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.

ATV Part 4 Yarn and linear exploration Tutor Feedback and reflection.

Summary of tutorial discussion
Great use of drawing to explore your ideas and document your samples. You’ve carefully selected media to capture the qualities of your yarn materials.
You liked the neutral yarn collection best as the colour is more cohesive, but it’s not as exciting in the use of materials or structure. More traditional and well crafted. Try to critically evaluate the outcomes more in this way. Which do you like and why? How could they be improved?
“I feel I have pushed a lot farther in this assignment and have been more experimental, allowing the ideas to form from one piece to another, keeping an open mind about the developments and the interpretation of yarn.” – This comes across. The development feels fluid and logical, playful and experimental.

– Logical exploration. Sketchbook ideas easy to navigate.
– Some great pages of idea exploration through drawing! Drawing is a real strength. You’ve drawn to propose ideas and drawn from your sampling. Continue to use drawing to capture ideas, especially those you might not have time to make (like the organza translucency ideas).
– Good use of short notes to document evaluations.
– To push your drawing to the fore, the sketchbook could have less “narrative” in writing – e.g. “I have never done weaving before…” Reduce to bullet points. Don’t write draft reflections in the sketchbook.

– Research highlighted as not enjoyable or inspirational.
– The writing is a little descriptive and mainly summarises what you’ve read, rather than what you’ve learned.
Rather than reviewing each link, you could have written in a more essay-like format to discuss overall themes, ideas, new innovations emerging from the reading over all.

Learning log:
– Don’t duplicate content from the sketchbook. Try to think of the sketchbook as the ‘in-project’ document –where you explore your ideas and samples as you’re working – and the learning log as a place to reflect on and evaluate your work and approach to it.

– End of project reflection evaluated your approach and your process well. Be more specific about what work you think is the strongest or most interesting, and why. Use photographs to visually communicate these too us.

Drawing: Great use of drawing to explore ideas and document samples. You’ve thoughtfully selected media to draw the different yarn materials.

Sketchbook: You’ve drawn samples you didn’t have time to make, which makes the sketchbook a great resource for future work.

Sampling: Good range of materials and approaches explored.

Areas for development

Sketchbook: Reduce the written narrative to allow your drawings to do the talking.

Research: Focus on what you’re being asked to study, and what you hope to understand from the research. Write answers based on this.

Evaluation: Highlight pieces / collections you think are most successful. Use photograph to zoom into your samples – to select areas you like most.

Pointers for the next assignment
• Reflect on this feedback in your learning log and write actions based on strengths and weaknesses discussed.

Reflection on tutor feedback:

I am very happy with my tutor feedback for this assignment. I find the video tutorials invaluable for discussing and explaining why I did certain things. I seem to find it easier to evaluate my work when I am asked direct questions about it in the tutorial, rather than when I am trying to do a written evaluation of my work. Discussion through talking seems to better highlight how I feel about my work so I think I need to go back and edit maybe or add to what I have written after my feedback.

I need to keep a separate narrative of my work in either another notebook or on post it notes that can be removed from my sketchbook. I write everything down as I go along so I can remember everything when it comes to writing it up on my blog, but I totally understand the need not to duplicate as assessors may assume they have already read it in my sketchbook when in fact I may have added more detail in the blog write up. Also, I think the sketchbook will look nicer without lots of my messy writing.

I need to write in a more essay style way with my research. I need to write more about what I have learnt from the research rather than a summary of what I have read. I shall aim to research all the links, make notes and then write up what I have learnt or what has inspired me.

Remember to use zoomed in photos to show detail of more subtle pieces of work and to use photos in my evaluation to show which pieces I feel are strongest and why.

Formative feedback ATV Assignment three

Formative feedback
Summary of tutorial discussion
Strong crafting skills evident throughout.
Ex.3.2 highlights a sensitive translation of colour into yarn and thread. The mix of textures and surface qualities reflects the materiality of the painting nicely. The four smaller wraps translate the colour particularly well, with the crossing threads optically mixing the colours and creating lively constructed patterns.
The crafting and composition of the collages (ex.3.4) demonstrates an attention to detail. The hand-coloured papers have created unique compositions, with the varied textures creating lively aesthetics. A couple of the compositions could have been more different but the papers ensure they have a different aesthetic quality. Different background colours could have drastically changed the composition and could have been explored
more. Test and evaluate alternative compositions more regularly – either through drawing quick compositions, or in writing.
A systematic, methodical approach is evident in this submission. Your perfectionism meant that the work took more time than allocated, so consider exploring faster methods offset with more careful approaches could help speed the work up.
Learning log:
– Continue to refer to feedback from assignment 2 about the nature of the learning log.
– When evaluating your work, give more detail to explain the statements. E.g. “I feel I have chosen the right design for each collage and feel that they explore the exercise given for each one.” What does ‘right’ mean? Can you describe the qualities of the composition more descriptively to communicate why the piece feels ‘right’?
This will also help you unpick why something feels ‘right’ or ‘wrong’, and develop your use of subject specific terminology (like composition or terms relating to colour theory).
Research Points
– Good structure to the analysis which helped you respond to the questions posed with a sense of objectivity.
– But do you like it? The analysis lacks a more personal response to the work. Whilst the research points require you to demonstrate your academic writing and research skills, there also needs to be some personal commentary to communicate what you think about the work and how the research could influence your practical work.
– Use the ‘Reflection’ summary to discuss what you’ve learnt and how the research will influence your approach to the practical exercises. You could also compare and contrast the designers you’ve looked at, if appropriate.
Gouache: Good quality gouache paint should create a more consistent, ‘flat’ colour. Purchase better quality gouache for more exacting colour mixing in future. (We also discussed that acrylic isn’t ideal as its shiny, plasticky surface reflects more light and alters the read of the colour.)

Sketchbook is used well to explore ideas and make
Evaluation: Be more specific in explaining your
Good use of drawing to test ideas in the sketchbook

Sensitive colour translation.
Strong crafting skills; attention to detail.

Areas for development

Use drawing more extensively to explore ideas
and make visual notes.

Research: Include more of ‘you’ in your analysis.
Balance the subjective and objective analysis.

Drawing compositions to test various options (not just
to visualize one idea). This might have helped you
explore options

Challenge your perfectionism sometimes by trying
quicker or rougher approaches, especially earlier in the
project when the emphasis is on exploration. You can
then refine these in a more time-consuming sample.
Suggested reading/viewing
This is a good blog post about a strong ATV assignment 4 submission:
Pointers for the next assignment
• Reflect on this feedback in your learning log.
• Evaluate the next assignment against assessment criteria (or start with this assignment) to develop your awareness of what the work is being assessed against.
• Apply the same sensitive use of colour in the yarns. Evaluate how to optically mix different coloured threads / fibres to create different hues.
• Explore some quicker approaches along your naturally more careful and time-consuming methods. Perhaps challenge yourself to, for example, produce 5 quick yarns in 30 minutes and see if interesting
ideas emerge.
Tutor name Cari Morton
Date 8th June 2018

Reflection of feedback

I am pleased with the feedback given and I find the skype tutorials very valuable in better understanding the feedback given and expressing reasons why I did, or did not do something.

I am pleased I experimented with making 4 smaller yarn wraps, using different wrapping techniques, weaving and stitching as I feel they translated the colours and textures from the painting better than the straight forward wraps.

I agree that I could have done some different compositions with the collage as they were all the same, I really don’t know why I didn’t as it seems so obvious now but at the time I felt I had to keep them close to the original image. I should have experimented a bit more with the layout like I did with the papers I used, for a better range.

The work always takes me so much longer than the 10 hours a week. Maybe some of it is down to my perfectionism but I do feel that 10 hours a week is not enough to produce a good enough standard of work. If I stuck to the 10 hours I know I would not get half the amount done. Maybe I am just a slow worker!

I agree I need to give more reasons why in my work. I find this quite hard as I can be quite intuitive and sometimes just go with something as it feels right or is pleasing to me and there is no other reason. I do struggle with worrying if my work is right- in terms of what the brief is asking for- as in some places I don’t feel the brief is written that well and it can be difficult to work out what you are expected to be doing. I have been happy with what I have produced but my worry is it does not meet the brief in some areas.

I do need to include more ‘me’ in my research. Some of the research is very fact based but I will try a more personal response.


Tutor Feedback and my reflection for ATV Assignment 2

Formative feedback

Course/Unit A Textiles Vocabulary Assignment number 2

Type of tutorial Video

Assignment 2 and 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 continue to 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

Sensitive paper manipulation with varied and playful exploration of media. You said you struggled with how to translate the drawings into manipulated paper but that effort to source new papers and employ different approaches is clear in the work. You have thoughtfully developed the marks and qualities of the drawings into creases, folds and patterns. Keep this new learning in mind even when you approach exercises which feel easier – keep searching for ways to do things differently.

The stitch enhances and extends the paper textures well. Occasionally the interaction between stitch and texture could have been more sympathetic – e.g. black thread overpowered the white-on-white texture below – but generally the stitch was sensitively applied.

Sketchbook vs. learning log

– The sketchbook is the place to document the process in depth. From looking through the sketchbook and samples we should be able to see the development of your ideas, what media and materials you’re testing, what you think about them and how you could develop them as well as how you actually develop them. You can include small swatches of materials and samples too. (Any chunkier samples can be kept separately.)

– Integrate your artist research into the sketchbook: Include small images of work which is inspiring and directly informing your own, followed by notes and drawings about how you could develop from it.

– Use the sketchbook as a place to have a conversation with yourself – to explore a range of options, test ideas, think through problems etc. It being a bit messy is fine – it should be an organic document. Use brief notes to evaluate the strengths/weaknesses in the work.

– You feel you’re spending much more than 20% on the learning log, in part because you have both a physical book and blog, but also because you are writing what you have done step by step. In the learning log entries, review and evaluate your work at the end of an exercise or a project (see notes below). You can write up your evaluation of the artist/ designer work in the log more fully. The log is where your academic writing skills are assessed, so whilst we want the discussion to feel personal, it will be more formal in tone than the sketchbook.

Improving evaluation

– Spending less time writing up what you did in your learning log will naturally focus your energy on summarising and evaluating.

– Your evaluation of the samples created in the assignment is good – you are specific about what you like and why.

– When evaluating, consider different perspectives: your own intuitive response; what the brief asked you to do and the different aspects within that (in the case of assignment 2: scale, placement, repetition); what others may think. If you really like a sample force yourself to analyse what could be improved; if you don’t like it, make yourself consider the strengths or areas which have potential. This will help you be more specific about exactly what you like and dislike, and build your ability to communicate your own work.


Thoughtful translation of drawn marks and details into paper and stitch qualities.

Sensitive selection and manipulation of materials.

Great that you include yarn wraps / material samples with the details of where they were from – this technical information is good to refer to in future

Areas for development

Evaluation – build on huge improvement made in Part 2 by differentiating the development and evaluation done in the sketchbooks and that done in the log.

Review use of learning log as above. (Don’t have both paper-based and blog.)

Your drawing is really strong so keep drawing in the sketchbook to think through your ideas. Draw from your samples to propose alterations or new versions.

Suggested reading/viewing


Now is a good point to consider presentation for assessment, so you can keep on top of this as you go. E.g. the paper manipulation samples could be simply collated into a series of folded paper wallets with an image of the original drawing to start each section. Look at:;;

Great that you’ve been engaging with the Facebook group and other students’ blogs. The key to not feeling worried about work other students are producing is to see more of it so you can be inspired by the range of different approaches, rather than how different theirs is to yours. Well done for getting your Instagram account started. Read:;

Pointers for the next assignment

• Reflect on this feedback in your learning log.

Tutor name Cari Morton

Date 29th March 2018


Reflection on feedback

This was my first video feedback session and I feel I gained more from this than just a written feedback as I was able to explain my thinking on certain samples and more fully understand the context of the feedback given by Cari.

I did struggle somewhat with translating the drawings into manipulated papers, but still keeping the link to the original piece. I understand that each project moves you forward from the last but I feel it should still be cohesive, you should still be able to see a link from the original piece you are working on, no matter how thin that link becomes as you move forwards. I could have made many different paper samples but they would not have been based on my drawings, so I had to work hard to push the boundaries and find new papers and methods to develop my pieces. Overall I was pleased with the outcome.

We discussed the black thread on the white textured sample and I could see once it had been pointed out that using white thread would have been more sensitive to the original drawing, a thought that had not occurred to me at the time of making the sample. This I will take forward as more experimentation needed on sampling.

We had a good discussion about the sketchbook and learning log. I was keeping a sketchbook, a separate book for the learning log with all my notes and annotations in and all my ‘messy’ thoughts, and also writing up more extensively the learning log book onto my learning blog. I feel I have a better understanding now of the different methods of recording my progress.

I still need to build on my evaluation skills and I have printed off some of the suggested articles to read through. I will also go back and arrange my samples into paper folders to make it easier at assessment.

Reflection on tutor feedback

Reflection on feedback for ATV 1


I was very nervous about my first Tutor feedback. Having been out of this world for 20+ years it was very daunting sending my work off to be examined and critiqued.

However, I was very pleased when the feedback was returned. It was very positive and encouraging. It was obvious that the tutor had taken the time to look through my blog and make comments in the formative feedback. I was worried that there was a lot on my blog as I had made the decision to put all of my learning log on the blog and just keep a paper learning log for my rough notes, and that because of this it would only get a cursory glance but I am very happy that this was not the case.  I would have liked a little feedback on the essay type questions, especially the ‘how textiles can tell a narrative’ piece as I worked hard on that piece and it would have been good to know how my research and essay writing skills stand.

The overall comments were very good and confirmed that I was working along the right tracks, something that I was unsure of due to working alone with no feedback until it was all completed.  The critiques were all very helpful and detailed and mainly about needing to do more self-evaluation and to keep referring back to the assessment criteria.  I liked that comments from my blog were referenced to clarify what the tutor was saying and references were made to specific pieces of work- it wasn’t just a blanketed, generic response. My tutor gave me lots of pointers for the next assessment and I found the feedback extremely helpful and it has boosted my confidence and I feel a lot more secure moving on to part 2. I was asked to write a list of my strengths based on the feedback and also a list of areas for development which has also been extremely useful.

List of strengths based on feedback:

  • Strong drawing skills
  • Clear affinity for colour
  • Willingness to challenge myself and try different approaches
  • Conscientious approach to visual research
  • Good balance of careful studies and quicker, freer renderings
  • Used lots of different marks and lines to depict objects
  • Good start with the learning log/blog
  • Artist research was well critiqued and thoughtful and questioning
  • Selection and manipulation of collaged papers demonstrates an affinity for mixing patterns and textures
  • Good crafting skills
  • Sketchbook used well-investigative and experimental for natures larder

Areas for development based on feedback:

  • I need to be more critically self-evaluative
  • I need to evaluate my work against my own intentions of what I wanted to achieve as well as the course content
  • I need to critique my work as I go along, what I like, what I didn’t like, what I could have done
  • I need to state what I have achieved and what I am struggling with to help build confidence and demonstrate evaluative skills
  • My research on point 2 was more biographical rather than what I thought of the work so I need to include a more personal response to the work
  • I need to focus on evaluation as much as documentation on my blog

How to extend the strengths:

  • Continue trying different approaches, experiment more and try to think outside of the box
  • Don’t get hung up on ‘right’ or ‘wrong’. I feel as long as I can explain why I have done a certain piece that should be more relevant than thinking I might have done something wrong. I am coming to understand that there is not really a right or wrong way, everyone’s approach is going to be different. I just need to know why I am doing the things I am doing.
  • Look at other students work to inspire- don’t compare!
  • Understand that some of the work I create won’t turn out how I expected-learn from it and move on- try not to be such a perfectionist!

How to build on the weaker areas:

  • Read the recommended articles and books my tutor has given me to help with self-evaluation and drawing research. (I have purchased Vitamin D by Emma Dexter but The drawing book by Tania Kovats is out of my price range, I can’t find it cheaper, or an online copy and my local library doesn’t have it!)
  • Self-evaluate more. This does not highlight my weaknesses, it shows that I can step back from my work and be able to see what is going right or what is not working. It gives a basis for helping make more decisions in what directions I can take my work and how I can improve on something.
  • Same thing if I am struggling with something- say why I am struggling, what I am finding difficult? Look at how I can overcome this, is there another way or method I can use or do I just need to pass on this and move on to something else.
  • Keep going back to the project criteria to make sure I am covering what’s needed
  • Sum up my blog posts with a review of what I have achieved, how I achieved it and what else I might have done
  • Give more personal responses to artist research, not just sticking to biographical or fact giving

So, all in all very please with my first feedback. The encouragement has really boosted my confidence and made me feel much better about moving onto part 2. I shall be checking back at all my pointers to help improve my work in the next stages. Thanks Cari!

Tutor Feedback for ATV 1

Formative feedback

Course/Unit A Textiles Vocabulary Assignment number 1

Type of tutorial :written

Overall Comments

You’ve made a good start to the course, Sam. Well done. You’ve got strong drawing skills, a clearly affinity for colour and demonstrated a willingness to challenge yourself to try different approaches.

The feedback below makes a few comments about the strengths and areas for development in each project.

Assignment Feedback

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity, Context, reflective thinking, critical thinking, analysis

Introductory Project: Natures Larder

This project introduced me to your sensitive drawing skills and conscientious approach to visual research. You’ve gathered a good range of initial imagery and carefully deconstructed the theme through mind-mapping. There are some beautiful drawings within this body of investigation. You’ve used a range of approaches which has resulted in a diverse collection of drawing. I particularly enjoyed the careful rendering of the mushrooms, sweet chestnut, baskets and fabrics, as well as the lively energy of the quick line drawings of your gathered objects.

You’ve achieved a good balance between longer, more careful studies and quicker, freer renderings. It’s great to see you exploring different marks and lines to depict objects in your sketchbook (e.g. your multiple drawings of baskets and hessian).

You’ve made a good start in your learning log for this project but you could have been more critically self-evaluative. E.g. “This is the feeling I am trying to capture with this theme of ‘Nature’s larder’. I am not sure if I have achieved this but I have thoroughly enjoyed interpreting this theme “. Rather than saying you aren’t sure, articulate how you feel you have achieved it and how it could be improved. Refer back to your earlier mind-mapping and the intentions you set out at the beginning, so you are evaluating your work against your own intentions as well as the course content. Similarly, critique your work as you go more regularly. (Like when you stated you liked your white prisma pencil drawing of cheesecloth: I like the contrast of the white on the black paper.)

Your end of project evaluation was good – you evaluated yourself, the methods and the work. Your artist research was well critiqued and thoughtful – you pose interesting questions about the work. Great start.

Project 1: Select and identify

The thoughtful, questioning approach evident earlier is continued in your discussion of what textiles is, and in your analysis of your chosen archive items.

Project 2: Record and capture

You’ve researched your items well through drawing, photography and taking notes. You’ve drawn both fabric and form (e.g. cut of the waistcoat), which gives you a great range of information to use later. Overall, you’ve developed a varied body of drawing with sensitive mark making, playful exploration of quick line methods and varied choice of composition. Your selection and manipulation of collaged papers for ex.1.5 demonstrated an affinity for mixing patterns and textures, which I’m looking forward to seeing extended in future work. Definitely refer back to collage as a drawing method in future projects.

“I found the lace net background very frustrating to draw. It is so structured and precise that it would take hours to draw it correctly but a lot of the other marks I tried didn’t really capture it that well”. You have captured the structured repetition well, even if it is not as regimented and exact as the fabric. Try to state what you have achieved, as well as what you’re struggling with, to help build confidence (and demonstrate your evaluation skills). This will also help you move beyond “right and wrong” to consider what’s appropriate in the context of an exercise and your intentions.

Whereas your research for the introductory project analysed the nature of the work, the research for Research Point 2 focusses more on biographical detail, rather than how they portray florals and what you thought about the work.

Project 3: Picking and portraying (collect flowers, select media, draw flowers x10)

Lovely looseness and fluidity in your use of watercolours, alongside more constrained and controlled line drawings. There’s quite a graphic quality to some and more painterly approach in others. You’ve used colour really well – you’ve applied the media carefully (good crafting skills) and combined colours sensitively (pink and green can be hard to combine well). The lino cuts were a great way to extend your drawings. It’s a fantastic way to test different colour combinations (e.g. monochrome) without the labour of redrawing an image. A clear interest in pattern and motif has emerged through this work, as well as an affinity for colour, which has resulted in some striking images.


Demonstration of technical and Visual Skills, Demonstration of Creativity

– Your sketchbook was well-used in nature’s larder and contains lovely drawings for Project 3. It felt most investigative and experimental in natures larder, where you explore lots of ways of making marks e.g. for the basket, so keep using the sketchbook in this way for future projects.- Make brief evaluative comments about the drawings as you go (in addition to notes about the media/technique). This more intuitive evaluation is great to capture in project, rather than waiting to write it up on the log.

Learning Logs or Blogs

Context, reflective thinking, critical thinking, analysis

– Focus on evaluation as much as documenting what you’ve done. Consider summing up each post with an evaluative review of the work you’ve posted, to ensure you are critically evaluating what you’ve done.

– Evaluate the quality and quantity of the work against what you were asked to do in the project/exercise and your own intentions – what were you trying to achieve, have you achieved it?

– To ensure contextual research informs and influences your work, choose examples which relate to your ideas/processes/theme etc., and analyse the examples in relation to these elements. Biographical information provides an idea of context (era, intentions, method, where the work is seen) but focus more on your interpretation of the work, supporting this with research into what the artist, critic and/or other commentators think.

– The research for David Hockney wasn’t included on the log. All artist research contributes to your grade for ‘Context’ in the assessment criteria, so ensure you include this research on the log for assessment.

– Reduce the size of the font so it’s possible to view more content per page. (It looks about size 14-16 at the moment, so size 11-12 is more appropriate.)

Suggested reading/viewing


I was really interested in your view of what is and isn’t drawing. To continue your drawing exploration, look at the Jerwood Drawing Prize (2017 and earlier years) and the following books: The Drawing Book by Tania Kovats; Vitamin D by Emma Dexter. You talk about the boundary between “drawing and art”. Drawing is a process used by practitioners in art disciplines (e.g. sculpture) and design contexts (e.g. fashion, product, architecture). Have a look at Debbie Smyth and Monika Grysmala and how drawing can become 3D and spatial – at what point does a line moving off a page become sculpture and vice versa? Equally, at what point does a drawn image become a ‘design’ or a drawing a pattern? I’m not questioning the line you have drawn– I’m just giving you more food for thought…

Look at these blog posts about reflection:

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Write a list of strengths (most important to build confidence!) and also areas from development based on my feedback above. Consider how to extend the strengths and build on the weaker areas in the rest of this course – make notes about how you want to act on these.
  • Also evaluate your work against the assessment criteria. These personal evaluation skills will lead to growing confidence and an understanding of what you’re being assessed against if you decide to go for assessment. (Do this at the end of each part from now on.)

I really enjoyed your first assignment, Sam. I look forward to Part 2.

Tutor name Cari Morton

Date 8th January 2018

Next assignment due TBC by email