Thursday, 22 September 2016

Home Improvements Project Proposal



Home improvements project proposal

My project theme is jewellery and so I have chosen to improve household items by creating them into something different. Cutlery is made for one purpose, to help us pick up and cut food when we are eating, but with the theme of improving, I have chosen to change the cutlery into wearable pieces of art. Though most jewellery made from cutlery can turn out to be very aesthetically pleasing, I do not have the correct tools and equipment such as an anvil (or forge) to heat and bend the materials to make them look good enough to wear out in public. My jewellery will be more on the artistic and visual side, meaning they will be made only to look at and not to wear. This way I can experiment more with appearance and I can make them look even more wacky and artistic. 

Firstly, this relates to my theme because of the obvious connection to jewellery. It also relates to my theme because jewellery and cutlery have lots of similarities. Both jewellery and cutlery link together as they are often made from similar materials. Stainless steel is used a lot in both jewellery and cutlery, making them a good match. With this, I can work to creating a full piece of jewellery with all of the correct parts. Both jewellery and cutlery are made to last. Durability is important with jewellery as it can often be expensive and no one wants a piece of jewellery that will break easily. Cutlery must also be made to last, that too can often be expensive and no one wants to keep buying endless amounts of knives and forks. If cutlery was not made properly it could do a number of things from the fork teeth and knife blade bending when piercing the food to possibly even completely snapping if too much force is applied. 

I think that the design principal that relates to my project the most is aesthetic. 

Sunday, 4 September 2016

 Universities and courses that relate to my chosen specialism:

UCAS  
Jewellery designing and making 

- Jewellery & Silversmithing at Birmingham City University:

82-86
VICTORIA STREET
BIRMINGHAM
W MIDLANDS
B1 3PA
United Kingdom

"This course allows students to achieve a high level of professional craft and design skills in jewellery and silversmithing. The course is based on projects which integrate contemporary jewellery design skills with workshop practice, producing pieces both by hand and mechanical means. The main emphasis is on exploring ways of manipulating metal with relevance to the jewellery and silversmithing industry.

Year 1 introduces students to the tools, materials and processes used for the manufacture of jewellery and larger scale functional objects. Year 2 broadens and develops your learning through the introduction of current day technologies used for manufacturing within the jewellery and silversmithing industry. The final two modules of the course are designed to give greater freedom and self-direction, and therefore relate to personal career ambitions. The resulting outcomes should be an amalgamation of craft and design skills, innovative ideas and well-considered functional products, at a scale of your choosing."

This course requires GCSEs at a 'Standard Grade' and BTECs at a Pass or Merit upwards.

  - Jewellery & Silversmithing at City of Wolverhampton College:
  
PAGET ROAD
WOLVERHAMPTON
W MIDLANDS
WV6 0DU
United Kingdom

"Our HND in Jewellery Design and Silversmithing will ensure you have the skills to enable you to work to a high level of professional craft in this competitive industry. Based on live briefs and projects which will combine design skills with workshop practice, you will produce contemporary pieces for commercial sale or exhibition. During this course you will study: Designing jewellery; Manufacturing techniques; Rub-over setting techniques; Claw setting technique; Advanced manufacturing techniques; Responding to briefs; CAD: 3D modelling; Working freelance; Business practice and marketing"

This course requires GCSEs at a 'Standard Grade' and BTECs at a Pass or Merit upwards. 

- Contemporary Jewellery at the University for the Creative Arts:

Fort Pitt
ROCHESTER
Kent
ME1 1DZ
United Kingdom

"This exciting course focuses on individual creative expression, giving you the chance to produce innovative work based on your own research and material exploration.

You’ll work alongside like-minded makers and nationally renowned industry figures in a studio-based environment. Our Contemporary Jewellery teaching staff are all practising jewellers and are highly regarded within the profession, ensuring that the syllabus is constantly evolving to meet the latest industry developments. Our Rochester campus is just a 40-minute train ride from London, giving you easy access to one of the most diverse creative cities in the world – densely populated by future clients, employers and commissioning agencies"

This course requires four GCSE passes at grade A*-C and/or grade 4-9 including English (or Functional Skills English/Key Skills Communication Level 2).

Silversmithing, Goldsmithing and Jewellery at UCA:

Fort Pitt
ROCHESTER
Kent
ME1 1DZ
United Kingdom

"This award-winning degree course provides a unique opportunity to become a distinctive designer and maker across three specialisms. Our Silversmithing, Goldsmithing & Jewellery course is focused on both traditional and contemporary approaches to making, and we place great importance on the acquisition of both hand and digital fabrication skills. 

 Physical making and material investigation are at the core of our student experience. Through highly structured intensive technical workshops in a purpose-built and fully-equipped facility, you’ll gain the opportunity to learn – in your own dedicated workspace – from highly qualified technical tutors, how to develop and realise your ideas and designs. We’re passionate about learning and we foster a supportive environment which is stimulating and challenging for our students. The teaching staff are all practicing designer makers and are highly regarded within their profession, ensuring that the syllabus is constantly evolving to meet the latest professional demands. You’ll also benefit from specialist master classes from invited guest tutors, giving you unique opportunities to learn highly specialist techniques from leading practitioners." 

This course requires four GCSE passes at grade A*-C and/or grade 4-9 including English (or Functional Skills English/Key Skills Communication Level 2). 

- Jewellery and Silversmithing at The University of Edinburgh:

Student Recruitment & Admissions
33 Buccleuch Place
Edinburgh
EH8 9JS
United Kingdom

"The School of Design at Edinburgh College of Art (ECA) has a wide range of programmes run by practitioners who are leaders in their field. The unique diversity of approaches and philosophies in the School, coupled with established collaborations across the University of Edinburgh, provide the perfect creative learning environment. You will be joining a stimulating community of students, designers and theorists, where a sophisticated understanding of the diversity of contemporary design practice and theory can be developed. The recent merger between ECA and the University of Edinburgh gives you unparalleled access to facilities, expertise and study options. At ECA we encourage our designers to create visions and identities that are both innovative and sustainable. We are educating not only problem-solvers but also opportunity-seekers, and we hope our students will become the designers, thinkers and makers who will positively shape the world we inhabit"

This course requires the following GCSEs: English at Grade C. National 5: English at Grade C.

- Jewellery Design at the Hereford College of Arts:

Folly Lane
Hereford
Herefordshire
HR1 1LT
United Kingdom

" On this course students will be encouraged to develop their thinking and understanding to become independent and critically aware practitioners in jewellery design. This will include undertaking a major piece of theoretical work as well as improving their technical and creative skills through a programme of negotiated projects. Students will also be expected to exhibit, take up live briefs and competitions, together with any opportunities that will improve their understanding of the creative industries and their own professional development."

This course does not require any GCSEs and can accept BTEC grades at a Pass upwards.

- Jewellery at the London Metropolitan University (2nd Year):

Calcutta House
Old Castle Street
London
E1 7NT United Kingdom

"With a teaching team made up of internationally renowned practitioners including Simone ten Hompel, Mah Rana and Marianne Forrest and a dream location in London’s creative Brick Lane area, you’ll find our graduates (such as Imogen Belfield) are award-winning designer makers or have successful careers at design-led manufacturers such as Sean Leane. We draw no limits as to what jewellery and silversmithing are, and you will be encouraged to make radical experiments as well as learning the craft fundamentals of the disciplines. We have excellent industry contacts and use these to ensure our graduates are fully work ready at graduation. You have numerous opportunities to enter competitions, to make visits to industry and trade shows (including abroad) and to exhibit your work. There are opportunities for exciting joint projects with students across art, architecture and design at the Cass, as well as a work placement built into the course. Added value: Excellent facilities including etching, enamelling, laser cutting and rapid prototyping as well as traditional hand-craft techniques, are available in our workshops"

This course requires at least 5 GCSEs at a Grade A*-C. 


Wednesday, 29 June 2016

FMP Juxtaposition Evalution


FMP EVALUATION


 The theme of my FMP was 'Life and Death'. My ideas for what I was going to create for my final piece has changed a couple of times as I was undecided on what I wanted to make. I had various ideas in mind and I was trying to think which one would work the best and link closest to my chosen theme. At the start of the project, I had an idea of linking Viking history with my theme. I focused solely on the Viking 'religion' and their Pagan beliefs. The Vikings had their own beliefs, they did not agree with Christians and their views but like most religions, the Vikings had their own Gods, places they go to after death and strict life rules in order to get to those places. I focused on Valhalla, a place in which the Vikings (strictly male, only a few women made the exception. Shield Maidens got their place there - within reason - and the other females there are Goddesses who were already there and Valkyries who worked with the God Odin). Valhalla was a place where you would go after death. Valhalla is located in Asgard and is the Great Hall of the God (All-Father) Odin. Those who died in battle secured their place in Valhalla, Valhalla was only an option if you had fought in battle or died in a way which was seen as 'brave'. Sacrifices were a huge part of Norse belief and many people sacrificed themselves for Odin - This got them into Valhalla. Those who died in battle received a special send off if their bodies were reclaimed, but those who were not reclaimed still got there. Valkyries, who were women who worked for Odin, came down and brought your soul to Valhalla where you would be 'born again'. There, warriors drunk, feasted and had a great time all in preparation of Ragnarok, a great battle which occurs when the great wolf Fenrir, son of Loki, swallows the sun and the world becomes dark. Fenrir is set on eating Odin and this is why the Vikings wanted to destroy him. 

My first idea was to create a boat out of wood. I experimented with cardboard and paper and then with sticks, incorporating nature and trying to replicate a Viking ship. I thought that a Viking ship would represent my theme of Life and Death as when a warrior died, he had a very important and special send off. His body was placed upon a ship surrounded by goods and possessions he may need in his afterlife in Valhalla. The ship was sent off and a burning arrow was shot into the ship which would make it go up into flames, burning his body. These 'Ship Burials' were very important to the Vikings and these were almost always the only option of a send off. I researched Vikings. I researched their beliefs, their fashion, their way of living, how women contributed to society, how they are portrayed in modern day TV shows, their Gods, their mythology. I explored every corner possible of Norse mythology to get as much information as possible. I looked into the work of artist Johannes Gherts who depicts popular scenes from Norse mythology in his art. I own many books myself as Viking history is my 'hobby' and main interest. I already had knowledge which I had taught myself which I put into my project and research. 

My second idea was to use a real animal skull and make something with that. I do not see skulls as 'disgusting' or 'weird', They are very important - the skeleton is what keeps us together. The skeleton is the jigsaw to complete life. I own an ethically sourced animal skull and I became set on using that in my final piece as I think it represents my theme more than the first idea.  I still planned to incorporate Viking history into this second idea which I did. I had many photographs of deceased animals, bones and skulls. I had found these in my garden in the country side and I also included photographs taken at Tring museum, a National History Museum of taxidermy. I had a think about nature and I experimented with textures, surfaces and other items. Nature makes an important link to the theme of Life and Death. Nature is dying all of the time and then it is reborn again throughout the seasons. Trees let dead leaves drop, animals die, flowers die when picked and removed from the roots. I had an idea of placing an animal skull on top of a slice of wood which was now dead as it had been cut from a tree. I wanted to include leaves which overtime would die and would add to the piece. I also added crystals to the piece. Crystals are sourced from nature and are another one of my interests. 

My theme of Life and Death has always been the same. I have never doubted my idea for a moment. I think that the theme can be explored well. When I was changing my ideas for my final piece, I only changed my idea for the piece and I tried working that into the theme of Life and Death instead of changing the theme itself. I developed my ideas through experimentation and planning. Not a lot changed through my project, only my idea bur even then my second idea still had segments of Viking history within it. With the second idea, I included Viking history by drawing runes on the back of the skull and naming the piece after a great Norse figure and 'famous' Viking - Ivar The Boneless. 

The main material used in my project was bone. I used a full, real, ethically sourced badger jaw which I found myself. It was all in perfect condition - only missing the lower jaw but that made it stand freely a lot better. I included ivy, a slice from a tree trunk or thick branch (I cant quite remember) and crystals. I used clear quartz and ruby aura quartz and created a crown on top of the head out of crystals. I thought that would be more interesting than just placing them beside the skull. The crystals gave the skull a bit of 'beauty' as it was too large for me to bleach which I normally do myself with smaller bones. I researched into a lot of artists work. With my first idea of the viking ship, I only found a couple of artists as it was difficult to find artists who include Norse mythology in their work. I found a lot of artists who focus on life and death and a lot who work with skulls (my second idea). Some of the artists I researched for life and death were Adolf Hering, Arnold Bocklin, Alison Scarpulla, Stanley Sime, Marianna Stokes and Alfred Rethel. A lot of their works include the Grim Reaper and other death figures. The artists who I found who include skeletons and skulls are Damien Hirst, Nicolas Obery, Bjorn Sjoling, Hans Hacke, Sergio Barale, Brian Dettmer, Alain Bellino, This Is Ludo, and Demitri Bakogiorgis (who creates the skulls for Into The Fire jewellery). I also researched the Paris catacombs, human bones and animal bones. I also included my own photography.

A lot of these artists who focus on skulls made sculptures rather than drawings and 2D pieces which is why I chose to create a 3D sculpture. With 3D, you can look at it from different angles and there is always something to look at which makes it more exciting. With a 2D piece, you cannot see all angles, only a few. I wish I had explored Viking history further. Even though it was not my final project idea I still wish I had a lot more research as it makes a very interesting read. 

In my final piece, I have used different formal element. I included shape and colour the most. Shape is a major part of my piece from the shape of the wood which is an uneven circle, the shape of the ivy leaves and the shape and structure of the skull. My piece is made up of very earthy colours with browns, tans, creams and green colours. Line and symmetry is also a part of my project as the crystals on the head were placed in a way so it looks as though they are fanning out from the top center to either side, reducing in size from the middle. In my project I used ivy leaves which I glazed to keep them shiny and to preserve a little longer. The glazing was a success and the leaves are still looking fine aside from being slightly dry and crumbly. The meaning and purpose of my project was to show you that death can still be beautiful. When an animal dies I think some should be left to go back to the earth depending on the circumstance but others can be used and created into beautiful art. Animals knocked on the road or who died in a non natural way should be put in the earth and allowed to decay peacefully. I think other animals found in the woods which have simply died of illness or from another animal in a peaceful place should be okay to be made into art. Nature and death can still be beautiful and can still be made into art. I included Vikings into my final sculpture by drawing runes onto the back and including a Mjolnir (Thor's hammer) with it. I named the piece Ivar The Boneless after a great heathen army leader. He was born deformed and he had brittle bones. 

I am happy with my final piece. It was a last minute decision but I am pleased with it all the same. If I was to change anything, I would have included more work on my display of the piece. I placed my sculpture on top of a plinth with a brown velvet cloth. The background was white and I would definitely do different next time.

Thursday, 19 May 2016

Time Based EVALUATION


Time Based

For my Animation project, I demonstrated a thorough understanding of animating and media. I had never tried animating before and it has never been something I would think of doing but once I got the hang of it, I did thoroughly enjoy creating my animation. My ambitions for this project was for me to become confident with using computer programs as I am only used to creating art with pencil and paper. I think doing this project, it has helped me learn different skills and it has helped me broaden my 'comfort zone'. 

When doing this project, I researched into animating using Photoshop but I ended up not using photoshop. It was still helpful to learn more about Photoshop as before I could barely use it confidently, knowing what I was doing. I used an app on my tablet called Picsart which is available on all Apple and Android devices. I used a stylus to draw over images and create different effects and slides. 

I created a Stop Motion animation for my project. My theme for the project was David Bowie and my aim was to create a sort of tribute video in remembrance of him and his works. I made my animation brightly coloured and I included many things which relate to him such as stars, lightning bolts and planets. I chose to use The Girl With The Pearl Earring as my starter image. I thought that using a piece of art with a face, I could draw different David Bowie makeup looks using the Picsart app. I did that and created many of his famous looks including Ziggy Stardust and his blue makeup look from the Life On Mars music video. On top of that, I added some sci-fi music to fit with the Bowie theme. 

I have evidence of this project in my Time Based sketchbook. I have two storyboards as I had two ideas. The David Bowie one and another which I chose not do in the end (involving the painting called The Ambassadors). I had my animation handed in on time and all the research to go with it.

If I was to do this project again, I would go with the second idea I had as I quite liked both but I could only make one. My second idea was to use the piece The Ambassadors and the fur around his coat would come alive, jump into a spinning globe and the fur (fox) would be running through a forest. This animation would have a meaning behind it and probably would have been made with various drawings. The meaning would be to show that animals deserve freedom and it would show the fox sort of claiming his life back.

I enjoyed this project and if I could do it again then I would and I would use my newly developed skills to create something longer, better and more detailed.

Saturday, 20 February 2016

Game of Thrones EVALUATION


Game Of Thrones

My chair was inspired by Magdalena Abakanowicz, a sculptor who creates large humanlike figures made of sackcloth typically limbless, always headless and often in a 'praying' or sitting up position. Magdalena uses hessian (sackcloth) to cover the main amount of her humanoid sculptures made with either clay or a wire cage. Abakanowicz's sculptures are always larger than life size which is why I decided to make my chair very small. I decided to go with opposites instead of straight up copying her work. My chair is around 9cm in height wheres as her sculptures are usually around 9ft. 
I chose to create a stool instead of a 'chair', I thought that worked better with my ideas. 

I made my chair out of clay and hessian. I began by creating a human back shape. I created the basic shape of the hips, bottom and shoulders and began using the clay to create shoulder blades, a spin, small details such as dents and dimples and then I began creating the shape of the bottom. I am not too sure if my sculpture is a male or a female, I never really had that thought in mind, I sort of just 'made it'. 

I then created a simple square shape and attached that to the shoulder area. Under that square in the centre I added a long cylinder shape. I was going to add a human like foot to the bottom of the cylinder, but as Magdalena created limbless figures, I thought I would leave the foot out. 
Finally, I added hessian, the main part of all of her works. I simply used a glue gun and glued a square of hessian on top of the square 'seat' and I then wrapped and glued Hessian around the cylinder leg.
 
I did a lot of research for Abakanowicz's work, making sure I had lots of facts and information about her and her work. I was finding out how she made her sculptures and then I began to try and figure out a way of how I was going to make mine similar to hers without making it an exact copy. 

Whilst working on this project, I learnt lots of new skills and I have developed different ways of doing my art. I used clay which I rarely have used before but I did not fire it and I let it harden in the air. I also used hessian which I had never used before. I found using the clay difficult to begin with as I had never really used it before to create anything with detail, especially a body shape. 

Overall, I am happy with my final chair. Though I would have changed a few things such as size and possibly firing it in the kiln, I have learnt for next time and if I ever get the opportunity to use clay again, then I will know for next time. Next time if I were to do this project again then I would make my chair a lot larger so that I had more space to create more visible details. On my chair I created curves, a spine and back bones and then I added small textures to the back to make it look more realistic. Next time I would like to experience with body shape. My chair this time was not created with a gender in mind though I would say this does look more like a female body. Next time I would like to create a bulkier male body as I have never done that before. Next time I would maybe added a neck or limbs as this chair was supposed to look like Magdalena Abakanowicz's praying sculptures and from behind you cannot see no arms or legs as they would be at the front. 

Monday, 18 January 2016

Unit 9 - Creative Industry Based Jobs


Blacksmith

Blacksmiths shape and join metals such as steel, iron, copper and bronze to make decorative and everyday items. These items include iron gates, railings, furniture, tools and horseshoes. To be a successful blacksmith you will need to have good hand-eye coordination and practical skills. There are not many entry requirements as you would be self employed, all you would need is someone willing to teach you the trade. You can become a blacksmith by learning the trade from an experienced blacksmith who is willing to offer on-the-job training. You can also complete a full-time college course but these are difficult to find and are therefore not required however it is helpful to have experience. 

The expected income can vary depending on the type of blacksmith work you are doing and who you are employed by. As a guideline, you will probably start on a salary of around £12,000 a year. Some other blacksmiths may start employers on £16,000 a year. With experience you could earn between £25,000 and £30,000. As a self employed blacksmith, your earnings would vary depending on the amount of work that you do.