sketchbook pages) over the remainder of this week and the weekend, so that we are ready to start working on project outcomes in earnest on Monday. If you have particular material requirements for your final piece (e.g. Canvases, fabric for garments) then start organising these now.

As you begin work on outcomes next week remember to record your progress so you can include photos and imagery of the creative journey you take with this piece.

Mixed Media Collage Tips & Research

This week you should be aiming to create 4 (or more) mixed media collages. Use your existing Architecture imagery as the basis for this - prints, photos and drawings. Try manipulating them on the photocopier or through photoshop too. Combine this imagery with the additional collage ingredients supplied - coloured papers, stickers, tape, squared/graph paper, envelopes and tags. 
A few pointers:

• Inclusion of text, numbers and symbols can be very effective.
• Using strong focal points (e.g. a larger image of a particular building) often helps your collages becoming too fragmented.
• As well as papers you might work back into your collages with paint, spray stencils, pens etc.
• Along with addition be aware that subtraction can be a key part of the collage process. If your images become overcrowded using areas of plain papers or white paint can be an effective way of freshening up your piece. Careful consideration about the retention of areas of space as you make the collage is another way to do this.
• As with other images we have created this year producing a composition with balance that leads the viewer's eye as you intend is the ideal. Repetition of colours or symbols can help achieve this, along with strong directional elements.

To support and inform your own collage experiments you should look at the work of all the following Artists/Designers who use collage techniques in creating their work. Once you have familiarised yourself with their work choose one of the Artists whose work is illustrated below and produce 2 pages of research into their practice. As usual obtain several good reproductions of their work, provide some background information and analyse at least 2 images in depth, identifying what media are being used and commenting on how they are being handled is particularly important. 

Richard Galpin

Martin O'Neill

Robert Rauschenberg

Nazario Graziano

Tim Marrs

Architecture Project - next week

Just a short post to remind you about a few things for next week. You should obviously have finished all the earlier drawing/photography and architect research by now. Since the trip you should also now have completed some good pieces of monoprinting and gold card.
Before your first lesson on Monday you need to cut and construct your contribution to the paper city from the thin white card. Best to make these buildings without a base so the light can flow through them when we photograph them on the lightbox. Cut and measure carefully, keep things crisp, precise and clean.
Remember to bring cameras with you on Monday (phone cameras sometimes get strange results with photos from the lightbox, so proper cameras are better if you have one).
You should also complete the research into one of the paper engineering Artists (see link in previous post) over this weekend if you haven't already tackled this.
Be aware that you will need some copy/print credit for next week, to print paper city photos and also get stuff from your existing drawings/prints/photos to use in collage. From Tuesday we will be focussing on creating some interesting mixed media work inspired by architecture.

Please also bring £1.50 as a contribution to some group materials for the Collage work - I will then purchase some papers/stickers/labels and other bits and bobs to enhance your mixed media experiments. 

Paper City

Architecture Project Update

So having been to London we now have the imagery to branch out and create some really exciting work. From what I have seen today 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 for Monday 18th 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.
• Have some loose printouts of photos at A4 or A3 to use for printmaking.

Next week we will be aiming to:

• 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 post (above) 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/

Architecture Project - Week One.

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 - 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 "Walkie-Talkie", Tower 42, The "Cheese Grater", The Lloyds Building, 1 Canada Square as well as Norman Foster’s “Gherkin” , British Museum Courtyard 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 print 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. As a group we will produce some printmaking and collage based images, but we would encourage you experiment widely with a range of 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 - Studio Shoot, Submission Requirements and Evaluation Guidance

Studio shoots for your garments are arranged for the first day back - we have 4 photographers from the second year working with you, and studios 1 & 2 are both booked from 1.00pm until 2.30pm - this should allow time to get collection and individual shots for everyone. Make sure you have your garment, model, plus any make up or other clothing you need to set your piece off effectively.
We will distribute edited shots from the shoots for use in your folios as soon as possible, but we won't expect to see these as part of your project submission.


The deadline for your Fashion work is Tuesday 5^th January @ 4.30pm 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.
• 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?

Fashion Project Time Planning

OK, so you should all be well underway with garment construction by now. Make sure you have the resources you need: as many multiples of your object as your garment requires and potentially a base garment to reconstruct/work over. You may need other things such as additional fabrics, dyes, zips, clasps, velcro etc.
This weekend may be a good opportunity to shop for any bits that you are currently short of. If you have an ambitious plan it is essential to work in a focussed way to resolve it properly.
In order to carry out Studio Photography before Christmas (see post below) it is essential that garments/accessories are fully finished by Monday 14th December. So the big aim next week is the completion of your making process. We will let you know precise times for the studio shoots soon - these may be outside normal lessons, dependent on availability of the Studios and the Photographers.
Ideally we would like all items from each collection (e.g. All the Clothes Peg garments and accessories from across both groups) to be available for photography together - so you will need to try and obtain models (or model yourself) at the relevant times.
Any finishing work to your illustration research/design development needs to be completed as self-directed study now. See previous posts for the sketchbook requirements up to this point.
From now until the project is submitted (straight after the Christmas break) the things that need to be added to sketchbooks are:

• Some photographic documentation of stages of your making process, with annotation/explanation.
• Images from your studio photoshoot - these will need to be obtained from the second year photographers you will be working with.
• Contact sheets and larger prints of the best images from a location shoot.
• 4 pages of research into 2 Fashion Photographers (see post below for guidance).
• Word-processed Project Evaluation - guidance for this will be issued.

Fashion Photography - Your Shoots & Research Guidance.

In the final week of term we will be arranging studio shoots with some of the second year students who are specialising in Fashion Photography - we will then get them to edit and distribute the best shots for you to include in your projects. It will be useful to ensure that you have a USB memory stick available to copy shots from the Photographers as hi-res PhotoShopped images are usually too large for sending via email or saving to your limited college network space.
Thinking a little way ahead you should start giving some thought to your location Photoshoot - this could be completed over the Christmas break, but your planning should start now. 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