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Panel two is about developing and clarifying your ideas in relation to your Kaupapa and artist models.
Panel two is about developing and clarifying your ideas in relation to your Kaupapa and artist models.
How will you combine your previous used motifs, symbols as well as elements from your artists models to create new and individual works?
How will you combine your previous used motifs, symbols as well as elements from your artists models to create new and individual works?
remember you are trying to show A systematic body of work is defined as individual, related works that form a series or sequence to show generation and development within the art-making process. This involves editing, selecting and ordering work.
TIME ALLOCATION - 14 weeks [INC HOLIDAYS]
A successful portfolio will take around 4-5 hours a week for 14 weeks [approx 60 hours]
A successful portfolio will take around 4-5 hours a week for 14 weeks [approx 60 hours]
LAYOUT
LAYOUT
This really depends upon how your ideas develop. It is recommended that Panel 2 consists of a minimum of 3-5 works and shouold be well planned out with your biggest and best work at the bottom/bottom right
Use this document below or look at the various exexmplars provided thoughout the website of layouts of panel 2.
Copy of FOLIO LAYOUT IDEAS.pdfCreating Connections in Your Artwork: Series and Sequences
Creating Connections in Your Artwork: Series and Sequences
Your artwork should tell a story. To do this effectively, you need to think about how your pieces connect and flow together – like chapters in a book or scenes in a movie. This is where series and sequences come in.
Imagine your artwork as a collection of related pieces that unfold and develop systematically. You can achieve this by using one or more of the following:
Color: A shared color palette can create harmony and link different pieces together visually.
Subject Matter: Explore variations on a central theme or subject. For example, you might focus on portraits, landscapes, or still life, but with subtle differences in each piece.
Concept: A strong concept or idea can run through your entire series, providing a unifying thread.
Style and Technique: Experiment with a particular style or technique, such as pointillism, abstract expressionism, or photorealism, and explore its possibilities across multiple works.
Motifs: Recurring symbols, patterns, or shapes can create visual connections and add layers of meaning to your work.
By consciously developing your artwork in a series with a clear sequence, you can create a more cohesive and engaging body of work that tells a compelling story.
Extension of ideas
Extension of ideas
Critique the strengths and weaknesses of your paintings. Refer back to the artist models to find new ways of interpreting your pictorial and conceptual ideas. You may also look at new models in consultation with your teacher at this stage.
Produce new pages of annotated concept drawings that build upon the technical and conceptual ideas developed so far. Think about extending the painting conventions you have investigated in terms of new pictorial directions such as complexity, simplicity, distortion, abstraction, or metamorphism.
COMPLETED FOLIO EXAMPLES
COMPLETED FOLIO EXAMPLES
Painting 2.4 E exemplar foliosPainting 2.4 M exemplar foliosPainting 2.4 A exemplar folios
You are not just making cool art pictures. You are trying to say something with them to a viewer. You are having a conversation via your artwork.
You are not just making cool art pictures. You are trying to say something with them to a viewer. You are having a conversation via your artwork.
Collage and photography are two great ways to develop new ideas
Collage and photography are two great ways to develop new ideas
Panel 2: Bringing Your Ideas to Life
Panel 2: Bringing Your Ideas to Life
1. Plan Your Layout
Grab a sheet of A1 butcher's paper and tape it to your Panel 2 board.
Sketch out your chosen layout directly onto the paper. Don't worry about being perfect – this is just a guide!
Number each artwork in your layout from 1-5.
2. Develop Your Compositions
For each artwork, create 2-3 thumbnail sketches in your visual diary exploring different compositions.
Choose your favorite thumbnail and draw it onto the butcher's paper within the corresponding numbered section.
3. Prepare Your Painting Surfaces
Cut your painting card (or canvas paper/watercolor paper) to the sizes needed for each artwork.
Apply gesso to each piece and temporarily attach them to your board using Blu Tack, underneath the butcher's paper.
4. Experiment with Color and Technique
In your visual diary, play around with color schemes, painting styles, and different mediums. This will help you establish a consistent look across your panel.
5. Start Painting!
Work on multiple pieces at the same time. This helps ensure a consistent color scheme and is a great way to manage your time.
Begin with background washes. Apply your chosen colors to all your gessoed surfaces.
Sketch your compositions. Lightly transfer your designs onto the painted surfaces.
Block in main colors and backgrounds. Focus on establishing the overall tones and shapes in each piece.
Add details gradually. As your paintings progress, start refining individual pieces and adding finer details.
Remember: This is a process of exploration and refinement. Don't be afraid to adjust your plans and make changes as you go!
How do you achieve originality?
How do you achieve originality?
create a LOT of work and eventually you will run out of average and be forced into innovative - ideas come out of the process
How can you engage the viewer?
How can you engage the viewer?
dramatic composition and skilful use of colour and value interesting and relatable subject matter
How do you demonstrate growth? make every picture better than the last?
How do you demonstrate growth? make every picture better than the last?
To do this you need to make more than the minimum - sometimes there is regression, sometimes our next work is not our best!
How can you demonstrate technical competence?
How can you demonstrate technical competence?
practice practice practice learn learn learn actively seek out ways to learn..
This example belows the students designs on butchers paper and then experiments with media, subject matter and techniques in thier visual diary before painting the final panel, working on multiple pieces at once.
Why You Should Work on Multiple Paintings at Once
Why You Should Work on Multiple Paintings at Once
The images below show how working on multiple paintings simultaneously can be beneficial.
The first image shows the student's initial designs on butcher's paper.
The second image shows her experimenting with colors and mediums in her visual diary.
The third image shows the student working on all her paintings at the same time, roughly halfway through each one.
Imagine the student ran out of time. If she had only finished the faces on the first piece, but had been working across all the pieces, the board would still look complete enough to pass.
However, if she had focused on completing one piece at a time and ran out of time, the board would be obviously unfinished and she might not achieve the standard.
Working this way helps you:
Maintain a consistent color scheme: It's hard to mix the exact same color twice, so working across all pieces helps keep the colors unified.
Manage your time effectively: You can make progress on all your pieces even if you have limited time in each session.
This approach ensures a more cohesive and complete-looking panel, even if you face time constraints.
REMEMBER TO PHOTOGRAPH EACH OF YOUR WORKS AND INSERT INTO YOUR DIGITAL WORKBOOK AS YOU COMPLETE THEM, AND ATTACH TO YOUR FOLIO BOARD
REMEMBER TO PHOTOGRAPH EACH OF YOUR WORKS AND INSERT INTO YOUR DIGITAL WORKBOOK AS YOU COMPLETE THEM, AND ATTACH TO YOUR FOLIO BOARD
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