1st Year A Level - Journey Project Deadline and Submission Checklist

In Monday's lesson (6th November) we want you all to hand in your Journey Projects for Assessment. At this point of the course it is important to get some feedback about how you are progressing.
The work you should have completed and presented in your sketchbook is:

• Contact Sheet with all your journey photos.
• A selection of the best photos (around 6) printed out larger (A5 or A4).
• Sustained drawing/s done in class (make sure these are fixed).
• Homework drawing of journey objects (again, fix it).
• Timed drawings done in class.
• Your Monoprint/s.
• Your gold card prints and the plate.
• Research homework into 2 drawing/printing Artists.
• Photos of the painting/s you completed on A3 card and/or the paintings themselves (tucked into book is fine).
• At least 3 mixed media Collage pieces.
• Research homework into 2 mixed media/collage Artists.

Sketchbooks should be annotated throughout, discuss the techniques and imagery you were dealing with and assess the strengths and weaknesses of your work.
All work should be well finished, so use private study this week to complete any paintings, drawings or research that is incomplete.

Your Insight "working at" grade will be set by your performance in this project, so ensure you can feel proud of what you are submitting.

1st Year Art Trip to London

To inspire your next project around the theme of "City" we will be taking a study trip to London on Thursday 9th November. On the trip we will visit the permanent collection at Tate Modern http://www.tate.org.uk/visit/tate-modern before spending some time in central London gathering photographic source imagery for your work.
Letters regarding this trip will be distributed in class this week and payment needs to be made via the Alton College Online store http://store.altoncollege.ac.uk/ the cost (to cover your return rail journey) will be £14.00. Your parents will also receive an email requesting medical and emergency contact details, this needs to be completed in order to allow participation in the Trip.
Payment and forms need to be returned by Tuesday 31st October.
Before the Trip we will give you a briefing on the project that should help you to decide what to look for in your photography ...more details to follow.

1st Year - Collage/Mixed Media Supporting Research

To prepare for work we will be doing in class you need to research and analyse a range of works by at least 2 different Artists/Illustrators who work in mixed media or collage. 
Use the guidance carefully, it is important to start producing the kind of analytical research that secures good grades at A Level.
Your research should be thoughtfully presented over a minimum of 4 sketchbook pages. Some suggested Artists to research include:

Martin O'Neill (Illustrator), Eduardo Recife (Illustrator), Robert Rauschenberg (Artist), Kurt Schwitters (Artist), Joseph Cornell (Artist), Mark Powell (Illustrator), Tim Marrs (Illustrator), Nazario Graziano (Illustrator).

Joseph Cornell

Kurt Schwitters

Mark Powell

Martin O'Neill

Robert Rauschenberg

Eduardo Recife

Tim Marrs

RESEARCH

• Identify each Artist.
• Find examples of artworks –get good copies, list dates, dimensions and media used.
• If you can find them, include quotations from the Artist. Try www.artquotes.net

ANALYSIS

• Give a detailed description of the artwork.
• Analyse – comment on use of tone, line, composition, technique, scale etc.

YOUR RESPONSE

• Give an opinion on the Artworks, but ensure you justify what you say. Avoid simple value judgements (‘I really like/dislike…’) or vague, meaningless statements (’This piece is really effective’). Comment upon how successful or unsuccessful you find the artwork, and give specific reasons why you hold this opinion.
• What is the relationship between this work and your own? Identify and explain connections between this artist’s work and your own.

VISUAL RESPONSE

• It is important to also include your own visual responses to artists’ work. This can either be a copy of an artwork (or a detail of a work) with the purpose of analysing technique; a diagram or study that investigates certain formal elements of the artwork (composition, brushwork); or a piece of your own work that clearly uses some of the techniques, methods or aspects of this artist’s work. In your response use the same materials as employed by the original Artist wherever possible.

OVERALL PRESENTATION

• Take pride in the overall presentation of your research, it should not be rushed. Consider each element carefully:  type/text, layout, titles, backgrounds, visual responses etc.

We will be looking at this work in your first lesson back after half term. It will be assessed as part of your project submission for "Journey" which needs to be handed in on Monday 6th November.

2nd Years - Coursework Part 2

As we are approaching the end of our time on the Final Pieces for Part 1 of your Coursework and sketchbooks are due in for assessment on Monday 30th October we need to start thinking ahead to what comes next.

Over half term you need to plan a photoshoot to kickstart part 2 of your Coursework. 

Alongside Part 2 of your Coursework you will need to produce an Extended Essay exploring an aspect of Art and Design related to your practical work. This is the "Personal Study" which forms an important part of what you are assessed on in this Unit. More detail on this to follow soon.

Still from film based on Edward Hopper's "Office at Night"

Option 1 You may choose to build on your portraiture work in which case you must get new source photography to work from. This could be related to the imagery you have investigated so far, or a change in direction. Developmental possibilities include dealing with more than one figure (see the Human Relationships starting point), setting your figures in a more complex environment or introducing a narrative element to your imagery.

As usual remember that the quality of your source photos goes a long way towards generating a successful body of work. It is essential that you return after half term with imagery ready to work from, you have a shorter period of time to produce the second part of your coursework so you must hit the ground running.

Option 2

Alternatively you may choose to explore an entirely new direction. In which case you will also need new source imagery, this should be a set of at least 20 photographs of your subject matter taken specifically for this set of work. Again consider formal aspects and experiment with unusual viewpoints.

Starting Points

Bill Jacklin - Seashore bathers

• Figures in Space. Look at the relationships between figures in crowded spaces such as shopping malls, beaches, markets, train stations or sports stadiums. You might choose to investigate movement by emphasizing the contrasts between static surroundings (e.g. Architectural features, shop fronts, advertising slogans) and dynamic figures.                    References: Bill Jacklin, Umberto Boccioni, Andreas Gursky.

Edward Hopper - Office at Night

• Human Relationships. Examine the emotional tension between people in awkward or intimate situations. Consider how you might use composition and lighting to enhance the narrative qualities of your images.                   References: Edward Hopper, Eric Fischl, Paula Rego, Edgar Degas.

David Tress - Welsh Landscape

• The Landscape. Seek out dramatic viewpoints that accentuate spatial aspects of the landscape. Use tone and/or colour carefully to help describe foreground, middle distance and horizon. Attempt to select compositions that explore the relationship between horizontal planes such as fields and vertical elements such as woodland.        References: Ivon Hitchens, Michael Honnor, Richard Diebenkorn, David Tress.

Cathy Read

• Modern Architecture. Look at the abstract elements of modern buildings by cropping imagery, zooming in and selecting unusual viewpoints. Reflections, geometric forms and repetition may be elements you investigate.                                                                References: The buildings of Norman Foster, Richard Rogers, Frank Gehry, Santiago Calatrava and Mario Botta.

Ian McKeever

• Erosion and Decay. Focus on the surface qualities of items such as rusting machinery, derelict buildings, lichen covered rocks or trees, driftwood and shoreline debris. Zoom right in and produce careful studies that describe the rich textures.               References: Antonio Tapies, Anselm Kiefer, Therese Oulton, Ian McKeever.

Albert Irvin's studio

• Colour and Composition. Select a brightly coloured collection of objects such as flowers, toys, sweets, packaging etc. From these objects create a still life from which you can make a series of studies. This starting point lends itself well to developing abstract outcomes.                                       References: Hans Hofmann, Albert Irvin, Howard Hodgkin, Cy Twombly.

Tim Marrs

• Youth Culture. Explore objects that symbolise youth culture such as skateboards, guitars, clothing and footwear. Thoughtfully arrange these items and consider integrating elements such as logos, slogans or symbols into the imagery you produce.     References: David Carson, Robert Rauschenberg, Jean Michel-Basquiat, Tim Marrs.

2nd Year Portraiture Unit - Submission Checklist

Portrait by Martha Dobson

Having been working on your final pieces since October 2nd you should now be resolving these pieces. You have half term to apply any finishing touches to either your outcomes or your supporting sketchbooks.

Your Portraiture Unit should be completed for Assessment by Monday 30th October (straight after half term) here's a checklist for guidance on what to submit. This is Art so some variance from the list is OK as long as you have substantial work that satisfies each Assessment Objective (AO).

Coursework Unit Part 1: Portrait.                              

AO 1	Develop your ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.
What you should complete: Research into at least 6 Portraits from different eras (see project brief for guidance). You should also research at least a further 4 Artists in depth whose work is associated with the approach you are taking. This research should cover analysis of individual images in terms of technique, scale, media, composition, use of colour etc. Links to your own studio work should be explained. Consider layout and how to include text carefully. Get several good quality reproductions of each Artist’s work and make visual responses in appropriate media.
AO 2	Experiment with and select appropriate resources, media, materials, techniques and processes, reviewing and refining your ideas as your work develops.
What you should complete: At least 10 pages of experimentation and development of your imagery. Establish a theme and produce a series of related studies …use and combine a range of media (e.g. photomontage, paint, printmaking, collage, PhotoShop).  Your developmental work should show progress from your initial imagery towards your outcome. Use this work to explore technique, colour and composition. Annotation explaining your choice of media and the progression of your ideas. Several larger studies (full page or a more substantial pieces in addition to the sketchbook) that clearly relate to the final piece in terms of technique and composition.
AO 3	Record in visual and/or other forms ideas, observations and insights relevant to your intentions, demonstrating an ability to reflect on your work and progress.
What you should complete: A wide range of your own photographic source imagery carefully presented in your sketchbook. At least 4 high quality pencil drawings based on your photographs (these should each represent at least 3 hours worth of focussed work). Additional drawings exploring more expressive technique and other media (such as fineliner or biro). At least 2 Monoprints developed from your photographic imagery. A minimum of 1 good Gold Card print.
AO 4	Present a personal, informed and meaningful response demonstrating critical understanding, realising intentions and, where appropriate, making connections between visual, oral or   other elements.
What you should complete: A substantial and fully resolved final outcome to your set of work (this piece should represent at least 15 hours worth of work). A final word processed evaluative statement of around 500 words in which you assess the strengths and weaknesses of your body of work. Discuss your how you obtained source imagery, how you developed this imagery, what techniques and materials you employed and most importantly explain how your work was informed and influenced by the Artists you researched.