Painting 2.2/2.3

These are the first practical standards we are aiming to complete. It is your starting point for the body of work that goes on your folio.



As you have developed your 'why', I have asked you to plan your folio. This was a rough plan, with thumbnail sketches.



In painting, planning like this will lead you to make art works:

Here is an example of some sketches we worked out with Kingston:
His why is:
Old school mafia in America - gangsters and romanticising them.

His artist models are:

James Rosenquist, "Day job painting"

Rosenquist
AskewOne











His subject matter is:
A man in a suit,
New York city
hands to wrap around the city
fingers in every pie (as the mafia had hold of new york)
Control through the force of guns

The first sketch on the top right is taking some compositional devices from Rosenquist - angles, cropping, images banging into each other and being cut off awkwardly, some layering of the subject, but no real space detailed.

The second sketch with the full figure is based on some Askew One ideas, where there is some layering of textures and lines that are almost abstract over and within the portrait. there seems to be a word used at the base of the askew one image, so we have attempted to play with that detail in Kingston's work here too.

Following on from here, It is Kingston's job to figure out a series of works that introduce his why more clearly and show how he is learning from his two artists.
The evidence he will collect as he goes:
- His brainstorm
- His subject matter as photographic or real sources (not out of his head)
- Notes and thoughts are written up on paper and on his blog
- Some careful observational drawing of his subject matter (3 - 4 A3 pages is good)
- His finished first series of paintings (at least 2 paintings)

Next step is to paint them and stick them on his board for the folio.

2.2 & 2.3 Design

These are the first practical standards we are aiming to complete. It is your starting point for the body of work that goes on your folio.

You should have a basic brief at this point - follow the sheet I shared with you on my site to create one. I want you to answer more than one word for them as they will help you to create a clear brief.

You should have a mood board completed on a google drawing as well. If you download as a PDF, you can use it more freely in a range of programmes.  This should also be on your blog.

These two components set you up to be working systematically throughout the year. you will have a purpose and something to go back to when you get visually stuck. 

You have your 'why' - it is your brief. 

You have your visual sources on your mood board. You should have identified 3 specific artists to work on for Art History, these should be your first main influences for your design work on panel one. 

From your company name and your general visual direction, all our designers should have sketched up in pencil 20 basic concepts for a logo. 

Along with this, you should have looked on dafont.com and traced 15 or so different fonts using your company name. Your screens work well as a light table!

The evidence you should collect from all of this for these standards is:
- your brief worksheet
- brainstorm of ideas for your direction
- brainstorm of ideas for names- a mood board like the one above
- 15 or so font drawings on an a3 page
- 20 or so concept sketches thinking about logo design and your chosen design models 

Photography 2.2/2.3

These are the first practical standards we are aiming to complete. It is your starting point for the body of work that goes on your folio.

By now you should have your 'why', in the form of a brainstorm which is also a part of your blog post.

You should have chosen three photographers as the focus of your Art History which you then also use as your first major influence for your first folio board. 

2.2/2.3 looks roughly like this:

In developing this body of evidence you need to get the following skills sorted:

1) How to work the camera

2) How to upload your shots and make proof sheets out of them. the small photos in a grid are what we call proof sheets. - [there is a file on my site to take you through this process]

3) A good understanding of aperture and shutter speed, the rule of thirds and leading lines - compositional principles

4) How to open photoshop and do some basic editing (colour, layering etc)

These are skills you learn, not ones I expect you to know before we start out. 

There are four shoots here. Four separate times that the student has chosen to go and set up a shoot and record what they see. 

From each shoot, there should be 2 or 3 series of works that you like. A series of works should be 2 - 5 or more shots that work together. 

From each series, there should be one more spectacular shot that you would want to make more of a deal of. 

What do you need to do to create this body of work for yourself? 

Make a plan, show it to me. 

Level 1 Drawing - 1.2 use wet and dry media to record information

One of the standards we are attempting to tick off over the year requires you to prove that you can draw accurately from a visual source.

Things this standard does not include:
- Imaginary doodles
- Written notes
- Stuff you tried to draw to look real but without source material (a photo or a still life to show me)

Things this standard must include:
- Tone
- Perspective
- Detail drawing
- Proportional undertanding
- Dry media; pencil, charcoal, crayon, pastel, collage
- Wet media; water colour, paint, ink

The work that is done for these 4 credits can also be on your folio. because you are all doing different projects, what your drawing pages look like will all be completely different.

A rule of thumb for this standard is:
4 A3 pages of drawing (or enough to fill 4 A3 pages) in dry media
4 A3 pages of drawing/painting in wet media

The exemplars for this standard are here

If you have any tonal or detail/proportion pages started, KEEP them, they count. The stuff below is stuff that would count at a merit/excellence level:

Year 10 Printing Process

We are going to be doing a 3-part print which means you need to consider a few things:
1. the order that your prints are going to be printed (which is the background, mid ground and foreground)
2. What colours are going to make your focal point (bird) stand out best?

I have done a few trials and a few fails to gain the best outcome

*We can add cornflour to lighter colours to make them more opaque and less transparent so we can use them as top layers

A quick recap of Series and Sequences

What is a Visual Motif?

Today we went over the excellence exemplar from 2017 and looked at how you can be creating mini series of work within your folio and how you can be using different visual motifs to tie your board together as a body of work.

Series of works explain points of your work as a whole. You are trying to say something to your viewer in the way you construct your images. Think if it like an essay with an Introduction, Key points and then a Conclusion.

Art History 1.2

1.2 describe is your keyword. Interpretation is required as you describe the artwork. Read the assessment slide on the site carefully, and revise it.

In the exemplar on the site, you will notice the Robyn Kahukiwa exemplar is divided into green and purple highlights, to define the difference. This is an achieved exemplar and as you can see, not much is required past literally telling me what is in the image and why the artist might have done that. You can all do this.

Here are your instructions to start this assessment:

1) Set up the doc like it says on the instructions - google docs, in your art folder named 1.2 Art history with your name too, and shared with me on email too.

2) Select two artists from the matrix on Ako - Learn. make sure they are good ones! check with me if you need to. Ideally they will be artists you are using to inspire you own folio work. 

Find one image for each artist. copy and paste a good quality art image for each artist onto the doc. - a good thing to do when searching for an image on google is to go up to 'TOOLS' and select 'LARGE' so the best quality images show up first in your search.

3) Paraphrasing. Make sure you read these instructions on the slide share. If you find great information you need to make sure you first, understand it and second, rewrite it in your own words.

4) You need a Bibliography - Cite everything. what website did you get the information from? Copy and paste the URL onto the bottom of your doc.

We will work on this every Monday until we are done. Final hand in is Week 10

Stylisation of our School Birds

As part of our magazine we are creating a 3-part lino cut merging out bird with the art movement Orphism which translates to circular movement and interlocking shapes. 

Stylisation

- Break your object down into basic shapes - what can you see?

With a lino cut we need to think of our object in terms of a stamp or stencil so do not be afraid to separate your shapes from each other to create positive and negative space. 

I have broken down my plan into 3 thumbnails to make sure that my layers interact well with each other as I am using my Orphist shapes to create leading lines towards my bird.

I have chosen the Pipiwharauroa as my bird. You can see the shapes I have chosen to use in my stylisation. 

Proportion Drawing

Getting things into proportion is sometimes hard. If you start with drawing in one place without having mapped out where the bulk of what you are drawing is going to go, you often end up with things in the wrong place and of the wrong size.

We call that out of proportion. We want IN proportion.

Guidelines help you! Map it out lightly so you know where you are going to draw then fill in the mass. 

'Mass' means the space it takes up

'Subject' is what you are drawing.

Tonal Drawings - Light Source and depth

We have been working at getting our shading correct so our objects look realistic and occupy space - adding depth. 

TONE: 
The point is, you need to make sure you are creating a depth of tone (black where it needs to be, white paper where it needs to be).

Things you can practice are:
1) creating a gradient on paper with your pencil.
2. Pick your light source and make sure you are consistent to where your shadows and highlights would be. 
3. Shade from dark to light - avoid adding an outline to your image as this will flatten it. 
4. Implied lines are a wonderful thing - once you get to your lightest part just let the eye do the rest of the work. 

Painting Skills - Tonal Range, Mixing and Blending colours. Week 6, Term 1, 2019

After selecting our final design for our paintings, we have been learning some new painting skills before we start to paint our final work.

We have been choosing 4 colours and mixing a tonal range from light to dark. Start with adding a small amount of your colour to white to make the lightest tone you can. Keep adding more colour to make darker shades. When adding black, only dd the smallest amount as this will quickly make your colour 'dirty' if you add too much.

Then try blending colours seamlessly in a gradient - first in one colour then in a harmonious palette (warm or cold colours are a good start)

Culture Clash - Concept Sketches Week 3, Term 1, 2019

We have been researching the visual style and patterns of both Manga and Pasifika and doing some sketches to understand how these styles work.

The next step we have ben working on is to merge the 2 styles together, using the compositional principles of:
- focal point
- open or closed composition
- arrangement/grouping of objects
This makes it more interesting for out viewer.

The process of art making, with any medium, follows the steps of
1. Concepts - your first ideas
2. Developments - what is working well and how can I make changes to make it better?
3. Final design