U6 - Architectural Forms - Submission Checklist

Phich Rodaswaeng

UNIT 12 – Fine Art Materials, Techniques and Processes.

Initial Research, Photography and Drawing

·        At least 4 pages of research into 2 contemporary Architects. 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 of modern Architecture (around school and elsewhere), print contact sheets of your shoot and include 8 - 12 of the best shots printed out at A4 or A5 scale.

·        At least one fully finished full page sustained careful pencil tonal drawing from your Architectural photos (this should represent at least 3 hours work).
* A1 Chalk and Charcoal Architectural drawing.

·        A set of timed expressive drawings.

Mixed Media Collage

·        At least 4 mixed media collages based around your Architectural imagery.

·        2 pages of research into a collage based mixed media Artist or Illustrator, including personal analysis of specific works.

Paper Engineering

·        2 pages research into a paper engineering Artist (see previous post).

·        Any Laser-cuts that can be mounted flat (skylines or building facades) with some accompanying annotation briefly explaining the process (2 pages).

·        1 or 2 pages for contact sheet thumbnails of your paper city photos.

·        1 or 2 pages with some of your best shots printed larger (A5), these should basically unedited (some cropping may be beneficial).

·        A further 2 pages with some shots manipulated through PhotoShop - experiment with colour, layering and offsetting images, adding text and anything else you can think of.

Project Outcome and Evaluation:

·        Clear planning for your final piece over at least 4 sketchbook pages (and potentially larger studies in addition), this means both annotation and imagery outlining your intentions. The nature of the imagery will depend on what you planned, but it could take the form of painted studies, photos of 3D maquettes, compositional sketches, collage experiments etc.

·        Visual reference to at least one Artist whose work inspired or influenced your final piece (in depth analysis not required) 2 pages, identify Artist/s and include plenty of good reproductions of their work plus brief notes on how it is relevant to your own creative direction in this project.

·        A well resolved final outcome within a Fine Art discipline.

·        A thorough illustrated and word processed project evaluation for Unit 12 that closely follows the guidance issued.

UNIT 42 – Printmaking

·        A Gold Card print based on your Architectural source imagery. Include the plate and prints taken from it in your sketchbooks.

·        At least 2 pieces of ambitious and detailed monoprinting based on your Architectural photographs.

·        A piece of monotype reduction printing.

·        Photocopier experiments with your prints (inverts, colour adjustments).
* Abstract cardboard shape prints.

·        2 pages of research into the prints of Michael Goro, with personal analysis of specific works.

·        A range of screenprinting experiments based on your Architectural imagery.

·        2 pages research into the screenprinting of Laura Slater, with personal analysis of specific works.

·        At least one piece of printing that is taken further and developed independently in some way – likely to be easiest with your screenprinting, consider intercutting/ collage/mixed media.

·        A thorough illustrated and word processed project evaluation for Unit 42 that closely follows the guidance issued.

The Project is due to be submitted on the first day back from Half-Term (Monday 4th November). You will need to sign Unit submission forms then. Please use half term wisely to make sure everything is complete. You all have some terrific work, so go the extra mile to ensure everything is presented effectively and evaluated thoroughly.
Good Luck!

L6 - Tools Checklist and Evaluation Guidance

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

First Phase of Project (Observational, prior to overlay drawings):

• Describe how you started the project, talk about how you selected the tools and composed photographic shots. What did you see in them that you could respond to through drawing and other media?
• Talk through all the different processes you encountered in the first phase of the project, keeping it brief & informative, which were the most successful images you created? How have your existing skills been extended in the process?
• 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?

Second Phase of Project (Moving towards Abstraction and 3D)

• Identify things in your 2D overlay compositions that went well, what techniques did you use to explore this imagery?
• Did you find the move into 3D relief an easy one to make? Did elements from your 2D studies transfer 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 techniques used that you didn’t use in your relief piece (e.g. constructing volumes). 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).
• Identify two skills you have learned during this project that you hope to develop further in future work and suggest ways in which you would refine your skills in these areas.
• Overall are you happy with your work and time management in this project? What could you do to be more effective in future?

MINIMUM SUBMISSION REQUIREMENTS

Sketchbook including, from Phase 1:

• A range of photos of your tool - thumbnail prints of all your shots (20+) should be included in your sketchbook and 4 - 6 of your best shots printed off at A5 or A4 scale. Brief annotation identifying why you consider particular shots successful should also be present.
• A completed sustained tonal drawing from your tool photos done in pencil - this should be at least A4 in scale and represent 3+ hours worth of work.
• Set of 4 expressive timed graphite and chalk drawings done in class, mounted in book and briefly annotated.
• Prep task research into Jim Dine (tool drawings) and Florian Nicolle (collages) over at least 4 pages (see additional guidance in previous post) and include at least one visual response in appropriate media.
• At least one Gold card plate based on your tool photos cut and several prints taken from it, these prints and the plate should all be mounted in your book and annotated with a brief description of the process.
• One or more digital manipulations of your Tool imagery (completed with Miss Corrigan). Annotate.
• Mixed media collage with tool image drawn over A3.
• A2 Charcoal mid-tone drawing, include photos of this in your book.
• Minimum of 2 experiments working into reproductions of your tool prints with coloured inks.
• Laser cut tool collage work completed with Miss Corrigan. Annotate.
• At least 2 monoprints from your tool imagery completed with Ms. Mason. Annotate.

Phase 2 work:

• 2 pages of research into Jasper Johns, concentrating on his letter and number based overlay drawings, prints and paintings. Analyse and include a visual response.
• One or more linear overlay drawings based on shapes found within your tools (refer to photos or earlier drawings/prints).
• One or more tonal/mark-making letterform drawings.
• Several developments of your overlay compositions exploring colour and collage.
• PhotoShop exploration of your linear overlay designs.
• Digital design with colour added (100% digital piece). Annotate all these.
• 2 pages research into the relief based sculptures of Frank Stella.
• A well resolved 3D relief piece.
• Abstract print piece based on cardboard offcuts from relief work.
• 2 or more pages that present least 6 annotated developmental sketches illustrating your proposals for 3 Dimensional work.
• Research into a sculptor e.g. Richard Deacon, Naum Gabo, David Smith, Eduardo Chillida.
• A finished fully 3D sculptural outcome.
• 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.
• A full page sustained tonal drawing in response to photos of your final piece.
• A word processed project evaluation (see guidance above).

Any additional work (e.g. further 2D experiments with your overlay compositions, extra research, other drawings of your 3D outcome) is obviously welcome and will create a favorable impression! 😊

PROJECT DEADLINE:

Monday 4th November. 3.20pm. Work to be handed in to Mrs. Bicknell. 

Briefing for the new project will be on Tuesday 5th November - expect Fireworks!💥

U6 - Planning Project Outcomes

Architectural Monoprint 

Project Outcomes:

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

This could mean paintings, large scale mixed media work, sculpture, a series of prints, animations, books of illustrations, film.

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, photos of 3D maquettes, sketches or many other things.

You should be aiming to complete this planning (over several sketchbook pages) over the next few days, so that we are ready to start working on project outcomes by the end of next week. If you have particular material requirements for your final piece then talk to staff so we can 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.

U6 - Architectural Collage Work & Supporting Research

Some examples from previous students.

By the end of 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, raffle tickets etc. 

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, 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.
• 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.

Supporting Research
To 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. 
This research should be completed as Prep.

Richard Galpin

Martin O'Neill

Robert Rauschenberg

Nazario Graziano

Tim Marrs

U6 - Printmaking Supporting Research

Michael Goro - Print

• Complete 2 pages of research into the prints of contemporary Artist Michael Goro - try to find a range of images of his prints that explore an Architectural theme.
• As always with research consider layout carefully, keep pages busy and visually stimulating. Get good size reproductions of relevant works by Goro. 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.
• Comment on use of media/technique (especially important to identify the printmaking processes Goro employs), and discuss formal elements such as use of line, tone, colour, mark-making and composition.
• Research the intentions behind this series of works - what was Michael Goro trying to explore/capture?

Also following a similar format to back up your screen printing work research the work of Laura Slater across 2 sketchbook pages:

Laura Slater -Screenprinting

L6 Moving into 3D and Abstract Sculptor Research

Moving into 3D:

Set of Sculptural Visualisation Drawings

In order to transition from the relief pieces you've been working on to a fully 3D sculpture we require you to produce at least 6 sculptural visualisation drawings. You should identify effective abstract shapes in your 2D work and your relief piece and include some of these as the starting point of your drawings. These are working drawings so each one could be a development/refinement of the one before. 

Work quickly with fluid marks and group several drawings on each page. Look at the example above and the series below by Seymour Lipton.

Sketch by Seymour Lipton

Sketch by Seymour Lipton

Sketch by Seymour Lipton

Seymour Lipton Sculpture resulting from the last sketch above.

The contemporary American Sculptor Kevin Barrett shifts between relief based pieces and fully 3D sculptures. In the examples below you can see how similar shapes and ways of visually manipulating space are common to both his relief works and his sculptures.

Relief work by Kevin Barrett

Relief work by Kevin Barrett

Sculpture by Kevin Barrett

Sculpture by Kevin Barrett

Following on from your visualisation drawings you will need to construct a fully 3D sculptural piece using the brown modelling card as your staple material.

Obviously transfer the skills and lessons gained from making your relief pieces, but be aware there are additional challenges associated with working in full 3D.

Some areas to think about are: 

• Volumes versus planes. There are plenty of online sources of net templates for a variety of simple 3D forms - use them!
• Points of balance.
• Use of space/negative space.
• Creating visual interest from all angles.
• Scale (both of overall piece and elements of it in relation to one another)
• Visual weight of elements.
• Visual rhythm and flow created within the piece.
• Thoughtful use of repetition.
• Quality of construction - this becomes even more crucial once you are working on a free standing 3D piece.

Research:

To support the practical work we are undertaking you are required to research an abstract sculptor. Choose one of the two above Seymour Lipton or Kevin Barrett or choose from one of those detailed below:
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. This work needs to be completed for submission with the rest of your project on Monday 4th November, but familiarising yourself with the work of these Sculptors and completing the research in a timely fashion ahead of your practical work is strongly advised.
When analysing 3D work look at the bulleted list of sculptural concerns higher up in this post and comment on how these different elements are being applied.
In addition to the two mentioned above 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.

L6 Tools Part 2 - Project Brief

Apologies! We would have liked to publish this (part 2) of your Tools project some time ago. As we've mentioned we were hoping to undertake a collaborative public Art task as the culmination of this project, and we have been awaiting a brief to outline the client's wishes for this commission - unfortunately any further information about this task has not been forthcoming, so we are moving on to plan B. This requires you to conclude the project by constructing a fully 3 dimensional piece of abstract sculpture. If you read carefully you will notice that much of the work in the first half of the project has already been completed. 

ART & DESIGN DEPARTMENT – 

BTEC ASSIGNMENT BRIEF  

                                                                                           

Qualification	BTEC National Extended Diploma Art and Design
Unit Coverage	Induction and skills acquisition project - Work essential for your progression portfolio.
Assignment title	Tools Part 2
Teachers/Assessors	Mr. I. Bicknell/Mrs. V. Mason/Mrs. G. Bicknell/Mrs. J. Matthews/Mr. C. Bowles
Hand out date	September 2019
Hand in deadline	04 November 2019
Digital Response to Jasper Johns - Huw Williams Card Sculptural Outcome
Vocational Scenario or context	This project builds upon the skills and imagery that you have generated in Tools Part 1 and presents an opportunity to further develop your drawing, printing and mark-making, 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.  Tools Part 2 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 the shapes found within your tool imagery 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, ink, relief printing. Card, paper, glue guns etc. In addition to this brief please refer to https://btecartanddesignblog.blogspot.com/ for additional guidance throughout the project.
Task 1	·         Using pencil/fine-liner/biro or pen & ink, experiment with the tool forms as compositional elements to produce several different designs/images.  Start by using the tool outlines only and create several overlay examples (see Jasper Johns numbers). ·         You might return to photography to get additional images that focus on the forms found in your tools to help build your compositions. ·         Next explore more ideas based on your selected tools imagery by considering the following: changes of scale, symmetry & non-symmetry, positive and negative shapes and close cropping so that only part of the tool 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, this research should be presented carefully over at least 2 sketchbook pages, find relevant images of his work (the number overlay drawings and paintings) and analyse these alongside providing background information and a visual response in appropriate media.
Timescale for completion of this task:	Complete by Monday 24th September.
Assessment:	Weekly class crit, peer and teacher verbal feedback.
Task 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,  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.
Timescale for completion of this task:	By Monday 1st October
Assessment:	Weekly class crit, peer and teacher verbal feedback.
Task 3:	·         Look at the 3D relief sculptures of Frank Stella or Kevin Barrett and complete at least 2 pages of research that analyses specific works by one of them. ·         Using the work of Frank Stella/Kevin Barrett as inspiration take strong positive and negative shapes from your tool drawings/designs and then cut-out, raise and interlock shapes to produce a ‘relief’ version of your image from card. ·         Take a series of carefully lit photographs of your 3D relief piece and edit the best of these for inclusion in your sketchbook. ·         Developing from your relief make a series of design sketches exploring how you might develop the tool forms from your relief and drawings into fully 3 dimensional elements. These should be abstracted sections from your tools rather than trying to make full 3D reconstructions of the whole tool.
Timescale for completion of this task:	By Monday 8th September
Assessment:	Weekly class crit, peer and teacher verbal feedback.
Task  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. When you move into fully 3D construction the precision of your measuring, cutting and sticking becomes all important. You will need to ensure that your final piece works well from all angles. This sculpture should be no larger than approximately 60cm 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. ·         From the photos of your final sculpture complete a sustained tonal piece of drawing on a full page of your sketchbook. ·         Complete a word-processed project evaluation (further guidance on this will b issued).
Timescale for completion of this task:	Complete by Wednesday 24th October. Hand in for summative assessment.
Assessment:	Written feedback and indicative marks returned straight after half term.
Sources of information to support you with this Assignment	Refer to https://btecartanddesignblog.blogspot.com/ at regular intervals throughout the project for more detailed guidance on specific tasks, extension activities and useful links.