New Project - First Tasks

A few reminders, for your next lessons (Wednesday) you will need:

• Money for an A3 sketchbook. Ringbound £7, or Stapled £2.
• Drawing materials (pencils, eraser, biro & fineliners if you have them).
• A version (or preferably multiples) of your object to draw from and experiment with. 
• A camera/cameraphone.

Before Wednesday you need to research both your object and your garment collect and print enough material for:

• 4 busy pages of visual research into the garment you drew from the "hat", different versions/styles/shapes try to find inventive Haute Couture versions.
• 4 busy pages of 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.
• Find several examples of Collections and print some images of these too (enough to fill another 2 sketchbook pages). 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 might be a valuable starting point.

Use  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.

If you already have a sketchbook then get ahead and collage this imagery down, aiming for visually rich pages. Including key words (object and garment names for example) in carefully selected fonts will add to the graphic impact of these pages.

Recycled Fashion Brief

BTEC EXTENDED DIPLOMA in ART & DESIGN

1st YEAR PROJECT BRIEF

PROJECT– An object worth desiring…..

SPECIALISM:  FASHION  & TEXTILES

TIME: 5 Weeks

MATERIALS: Mixed Media

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

ASSIGNMENT OUTLINE:

The idea of make do and mend is becoming more and more prevalent in modern day society, despite being born from war torn times when people really had to make the best of what they already had as little else was available to them, the concept couldn’t be more valuable today with depleting natural resources, and the constant anxiety of inadvertently increasing the size of our individual carbon footprints. What we are now seeing on both the high street and the catwalk firmly acknowledges that this is a very real problem and one which needs to be addressed and appreciated. The race is on, fifty years ago the earth was populated by half the number of people it is now, by 2050 this number is likely to be increased further, possibly up to 10 billion, and by all estimates there simply won’t be enough resources to go round. Deforestation, depleting food sources and a rampant consumerism are all taking their toll, and did you know that last year alone 1 in 50 people lost their homes due to either, war, natural disaster or foreclosure – this is a scary statistic and none of us are immune to this. It is believed that in the U.K. each year, we throw away an average of two million tonnes of fast fashion clothing that was probably only worn for around six times a piece. Fashion could probably be described as one of man’s biggest failures in the safe guarding of our planet with corporate groups encouraging dream lifestyles of selfishness, apathy, superficiality and greed. Something has to give and something has to change…. Few things touch as many people as fashion; therefore the continuation of what is beginning to emerge through sustainable clothing rests firmly on your shoulders.

Using just a single object which may be commonly found in the home 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 BOTH of the BTEC groups to develop the idea of a collection.

GUIDELINES

1.   The initial stages of this project should be spent on some thorough investigations. First of all you will be allocated your initial departure points for the project. As this is a random selection, your object, garment and fellow collaborators are all purely down to chance, so this could see you working alongside someone you currently know very little about. It is vital however, that you do work closely with your collaborators throughout the duration of the project in order to achieve a believable result, and by not doing so, you risk failing the overall project. This entire week is concerned with gathering material – this should consist of the sourcing of the various varieties of your individual objects, examples of how these may have already been used in fashion and a range of careful studies of these objects, both as photographs and illustrations. As a matter of course you should be thinking all the time about how you will combine them with your item of clothing to create something new and exciting, it will be up to you how flamboyant or understated your ideas/designs are, but you should bear in mind that you are actually going to have to realise one of them! With regards to your allocated garment, you should again be finding as many examples of this as possible and looking for ways that you will be able to adapt your own. Where your garment comes from is entirely up to you, but it must be something which has previously been worn. What you collect/produce is going to be presented as both moodboards and a “prezi” (www.prezi.com) next week, so at this stage it is advisable not to stick anything into your books…Week 1

2.   Once you have looked at your objects and garments in finite detail you will be required to present your findings visually, as previously mentioned. It is not always appropriate to hand over a sketchbook to a group when expressing your ideas purely because it is difficult for lots of people to be able to see the work at the same time, so in order to get your ideas across to the rest of the group effectively, you are going to work on a much grander scale! Following the guidelines given you will create a series of moodboards which will explain your ideas and concepts so far. A moodboard is an important tool in the design industry and will often be created at the beginning of a project as a means by which to maintain a constant flow of ideas, yours will be instrumental in helping you to get the most out of this project and will be photographed as you go along, so do make sure that you have a camera at the ready – NO EXCUSES. These images will then be used to create your Prezi, again, guidelines will be given so do not panic, this slideshow will be your first collaborative piece and will require good communication and a well organised plan of action as you will both be working on the same presentation. This will be added to as your projects develop and you will need to follow the checklist provided in order to ensure that you have provided all the necessary information…. The beginning of this week will also see you undertake some sustained investigations into what a collection actually is. 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! Week 2

3.   Select two different fashion illustrators’ work and document it in your sketchbook, providing analysis on both their work and how you think their style of illustration might be appropriate to your own designs. You should endeavour to produce a design idea of your own in each style too. Following on from this you should now begin 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 partner throughout –design ideas must actually look like they have come from the same collection! You will possibly need to compromise on things so prepare to be open minded….. There will also be workshops given to help you with your figure drawing, so do not despair! You may also wish to look at www.art-dept.com for further fashion illustration inspiration. Week 3

4.   Now, how you go about using your object(s) is up to you – I am looking for clever, inventive, original, technical and carefully engineered results – remember – we are not making costumes for the school play, this is a serious exercise, and the results will be going into your folios, so make the most of it, oh, and BTW, you will all be showing your work on the catwalk after Christmas too, there will be an audience and at least 4 photographers taking your photos – I probably wouldn’t want to look like a plank if I was you!  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. Update your Prezi. Weeks 3 & 4

5.   Following your investigations and trials and tribulations 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 Prezi appropriately. Take a series of well styled photos of the final outcome – Do not just stand in the studio or corridor to do this, find an appropriate space, even if it means you have to put yourself out doing so, I cannot emphasise enough how 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 (who is currently exhibiting at Somerset house)…. You could also check out James Carver on www.flickr.com – he is an ex-student, currently studying at London College of Fashion.

Week 5

6.   Write a 500-1000 word evaluation of the project – guidance notes will be given. Week 5

MINIMUM SUBMISSION REQUIREMENTS:

·         1 COMPLETED SKETCHBOOK.

·         A SERIES OF MOODBOARDS – PHOTOGRAPHS AS EVIDENCE

·         1 COMPLETED PREZI – EACH PARTY SHOULD HAVE IT DOCUMENTED IN THEIR SKETCHBOOKS + PREZI ACCOUNT DETAILS.

·         RELEVANT FASHION ILLUSTRATIONS.

·         FINAL GARMENT AND PHOTOS

·         WRITTEN EVALUATION

REFERENCES:

Use the internet.

Use the library.

Use your imaginations!

Alphasemble Minimum Submission Requirements

Sketchbook including:

·        2 linear overlay letterform drawings.

·        One or more tonal/mark-making letterform drawings.

·        Your own photographs of letterforms (letterform alphabet).

·         At least 2 colour letterform compositions, these could be food dye/bleach, paint or collage.

·        Research into Jasper Johns’ Letter and Number drawings and paintings & another Artist/Designer’s typographic work (e.g. David Carson, Michael Craig-Martin). Research should include Background information, your own analysis, good images of each Artist’s work and visual responses in appropriate media.

·        A gold card plate and several prints from it.

·        Minimum 2 images made using Photoshop (developments of scanned work and/or letter overlay pieces created entirely digitally).

·        Research into Frank Stella’s relief sculptures.

·        Research into two sculptors work e.g. Richard Deacon, Naum Gabo, David Smith, Eduardo Chillida.

·        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.

·        Full page tonal drawing/s in response to your 3D relief work.

·        A word processed project evaluation (see guidance).

In addition to the sketchbook please clearly name and hand in your 3D work:

·        Grey Card Relief.

·        Raised letter Relief (thin card).

·        Well finished final 3D Sculpture.

ALPHASEMBLE PROJECT - EVALUATION GUIDANCE

Your evaluation should be written as a flowing piece of text of 500 – 700 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?

Work for Half Term and Updated Project Checklist

What you need to get done:

Before you go away to half term you should finish and photograph all your relief work, you should produce at least one full page sustained tonal drawing in response to the photos of your relief. 

Over the half term break produce around half a dozen quick plan drawings to illustrate your ideas for moving into 3D. These drawings should aim to integrate successful aspects of your 2D or relief work, but be prepared to add elements and make aesthetic decisions based upon the concerns outlined in the post below. When you research the work of the sculptors (see below) you might also try to find examples of their drawing and see how they use it to develop their ideas and plan for 3D.

Over half term we also want you to prepare for the next stage of your work by researching two ABSTRACT sculptors (use the brief for names, include background information, several good images of their work and some personal analysis, minimum 4 pages of carefully presented research).

Here is a checklist of the work you should have done for this project by the end of half term:

• Collection of a range of letterforms/numbers to work from as sources.

• At least 2 really effective full page linear compositions - these shouldn't include tone or colour so they can be photocopied and worked into with other media.
• 1 or more carefully built up A3 tonal/pattern based compositions developed from your linear work - use pencil or fineliners.
• Minimum of 1 A3 colour piece - this could again be a development from your linear compositions, inks or food colourings with bleach are good media to use for this.
• A gold card plate (at least A4 scale) based on your best composition, this should be cut and several prints taken from it, consider printing onto a range of surfaces.
• At least two layered experiments in Photoshop printed out and mounted in your sketchbook.
• Spray stencil layered experiments with letterforms.
• Letter relief pieces cut from coloured card, photographed effectively, with the photos mounted in your sketchbook.
• Photocopier inverts of a few of your best bits of work so far.

• 4 pages of well presented thoughtful research into Jasper Johns (number/letter work) and one other Artist from the brief e.g. Michael Craig-Martin or David Carson. Include sensitive visual responses to both Artists.
• A photographic Alphabet, find or create letterforms in the environment around you and record them with the camera. Pay attention to the aesthetic aspects of each of your 26 shots (lighting, composition etc.). Present these effectively in the sketchbook.
• 2 pages of research into the relief sculptures of Frank Stella.
• Grey Card Relief Sculpture.
• A series of carefully lit photos from your Grey Card Relief (include close ups and a range of viewpoints as well as views of the whole piece). Print out the best of these and include them in your sketchbook.
• At least one well finished sustained drawing based on photography from your 3D Relief.
• A series of annotated quick sketches that illustrate your ideas for a final 3D outcome (to be constructed in the week after we return).
• Research into 2 abstract Sculptors (4 pages) - for example Eduardo Chillida, David Smith, Naum Gabo, Richard Deacon, Anthony Caro.

3D Principles

Working in 3D

It has been exciting to see some of the relief work you have produced this week, both the grey card constructions and some of the drawing you have made based on these has been excellent. This work will look great in your portfolios in 12 months time.

The next challenge is moving fully into 3 dimensions to create a free standing sculpture. Obviously what you have learnt from creating the relief work will be vital, but there are a host of new things to consider as well. Here is a brief guide to a few of them:

BALANCE: The visual impression a sculpture gives to the viewer can be altered radically by how the piece is supported, pieces that are balanced on a few small points of contact with the ground tend to look more dynamic (for example the Eduardo Chillida piece below), whilst a sculpture with a large heavy base tends to give a much more stable, secure impression.

Eduardo Chillida

TENSION: Related to balance, this can refer to visual tension created by the impression that a structure is unstable. It can also be a reference to physical tension created by construction techniques, for example in this piece by Naum Gabo where the interconnecting wires are tensioned between the more substantial elements:

Naum Gabo

WEIGHT: This can refer to the physical weight of the sculpture (or elements of it), but more commonly would be used to describe the "visual weight" so a chunky solid volumes (see the David Smith piece below) would tend to have more weight than a delicate linear element such as the wires in the Naum Gabo sculpture (above).

SPACE: The elements of a sculpture interact with the space that surrounds them. Space is the unspoken part of any sculpture. Making interesting spaces between the elements of a sculpture is as important as the elements themselves. The way Deacon's open construction below allows your eye to move through the piece above is a good illustration of this.

Richard Deacon

VOLUMES/PLANES: These are elements of several of the sculptures illustrated. Some like the David Smith piece are constructed entirely from Volumes, others such as the head by Gabo or Alexander Calder's "Canine" rely exclusively on planes of material to create the sculpture. Interesting work can be created by combining volumes with planes and even linear elements such as those employed by Gabo.

Alexander Calder

David Smith

Naum Gabo

REPETITION: This is a useful way of making visual connections between different areas of your sculpture or adding visual emphasis and can be seen in the multiple globes in the Anish Kapoor piece below.

Anish Kapoor

CONSTRUCTION: This is vital. Whether sculptures actually stand, connect, balance and stay intact is dependent on how effectively they are constructed. With your own work you will find that measuring, cutting neatly and utilising joining techniques such as slotting and interlocking should minimise the need for glue and help you towards the best possible work.

RHYTHM: In the same way that the abstract paintings we did in the first project had "Visual Rhythm" the same is true of 3 Dimensional Fine Art work. Directional elements can be used to lead the eye and repetition can create visual relationships. The steamed wood sculptures of Richard Deacon are a particularly good example of this.

Richard Deacon

SCALE: How we relate to sculpture is heavily dictated by its scale. Our reaction to a delicate piece we could hold in our palm (such as Tim Hawkinson's bird made of nail clippings) will be very different to how we respond to a piece such as Anthony Gormley's towering "Angel of the North" which is set on a hill top looming over Newcastle.

Anthony Gormley - Angel of the North

Tim Hawkinson

SURFACE: The materials sculptors choose and the textures these give to their work play a major role in how we, as the viewers, respond to 3 Dimensional work. Consider the contrast between the highly polished metallic surfaces in Anish Kapoor's piece compared to the steam treated wood in the second Richard Deacon piece illustrated.



Frank Stella Research

To prepare for the 3D relief work we are doing next week you should research Frank Stella’s coloured relief pieces. This should be over at least 2 sketchbook pages, get a range of images, provide a little biographical background information and add some personal analysis of at least 2 specific pieces by Stella, discussing technique, materials, composition, construction, layering, colour etc. 
During next week we will be completing and photographing relief pieces and if time allows we will start our free standing fully 3D sculptural pieces. Over half term you will need to research a couple of the sculptors from the brief to help inform your final 3D outcome for the project. 

ALPHASEMBLE - Checklist

Jasper Johns

A checklist of things you should all have done by Monday 20th October, look on this as a minimum, some of you might manage more...

• Collection of a range of letterforms/numbers to work from as sources.
• At least 2 really effective full page linear compositions - these shouldn't include tone or colour so they can be photocopied and worked into with other media.
• 1 or more carefully built up A3 tonal/pattern based compositions developed from your linear work - use pencil or fineliners.
• Minimum of 1 A3 colour piece - this could again be a development from your linear compositions, inks or food colourings with bleach are good media to use for this.
• A gold card plate (at least A4 scale) based on your best composition, this should be cut and several prints taken from it, consider printing onto a range of surfaces.
• At least two layered experiments in Photoshop printed out and mounted in your sketchbook.
• Spray stencil layered experiments with letterforms.
• Letter relief pieces cut from coloured card, photographed effectively, with the photos mounted in your sketchbook.
• Photocopier inverts of a few of your best bits of work so far.

Additionally you should be completing these tasks in your private study time:

• 4 pages of well presented thoughtful research into Jasper Johns (number/letter work) and one other Artist from the brief e.g. Michael Craig-Martin or David Carson. Include sensitive visual responses to both Artists.
• A photographic Alphabet, find or create letterforms in the environment around you and record them with the camera. Pay attention to the aesthetic aspects of each of your 26 shots (lighting, composition etc.). Present these effectively in the sketchbook.
• Frank Stella research (see separate post).

Next week we will be moving into 3D work, bring craft knives and rulers (steel rules are best if you have one.

ALPHASEMBLE - First Tasks

Following the project briefing things you need to do before your first lesson in the new project are:

• Choose 5 letters and 2 numbers (these could be from your name/date of birth or just randomly selected), try to get a range of different characteristics in the letters/numbers - curved, straight, open, contained spaces etc.
• For each of these 7 characters find 5 varied examples (35 characters in total) find your examples from a range of sources - e.g. Font websites, magazines, newspapers.
• Cut out/print out all these letterforms and bring them to your next session (a large envelope is a good way to keep them together).
• You should also complete 2 pages of research into the letter/number inspired works of Jasper Johns - try to find a range of his images in this style, so ideally some drawings/prints and some paintings.
• As always with research consider layout carefully, keep pages busy and visually stimulating. The written content is also important, provide a brief section of background information about the Artist, but make sure you go on to analyse individual works in some detail.

You will need an A3 sketchbook for this new project. Either softback stapled @£3 (you are quite likely to fill 2 of these) or hardback ringbound @£8 (one should do it).

New Project Brief (BOTH GROUPS) ALPHASEMBLE

BTEC Extended Diploma 1^st YEAR PROJECT BRIEF

PROJECT: ‘Alphasemble’, 

Specialist: 3 Dimensional Design/Sculpture

Project Outline:

This project presents an opportunity to further develop your drawing, printing and mark-making skills, to come to a better understanding of colour and composition and to work in both controlled and expressive ways.  It also offers the opportunity to manipulate materials in the process of exploring 3 dimensional forms. 

This project is divided into two sections. The first requires you to work in your sketchbooks to explore 2-dimensional space, form & line, layered shapes, mark-making, surface quality, colour, composition & layout and to develop an awareness of good design and composition using letterforms and different typefaces as a starting point

The second requires you to interpret your 2 dimensional designs/ images into 3 dimensional forms using abstraction and to explore the language, techniques and materials of 3 -dimensional design (3DD) and sculpture.

In both sections you will study various artists in order to enhance your working practice and place the project into a relevant historical context.

 

Materials, equipment & resources

Pencil, fine-liner, biro, paint, pastel, collage, photo-shop, photocopy, acetate, food-dye, ink, bleach, spray paint, relief printing.

Card, paper, wire, glue guns etc.

Artist Research: Jasper Johns, Frank Stella, David Carson, Michael Kenny, Michael Craig Martin, Frank Gehry, Naum Gabo, Lazlo Maholy-Nagy, Philip King, Richard Deacon, Eduardo Chillida, David Smith, Santiago Calatrava.

Resources:  Fonts - www.dafont.com, www.font.com, www.font101.com etc.  Modern Sculptors: www.sculpture.org

PART 1: Week 1

·     Start by choosing 5 or more different letters from your name. Begin to research into a variety of different type-faces and collect examples of these: Use websites, magazines, newspapers, computer fonts etc.

·     Using pencil/fine-liner/biro or pen & ink, experiment with the letterforms as compositional elements to produce several different designs/images.  Start by using the letter outline only and create several overlay examples (see Jasper Johns numbers).

·     Get out and see where you can see or create letterforms in the environment, record your discoveries through photography.

·     Next explore more ideas based on your selected typeface/letters by considering the following: changes of scale, symmetry & non symmetry, positive and negative shapes and close cropping so that only part of the letter form is visible.

·     Now start to play with some of this imagery by working into the negative and positive shapes with different types of mark making to create lively and interesting surface effects and a sense of depth and perspective. Your surfaces could be very expressive with an emphasis on fine art painting/ collage mark making etc or they could be more graphic.  Look at repetition and pattern, or combine both. An illusion of space can be created by considering the scale, weight and density of marks, and their relationship to areas of solid and void.

·     Produce research into Jasper Johns and either Michael Kenny, Michael Craig-Martin or David Carson. Your research should be presented carefully over several sketchbook pages, find images of the Artists work and analyse these alongside providing background information and visual responses for each Artist selected.

Week 2

·         Select the strongest of your drawings and start to introduce colour. You may work on the whole design or take a section and enlarge it.  Explore the use of the following colour mediums: paint, oil pastel, food dye & bleach and mixed media collage. You will be shown any new techniques as you progress.

·         Explore your compositions by devoting some time to cutting and printing a detailed gold-card relief print.

·         Now take the development further: photocopy some of your images onto paper and acetate; play with scale, inversion etc. Look at cutting away, layering and overlay to create collages. Scan some of your images into the computer and manipulate further using PhotoShop.

Part 2: Week 3

·  Select two or three of your strongest ideas/ designs. Start by identifying some of the formal elements of your images - i.e. both positive & negative shapes that represent the whole or parts of the letter forms you have been looking at.

·  Look at the work of Frank Stella and one other sculptor from David Smith, Eduardo Chillida, Naum Gabo and Richard Deacon produce research that analyses specific works by these sculptors and includes your own visual responses to their work.

·  Having looked at the work of Frank Stella use strong shapes from your drawings/designs cut-out, raise and interlock shapes to produce a ‘relief’ version of your image.

·  Begin exploring how to interpret these 2D images into 3D forms using twisted, torn and scored paper combining these with cardboard. You will also be expected to introduce colour and surface into your maquettes. As you progress you will probably need to sketch out some of your ideas in your sketchbook to help resolve ideas and problems.

·  You will need to carefully consider negative as well as positive space.  By the end of this week you should have at least one successfully resolved relief piece as well as 3D experiments that will help you to move onto the production of a final sculptural piece.

·  Take some dynamic photos of your maquettes using strong light and interesting viewpoints and angles. Include close up details as well as views of the entire piece.

Week 4

·         You are now expected to produce a final, well finished 3 dimensional piece that will demonstrate a refined application of the materials and techniques that you have experimented with in the previous week. You will need to pay special attention to scale, surface (colour and texture) and ensure that your final piece works well from all angles. This sculpture should be no larger than 40cm in any direction.

·         Ensure you obtain good photographs of your final piece and include these in your sketchbook. When taking these photos you should use a plain clean background and again consider lighting, viewpoint, details etc.

·         Complete a word-processed project evaluation (further guidance on this will be issued)

Minimum submission requirements:

·  1 x sketchbook packed with ideas, drawings, experimentation and that shows the development of your ideas.

·  Also in sketchbook: research into letterforms type-faces etc, relevant artist/sculptors etc. A series of photos of your maquettes and final 3D outcome.

·  Relief sculptural piece, plus any additional 3D experiments.

·  A final sculptural piece.

·  A word-processed evaluation.