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Formal Assessment & Video presentations.

  • martine75
  • Dec 28, 2021
  • 9 min read

Updated: Jan 5, 2022

My final tutorial gave me greater confidence to consider my final assessment choices within the new assessment criteria.


Assessment Criteria

Knowledge

Demonstrating an introductory awareness of practical and contextual knowledge, and an appreciation of subject knowledge and boundaries.

Understanding

Selecting, testing and interpreting a broad range of research, and applying competent critical thinking and creativity to produce effective ideas and outcomes.

Application

Applying introductory personal and graduate skills to initiate and sustain studies and initial practice, and broadly relevant practical, technical, and communication skills to articulate ideas, and outcomes effectively.



Choose 6 to 10 pieces of your strongest creative work.

Choose 8 to 12 entries from your learning log that reference your learning outcomes.


500-word essay on a specific painting medium.

Video of my strongest outcomes.

(Choose 6 to 10 pieces of creative work).




(Choose 6 to 10 pieces of creative work).


1.

Rendez-shoe - (Globe Trotters)

A1 Gouache and watercolour on watercolour paper.

Applying strong personal, technical and communication skills, to articulate my idea with, an effective imaginative outcome.


For the rendering of form, cast shadows, and palette work well together. Development, testing and application of knowledge from Andy Warhol and having determination with instinct and reflection working towards the final piece.

The shoes relate things to each other, which shows imagination, creativity and an openness to the brief in an inventive and individual way.



2.

Series- Roids.

Trace Roid - Zombie Roid - Roid 1 in Mauve

A4 acrylic monoprints on paper.

Experimentation with a vast selection of materials within monoprinting to produce a wide range of outcomes.

Practising competent critical thinking and creativity to produce confident compositions which are resolved with the application of thicker paint over the orginal monoprints.




3.

Time Zones.

3 x Monotypes- collage, open acrylics, pencil, pastel and Artgraf (each piece 14.5 x 21 ins)

'To Fly to Serve' 'Back to Back' 'Jetlagged'

Interpreting artist research, using thorough application and articulation of ideas, to produce a strong outcome.

Concentrated, yet open, a new way of handling paint using a printing technique. Artist influences are seen to be coming through with the idea of presenting flight as well as being grounded and reflecting on the experience. Demonstrate the use of artists methods, practices and processes related to the overall composition and subject.

Blog link to the exhibition visit Portrayals. which inspired my mark making and content.



4.

Series-Adventitious.

3 x tondos 23.5cm diameter- coloured pencils on varied papers.

Using the qualities of coloured pencils by blending, cross hatching and burnishing to initiate, sustain and communicate my ideas with practical knowledge.


Blog link to The Poetics of Space because of its contextual knowledge/theory relevance regarding my view to angles, spaces and perspective viewpoints. I recognise why and how to view my environment within the theme of travel and my environment i.e. looking from above/aerial viewpoint. I acknowledge how wider practices shape boundaries and my subject knowledge.


5.

Canadian Walk Studies

Watercolour on HP paper 14.8 x 10.5 cm.

The Road to Tobermory.




The Thompson Cottage.

Application of media to communicate ideas and outcomes effectively, with an exciting contemporary colour palette.

Blog entry for gallery visits- inspiration from travelling the world that relates to colour palette within natural settings, mark making and light and shadow.

Seeing artwork first hand assists with my practical knowledge and understanding of the subject, for example colour, paint application and texture sense of place/environment/travel


6.

The Daughters of the Wind.

Watercolour and aquapasto on watercolour paper 35cm x 56.5cm


Initial experiments with light, shadow and tone develop into an abstract, ephemeral effective outcome.


Blog link to Exercise 5.1 Detailed study of plants growing confidence in fluid media application and use of light and shadow. Showing appropriate technical skills and processes to develop and produce an effective outcome. Communicating my ideas and intention through experimentation with methods, practices and processes related to the subject.


7.

Grounded- Cyanotype Book

A5 cyanotype watercolour paper book.



Expressive interpretation of practical research with an evocative outcome, creatively and confidently produced.



Blog link to Assignment five depicting your environment - confident appreciation of subject knowledge, development of an idea by being curious and inventive with practical skills application.




Choose 8 to 12 entries from your learning log that reference your learning outcomes.

(2 or 3 entries per learning outcome).

These might include examples from sketchbooks.


Video

My reflective evaluation of Understanding Painting Media.



My reflective evaluation of understanding Painting media.

Script from the video with links/images to the relevant parts of the blog

(Word Count 763)


Displaying my work in order of completion helps me discern my images and processes.

Part One

In part one of the course, the initial exercises gave me confidence in materials, processes, compositions, and tonal values on a smaller scale.

The exercise' look at what you see not what you imagine' I produce intrigue and not what I would have expected to create, had this piece upright. The technique of working from a picture that is upside down is one I take forward when copying other images in the module. This shows an example of learning outcome 2.


I learn that mimicking and investigating other artists work and becoming practically aware expands my knowledge and retains my confidence and enthusiasm to move forward.

I can now begin to discern my work more clearly, critically thinking and understanding how the elements will work together.

The Cathy Lomax responses (below) in my sketchbooks use confident staining technique which assists me with outcomes later in the module, such as my Time Zones assignment Three work This is an example of learning outcome 4.




Part Two.

While I enjoyed experimenting with unusual media, my sketchbook research into Andy Warhol's shoe sketches (below) made more impact on my outcomes. The practical application and small studies showed how to move a creative idea forward through developmental investigations and further compositional enquiries.



The Large Scale Painting with Line exercise, assists to develop my initial thoughts, objects that relate to each other, which shows imagination and an openness to the brief. The activities and sketches developed my visual and technical skills with more exploration and refinement, they also allow the Globe trotters assignment piece to communicate my narrative. I offered an effective design and an example of learning outcome 2.

Part Three.

Looking back and reflecting on the mono printing part of the course, I can see the wide range of practical outcomes within the exercises and experiments.

Developing confidence and an introductory awareness with this technique, for example, the ability to erase areas, using a limited palette, being highly experimental and presenting my pieces with more consistent judgment. Showing examples of Learning outcome 1.


I discern and become more critical in my sketchbook pages, assisting my outcome quality. I learn that excellent results can often emerge from mistakes and investigations. I create intrigue in my presentations and concepts, including the idea of flight through the media and personal narrative from my research into meaning, history, context and artist influence.

The context and research that inform me towards the Time zones assignment piece are examples of learning outcome 4.


I consistently develop my understanding and knowledge by attending several exhibitions to view artwork first hand,


Portrayals. Claudette Johnson, David Hockney, Frank Auerbach, Chris Ofili.


I read,



photograph, discern, consider and reflect on my palette, my mark-making, the psychology, the effect, which align with my concerns and processes.

Looking closely at overlooked spaces has permitted me to view other possibilities, slowing my thinking in my practice, and giving me more purpose. How I interpret my images gives me a greater understanding of my visual inspiration and what I want to communicate and these are examples of Learning outcome 3.


Participating with other multi-discipline students supports my professional judgement, this gives me confidence with my growing personal understanding and knowledge base. And shows an example of learning outcome 3.


Part Four.

The sketchbook entries for Part four, The Tondo, have open and expressive qualities. I am beginning to understand my capabilities with various painting media, colour palettes, lines or tones, and sometimes this starts with just a simple sketch or artist influence.

These sketches show competent critical thinking and enquiry into techniques and show learning outcome 1.

In the Varnishing a Tondo exercise I’m expanding my painting technique, my knowledge base and understanding of the effect of varnish by using a new process to include in the layering and glazing of colour. And this is an example of learning outcome 1


Part Five.

The screen printing and stencil techniques used in Part Five's rubbish and tag pieces develop my practice show examples of Learning outcome 2.


My floral investigations and research into Anna Atkins's work and understanding the history of cyanotypes allowed me to bring this process into my work in a contemporary manner and use contextual research and communication skills to articulate my ideas and outcomes effectively. Showing Learning outcome 3 and 4


And finally an example of Learning outcome 2 and my developing critical discernment, a gallery of longlisted works, surplus to the shortlist.




















500-word essay on a specific painting medium.


Acrylic paint (David Hockney and Genieve Figgis)


The first produced acrylic paint was Magna paint in 1947. Golden and Liquitex brands soon followed. Acrylic advantages are its stability, permanence, flexibility, and having less chance of cracking or blistering than oils. Clean, bright colours mixed and applied to a variety of surfaces. It is water-based, affordable and can be used like oil paint (thickly) or diluted (thinly) with retarders, gel or water to act like watercolour paint.


Hockey began to use Liquitex acrylic paints in the 1960s because of their vivid, intense colour palette and quick-drying, non-toxic properties. Whist creating The Bigger Splash and numerous other paintings of swimming pools in California between 1964 and 1971, Hockney used different techniques to capture the shifting surfaces of the water, for example applying the paint with a roller to achieve vast flat blocks of brilliant blue colour. Hockney paints on both primed and unprimed surfaces, scumbling and glazing over areas, and these techniques are some of the effects I would like to develop going forward as I feel they are effective techniques. In addition, Hockney devised spraying the canvas's surface with water to aid its blending qualities. Hockney uses different spaces, perspectives and sources of light with a zesty and acidic palette and constructs blocks of defined shapes with unique characteristics. In The Bigger Splash, Hockney uses small brushes meticulously to reproduce the splash using a photograph. As a result, there are various areas of transparency and many tiny details of the tiny water droplets.


Figure 1

David Hockney -The Bigger Splash (1967)


In comparison, the artist Genieve Figgis work is free and fluid. She tells Niall MacMonagle, teacher, editor and broadcaster that, acrylic paint is "less toxic than oil and turps", using it on canvas or wood panel, it is her preferred medium.


"I love working out each step as I go. There is nothing pre-planned or orchestrated. I want to try something out, like an experiment. I want to keep on learning. There is no formula. Paint should always look fresh and alive, balancing the real and the unreal, natural and unnatural. You just have to trust yourself and believe something wonderful can happen”.


Figure 2 Genieve Figgis - Manet (2018) The properties of acrylic paint and the mediums that are now readily available make layering and experimenting achievable for me. In What painting is, James Elkins, art historian and art critic says, "Acrylics could only be successful in the twentieth century when painters are more likely to be impatient. In past centuries, acrylic paint would have dried too fast". Am I impatient because I want to use fast-drying mediums to fuse Hockney and Figgis somehow within my work? The unintentional mixing and experimental outcomes, married with block colour, sweeping gestural marks of undefined forms over beautifully crafted blends of colour and shape. I can use mixed media techniques with acrylic, add blending texture or build over layers. I would like to experiment with pouring the paint and using oil paint over the acrylic surface. I want to investigate and develop, making larger pieces to get 'lost in the process’ influenced by Figgis. The translucent markings make her work intriguing and inspiring for me. Both Figgis and Hockney have abstract elements in their work, Figgis free and loose, Hockney more controlled. Can I fuse the two? (Word count 533) References. Figure 1.Hockney, D. (1967) ‘A Bigger Splash’. [Acrylic on canvas.] At: https://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254 (Accessed 09/12/2021). Figure 2.Figgis, G. (2018) Manet. [ Acrylic on canvas 23‘ x 31’] At: https://www.genievefiggis.com/Manet (Accessed 09/12/2021). Bibliography Myer, R. (1991) Pages 257-263 The Artist’s Handbook of Materials and Techniques Fifth Addition. Faber and Faber Limited. At: https://en.wikipedia.org/w/index.php?title=The_Artist%27s_Handbook_of_Materials_and_Techniques&oldid=978177660 Figgis, G‘Success is temporal... I feel success only when I am making the work’ (2020)Online article - At: https://www.independent.ie/life/success-is-temporal-i-feel-success-only-when-i-am-making-the-work-39157265.html (Accessed 09/12/2021). Januszczak, W. (1985) TECHNIQUES OF THE GREAT MASTERS OF ART by Waldemar Januszczak on Mullen Books. Secaucus, NJ Chartwell Books Inc. At: https://www.mullenbooks.com/pages/books/168719/waldemar-januszczak/techniques-of-the-great-masters-of-art?soldItem=true (Accessed 09/12/2021). Elkins, J. et al. (2000) What Painting Is. Routledge. At: https://www.goodreads.com/en/book/show/165716.What_Painting_Is (Accessed 09/12/2021).


 
 
 

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