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. 

REFLECTIONS AUTUMN TERM

To complete your reflections go to your Insight Home Page and open the "student reflections" tab - this will open a box into which you can type your thoughts.

So how am I doing? Let's think...

To kick off the termly review process we ask you to consider how you are progressing, what is going well and what more you can do to improve your performance.

So what things should you consider when you are writing your reflections? Say anything you regard as relevant, but make an effort to cover the following points:

• Reflect on how the start of the course has been for you? Are you enjoying the work? Do you feel settled at College?  
• Think about the work we have done this term (Tools 1 Still life and Tools 2 Hand held object, Alphasemble) and discuss some aspects of your work that you consider to be successful, explain why.
• Improving is about identifying areas of your work/approach where change is going to be beneficial.
• Point out at least 2 aspects of your work you will target to work on in forthcoming projects and explain what practical steps you intend to take to address these areas.

These could be things like: Your Attendance/punctuality; Your Observational Drawing; Your willingness to experiment; Your research; Your Focus in the studio; The presentation of your sketchbooks; Your time management skills/meeting deadlines; Your skills with specific techniques (such as PhotoShop).

• What are you looking forward to over the rest of the year? Are there areas of Art and Design we haven't touched on yet that particularly interest you? What are these? 

ALPHASEMBLE - HALF TERM TASKS

Half Term Tasks :

Sample photographic Alphabet

• Complete 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. 
• Please make sure you come back with  Frank Stella and 1 Abstract sculptor research, 2D and relief work previous set (see earlier posts)

SCULPTOR RESEARCH IF YOU HAVE FINISHED FRANK STELLA

To complement the practical work we are completing in Class you need to research at least one Abstract Sculptor. As usual with research this should be thoughtfully presented, include several images of the sculptor's work along with brief biographical detail and some personal analysis and justified opinions that relate to specific works. 
Some Sculptor's whose work might be particularly relevant include:

Anthony Caro

David Smith

Eduardo Chillida

Naum Gabo

Philip King

Richard Deacon

Tony Cragg

Stretch and Challenge: Research a second Sculptor from the list.

ALPHASEMBLE 3D RELIEF TASKS

Frank Stella, relief sculpture.

• Produce 2 pages of research into the 3D relief work of Frank Stella,  to accompany your relief work.  You should be getting familiar with the format of research - you'll need brief background information about the Artist for context, good reproductions and analysis of some specific works, offering your own opinions and referring to formal elements such as technique, colour, form etc. If you find other practitioners that you like that concern themselves with relief work of a constructive nature then feel free to put these in as additional influence. 

• Reflect on how your relief piece has gone within your sketchbook and make sure you have good, dramatic photographs taken in strong lighting to show this off. 

ALPHASEMBLE PROJECT TASKS SO FAR

PhotoShop Letter Overlays (with inverted sections)

So you should have completed :

• At least 2 really effective full page linear compositions based on your letterforms - these shouldn't include tone or colour so they can be photocopied and worked into with other media.
• At least 2 or more carefully built up A3 tonal/pattern/graphic mark based compositions developed from your linear work - use pencil, biro or fineliners.
• Photocopier inverts of your tonal pieces.
• 2 pages of well presented thoughtful research into Jasper Johns (number/letter work). Include at least one sensitive visual response. 
• At least 2 printed out PhotoShop letter compositions, experimenting with layers, opacity, colour etc.

Tasks for this week:

• At least 1 colour collage piece created by combining 2 or more "colour conversion" copies of your tonal work.
• A gold card plate cut and printed with the prints and plate mounted into your sketchbook
• Block letterform experiments- a series of
• Several other colour experiments with your letter compositions e.g. Ink and bleach, spray stenciling, paint, cut paper light experiments.
• An acetate collage, using cut photocopier experiments, along with other papers (newsprint, brown paper etc.) to fill spaces in your compositions.
• 2 pages of research into a second Artist/Designer who works with letterforms in an innovative way (e.g. Michael Craig Martin or David Carson). Analyse some specific works in detail, provide brief background biographical information, quotes from the Artist, a visual response ...you should be getting familiar with the drill!
• 3D relief piece

David Carson

Michael Craig- Martin

ALPHASEMBLE FIRST TASKS

• Choose 5 letters and 2 numbers from both serif font and non-serif font.   (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.  
• Find your examples from a range of sources - e.g. Font websites (see links in project brief below), magazines, newspapers. 
• Produce at least 2 ( more if possible) linear A3 compositions that show varied scale and compositions- at least  one  using serif font and one using non-serif font.  You will use these to work with differing processes and techniques. 
• Aim to have a range of large bold font rather than, thin script as these tend to work better in compositions.   Use tracing paper to transfer these onto your paper.  







Jasper Johns 

• 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 might fill 2 of these) or hardback ringbound @£8 (one should do it).

ALPHASEMBLE PROJECT BRIEF

Digital response to Jasper Johns (Huw Williams)

UAL Extended Diploma 1^st YEAR PROJECT BRIEF

PROJECT: ‘Alphasemble’, 

Specialist: Typography/Sculpture

UNIT 1 Introduction to visual language in art and design
UNIT 2  Introduction to research skills in art and design
UNIT 3 Introduction to critical and contextual awareness in art and design
UNIT 4 Introduction to materials, processes and technical skills in art and design

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, glue guns etc.

Artist Research: Jasper Johns, Frank Stella, David Carson, Michael Kenny, Michael Craig Martin, Frank Gehry, Naum Gabo, Philip King, Richard Deacon.

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.

ASSESSMENT:

Unit 1 Introduction to visual language in art and design

Learning outcomes The student will:

1. Understand the characteristics of visual language in art and design.

2. Be able to apply visual language to a range of art and design activities.

Assessment criteria The student can:

1.1 Critically compare, through experimental application, the characteristics of a wide range of visual language elements.

2.1 Apply visual language across a range of contexts, to influence appearance and meaning in art and design.

2.2 Critically compare the use of visual language, across a range of contexts, to influence appearance and meaning in art and design

Unit 2 Introduction to research skills in art and design

Learning outcomes The student will:

1. Understand research tools, methods and skills.

2. Understand primary and secondary research sources.

3. Be able to use research tools, methods and skills to inform ideas for creative activities

Assessment criteria The student can:

1.1 Critically compare a range of research tools, methods and skills.

2.1 Critically compare a range of primary and secondary research sources.

3.1 Apply research tools, methods and skills to record and interpret information and develop ideas for creative activities.

3.2 Evaluate the effectiveness of research tools, methods and skills to develop ideas for creative activities.

Unit 3 Introduction to critical and contextual awareness in art and design

Learning outcomes The student will:

1. Understand critical perspectives that influence the analysis of art and design activity.

2. Understand the contexts within which art and design is positioned.

Assessment criteria The student can:

1.1 Critically compare a range of critical perspectives that influence the analysis of art and design. 1.2 Apply knowledge of critical perspectives to the analysis of a range of art and design activities.

1.3 Apply knowledge and understanding of a range of critical perspectives to support own art and design practice.

2.1 Critically compare a range of contexts within which art and design is positioned.

 2.2 Apply an understanding of a range of contextual parameters to support own creative development.

Unit 4 Introduction to materials, processes and technical skills in art and design

Learning outcomes The student will:

1. Understand materials, processes and technical skills used in art and design.

Assessment criteria The student can:

1.1 Critically compare a range of materials and processes used in art and design through experimental application.

1.2 Apply understanding of materials and processes to support own art and design activities.

1.3 Apply understanding of technical skills to support own art and design activities.

1.4 Evaluate the use of materials, processes and technical skills to support art and design activities.