PRESENTATIONS SCHEDULE

All presentations to be given on Thursday 21ST  November 1.45 PM    
Good luck! 

Presentation Delivery Tips:

Make sure you have produced the most professional slides for each of the 4 themes.  These should be edited  well and made into a slick powerpoint presentation as soon for Thursday.  You should have ample information to work with and surplus imagery to choose from for making your slides.  

• All group members should contribute to the delivery of the presentation.
• Plan who will say what. You will need to explain and expand upon the visuals you put up on screen (don’t just read text off the slides). Think what will make your presentation the best.. will you pass things round, pose a question to the audience or inform us of a fact we are unaware of?
• Make it have good pace but be enthusiastic about your object and couture you have discovered. 
• Preparing and using cue cards is likely to be helpful. 
• Presentations need to last approximately 10 minutes. 
• Speak clearly and loudly, (and not too fast), face your audience. 
• Practice your delivery as a group in advance. When you practice time your presentation to ensure it is of a suitable length.

Schedule for Thursday 21st November Trashion Presentations
Time	Object	Students
2pm	Disposable Cutlery	Iona Kaci Conner Sophie
2.15pm	Plastic Bags	Mathilda Luke Sophie
2.30pm	Loom Bands	Honey B Santek Bonita
2.45pm	Egg boxes Lauren Anna Rachel Doug
BREAK
3.10pm	Rubber Gloves	Poppy C Jasmine Honey P Gaja
3.25pm	Paper Plates	Laura  Annabel James
3.40pm	Corrugated Cardboard	Poppy B Eloise Izzy Ted
3.45pm	Plastic cups	Mackenzie MJ Lucian Amelia

TRASHION- FIRST TASKS AND PRESENTATIONS

TRASHION GROUP PRESENTATION 

THEME ONE (one or two slides)

Introductory slide/s which shows what the group object is, which garments/fashion items are to be made and who the members of the group are. This should contain your own photography and drawing of the object and photos of the group members.

SLIDE 1 Example
You will need to compile something similar in your groups.

THEME TWO (one or more slides)

These slide/s should give a flavour of all initial information and findings about the object in question including its history/invention. Images about how it is standardly used and alternative uses (see if it has already been used in fashion). Also research some information about its general recyclability – i.e. plastic bottles are now widely used in the production of fleece material.

SLIDE 2 Example

THEME THREE (one or more slides)

Demonstrate and record ways in which you can manipulate/join/alter your object that might be helpful in garment construction. 
Explore processes like cutting, burning, laser cutting, heat pressing, appliqué, tearing, crushing, layering, stitching, riveting and photographing the object with a view to making a screen print.
Use a mixture of photographs of your processes, annotation and actual samples of your manipulated object to create your slides.

THEME FOUR (one or more slides)

A consideration of common element(s) which will bring all your garments/accessories together as a collection, this should include some early design idea sketches. You should also include some examples of what a fashion collection is, look for inventive Haute Couture and ideally find Designers who have used recycled materials (e.g. Martin Margiela, Jez Eaton, Gareth Pugh).

Further Tips 

Over the first couple of days of the project you need to research both your object and your garment - collect and print enough material for compiling your A1 moodboards. Photos of what you collect for this will form the slides for the first 2 Themes in your PowerPoint.
KEEP THIS STUFF LOOSE, DON'T STICK IT DOWN:

• Lots of visual research into the garment you drew from the "Hat", different versions/styles/shapes try to find inventive Haute Couture versions. Find 12 - 20 examples, print these images in a variety of sizes up to A4.
• Plentiful visual research into the object you drew from the "Hat" - different versions, different uses, unusual applications of your object, if you can find examples of it in Fashion then include these. Again 12 - 20 examples in a range of sizes.
• Other stuff you need includes: headings and titles (use interesting fonts), dictionary definitions of your object and garment, photos of yourselves, as well as your own good drawings and photographs of your object.

For sourcing imagery try using  http://www.pinterest.com/ (open a free account if you don't already have one). Thoughtfully selected search terms in Pinterest will lead you to a host of rich imagery and ideas.
After completing the research slides you need to concentrate on Themes 3 & 4. These are a little more demanding as they focus on experimentation and initial design ideas. 

• For Theme 3 you will need to be imaginative in how you manipulate your object and record your experiments photographically. Explore processes like cutting, burning, laser cutting, heat pressing, appliqué, tearing, crushing, layering, stitching, riveting and photographing the object with a view to making a screen print.

• For Theme 4 you will need to consult with all members of your Design team across the two groups to come up with some common themes for your collection (e.g. colours/particular ways of manipulating your object), after consultation you need to come up with some initial design ideas. 

• For Theme 4 you will also need to find several examples of existing Collections and print 6 -10 images images of these . Most designers/design houses release themed collections seasonally, look for examples of collections that are inventive, exuberant and perhaps use elements of recycling - the work of Martin Margiela and Jez Eaton might be valuable starting points.

Photographing Mood boards and preparing Images for Presentation

You have the option of preparing your presentation slides either digitally or through manual layouts that you record photographically and then convert into a digital format. If you are making manual Mood boards here are a few steps you can take to make sure that they look good as presentation slides.
The first of those are in taking the photographs - make sure they are well lit and that you position your camera above the centre of the image to avoid getting a taper distortion, take several photos to ensure you get images with a good sharp focus.

An example of "taper distortion"

Once you have got decent photographs it is usually possible to enhance them in PhotoShop before you transfer them into your presentation. Here is a raw photographic image followed by an edit of the same photo.

To achieve this I did the following:

• Rotated the original image.
• Cropped the image to remove unwanted areas.
• Adjusted brightness and contrast to give the image more on-screen "zip".
• Used the "sharpen more" filter to add crispness to the image.
• Created a new layer, made a rectangular selection and filled this with a pale blue colour, then applied the multiply Layer style to this blue box.
• Using the text tool added notes (in a font downloaded from www.dafont.com). I then used the move tool to place the text over the blue area.
• Finally from the Layer Menu I added a drop shadow to my text from the Layer Style options.

Having done all this I then saved the final image as a jpeg (option available from the dropdown menu when you save in Photoshop). Using jpegs as presentation slides works fine, if you upload .psd PhotoShop documents or high resolution digital photos you may find they slow your presentation down and stop it functioning properly.

After you have arranged and photographed your mood boards share the loose imagery out between you and collage this into sketchbooks, giving due consideration to layout and combining text and image effectively.

We will be giving Presentations at the end of next week (Thursday 21ST November AT 1.45 PM)

GROUPS FOR TRASHION

CHARMIAN'S GROUP

LOOM  BANDS

Honey B Jacket
Santek - Accessory
Bonita - Dress

RUBBER GLOVES

Poppy C - Jacket
Jasmine  - Skirt
Honey P -Trousers
Gaya - Shirt

CORRUGATED CARDBOARD

Poppy B - Dress
Eloise - Skirt
Izzy - Jacket
Ted - Skirt 


CUTLERY
Iona- Accessory
Kaci - Jacket
Conner - Trousers
Sophie - Trousers 


ANNIE'S GROUP 


PLASTIC BAGS 

Mathilda - Dress
Luke - Accessories
Sophie

PLASTIC CUPS

Mackenzie- Trousers 
MJ
Lucian- Jacket 
Amelia

PAPER PLATES 

Laura- Trousers 
Annabel
James - Dress

EGG BOXES 

Lauren - Trousers
Anna
Rachel
Doug - skirt

TRASHION PROJECT

PROJECT– TRASHION

SPECIALISM:  FASHION  & TEXTILES

 

TIME: 6 Weeks

UNIT 6: An integrated approach to 3D problem solving n art and design

MATERIALS: Mixed Media

RESOURCES: Sewing Machine, Computer, Camera, drawing media, Photocopier, basic hand tools, 3D workshop and an object……

ASSIGNMENT OUTLINE:

With the current threat to humanity of depleted natural resources and global warming due to overuse of resources and mishandling of waste etc, the idea of make do and mend is becoming more relevant if not essential!

Fifty years ago the earth was populated by half the number of people it is now, and by 2050 this number is expected to increase to 10 billion. Simply, there won’t be enough resources to go round!

In the U.K. each year, we throw away an average of two million tonnes of fast fashion clothing that was probably only worn six or seven times a piece. A large percentage of clothing is made from non biodegradable products such as nylon and viscous. Something has to change…. Products on the high street and the catwalk are beginning to acknowledge that this needs to be addressed. Few things touch as many people as fashion; therefore, the continuation of the new consciousness beginning to emerge through the production of sustainable and recycled clothing, rests firmly on your shoulders.

Using just a single object which may be commonly found in the home (clothes peg/ coke can etc., etc.) and an existing item of clothing, you are being asked to create a hybrid piece which uses the idea of recycled fashion. Furthermore, you will be working alongside other individuals in the UAL groups to develop the idea of a collection. 

GUIDELINES

Week 1 & 2

EXPLORATION OF YOUR OBJECT IN YOUR GROUPS

It is very important at the beginning of this project to work within your groups delegating jobs and discussing your findings all the time.  You may well be working closely with someone you currently know very little about. And in order to achieve a believable and successful result you will need to communicate effectively and get to know them well to get the best result for your group! 

 Focus on exploring your object: Think about weaving, stretching, melting, burning, adhering, scoring, rolling, wrapping, dissecting, reproducing, representing and smashing as considerations for getting the most out of not only your object, but your imagination too.

You should gather examples of your material: 

• sourcing of the various varieties of your individual objects
• examples of how these may have already been used in fashion
• a range of careful studies of these objects, both as photographs and illustrations.

You should be thinking all the time about how you will combine them together to create something new and exciting. How flamboyant or understated your ideas/designs are is up to you, but keep in mind that you will actually have to create one of them, so be realistic!

With your allocated garment:

• Find as many examples of this as possible
• Think about ways that you can adapt your own.

GROUP MOODBOARDS, POWERPOINT AND THE PRESENTATION

What you collect/produce is going to be presented as both moodboards and a powerpoint, so at this stage it is advisable not to stick anything into your books…Sketchbooks are not always practical for expressing your ideas to a large group so you will need to work on a grander scale!  You will create a series of moodboards which will explain your ideas and concepts so far.   A mood-board is an important tool in the design industry and is used at the start of projects in order to maintain a constant flow of ideas. Yours will be instrumental in helping you get the most out of this project and you will need to photograph them as they develop, so do make sure that you have a camera.  These images will then be used to create a powerpoint presentation, guidelines will be given on how to do this.  This slideshow will be your first collaborative piece and will require good communication and a well organised plan of action as you work together on the same presentation. You will also be asked to undertake some sustained investigations into what a ‘collection’is   

Weeks 3 & 4

FASHION ILLUSTRATION, YOUR OWN DESIGNS

• You will be asked to select two different fashion illustrators’ work and document these in your sketchbook, providing analysis on both their work and how you think their style of illustration might be appropriate to your own designs.

• Produce a design idea of your own in each style. You will be asked to produce further design ideas and start to physically gather more of the same object, and get stuck into manipulating them, seeing what works and what doesn’t work in order to apply it successfully to your garment. Remember to collaborate with your group throughout.  You may need to compromise on things so prepare to be open minded. You may also wish to look at www.art-dept.com for further fashion illustration inspiration. 

Week 5/6

CONSTRUCTION, PHOTOGRAPHING WORK AND CATWALK

Following your investigations, you should now be able to come up with the definitive design – it is now time to make it…Photograph every stage as you go so that you can continue to update your power point appropriately.

Take a series of well styled photos of the final outcome in studio . Even the best design can be completely ruined by a lack of attention to detail in its final documentation…… Use www.art-dept.com to help you in this too – someone like Rankin is really worth looking at, as is showstudio.com & Tim Walker. 

You will all be showing your work in the studio or on location after Christmas. 

Write a 500-1000 word evaluation of the project – guidance notes will be given. 

MINIMUM SUBMISSION REQUIREMENTS:

• 1 COMPLETED SKETCHBOOK.
• CONSIDERABLE EXPLORATION OF OBJECT
• A SERIES OF MOODBOARDS – PHOTOGRAPHS AS EVIDENCE
• 1 COMPLETED POWERPOINT – EACH GROUP SHOULD HAVE IT
• GROUP PRESENTATION – EVERYONE TO SPEAK
• FASHION ILLUSTRATIONS RESEARCH AND RESPONSES
• SERIES OF OWN FASHION DESIGNS.
• FINAL GARMENT AND STUDIO AND LOCATION PHOTOGRAPHS
• WRITTEN EVALUATION

  Use  www.style.com, www.elle.com, http://fashionarchitect.blogspot.com/, 

http://www.fashionisspinach.com/ http://thesartorialist.blogspot.com/ 

 Look specifically at individuals like Hussein Chalayan the late Alexander McQueen, John Galliano, Gareth Pugh and Commes des Garcons, for the more alternative in ideas! Sustainable fashion heroes are Gary Harvey, Martin Margiela, Junky Styling, Ciel, and From Somewhere, and this one is just interesting if you want to get a bit more into the magazine side of things – good for layout etc….http://magculture.com/blog/ 

The library also has some amazing books – check out Maison Martin Margiela, Skin and Bones, A century of fashion, Techno textiles volumes 1 & 2, Extreme Beauty: The Body Transformed, Fashion at the edge, Fashion: Concept to catwalk, to name but a few! 

Use the internet.

Use the library.

Use your imaginations 

Remember the visual imagination is fueled by what you see.

Link on google classroom to see the powerpoint you were shown

ALPHASEMBLE PROJECT AND EVALUATION

Your evaluation should be written as a flowing piece of text of between 600- 800 words, word processed and ideally should integrate images of your work (especially your 3D outcomes).  


• Describe how you started the project, talk about how you selected typefaces and how you went about your initial letter overlay drawings.
• Identify things in your 2D work that went well, what elements did you carry forwards from your first studies in colour and print work.
• Which Artists and Designers did you research at this stage of the project? Did you find their work influenced or informed your own studio practice, how?
• Did you find the move into 3D an easy one to make? What elements from your 2D studies transferred into your 3D relief work?
• How did you find the practicalities of working in 3D? What techniques did you employ (e.g. cutting, scoring, glue, interlocking)? Describe any problems you encountered and how you dealt with them.
• Are you happy with your relief work, which elements of it do you regard as particularly successful?
• Which Sculptors did you look at? Did you find their work interesting, why? Did it inform your own work in any way?
• What additional challenges did your fully 3D sculptural piece present? Talk about how you addressed sculptural concerns such as points of balance, visual weight and rhythm and creating interest from all angles.
• Were there any different materials or techniques used that you didn’t use in your relief piece (e.g. constructing volumes, use of wire). Did you find the progression from relief to a fully 3D piece an easy one to make?
• Are you pleased with your 3D outcome? Identify strengths and weaknesses of this piece.
• Describe how you went about recording your work through photography and drawing. What steps did you take to ensure you got good images (e.g. lighting, selection of background, focus on details).
• Overall are you happy with your work and time management in this project? What could you do to be more effective in future?

Glossary: 

weight, scale, repetition, linear, shape, volume, texture, 3 dimensional form, organic form, geometric qualities, volumes and planes, defying gravity, physical tension, stability, rhythm, illusion of space, weight, depth, contrasts of colour, light, negative space, balance, connecting points, emphasis, 
Construction methods - scoring, folding, bending, piercing, boxing, maquettes, prototypes, visual relationship, points of contact, interconnecting areas, dynamic qualities. 


Try to use the above glossary to help describe and make intelligent statement about your process, experimentation, development and outcome.



MINIMUM SUBMISSION REQUIREMENTS

Sketchbook including:

• 2 linear overlay letterform drawings.
• One or more tonal/ graphic mark-making letterform drawings.
• At least 3 colour letterform compositions, these could be coloured ink/bleach. 
• A series of stencil spray paint images 
• Found Alphabet using objects or shapes printed off and stuck in wallet size 
• Research into Jasper Johns’ Letter and Number drawings and paintings. Research should include Background information, your own analysis, good images of Artist’s work and visual response in appropriate media.
• A gold/silver card plate and several prints from it. 
• Inverts on the photocopier
• Minimum 2 images made using Photoshop with George and manipulation of alphabet. 
• A4 colored card raised letter relief and good photos from this, some A4 of best, some smaller. 
• Research on David Carson covering his work, show analysis, bio and examples with at least 1 response. 
• Block letterpress at least 4 strong images
• Research into Frank Stella’s relief sculptures.
• Photographs of all your Relief/3D pieces, include detail shots and shoot from a range of angles, consider lighting carefully and shoot against a clean background in studio.  Mixture of A4/A5.
• At least 3 annotated developmental sketches illustrating your proposals for 3 Dimensional work.
• Research into an abstract sculptor e.g. Richard Deacon, Naum Gabo, David Smith, Eduardo Chillida.
• At least one full page sustained pencil drawing in response to photos of your final piece.
• A word processed project evaluation (see guidance above).

Any additional work (e.g. further colour experiments with your letter compositions, further research) is obviously welcome and will create a favorable impression! 😊

PROJECT DEADLINE:  Monday 11th November 4.15 pm in your rooms please with a clearly named sketchbook with professional finish throughout. 

DESCRIPTORS	FAIL	SATISFACTORY PASS	GOOD PASS	EXCELLENT PASS
	1 Work submitted fails to meet one or more of the assessment criteria and is of a poor standard	2 Work submitted meets all of the assessment criteria and is of a satisfactory standard	3 Work submitted meets all assessment criteria and is of a high standard	4 Work submitted meets all assessment criteria and is of a very high standard
Context	Limited understanding of subject context, lacking clarity in aims and purpose.	Understanding of subject context used appropriately to make judgments, describe aims and clarify purpose.	Good understanding and knowledge of subject context used to make sound judgments, articulate ambitions and clarify purpose.	Comprehensive understanding and knowledge of subject context used to communicate complex concepts, articulate ambitions and clarify purpose.
Research	Little or no evidence presented or information does not relate sufficiently to task.	Sufficient relevant information has been gathered, documented and used in the development of ideas.	Thorough and sustained research and investigation of relevant sources, interpretation and synthesis of information used to inform, support and develop ideas.	Independently identified, thorough and sustained research and investigation of a range of relevant sources, insightful interpretation and synthesis of information used to inform, support and develop ideas.
Problem Solving	Insufficient exploration of alternative ideas and processes. Problems unresolved.	Sufficient exploration of alternative ideas using established approaches to resolve practical and theoretical problems.	Decisive demonstration of initiative in effectively solving problems, adapting to unforeseen practical and theoretical challenges to achieve identified goals.	Decisive demonstration of initiative in effectively solving problems, autonomously implementing creative solutions and adapting to unforeseen practical and theoretical challenges to achieve identified goals.
Planning & Production	Ineffective planning and little or no evaluation against aims. Task or tasks are incomplete.	Evidence of effective planning and evaluation against aims that have contributed to a satisfactory completion of the task or tasks.	Coherent and reasoned planning, subject engagement and commitment.  Realistic evaluation against aims and efficient production against timescales.	Detailed and coherent self-directed planning and negotiation, subject engagement and commitment. Continuous evaluation against aims and efficient production against timescales.
Practical Skills	Limited range of processes demonstrated, judgement and execution of techniques is poor.	Adequate range of processes, skills and knowledge demonstrated. Competent execution and application of techniques used to develop ideas.	Consistent and appropriate processes, skills and knowledge applied to extend enquiry and develop creative solutions.	In depth understanding and aesthetic awareness, imaginative and flexible processes, skills and knowledge applied in extensive enquiry to develop creative solutions.
Evaluation & Reflection	Insufficient evidence of ongoing evaluation, lack of or only basic analysis and little or no justification for ideas.	Clearly communicated evidence of valid evaluation and realistic analysis independently used to inform and develop ideas.	Effective communication of analysis and interpretation, independent synthesis of information and application of reasoned decision making to inform development of ideas.	Accomplished and professional communication of perceptive analysis and interpretation, demonstrating clarity and sophistication in thinking and maturity in decision making to progress ideas.
Presentation	Ineffective communication and presentation of ideas. Lack of clarity in structure, selection and organisation.	Competent communication and sufficient clarity and consistency in presentation of ideas appropriate to the intended audience.	Confident selection, organisation and communication of ideas. Consistent approach to presentation demonstrating a good understanding of conventions and standards.	Confident selection, organisation and communication of ideas. Demonstrating autonomy, personal style and an ambitious use of available resources to communicate ideas effectively to an intended audience.

PHOTOGRAPHING YOUR SCULPTURE

Photographing your sculpture

• Make sure you have a clean simple background
• You are parallel with the sculpture and then move around it or move it
• Use a single light from one side- move this up and down to create shadows, contrasts across the form. Be careful you do not burn yourself on the light- it’s very hot!
• Take compositions that leave a small amount of space around the outside to show the whole form
• Zoom in to find interesting details, parts that show off form at least 5 dynamic shots of details
• Focus, if you are using autofocus make sure your lens is not blurry or loses focus
• Take several shots of the whole form from varying angles- keep moving it around or you move around it
• Show off the top, side and edges of your form in each photograph
• create dynamic shots by tilting your camera, or creating drama by moving close to the sculpture and tilting your camera to create perspective.
• Bear in mind your will work from one of these images to create a powerful, sustained tonal pencil drawing to document your imagery.