Task 1a, Unit 3 – Commentaries
and
Task 5b, Unit 4 – Point of View
Assessment type: Examinable task
Conditions: Time for the task: 7 weeks (includes class time and requires out-of-class work time)
Task/s:
Body of Work
7 weeks (includes class time and independent work in own time) 30 Marks (10%)
A visual diary is a creative document that contains both written and visual material. It is a place for researching, exploring, planning and developing ideas – for testing, practising, evaluating and discussing your project. It is the place where you learn from other artists and express and brainstorm ideas.
The visual diary is an important part of your Coursework project. It shows the journey (or development) towards your final piece and usually contains:
Drawings, diagrams, thumbnails, composition plans, paintings and/or designs (particularly those that are incomplete or experimental)
Practise and trials of different techniques and processes
A range of mixed mediums and materials
Evidence of first-hand responses to subject matter and artworks, demonstrated through observational drawings, photographs and annotated pamphlets and sketches from exhibitions or gallery visits. (Note: the sketchbook must NOT be used as a dumping ground for fliers and pamphlets. If you are going to glue something in, evaluate it, discuss its relevance and explain how it helps to inform your own work)
Digital printouts of relevant artist work
Annotation (see below)
Note: The visual diary should NOT be used as an all-purpose journal for doodling cartoon characters or scribbling notes to a friend. All work contained within your sketchbook must support your Coursework project as a whole.
The following tips and guidelines should help you understand how to add quality notes to your pages:
Reveal your own thinking and personal responses (rather than regurgitating facts or the views of others)
Explain the starting points and ideas, emphasising personal relevance and your own connections to subjects
Critically analyse and compare artwork of relevant artist models (both historical and contemporary artists, from a range of cultures). Discuss aesthetics, use of media, technique, meaning/emotion/ideas and the influence of an artist upon your own work. While it is important to conduct research into your artist models (and to convey an understanding of this information), avoid copying or summarising large passages of information from other sources. Instead, select the information that you think is useful for your project and link it with your own viewpoints and observations. Use research findings to make you sound clever and knowledgeable – to prove that you are aware of the artists and cultural influences around you – and to help you to critically evaluate artworks (by giving you background information and a peek into the mind of an artist): do not use it to fill your sketchbook with boring facts
Demonstrate good subject knowledge, using correct vocabulary (phrases such as ‘strong contrast’, ‘draws the eye’ and ‘focal point’ etc)
Reference of all images, artwork and text from other sources, ensuring that artists, websites and books are acknowledged (it should be obvious to an examiner which work is yours when viewing a page, so cite sources directly underneath the appropriate image. Photographs taken by yourself should be clearly labelled, so examiners know the work is yours and reward you for it)
Communicate with clarity. It doesn’t matter whether you jot down notes or use full sentences, but never use ‘txt’ speak and try to avoid incorrect spelling, as this indicates sloppiness and can hint to the examiner that you are a lower calibre candidate
Select a good quality sketchbook and/or a collection of artist papers and found materials. The difference between work produced upon cheap, flimsy sketchbook pages that warp at the mere hint of moisture and that produced on thick, rich, ‘wet strength’ paper can be enormous. Even a garish cover design can negatively influence enthusiasm. If you have a choice in this area, buy a quality sketchbook and/or collection of paper / drawing surfaces. Begin with something that inspires you.
Let the artwork shine. Do not distract from your practical work by using large lettering, decorative borders, or unnecessary framing or mounting. Do not spend weeks researching, preparing and reworking beautiful backgrounds – wild drips of coffee, torn paper, layer upon layer of careful speckled mediums – if this compromises the amount of time you spend on the artwork itself. Producing quality art or design work is your number one goal.
Vary page layouts to provide variety and visual interest. Some pages should have many illustrations; some should have single, full-page artworks; others should be somewhere in between. Position items carefully on the page as you work: making sure pages are well-composed.
Use a consistent style of presentation, so that a consistent visual language unites the sketchbook. Some students are drawn towards hard-edged, ordered presentation methods (often those studying graphic design, for example); others prefer messier, looser, gestural presentation styles. Neither is better than the other: both can be amazing. Inconsistency, however (pages jumping from one presentation style to the next), can result in a submission that is distracting, busy and hard on the eye.
Be selective. More is not necessarily better. Although examiners look to reward candidates and have your best interests at heart, bulking up your sketchbook with poor work does you no favours. Weak work can set off alarm bells for an examiner, leading them to be on the lookout for potential weaknesses elsewhere. This does not mean that you should discard everything which is not perfect (work should rarely be thrown away, as most things can be worked over and saved for far less effort than would be required starting anew), but you must discriminate. Don’t automatically include everything. Select work which shows the journey your project has taken and presents your skill in the best light.
Prioritise visual work above annotation. It doesn’t matter how intelligent, well informed or clever your annotation is – it cannot redeem rushed, poorly executed practical work. Only once images on a page are complete (or as complete as needed) should you fill some of the gaps with notes. Even the hurried addition of annotation can be done harmoniously – making a sketchbook page appear thorough and well-balanced. Use text as a compositional element. Write neat and small (this way spelling or grammatical errors are less obvious), and – if your examination board allows it – in pencil (so that mistakes can be easily changed); otherwise, write in black or white pen: not ink that switches colour every sentence or is ‘enhanced’ by hearts on the ‘i’s.
Give every page of your sketchbook some love. Use each page as an opportunity to remind the examiner that you are a hard-working, dedicated student who cares passionately about this subject. This does not mean that your sketchbook must be crammed to the brim with intense, laboured work (sometimes an expressive, ten minute charcoal drawing on a page is all that is needed) but that each part of your sketchbook is produced with care and dedication.
Remember: Annotations are key - you must include them on each and every page, explaining what you have done, why you have done it and the effect of it on your final work. DO THIS AS YOU WORK! Do not leave it as a 'last minute' job - this does not help you reflect as you work.
Inquiry
Concept and design development (Part 1)
The theme of the unit is Commentaries. Brainstorm ideas and create a map of concepts suggested by the theme. Incorporate skills and knowledge that you have acquired through your inquiry, experimentation and research to develop alternative solutions to the theme. Look at a variety of symbols or iconology to enforce your message.
Drawing (Part 1)
Using a range of investigative approaches, explore your topic on diverse, prepared surfaces. Experiment purposefully with a variety of exercises in a chosen, or selection of media to create pieces that show observation, self-expression and stylistic influences. Annotate your ideas and development of media.
Methods and materials inquiry (Part 1)
Focus on exploring the properties and possibilities that different materials offer or that your chosen media can be worked, in a creative manner. Experiment with different applications and backgrounds such as paint, collage, printmaking, pastels, charcoal, watercolour/inks etc. Experiment with your chosen media, subject matter and compositional techniques.
Research (Part 1)
Enhance practical inquiry with web-based research and other materials and media, to produce visually dynamic compositions. Research related artists and art movements that demonstrate creative use of material in your preferred medium. In addition, explore artworks that show a variety of media applications and ways of presenting their chosen meaning or comment.
Planning resolved artwork (Part 1)
Document the processes you intend to use in your final work. Document experimentation and exploration of materials and ideas related to your idea. Ideas should show progression and a link to meaning. Discuss how you will display your work, sizing and canvas, tools and processes.
Visual language
Elements and principles of art (Part 1)
Develop your artwork with consideration for the elements and principles of art. Explore, consider and manipulate visual language (elements and principles of art) to communicate concepts, explore compositional techniques, iconology, symbols, codes and conventions, in a considered and insightful way in development.
Compositional devices (Part 1)
Explore compositional devices, textural techniques and colour palettes for your own work. Be sure to discuss choices and any options whilst creating a number of thumbnails of your work, and final piece.
Visual influence
Research and visual resources (Part 1)
Research ideas, images, artworks and information needed to strengthen and resolve conceptual ideas and assist in the planning of your final production. Look at the artwork created by traditional and contemporary artists and identify the media and techniques used by these artists.
Include in your visual diary visual studies and notes about artists who have inspired your work or you have referenced, during the development of your artwork, either from a technical or aesthetic point of view.
Art forms, media and techniques
Explore materials, techniques and processes (Part 1)
Experiment with ways to use media and materials to achieve desired effects. Refine your media testing results, techniques and choice of materials in preparation for the production of your resolved artwork. Document and annotate media choices and effects achieved. Different workshops will be provided to you in class time.
Art practice
Resolved artwork (Part 1 and Part 2)
Source relevant materials and media for the completion of your resolved artwork. Finalise your ideas by producing an artwork (or a collection or suite of works) in response to the theme Commentaries. Include how you will present the works once completed.
Presentation
Maintaining a record of development (Part 1)
Record the development of your work, including all experimentation and exploration of materials and methods, drawings and design sketches in your visual diary. Maintain your visual diary documentation in an authentic, organised and sequential manner.
Exhibiting artwork (Part 2)
Complete your resolved artwork and identify any specific materials or equipment needed to display your work by the due date. Your piece must be completed (exhibition ready) and ready to display by the due date.
Reflection
Ongoing reflection (Part 1)
Evaluate and reflect regularly on your experimentation, progress and ideas development in your visual diary. Annotations and processes should be clearly articulated, both visually and in written format.
Artist statement (Part 2)
With reference to your visual diary notes, write a max 300-word artist statement about the resolution of your ideas, influences and development of the resolved artwork
(Note – the artist’s statement is not marked directly but is a supporting document which informs the marking process in the practical assessment.)
Need some inspiration?
Still unsure of what your visual diaries should look like? Have a look at this site.
http://www.studentartguide.com/articles/art-sketchbook-ideas
or this one;
http://www.accessart.org.uk/the-visual-diary-journey-join-us/
