Category Archives: ASSIGNMENT 1

Formative feedback Assignment 1

1_DrawingSkills_PaulButterworth (23/06/2016) – sketchbook, log book and Assignment 1 posted to tutor. Tutor given password to blog.

I’ll try and categorise my responses and the action I’m going to take.

I asked about the Assessment criteria as I wish to be assessed (I need to tell her next time) and therefore need to do a self-assessment of for all future Assignments and submit it with the drawings. As I didn’t understand the language in the handbook I asked for clarification.

Assessment criteria points:

I’m now clear on these… there are four… (The first three are all contained within the Assignments) and reflected in the sketchbook, log book and blog.

(1) Technical – (35%) – set per project with objective criteria, as I am learning skills in a set tradition, such as perspective or foreshortening. It is possible to assert a technical right or wrong.

(2) Quality of outcome – (20%) – this is to do with the concept or the framework of ideas that informs the work and gives it meaning.

(3) Creativity – (25%) – in the way the Assignment is tackled – problem solving outside the box (such as dealing with lack of materials) – inventiveness – and later in my development finding an artistic voice.

(4) Context or research – (20%) – This is separate but informs the practical work. It includes Research points – museum visits – critical reflection on my progress… and is mainly in the log book/blog.

Practical actions to do with presentation:

(A) Make sure all my fugitive media are fixed as fugitive media rubbing off. Action… buy a good fixative… oil pastel and general (charcoal/pastel) fixative ordered 24/06/16  

Or rub in with my fingers and then pastel/charcoal with my fingers and then use a sheet of tissue… bought tissue 24/06/16

(B) Avoid writing on top of my drawing (particularly with assessment work.).  Write on the back.

(C) Cut off gum strip used for masking and stretching… will try clips or cut off strips.

Things to work on – Assignment reflection:

Composition –

Establish strong visual connection with overlapping.

Think about negative space… how and where I place objects – look at Rembrandt’s shell. He blacked out background which made it appear magically lit. I don’t have to be too literal with background! Look at links.

I need to be aware of what effect I would like and how I can use composition to achieve this.

Use digital cropping to experiment with objects and backgrounds.

Things confirmed/clarified:

Emotion adds (surplus value) – over and above market value – and affects (duration) by stretching or shrinking time.

Dualism of creation – inside/outside of artist and a mixture of the two in the artists head making the duality. Inside artist as separate and the object in space as separate and the two linked in the artist’s internalisation of the outside world (so it makes sense)… it is this internalisation that the artist ‘sees’ – NOT THE SEPARATE OBJECT – and it is this duality that he draws/paints. It will differ for all of us. And the balance between the internal and external will vary between artists and individual works of art.

Projects/sketchbook:

Warm up – check Cornelia Parker for experimentation with lighting.

Project 2: Ex 1 and 2 – my reflections too wide – tutor interesting comments re high value intellectual/conceptual/visual capital of drawings inked to (temporary/difficulty of conservation) and high market capitalisation of (permanent and tradable) paintings. More to think of here!

Texture – lots of work and I may have preempted some aspects of Part 2.

Very interesting comments from tutor on texture – extending my thoughts on when does a surface become an object to escaping gestalt of the object and focusing on the haptic of texture. You isolate the feeling and create that through marks without connecting to the wholeness of the object. You’re drawing touch… or how it looks like it would feel?! Thus it becomes and abstract exercise and a resource bank for handling media and visual expression.

Tutor backed up friend’s suggestion I keep it simple and don’t try and do everything at level 1.

Drawing over graphics and my term ‘visual noise’ – look at hyperlink 3

Colours in shadow – feedback that this will be very useful in colour drawing and painting.

Project 2: Ex 1,2, 3 and 4:

Nice clarification by tutor of my thoughts on line (a language – symbolic and abstracted) and tone (creating an illusion and seducing us into the field of the picture). Different tools. Be interesting to combine?

To do: Allow process (exercises and sketchbook) to flower into a finished piece of work. Complete on a loose sheet, un-annotated sketchbook page or ‘narrative’ as a concertina.

Research point and other contexts:

Tutor not expecting positioning in context of art history at level 1 – thought Redon well written and researched… I enjoyed it.

She suggested exhibitions and artwork that I find interesting (that she’s seen in my log) can be photographed and added to my blog.

Suggested reading/viewing:

Work through the three hyperlinks and reflect in my blog.

(1)   Cornelia Parker interview.

(2) Materiality/immateriality – value systems.

(3) Writing and drawing.

Pointers for Assignment 2:

Keep up sketchbook and try to sketch every day.

MAKE SURE I USE COPIOUS VISUAL RESEARCH TO CREATE FINAL DRAWINGS