I am really pleased with the following feedback for this part of the course, whilst I waited for my feedback to arrive I looked at some of the other student’s work for this section as I had done for previous sections again, mine seemed a very different interpretation which made me worry a bit. I still have some way to go with my drawing but I am trying really hard to develop it so I am really glad that my tutor was not too displeased with the rest of it. Although I am enjoying this course it is not really my ‘cup of tea’so far if I am honest. We have done barely any textiles to my mind and I am not sure how far I will carry on if this continues. I am aware that textiles is developing and extending towards other disciplines but as a stitcher I am beginning to find it all a little frustrating.
Julie this appears to be a considered and interesting body of work. There is evidence you have explored new techniques and materials, taking some risks along the way. The work is nicely presented and there is a sense you have worked with consideration to your outcomes, achieving a good level of craftsmanship. The quality of your drawing continues to develop – visible in the study work in your small sketchbook. I believe your drawing is your weakest area at the moment so I have discussed in some depth below your areas of strength and given you pointers on how to improve.
Demonstration of technical and Visual Skills, Demonstration of Creativity
Your drawing continues to develop, well done for maintaining your commitment to drawing. There are some nice examples of observational drawing in your small sketchbook of shells and rocks. You have used a range of media including collage, the collage being particularly effective. When you are drawing especially when using a pencil I suggest you adjust the pressure of your marks to achieve more depth to your work. Have a range of different grades from 8B to 1H to use, making sure you do some lines with a sharp pencil to pick out edges. Take your time and try to be relaxed during drawing, making sure you use plenty of that time to look. Looking, examining and exploring an object with your eyes is the bases of all observational drawing but can easy be overlooked. Use a light source to pick out the surface you are planning to draw – either natural light or a lamp directed into the object will help you see more clearly and find what is there. Move the object around until you find an angle that looks interesting to draw.
I suggest you use ‘blind continuous line drawing’ to start with, this will train your eye and hand. Because you cannot look at the page during this exercise your need to judge or worry about the results will be removed, helping you focus on the looking aspect of drawing. This is also an excellent technique for helping you understand and learn about the samples you have made. Use it as part of your reflective process, adding notes to the image you have made to collect thoughts and ideas.
Try to at least double the amount of drawing you are doing for the next part and return to previous parts to increase the amount of drawing there too. You are welcome to also return to sketches you have already made to improve the drawing already done. Study and draw the samples that are important in some way; this could be they give you ideas, or they are attractive, or did something unusual. You don’t need to draw the whole sample, if there is a part that specifically interests you only concentrate on this area. You may find you need to draw a sample several times from different angles to really get everything from it. The finished drawing does not need to be recognizable as the sample because it is the process of looking and evaluating that is important here.
Feedback on assignment – Part 3 Moulding and Casting
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
For this part of the course you have created a large body of experimental samples. In general there is evidence that you have worked with care, creating nice finishes – particularly the clay and plaster pieces. The polymer samples could have had neater edges but this is a small detail. I am pleased to see you brought in some joining techniques and experimented with mixing materials including the embedding and stitching. Your plaster shapes are creative – there are some quite sculptural pieces and interesting surfaces achieved. I also like the clay discs on the copper wire, this is moving towards jewellery making. I suggest you look at the Craft Council films of interviews with jewellery makers.
I suggest you continue to take frequent risks in your sample making, looking for quirky and novel outcomes. Work with care to maintain your craftsmanship and consideration to materials and techniques.
Context, reflective thinking, critical thinking, analysis
In your learning log you make frequent references to how your samples remind you of the natural world and historical artifacts. I suggest you do this more frequently with your research material too. If a sample reminds you in some way of someone else’s work say so and why. This helps you and the assessors see where you ideas come from and how well you are digesting the research material you are looking at.
You appear to have stuck with the research suggested in the course material, I suggest you explore more widely collecting your own material. When writing about the work of others add your own personal thoughts and feelings. Ask yourself a range of questions about the work. For example, is it beautiful? Is it hard to understand? What is it I understand? Does the surface remind me something? Do the materials surprise me? Have the techniques been used in an interesting way? What can a take to my own work? There are no right or wrong answers to these questions but they will help you understand the work in your own way. Again it is the art of looking that will help you – I recommend you use drawing to assist you in studying someone else’s work.
Learning Logs or Blogs/Critical essays
Context, reflective thinking, critical thinking, analysis
Your learning log is well organised and easy to follow. I suggest you include drawing at the sorting stage and you reflect on your drawings in the same way as the samples. Describe what works well and what can be improved or done differently. When looking at your samples also record your impressions of the compositions, even though they are random marks they still hold some aesthetic value that you should consider translating in a more formal way later.
It is nice to see you have some drawing here where you have recorded and developed ideas, I suggest you continue to use drawing in this way. It is good to see you have included your last feedback document, I suggest you pick it a part more – what will you be taking forward, what changes will you make and what do you disagree with?
Continue developing your learning log; expand the language you use to describe your own work and the work of others.
At assessment the 3 dimensional samples are fine in well-labeled boxes but cover up any writing or logos that do not relate to your work. There is no need to mount lots of work, consider mounting only the final print pieces. Textile samples need to be viewed and handled from the back and front so should therefore be mounted with care if at all.
Pointers for the next assignment
• Reflect on this feedback in your learning log
• Use the pointers above to develop your drawing
• Continue to take frequent risks in your sample making
• Analyse your research material making a personal evaluation
• Deepen the analysis of your own work including your drawing