ATV Part 5- Building a collection Tutor feedback and review

Apologies, Sami. I should have included the following box on your assignment 4 feedback:
Assignment 4 Assessment potential
I understand your aim is to go for the Textiles Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.
Summary of tutorial discussion 

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
– Colour continues to be a strength. The potentially murky seaweed colours are lifted by the coral orange and teal in your drawings.
– Your early visual research (drawings / collage / gelliprints) explore shape, line, colour and texture beautifully. You translated the textures and colour into your textile sampling, the clarity of the shape and line is less well explored.

The ideas I took from the collage’s and monoprints was the focus of the seaweed pod shape and the lines of the fishing net and rope, which I do feel I explored and translated well- I used fishing net and rope in my pieces, I mimicked the line of netting by looping strands of fishing rope in several of the pieces, or sewing net like stitches. The seaweed pod shape is present in all the pieces in various forms, whether that be coiled wool, tyvek beads or the actual finished shape of the sample.
– There’s a clean minimalism to your earlier visual research – in part due to the white background but also due to the crisp lines. The textile work is visually much heavier and at points could have included more clarity, through delineating shapes or using perhaps more negative space. We discussed what you felt what the role of that early work was, and how you could evaluate more carefully to identify developmental value.

As I discuss in my learning log, and discussed with Cari during tutorial, the early drawings with fineliner and watercolour in my sketchbook are observational drawings from life. I recreate what I see in a realistic way so I can really get a feel for the subject or pieces I am drawing. I then explore different ways of making marks and choosing lines and patterns to take forward- collage, mono prints, lino prints. Its these secondary pieces I work with to develop the textile concepts, not the original line drawings, as these are usually more abstract and lead me more into ideas for textile sampling. I include the line drawings in my sketchbook as they are an important part of my process of ‘seeing’ before I begin to narrow down on shape and form. So, in conclusion, I wouldn’t say there was a disconnect between the line drawings and the textile samples- they are all part of my process.
– The colour and texture palette within the samples is strong – diverse, enticing and rich.
– Evaluate your capsule collection as a set, as well as individually. Consider how well they work together, how the collection could have improved, and what you would do differently following feedback.

I intend to add to my work by taking photos of the collection together and giving more evaluation of the pieces as a collection.
Demonstration of technical and Visual Skills, Demonstration of Creativity
– Sketchbook full of lively drawing. You use drawing to study, to design and to propose- great!
– Your fine liner drawings are strong, with a graphic, stylised quality, and you adapt the fineliner to create a range of marks and line qualities. However, your use of the fine liner feels like a habit. Explore ways of defining the outline without the need for a black line (or choose a more appropriate colour).

I can see how my use of fineliner may be a habit as I use it to do my observation drawings as I feel it gives the drawing a clarity which helps me pick out pattern and shape to take forward. I will be more mindful in future to use different mediums.
– More thoughtful selection of a tool/media in early drawings would have varied the aesthetic and given you more varied visual information to take into the textile samples (e.g. a blunt coloured pencil for a fibrous edge, a sharp one for cracks on a shell). (We talked about this strengthening the link between your visual research and later sampling.)
– Sketchbook clearly presents your ideas but try to work directly onto the pages. You were consciously trying to present your ideas more thoughtfully (based on Carolyn Saxby) but maintain a balance between it being a working document – a place to think, test and explore- and a tool to communicate / present.

I wanted to be inspired by Saxby’s sketchbook style which is why I did my pages with lots of white space. I liked the cleaness of it and felt that having the images in the middle of the page gave a bit more focus. The reason I didn’t work directly into in on some pages is because I didn’t know which drawings I would want to mount separately in the final project. Drawing on pieces of paper allows me to look at the work in one go, evaluate which drawings I feel are strong/relevant and which deserve to be mounted or placed in my sketchbook.
Context, reflective thinking, critical thinking, analysis
– The research focuses heavily on the textile art context. Whilst this is relevant to your intentions and interests, look more widely and evaluate your work in relation to different contexts. E.g. your visual research relates well to fine art printmaking but also to more commercial surface pattern design. Looking at a broader range of disciplines would provide more varied inspiration and broaden your understanding of what textiles can be.

To be honest I didn’t really see any prints when I was doing research on sea themed art, it was mostly 3D pieces that I was inspired by. A valid point to look at next time.

– You referenced Carolyn Saxby often – in relation to your sketchbook presentation, style of image making and also your textiles – try to draw inspiration more widely. Whilst you looked at a range of artists, you referred to Saxby only. Synthesise a range of approaches rather than one person’s work.

The brief asked us to choose an artist to be inspired by, which is why I chose one artist-Saxby. I included other artists work that inspired me in my sketchbook and made a Pinterest board of 100’s of different works which inspired a sea theme to me. Link is on my blog to the board.
Learning Logs or Blogs/Critical essays
Context, reflective thinking, critical thinking, analysis
– One of your last posts includes a stream of photos of the sketchbook – don’t duplicate what the assessor will already have seen. Use images to illustrate points you make. The learning log is an academic document rather than a ‘blog’. The assessors refer to it to enhance their understanding of your work – primarily to look for evaluation and analysis of your own work and artist research.

I will remove the sketchbook page post. I put that on so that other people who may be interested or following my blog could see the sketchbook pages as they wont get to see it in person.
– The sketchbook drawing, collage and printmaking contains strengths less evident in the textile sampling (see above). More critical and objective evaluation of the strengths, weaknesses and potential of this work might have identified strengths in pattern and line which could have been incorporated into the later sampling.
Evaluation of the role and value of that earlier drawing would also be beneficial – what were you exploring, what did you learn, what worked well in that work, how can you build on that in the final sampling?
Pointers for assessment
• Reflect on this feedback in your learning log.
• Read back through all assignment feedback and then review your learning log and work with my feedback in mind. Are there things you could improve?
• Presentation: As discussed, ensure that assessors can quickly determine each of the 5 assignments and the development logic within each one. (Approaches discussed: numbering samples, presenting some on card, printing photos of close ups / selected compositions within samples (as evaluation / selection of best bits) / photos of samples against white or on beach.)

I have gone through all previous assignments and ensured that everything is presented in a logical way, with numbering and photos as reference.
• Write a holistic review of the course as a whole. Consider what you’ve learnt, what your strengths are, areas for development and list intentions for the next course.

I had done a little statement about the course as a whole but I will expand on it.

I would like to say a big thank you to Cari Morton for being my tutor for this course. Your feedback is always honest and gives me lots to think about! I have enjoyed our tutorials and hearing your thoughts about my work and I thank you for your support.