 |
| Assessment Criteria mind map |
At the beginning of my project I made sure to thoroughly
analyse the requirements and parameters of the final major project so that I
could produce a time plan and organise my time around the tasks that needed to
be completed to produce a high quality project. To analyse the requirements and
parameters I produced a mind map within my sketchbook which analysed and broke
down the assessment criteria into six categories: Requirements and parameters,
research activities, range of research sources, ability to plan and organise,
Evaluation, practical skill knowledge and understanding. Beneath each of these
categories I listed tasks or activities I would carry out in order to meet the
high standards of the requirements and parameters of a final major project. To
further explore the requirements and parameters I had written a project
proposal and action plan where I stated I would develop my skills by partaking
within various workshops and listed galleries and museums I planned to visit to
collect primary research; along with a list of proposed research sources. In my
action plan I broke down the requirements and parameters further in a time
ordered list which was one of my most useful methods of reflecting on the
requirements and parameters as I used it as a check list and as my project
developed I continued to add tasks I had completed to that list.
 |
| Cartography in Art mind map |
When we received the theme of ‘structure’ I produced a mind
map of various types of structure which I tried to make as detailed as possible
and have a wide range of ideas as I hoped to choose a type of structure that
was unusual and set me apart from my peers. After producing some initial
research where I discovered the work of Ed Fairburn and Maya Lin I decided that
using cartography as inspiration to produce work within art and design would be
the general context of my final major project as I stated within my project
proposal “Maps are a visual structure of recording landscapes and buildings,
and by incorporating my love for geography and my creativity I believe I could produce
an interesting final piece”. The context of my final major project most
definitely is based around structure and I found as my work developed I had
included the interior and exterior structures of the head.
 |
| Martin Jenkins work at York Art Gallery |
Research is a vital and large part of my work and can be
broken down into primary, secondary and artist/designer research. For my
primary research I visited several galleries and museums in Leeds and York
where I collected research on a wide variety of cartography and portraiture; I
also photographed maps I found on signs in the street to gain a wider range of
research on maps. To further explore portraiture I had generated a form of
primary research by producing a series of reportage drawings varying in style
and media. The secondary research I produced was mainly internet based where I
used websites, Pinterest, blogs, online newspapers and magazines to widen my
knowledge and gain understanding of the purposes of various maps and how maps
are used within art and design. I also used the internet to collect images and
information on MRI and CT scans to aid me in creating a 3D topographic map of
the heads internal structure. Furthermore, I used books from the library within
my secondary research to gain knowledge and understanding of the science of light
so that I could use lighting effectively to suit my needs within my final
design. Contextual Research is important to me as I find most of my inspiration
comes from looking at other artists and designers work therefore I spent a lot
of time finding and collecting research on various artists and designers who
are influenced by cartography. I
collected research of the majority of my chosen artists through their official
websites and interviews/articles on online newspapers and magazines, these
artists include: Ed Fairburn, Maya Lin, Jazzberry Blue, Michael Tompsett, Peter
Clark, Harry Beck and Tamara Kvesitadze. However I found the works of two of my
artists during the gathering of primary research; Martin Jenkins sculpture was
in the permanent collection of the York Art Gallery and Jan Irelands mosaic was
a new exhibition at the Yorkshire Museum Gardens.
 |
'Changing Faces of Leeds'
Exhibition |
Due to the lack of relevant exhibitions on cartography at
the time I visited several galleries and museums in order to find any relevant
exhibited pieces: Leeds City Museum, Yorkshire Castle Museum, York Art Gallery,
Yorkshire Museum and Gardens. Despite their being no specific exhibition of
cartography I managed to collect a wide range of primary research varying in
age, style, location, purpose, media and scale. By collecting such a wide range
of research I felt I had gained enough knowledge and understanding of maps in
order to make an informed decision when I choose to create my own topographic
map. During my visit to the Leeds City Museum I made sure to collect primary
research on portraiture at the ‘Changing Faces of Leeds’ exhibition which was
the only primary source I had included on my project proposal; the exhibition
itself was extremely useful as it included such a wide variety of portraiture
ranging from young to old, male to female, groups to individuals and included a
variety of ethnicities.
 |
| Ed Fairburn's work |
After collecting a sufficient amount of research I began to
interpret my research in order to develop my own ideas. My contextual research
allowed me to become aware of just how diversely cartography can be used within
art and design this affected how I carried out most of the decision making when
it came to my final design as each artist taught me something different and I
took away different aspects from each of their works. After researching Ed
Fairburn’s work I realised how beautifully portraiture and cartography combine
therefore I included portraiture throughout my sketchbook and design work;
being one of my more favourable artists Fairburn’s works provided a vast amount
of influence within my work. Another very influential artist within my
contextual studies was Maya Lin as her work urged me to experiment within the
3D workshop and introduced me to the technique of layering which became a main
theme throughout my project. The abstract maps that Jazzberry Blue produced
simplified otherwise complicated pieces of cartography using basic shapes and
block colour, I carried this idea through to my design work when I produced the
designs of each cross section of my 3D topographic map as the effectiveness of
simplicity was evident as I began to layer them together during the assembly of
my sculpture. When applying lighting to my sculpture I found that I could change
the settings of the lighting; I decided on using the setting that transitioned
through the various colours of lighting as influenced from my research on
Michael Tompsett’s work as he placed a lot of emphasis on the use of colour. Both
Peter Clark and
 |
| Jan Ireland's work |
Jan Ireland used various materials within their work however from
researching both their work I learnt the importance of choosing the materials
for the focal point of your piece and choosing materials to compliment the
focal point wisely; the etching of the topographic map on each layer is the
focal point of my piece therefore I choose acrylic wisely as it complimented
the focal point due to being a strong transparent material that allows light to
pass through it and is fairly easy to etch onto. The designer I researched is
Harry Beck who is well known for being original and creating a unique map using
his knowledge from being a technical draughtsmen therefore I was influenced
heavily by his work to take his initiative and produce my own map using my own
skill set: I produced a topographic map of the interior structure of the head
however I included my 3D skills to separate my map into layers so that when
viewed from above or below you can see the topography. My final contextual
research was of Tamara Kvesitadze’s ‘Man and Woman’, I looked at this sculpture
during my development work as it is
 |
| Tamara Kvesitadze's work |
similar to my design idea as the sculpture
involves the use of negative space between layers however Kvesitadze involved
lighting which had a dramatic effect therefore due to the influence of her work
I begun to research lighting and how I could use it effectively within my own
design. I used my primary and secondary research as a way to gain knowledge and
understanding in order to develop and refine my ideas. I produced a mass of
both primary and secondary research on cartography so I could compare styles
and make an informed decision which style of map would influence me most when
it came to producing my own map. In the end I decided I preferred the style of
topographic maps and essentially produced my own topographic map of the
interior structure of the head incorporating a 3D element. However some aspects
of my cartographic research could be interpreted differently such as my primary
research from the Leeds City Museum where I encountered a large
 |
| Floor map at Leeds City Museum |
map on the
floor which influenced me to carefully consider scale when designing my
sculpture; The face on my sculpture is slightly larger than the actual size of
the average adult head however this is a compromise due to the cost of the
materials. My primary research on street maps was also interpreted a little
differently as street maps are made for a specific audience (the general
public) therefore are required to be easy to understand; this influenced me to
ensure each cross section of my topographic map was simplified so that
collectively does not appear too crowded and I put emphasis on the brain, eyes
and nose structures within the designs allowing the map I have produced to be
easy enough to understand by a variety of people. Another main theme within my
project was the combination of portraiture with cartography therefore I
produced primary research from the ‘Changing faces of Leeds’ exhibition at
Leeds City Museum and a series of reportage drawings. This research allowed me
to study facial structure and develop the shapes of each layer to ensure that
even with negative space between each layer a face can be easily distinguished.
Within the final stages of development I produced some secondary research on
the science of light to gain knowledge on how to use light with the materials
of my sculpture effectively and MRI/CT scans in order to gain a more clear
understanding of the interior structure of the head which provided me with the
basis of my topographic map designs. Overall, my research has been invaluable
in producing ideas and refining them through experimentation of knowledge and
understanding I had gained from my research.
As I learnt from a previous project the elements and
principles of design are crucial areas you must explore throughout your sketchbook
and design work within an art and design project. In regards to the elements of
design I have explored shape, form, colour and space. Within the principles of
design I have explored emphasis, proportion/scale, movement and balance. I’ve
tried to use visual language wherever possible in order to evaluate my work
therefore this language can be found within the annotations of my sketchbook
and on my blogs to showcase my knowledge of visual language and demonstrate
examples of the use of visual language throughout my work.
In order to gain independence and to take control of the
pathway we take within art and design the final major project has been mostly
self directed. At first I found this daunting as I was used to moving straight
onto collecting research however on this project I had to explore ‘Structure’
and find my own theme to influence my project. In the end I had actually quite
enjoyed the freedom of being self directed as it allowed me to explore my
interests within art and design and tailor my project to suit my skills.
Although I enjoyed the independence I did find it a little challenging to adapt
to the lack of guidance in the beginning stages of the project.
 |
| My layered maquette |
Due to taking on a 3D pathway I believe throughout this unit
of work I have showcased a variety of practical skills, understanding and
methods. The first event of which I showed practical skill was during my
experimental work within the 3D workshop where I tried out four different
methods of combining cartography and 3D: Acid etching, pyrography, etching using
an endenter and layering. Those four methods required very little understanding
as it was more of a matter of following steps to complete said methods however
practical skills were essential as I used the pyrographer tool, the
endenting/etching tool and the band saw for cutting up the MDF I used for
layering. When editing together layered images within Photoshop and the Brushes
app I had to showcase knowledge and understanding of how to use the software to
complete the task successfully. My design ideas were a combination of practical
design skills, knowledge and understanding I had gained from the various
research I had collected. Within the photography workshop I used my
 |
My illustration of my photo editing
outcome |
understanding of lighting within the studio to create shadows on the face which
would then help me build up my understanding of facial structure. The next
workshop I produced work in was ceramics where I used practical skill to produce
a mould of a head to recreate the facial shape twice so that I could then slice
each into layers of varying direction. After this stage I produced several
maquettes – one MDF layered city, two
spherical maquettes, two using the ceramic cross sections as templates for
layers and one acetate recreation of a previous maquette – which demonstrates
my practical skill of maquette making combined with my knowledge of the
materials and mathematical skill. I then used my practical design skills,
knowledge and understanding of all my previous work leading up to my final
design to produce a well developed and refined final idea. The majority of the
evidence of using practical skills, methods and understanding I used during
this unit of work stemmed from the assembly of my sculpture. The practical
skills I demonstrated during the assembly of my project were: Accurately
cutting plastic using a band saw, machine sanding plastic using the disc and
spindle sanders, hand sanding plastic using sandpaper (p240, p320, p400),
buffing the edges of plastic, etching onto plastic using an endenter, cutting
out
 |
Image of myself demonstrating my
practical skills |
the slots in MDF using a router, filing out the slots, creating the sides
and backboard for the base using the band saw and glue, painting the base with
white emulsion, slotting in each of the layers carefully, gluing the lights
onto the backboard and problem solving. The methods I demonstrated during the
assembly of my sculpture were: sanding, buffing, etching, routing, filing,
painting and layering. The understanding and knowledge I demonstrated during the
assembly of my sculpture were: all knowledge and understanding I gained prior
to producing my final design, the science of light, facial structure, the
properties of the materials I used, mathematical knowledge, the internal
structure of the head, problem solving and health and safety rules when using
machinery and tools.
Throughout this project I found I had to use my problem
solving skills quite a lot due to difficulties or when I had to change things
within my project. The first thing I had to adapt was the 3D technique I
developed further as I began exploring acid etching however every attempt had
been unsuccessful although I had adapted the method to try and produce a successful
attempt so I looked back at my research and decided to explore layering instead
as a few of my artists that I researched used layering within their work too.
Once I had design ideas I produced a couple maquettes to explore my first
design however I found it would be difficult to produce the desired affect with
the materials due to needing a form of support through the centre of the layers
therefore I decided to develop my third design idea instead. After producing
several maquettes to develop my idea I found the shapes of some
 |
| My maquette |
of the layers
were inaccurate therefore the shapes needed adapting when I produced another
more developed maquette to ensure the facial structure was correct. The more
specific problem solving was during the assembly of my final piece where I have
wrote in detail the obstacles I faced and how I overcame them within my
sketchbook and on my blogs. The two biggest obstacles I faced were when I lined
up the plastic layers together with a 12 mm gap between each and I found two of
the cross sections were two wide and when it came to slotting in the cross
sections the MDF base had swelled from the paint; To resolve these issues I proceeded
to repeat previous steps and sand down the two layers again and I had to file
down each of the slots down to fit in the plastic layers however the filing
caused the paint to chip therefore I had to retouch the paint as I went along.
Between deciding to develop design three and my refining my
final design I planned, organised and prepared solutions to my FMP work. I
produced artist research of Tamara Kvesitadze in order to gain more knowledge
when it came to breaking up the true form of the face using negative space and
layers of cross sections. To further explore this idea I produced work in both
the photography and ceramics workshops where I studied facial structure further
to ensure the shapes of my cross sections are accurate and to explore which direction
cross sections appeared more effective. To help my decision on the direction I
produced maquettes using my ceramics work as templates to further explore which
direction was most appropriate; due to the contours between each layer being
less dramatic I chose to use horizontal cross sections. I then produced an
acetate maquette with a base to
 |
Light test on my
acetate maquette |
represent the materials I would use in my final
design. After producing research on the science of light I learnt I could
contain the light within the layers of plastic allowing the light to escape
through the edges and etchings on the surface of each layer therefore I etched
onto my acetate maquette in order to perform a light test. Although the results
of the test weren’t all that great due to the material and scale of the
maquette the test was successful enough to know that the lighting would look
effective when used on the actual final design. As for the design on each layer
I wanted to create a 3D topographic map consisting of layers, I decided to
collect research of MRI and CT scans to explore the interior structure of the
head which allowed me to then produce the designs for each cross section layer.
I then used this development work to draw up my final design.
 |
| Collage of my journal pages |
Throughout this year time management has been a slight issue
as I have struggled to complete the requirements by deadline resulting in
receiving referrals however I have always managed to finish the work to high
standard; over the year I have found my time management slowly improving and my
goal for this project was to have it completed for the deadline. Although I
struggled and had been working right up to the morning of the deadline I
managed to meet the requirements and succeeded in my goal. To meet this goal I used
planning within my journal – making checklists and notes – and SMART targets to
keep on top of the work load and ensure I spread my time amongst all the tasks
I needed to complete in order to meet the requirements and parameters.
Overall, I believe my body of work is effective to an extent
the most effective areas of my work are most definitely my practical skills when
maquette making and producing my final piece. However I think there are areas
of my sketchbook which can be seen as weaknesses: my sketchbook pages on my
maquettes, acetate maquette, lighting and final design pages were slightly more
rushed in order to meet the deadline therefore I feel they could have been
improved. Furthermore, I believe I could have produced higher quality
annotations throughout my sketchbook and taken more time and effort into
producing more initial designs to showcase a wider range of design skills.
Despite my doubts I still think my sketchbook conveys the influences and
development of my ideas and effectively communicates my thought process.
After finishing this project I decided to compare my work to
my original ideas within my project proposal to see how my project has
developed and evolved. On my project proposal I stated that my aims were to
expand my practical skills through workshop practise and to gain knowledge and
understanding whilst producing research; personally I believe I have completed
both these goals as I experimented and developed my work mainly within the 3D
workshop however I also practised my practical skill within the photography and
ceramics workshops. Furthermore my research has allowed me to gain knowledge
and understanding of a wider range of art and design processes, artists and
styles as well as subjects outside of art and design which I have incorporated
into my project such as science. Within the Evaluation section of my project
proposal I stated I would complete analytical annotations within my sketchbook,
detailed blogs that include images, sketchbook reviews, self-assessment form
and a detailed evaluation all of which I have completed to highlight the
success and effectiveness of my work as well as analyse the weaknesses within
my project. One area of my project proposal that has developed dramatically are
the research sources I originally intended to use although I used the majority
of the listed sources (except the books: Drawing and Painting the portrait and
Collins World Atlas) I actually used twice the amount of research and I
produced a much wider range of research than I originally intended.
 |
| My sculpture mounted |
Due to recently finding out the exhibition will be final
piece only – on the walls – I have taken more time into deciding how to exhibit
my final piece. I decided my sculpture will be mounted on the wall just a
little higher than the centre of the board and hopefully I will be able to
secure a darker spot within the exhibition so the lighting of my sculpture
appears more effective. Although the show will be final piece only I can still
include my sketchbook on a plinth and perhaps some of my mounted technical
drawings in a magazine rack too.
My Pecha Kucha presentation was a task that I was fairly
relaxed about as I felt fairly confident when speaking in front of peers
especially when I was presenting my own work as every detail of my project is
engraved into my memory. Furthermore, when I am presenting I believe the
language I use and the way I speak is fairly sophisticated by my choice of
vocabulary and how I try to speak fluently, clearly and confidently. The main
aspect of a Pecha Kucha presentation is the slideshow that shows 20 images of
your final major project from start to finish; I tried to ensure the images I
used were of high quality and represented my thought process effectively.
During this project I have been completing my work with the
aim to achieve a distinction grade therefore I have been attempting to complete
the requirements and parameters of each assessment criteria to the best of my
ability. For 1.1 I analysed the requirements and parameters of the project by
producing a detailed mind map of the assessment criteria within my sketchbook
and by producing a project proposal stating tasks I aimed to complete to meet
the requirements of a high grade project. For 2.1 I tried to collect a wide
range of primary and secondary research sources to analyse including: Brochures,
official artists websites, Pinterest, blogs, York Art Gallery, Yorkshire
Museum, Yorkshire Museum Gardens, Yorkshire Castle Museum, Leeds City Museum,
reportage drawings, online newspaper/magazine articles, Physics textbooks (GCSE
Physics and Physics 1), Columbus World Travel Atlas and AA Great Britain and
Ireland Road Maps. For 2.2 I ensured to interpret every piece of research as I
stated previously to influence and develop my final design. For 2.3 I
demonstrated the ability to plan, organise and develop an art and design
project by producing mind maps, project proposal and an action plan in order to
plan out all the tasks that needed to be completed. I continued to plan out
days within various workshops, days to collect primary research from galleries
and museums and organise my time to ensure I complete all tasks; I organised
these through making notes, lists and sketches within my journal. I also used
SMART targets to aid my time management and show evidence of planning and
organisation. For 2.4 I demonstrated practical skills, knowledge and
understanding through workshops, maquette making and the assembly of my
sculpture as I described in detail earlier. Finally, to complete 3.1 I
continuously evaluated my project through analytical annotations within my
sketchbook, detailed blogs with images, self-assessment and Evaluation.
