ART BTEC 2015 intake!

ART BTEC 2015 intake!

Friday, 16 March 2018

Illustration Research and Second Photoshoot

You need to undertake thorough research into 2 narrative illustrators, these MUST be one historical and one contemporary practitioner. In this research it is important to give background biographical information on each illustrator, analyse some specific images in terms of content, technique and media and justify your own opinions on the work. You also need to write a distinct section of analysis that compares the illustrators from different eras and describes how you feel illustration has changed over time. This research is set to meet the requirements of the Narrative Illustration Unit, so MUST be done well. Choose one from each of these lists (if you have different Artists in mind then run them past staff before doing your research): 

Chris Haughton

Peter Brown

Shaun Tan

Oliver Jeffers
John Hendrix

Dave McKean

Randolph Caldecott
Sir John Tenniel

E.H. Shepard

Arthur Rackham

Harry Furniss

Beatrix Potter

Over the weekend you need to get imagery by these 2 illustrators, and at least begin the written aspect of the research. Next week we will be producing some visual responses to their work. These responses should be undertaken in a similar way to how we approached the responses to Fashion Illustrators in the Trashion Project:
  • Using your own photographs as inspiration produce 2 interpretations of your images in the style of each illustrator you have researched - that is 4 illustrations in total. Take time over these and do your best to really replicate the style and use appropriate media.
  • Also over the next 10 days you should complete a second photoshoot so you have fresh imagery to enrich the collage work (& potentially the illustrator responses) we will be doing before the Easter break. The Collage work is key as it is the main task addressing the Mixed Media Image Making Unit we are covering in this project. If you used the studio for your first shoot then try to do something on location (or vice-versa), whilst you may use some common elements (like the models for specific characters) you should aim to investigate different scenes from the original Dahl text you are basing your project around.

Friday, 9 March 2018

Illustration Project - Checklist to date.

Photo: Amy Blair
Photo: Freya Thomas-Taylor

So far you should have the following work in your books:
  • Research into Roald Dahl (1 page is fine)
  • Research into Quentin Blake's illustrations for Dahl's books, include reproductions of his work, background information, analysis of his style and at least one visual response. (2 pages)
  • Research into 2 films inspired by the works of Roald Dahl, some background information, justified personal opinion and images from the films (1 page for each film).
  • At least 3 pages of storyboarding for your photoshoot, this should be a mix of quick sketches and annotation. Sketches should explore potential compositions for photos; annotation should include quotes from the book that you are illustrating and lists of requirements (models, postures, expressions, locations, props, costume, make up, lighting etc.).
  • 1 or more pages showing some good examples of existing storyboards, with brief analysis.
  • Contact sheets of prints from your photoshoot.
  • Larger prints (A4/A5) of a range of your best shots.
  • Research into one narrative photographer with fantastical elements - e.g. Annie Liebovitz, Ruven Afanador, Viona Ielegems, Tim Walker. 2 pages with imagery, background and some of your own analysis of a couple of specific shots, consider what practical steps went into creating the image we see. So discuss location, models, postures, costume, props, make up, composition, lighting, camera angle, post-production.
  • 4 or more quick expressive drawings - if you want to add to/replace those we produced in class then do so!
  • A sustained full page tonal pencil observational drawing from your photographs.
By the end of Wednesday 14th March you should add the following:
  • A second sustained full page observational drawing from your photographs, use different media for this one - e.g. biro, fine liner, coloured pencils. This is an independent study task.
  • At least one sustained piece of monoprinting (A4 or A3), we'll do this in class.
  • A good piece of Gold Card printing (A4 or A3), we'll do this in class.

Monday, 5 March 2018

Photography Research

In order to complement the photography we have are doing you should look at a photographer whose work explores fantastical themes and makes extensive use of props, make up, costume and location. Annie Leibovitz's Alice in Wonderland or Peter Pan photos are a good example of this or work by Ruven Afanador or Viona Ielegems. Give some brief biographical background, collect a range of good images then analyse the formal qualities of a couple.

Annie Leibovitz

Ruven Afanador

Viona Ielegems

Sunday, 25 February 2018

Illustration - Week One Tasks

Quentin Blake
  • Research into Quentin Blake's illustration (print out several examples of his work and include personal analysis of his technique, background information and at least one visual response).

Fantastic Mr. Fox, directed by Wes Anderson
    Research into at least 2 Films that are based on works by Roald Dahl. Again include vital information: director, year made, lead actors, some personal written response and good images from the film. It is particularly valuable to find "behind the scenes" information about the making of these films, for example storyboards and Artist's visualisations.
  • Photoshoot storyboarding for 3 scenes from your chosen Roald Dahl story with annotation. Carefully read some specific scenes from your chosen story, photocopy these sections (say 2/3 pages of text for each scene selected) and go through with a highlighter picking out key aspects to consider for your photoshoot (these could be descriptions of locations, characters, or action). Then use your analysis of the text to complete at least 3 pages of storyboards with annotation, also include breakdown of requirements for your shoot/s (models, location, props, make up, lighting etc.).
  • Examples of good existing storyboards presented in your sketchbook with some analysis (e.g. work by Josh Sheppard).
  • Making practical preparations for your shoot - gathering/making props, costume, planning make up, arranging use of locations, booking models, checking weather forecasts.
    You should be aiming to prepare for photoshoots either on location over the weekend or in the studio early next week. Book your studio times well in advance and get technical help from Photography staff and technicians (Amanda, Paul, Havva) to use the studio lights properly.

    Illustration Project Brief

    BTEC Extended Diploma in Art and Design

    1st Year Project Brief
    “It’s Illustration Dahling!”

    James Carver-Grenside - Matilda
    Specialism: Illustration
    This Project addresses the following Course Units:

    UNIT 38 – Mixed Media Image Making
    Target criteria
    Use experimental and non-traditional graphic media techniques and processes
    Use mixed media in producing graphic image outcomes
    Select reproduction techniques towards graphic image outcomes.
    Explore coherently, experimental and non-traditional graphic media
    Design an effective graphic media product which uses experimental and non-traditional graphic media practices
    Explain, with reference to well-chosen examples, reproduction techniques used towards graphic image outcomes.
    Explore independently, diverse experimental and non-traditional graphic media
    Design an innovative graphic media product independently, which uses experimental and non-traditional graphic media practices
    Evaluate, with reference to detailed examples, reproduction techniques used towards graphic image outcomes.
    UNIT 48 – Narrative Image Making
    Target criteria
    Investigate relevant examples of narrative imagery
    Review the processes used in illustrating narratives
    Develop ideas for narrative imagery in response to given themes
    Present narrative imagery
    Apply detailed investigations to inform narrative image making responses
    Analyse the processes used in illustrating narratives
    Develop coherent ideas for narrative imagery using effective visual language
    Concisely present resolved narrative imagery
    Integrate in-depth investigations and evaluation with development of innovative narrative image making responses
    Present diverse imaginative outcomes which demonstrate skilful narrative image making

    TIME: 7 Weeks
    In this project you will be responding to a piece of narrative text (selected from the works of Roald Dahl), initially through photography, which will give you the imagery to develop towards making illustrations in a range of media.
    The final objective is to produce a book of your illustrations. Your final images could depict a sequence of events or you may wish to select and portray several different scenes from the same book.

    WEEK ONE: Research and Storyboards
    In the first week of the project you will need to select and familiarise yourself with a book by Roald Dahl, many of you will know these stories well, but refreshing your memory through some reading will help you to visualise characters and scenes more effectively.
    A full list of Roald Dahl’s work can be found online at but here are a few you may want to consider:

    Charlie and the Chocolate Factory, Fantastic Mr. Fox, George’s Marvellous Medicine, James and the Giant Peach, Matilda, The BFG, The Twits, The Witches, The Magic Finger.

    As soon as you have selected your text you need to start shortlisting scenes that interest you in terms of developing photographic and illustrational work. Choose at least 3 separate scenes. Now you need to deconstruct these scenes …what do they include in terms of characters? Props? Costume? Location? Make Up? (U48 P3, M1)
    You need to consider all these things carefully as you will be need to be resourceful and prepared in order to get as good a photoshoot as possible. To help you prepare for this you need to complete several pages of storyboarding for your shoot.

    Fantastic Mr. Fox Storyboard
     Use your storyboards to work out shot composition, use of props and location, camera angles and lighting. A good storyboard usually combines visuals with thoughtful annotation (U48, P3, M3). Find some good examples of these online and include them in your sketchbook with some analysis on why they work well (U48 P1, P2, M1, M2).
    Remember a storyboard should be a functional tool that helps you resolve potential problems and prepare effectively, if it also includes strong drawing and good layout that is a real bonus. You may also find making some lists of props, models, costume, make up and locations required is helpful to your planning. Think ahead, if you need to book studio time then do this in advance (use photography if possible, otherwise a small space exists within the Art department).
    This week you should also look at how others have interpreted the work of Roald Dahl, this will involve collecting imagery and analysing Quentin Blake’s original illustrations and films made by Tim Burton (Charlie and the Chocolate Factory) & Wes Anderson (Fantastic Mr. Fox). (U48 P1, M2)

    WEEK 2: Photography
    This week you need to carry out your photoshoot(s). Remember the imagery generated from this shoot will be sustaining your work for the next 5 weeks. If you get fantastic photos you are already a huge step down the road towards a successful project, poor or limited imagery will make the next 6 weeks a real struggle.
    Consider every aspect of your photos and be resourceful. If you have ambitious ideas about location shoots make every effort to carry them out, if you need time away from the college campus to do this, then this can be arranged, but staff must know of your plans in advance. (U48 P3)
    Use your storyboards for inspiration and direct your models to get the shots you need, don’t forget that dramatic lighting and camera angles can help create powerful imagery.
    Take lots of photos and print off contact sheets for your sketchbook. Select your favourite 12 images to start your illustrations from and print these out at A5 or A4. You may need to tweak your selected images with Photoshop to ensure you have optimum colour, definition and contrast.
    Alongside your photography you need to research at least 2 photographers who explore narrative or fantastical themes through their work. Some good examples of this are Annie Leibovitz, Ruven Afanador, Viona Ielegems and Tim Walker (U48 P1).

    WEEK 3 and 4: Drawing
    Through weeks 3 and 4 we will be concentrating on making a range of good drawings from your photographic source imagery.  We want to see you explore drawing more thoroughly than you have done before: sustained studies, quick sketches and experimentation with a range of media, annotate and review your work as it progresses. (U48, P2, P3, M3, D1)
    Research 2 narrative Illustrators from different eras to support this work, compare the styles and discuss how techniques of illustration have evolved and altered. Produce some responses to your own photographs in the style of your selected illustrators.
    Suggested Historical Illustrators: Randolph Caldecott, Arthur Rackham, Harry Furniss, E.H. Shepard, Beatrix Potter, Sir John Tenniel.
    Suggested Contemporary Illustrators: Chris Haughton, Oliver Jeffers, Neil Gaiman, Dave McKean, Shaun Tan, Catherine Rayner. (U48, P1, P2, M1, M2, D1)

    WEEK 5 and 6: Printmaking and Mixed Media Experimentation
    Some time will be focussed on producing strong monoprints and relief (gold card) prints from your photos. We will then use the work you have generated to this point in the project to experiment with a mixed media approach. Use the photocopier, drawn elements, text, image transfer, photomontage, collage, printmaking, paint, acetates, photoshop etc. to come up with some inventive responses. (U48 D1) (U38 P1, P3, M1, D1)
    Research and analyse the work of at least 2 of the following illustrators to gain ideas for ways of applying a mixed media approach Eduardo Recife, Martin O’Neill, Tim Marrs, Dave McKean, Nazario Graziano, Mario Wagner, Eva Han, Tez Humphreys. (U38 M3, D3)

    WEEK 7: Selection, Presentation and Evaluation.
    In the final week of the project you will select, scan and save your best work from the preceding weeks then compose these images alongside original text from your story. You will need to make a small investment (approx. £15 - £25) at this stage to upload your images onto an online book provider (such as Snapfish, Mixbook, Shutterfly or Blurb) and order a hard copy. (U48 P4, M4, D2) (U38 P2, P3, M2, D2)
    You should complete your project with a word-processed evaluation of 600 – 800 words (further guidance for this will be given out). (U38 D3) (U48 D1)

    A full detailed list will be given towards the conclusion of the project, but the following will all be required:
    ·         1 (or more) Sketchbooks with all the relevant research, storyboards, photography, drawing, printmaking and mixed media work.
    ·         A suitably bound book of your illustrations, alongside original text from Roald Dahl.
    ·         A word-processed Evaluation of 600-800 words.

    REFERENCES: See the text in the brief. Use the Course Blog for additional guidance  use the internet, the library, your imagination!

    Wednesday, 21 February 2018

    Architecture Project Evaluation and Submission List

    Bee Rowe - Collage

    Architectural Forms Project.
    Evaluation Guidance.

    Your evaluation should be word-processed and be between 500 & 800 words in length. Please discuss anything you feel was significant to your work in this project, but ensure you cover the following points:

    ·       Describe how you gathered source imagery for the project, how successful were your drawings and photos? What did you see in your images that you thought had potential for development into substantial 2D or 3D work.
    ·        How did you go about developing your imagery? What techniques and materials did you use? How successful were these experiments? Did your printmaking and collage work help you develop techniques, imagery or ideas that informed your final outcome?
    ·        Describe your outcome, discuss their formal elements such as composition, technique, use of colour and tone etc. Do you consider your outcome successful? Discuss its strengths and weaknesses.
    ·        What Architects and Artists work did you research during the project? Were any of these particularly helpful in providing ideas/inspiration for your own work? Identify the aspects of Artists/Architects work that you found helpful or interesting.
    ·        How well do you think you worked in this project overall? Did you manage your time effectively? Suggest improvements you might have made to your approach. Did you enjoy the project, if not suggest changes that might have made the project more enjoyable.

    Please include photos of your final piece with your evaluation.

    Please submit your word-processed evaluation with your sketchbook and project outcome/s.

    DEADLINE 4pm Monday 26th February
    Architectural Forms Submission Requirements

    Pre trip work:
      • Selection of your best photos from the College architecture.
      • Research into 2 modern Architects (see the brief for names).
      • 1 or more sustained full page pencil tonal drawings based on your College photos.
      • 1 or more controlled linear (fineliner/biro) drawings based on your College photos.
      • Expressive timed drawings produced in class.
      • 1 good Gold Card print from your College photos.
     Post Trip work:
      • Selection of your best photos from the London Trip.
      • A sustained carbon print, based on your London imagery.
      • 1 or more good Gold Card print from your London photos.
      • At least 1 sustained and successful piece of monoprinting based on London Architecture.
      • Paper city photographs, edit your best shots and print them out at A5/A4 for inclusion in your sketchbook.
      • Research into at least one paper engineering Artist (see link in previous post for names).
      • At least 4 Collage/mixed media pieces developed from your London imagery. Use a range of techniques to create these (refer to the brief for a list of potential media), one or two of these images could be developed through PhotoShop.
      • Research into a Collage/Mixed Media Artist (see earlier post for details).
      • Visual planning and notes that outline your intentions for your project outcome. The nature of this planning might be very different from person to person, it could take the form of Fashion Drawings, experiments with 3D media, storyboards for animation or many other things. Annotating your developmental work is important!
      • Photographs and annotation that record the process of making your outcome.
      • An ambitious and well resolved final outcome.
      • Research into at least one Artist closely associated with the approach taken in your final piece - so this could be a Fashion Designer, Fine Artist, Illustrator or Graphic Designer for example.
      • A word processed evaluation (see the notes above).

    Next week we will be starting work on an illustration project based on the stories of Roald Dahl, so start giving some thought to which book/short story you might want to respond to. Getting hold of a copy and reading it is excellent preparation.

    Tuesday, 20 February 2018

    Term 2 Reflection Guidance

    PART 1. Reflecting on Progress: 

    When writing your reflections you should be considering the work we have been doing since the last review – the Fashion and Architecture Projects.

    • ·        In which of the two projects do you think you produced stronger work? Explain why you feel you were successful, look at the list of skills below and mention the areas in which you feel you performed well. 
    • ·        Identify 2 aspects of your work/approach where you feel like a change would benefit your progress. Be honest and try to choose the things that will make the greatest impact on your future projects. 

    Some areas you might consider discussing in relation to the previous 2 points: 

    Self-Management Skills:
    • ·        Attendance.
    • ·        Preparation for lessons (making sure you have all the right equipment and are aware of what you will be doing and mentally prepared).
    • ·        Focus in the studio and use of lesson times.
    • ·        Enthusiasm and positivity about the work set.
    • ·        Ability to complete private study at College (and at home).
    • ·        Your time management skills (keeping up and meeting deadlines).
    • ·        Avoiding distractions (phone/social media etc.), and using time productively.
    • ·        Getting the balance right between College work and outside College commitments.

    Subject Specific Skills: 
    • ·        Observational drawing. 
    • ·        Research. 
    • ·        Presenting and talking about your own work.
    • ·        Willingness to experiment and take risks. 
    • ·        Presentation of your sketchbooks. 
    • ·        Ambition and sophistication of your outcomes. 
    • ·        Use of IT, including subject specific software (e.g. PhotoShop). 

    Having thought about the strengths and weaknesses of your approach you should now identify at least 2 specific actions/targets that will help you to improve.

    For example:
    ·        “No unauthorized absences and arrive to all lessons on time”
    ·        “Cut down hours in part time job to allow more time for College work”
    ·        “Keep phone off in lessons and limit my time on social media to 2 hours a day”
    ·        “Take more care over my sketchbook layout, keep pages visually busy and consider title fonts carefully”
    ·        “Make the effort to analyse Artist’s work in my own words, commenting on technique, mood, line, colour in depth and explaining links to my own work”

    Talk about any new skills/techniques you have learnt in the last 2 projects.
    Are these skills that you are likely to use again?
    These might include: 

    • ·        Creating and delivering a Presentation. 
    • ·        Compiling Moodboards. 
    • ·        Fashion Illustration. 
    • ·        Garment construction techniques. 
    • ·        Arranging a photoshoot. 
    • ·        Mixed media collage. 
    • ·        Paint transfer. 
    • ·        Using PhotoShop.
    • ·        Planning and completing an independent piece of work.

    PART 2. Looking Ahead:

    Have you decided what area of Art and Design you want to specialise in next year?
    What draws you towards this area?
    If you are not clear on your direction next year mention areas you are considering and ones you know are not in the running. 
    Some of the main areas you should consider are: 

    • Fashion Design/Styling/Marketing 
    • Texile Design (Print/Constructed/Interior) 
    • Fine Art (Sculpture/Painting/Print/New Media) 
    • Illustration 
    • Animation 
    • Photography 
    • Graphic Design 
    • 3D Design (Product/Furniture/3D crafts etc.) 

    Thinking ahead explain what you think your next step will be after Alton College (e.g. University, Apprenticeship, Employment).
    Identify what practical actions you are taking/planning to help you towards your goals.

    For example:
    ·        “Go to the Surrey UCAS fair, collect prospectuses, shortlist 5 University courses to visit and research when their open days are”.

    ·        “Book appointment with the College careers advisor and find out about employment and apprenticeship opportunities in creative areas”.