Course Title: Originate a body of independent creative work
Part B: Course Detail
Teaching Period: Term2 2017
Course Code: VART6376C
Course Title: Originate a body of independent creative work
School: 340T Art
Campus: City Campus
Program: C6149 - Advanced Diploma of Visual Arts
Course Contact: Deborah Williams
Course Contact Phone: +61 3 9925 4472
Course Contact Email: visualarts@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Deb Williams deborah.williams@rmit.edu.au
Loretta Quinn loretta.quinn@rmit.edu.au
Saffron Newey saffron.newey@rmit.edu.au
Nominal Hours: 75
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
Nil
Course Description
Creative practitioners at this level have a capacity for independent thought and self-direction that allows them to conceive, plan and realise a body of work of a professional standard. In this course you will engage with peers and industry networks in ways that develop and confirm your place as an arts practitioner. This course allows you to develop and extend your skills with materials, processes and techniques. There is an expectation in this course that you will work independently to conceive, plan and realise a coherent body of creative work.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUAPPR601 Originate a body of independent creative work |
Element: |
1. Develop conceptual thinking |
Performance Criteria: |
1.1 Identify potential for individualised or specialised research based on current practice 1.2 Investigate new sources of ideas, trends and research opportunities 1.3 Evaluate own practice to evolve personal ideas with due consideration of intellectual property requirements 1.4 Use critical analysis to challenge assumptions, preconceptions and norms, and evolve ideas and innovative approaches for own work 1.5 Hone and adapt ideas for work and personal goals, based on emerging ideas and research |
Element: |
2. Seek professional opportunities and engagement |
Performance Criteria: |
2.1 Pursue opportunities for professional work based on established goals and aspirations 2.2 Evaluate potential commercial opportunities as part of a viable professional practice 2.3 Engage with professionals within and outside the arts community to further develop own ideas, professional identity and opportunities for work 2.4 Establish sustainable ways to support ongoing professional engagement |
Element: |
3. Plan an independent creative project |
Performance Criteria: |
3.1 Integrate individual research, personal ideas and professional realities to confirm the concept and strategy for a body of creative work 3.2 Develop and implement a plan incorporating objectives, resources, risk and contingency planning, budget and timelines, adjusting plan as necessary 3.3 Consider and integrate the promotion, exhibition and communication of the work in the planning process |
Element: |
4. Realise the body of creative work |
Performance Criteria: |
4.1 Integrate command of technique, materials and process to create finished work of professional standard suitable for the public domain 4.2 Deepen individual engagement with techniques, ideas and the relationships between them 4.3 Apply critical and creative thinking to challenge, adapt and refine the creative work 4.4 Further evolve and refine ideas through processes of experimentation and exploration 4.5 Address the disparate challenges of the project, adapting the project approach as required to complete work on time and within budget |
Element: |
5. Evaluate professional work |
Performance Criteria: |
5.1 Seek and apply constructive feedback from others to improve own work 5.2 Evaluate work against planned strategy for own creative practice 5.3 Evaluate own work and technical skills in the context of work by others to extend own practice 5.4 Adjust work processes and practice as necessary to improve technical, conceptual and commercial outcomes |
Learning Outcomes
On successful completion of this course, you will be able to:
- Apply critical thinking and analytical skills to make judgements about relationships between painting materials, techniques and processes
- Create a body of work that has refined painting skill and technical ability
In this course you will develop the following program capabilities:
- Self-management and planning skills
- Skills to create work to a paraprofessional standard
Details of Learning Activities
Your learning activities will take place in a studio. You will complete exercises and industry style projects. You will also be required to undertake independent study.
RMIT will provide you with resources and tools for learning in this course through our online systems. Learning resources include access to the studios and computer laboratories and relevant software. You will also be expected to make use of the library resources.
In this course, you learn through:
1. In-class activities:
- Peer teaching and class presentations
- Group discussion
- Studio work
2. Out-of-class activities include:
- Reading articles and excerpts
- Preparing for discussion
- Project work
- Independent research
This course is clustered and delivered in conjunction with VART6313C Extend expertise in a specialised art form to professional level.
The course provides individual specialisation in three areas which include painting, printmaking and sculpture.
Teaching Schedule
Students undertaking the Advanced Diploma in Visual Arts will be provided with an individual studio space to support their learning. The allocation of studios allows for a self directed learning approach for students. You must complete a studio contract and adhere to the working conditions of an artist studio including maintaining Occupational Health and Safety standards and working in a shared, communal space.
In the first week of the program, you are require to set up and move into your individual studio space.
WEEKLY TRAINING SCHEDULE FOR FOUR SPECIALISATIONS
PRINTMAKING SPECIALISATION
| WEEK | COURSE CONTENT | ASSESSMENT REQUIREMENTS | ELEMENTS |
| 1 |
Overview of semester delivery. Course information and requirements Project outline disseminated before semester break Project 1C A self-motivated and directed body of work spanning the semester Submission of 1st draft of independent project |
Outcome Proposal, conceptual, visual, and technical research, completed allotment of preparatory drawings and experimental work, Resolving a body of work Resolved works minimum 5 editioned prints (edition size minimum of 3),or a substantial unique construction using the multiple to be discussed with staff. |
1-7 |
| 2-4 | Studio: Proposal development, material and conceptual preparation |
Resolving a body of work Development of written skills in the production of professional proposals. Expansion of skills with an extended range of materials and techniques in the production of original prints. Integration of historical and contemporary influences and philosophical concerns in the development of printed images Application of new and emerging technology in the production of original print |
1-7 |
| 5 | Demonstration on making concertina artist book | Construction and resolution of book | |
| 6-7 | |||
| 5 | Critique folio, technical and conceptual, to enable effective use of time in the lead up to assessment. | ||
| 6 | Mid semester break |
Set projects including preparatory work. See above Visual Journal. For all projects: Students will be required to document in their journal process specific procedures, use of materials and equipment, techniques with visual exploration and experimentation. |
|
| 6-7 |
Independent exploration Ongoing project work |
Self Assessment kit | |
| 8-10 | Peer reviews including Self Assessment kit |
Individual student presentations on evolving proposal and subsequent outcomes Discussion and critical evaluation of own practice, and the practice of fellow students. Discussion of contemporary and historical contexts of Printmaking |
|
| 11 |
General Studio, individual tutorials, Proposal discussion, Technical support Self directed projects |
Resolving a body of work Development of written skills in the production of professional proposals. Expansion of skills with an extended range of materials and techniques in the production of original prints. Integration of historical and contemporary influences and philosophical concerns in the development of printed images Application of new and emerging technology in the production of original prints.
|
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| 12-14 | S
General Studio, individual tutorials, Proposal discussion, Technical support Self directed projects
|
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| 15-16 | Final resolutions for assessment
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| 17 | Assessment |
Resolved works minimum 5 editioned prints (edition size minimum of 3),or a substantial unique construction using the multiple to be discussed with staff. Student staff print exchange print Content/requirements |
SCULPTURE SPECIALISATION
| WEEK | COURSE CONTENT | ASSESSMENT REQUIREMENTS | ELEMENTS |
| 1 |
Introduction to course:
Concept development |
Apply knowledge of materials, processes and techniques for aparticular art form | 1 |
| 2 -4 | Tools/Materials/Tutorials |
Manage specialised resources for the particular art form | 1,2,3 |
| 6-7 | Class discussion. Fabrication of sculptures/Concept development/tutorials/technical assistance for individual students. | Create work of a professional standard for sale, promotion or use in the public domain & exhibitions | |
| 8-9 |
Continue to produce own work. Studio and outdoor |
Create quality work at a professional level | 2,3 |
| 10-11 | Class discussion. Group presentation. Technical development. Concept development | Continue to evaluate and create work | 5,7 |
| 12 | MID SEMESTER BREAK 19TH-23rd September | ||
| 13-16 | Class presentations and feed back. Folio preparation for assessment | Appropriate resources for the production of work, including work space, tools, equipment and materials. | 1-7 |
| 17 | Assessment | Folio of finished and resolved work |
PAINTING SPECIALISATION
F Friday |
Class Content |
Task / Assessment due dates |
Elements |
|
|
Week 1 07/07 |
• Course Outlines • Discussion of Folio and Assessment requirements. • Project 1 Briefing 1:30pm • Project 2 Briefing 4pm
|
Project 1. Reflection and Projection
Project 2. Image/Text |
|
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1, 3, 4, 5 |
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Week 2 14/07 |
Excursion to Neon Parc
|
Project 2. Image/Text Workshop project |
2 |
|
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Week 3 21/07 |
Studio Practice
|
Individual consultations |
1, 3, 5. |
|
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Week 4 28/07 |
Student presentations
|
Project 2 DUE Image/Text at end of class |
1, 3, 5. |
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Week 5 04/08 |
Studio Practice Group Reviews
|
Individual consultations Students review project ideas in groups of 5 |
1, 3, 4, 5. |
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Week 6 11/08 |
Studio Practice
|
Individual consultations |
1, 3, 4, 5. |
|
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Week 7 18/08 |
Studio Practice
|
Individual consultations |
1, 3, 4, 5. |
|
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Week 8 25/08 |
Studio Practice
|
Individual consultations |
1, 3, 4, 5. |
|
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Week 9 01/09 |
Student group critiques Peer review
|
Student group critiques Peer review
|
1, 3, 4, 5 |
|
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Week 10 08/09 |
Studio Practice
|
Individual consultations |
1,3 4, 5 |
|
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BREAK Sept 18-25
|
TERM Break September 18-25 |
No Classes
|
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Week 11 29/09 |
Grand Final Public Holiday |
No Classes |
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Week 12 06/10 |
Studio Practice |
Individual consultations |
1, 3, 4, 5 |
|
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Week 13 13/10 |
Studio Practice |
Individual consultations |
1, 3, 4, 5 |
|
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Week 14 20/10 |
Studio Practice |
Individual consultations |
1, 3, 4, 5 |
|
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Week 15 27/10 |
Student group critiques Focus on Installation for Assessment |
Students discuss studio installation in small groups |
1, 3, 4, 5 |
|
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Week 16 03/11 |
Studio Practice |
Individual consultations with Saffron |
1, 3, 4, 5 |
|
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Week 17 10/11 |
Install folio work for assessment.
|
No classes scheduled Untutored studio access. Write reflective statement. |
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Week 18 17/11 |
Assessment |
No student access. |
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Learning Resources
Prescribed Texts
References
Other Resources
You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Recommended read
Recommended resources for Printmaking
Imprint’ quarterly publication of the Print Council of Australia.
Cabinet Magazine held at RMIT Library, Swanston street.
Lambert, Susan, Print: art and technique, V&A Publications, London, 2001.
McCann, M., Artist Beware, Watson-Guptill, New York, 1979.
Petardi, A. Printmaking, London, 1959.
Grishin, Sasha, Australian Printmaking in the 1990s, Craftsman House, Sydney 1979
Simmons, Rosemary., Dictionary of printmaking terms, London : A. & C. Black, 2002.
Ross and Romano The Complete printmaker New York, Free Press 1972
D’arcy Hughes, Ann & Vernon-Morris, Hebe The printmaking bible : the complete guide to materials and techniques San Francisco, Calif. : Chronicle Books, 2008
Noyce, Richard. Printmaking at the edge London : A. & C. Black, 2006
Watrous Madison, James. American printmaking : a century of American printmaking, 1880-1980 , Wis. : University of Wisconsin Press, 1984
Recommended websitess:
Crown Point Press, Magical – Secrets: A Printmaking Community
http://www.magical-secrets.com/
http://www.australianprints.gov.au/
http://www.rama9art.org/artisan/2001/july/proverb/bot.html
http://www.mala.bc.ca/~soules/CMC290/imagetxt.htm
http://www.crownpoint.com
www.printcouncil.org.au
Recommended resources for Sculpture
You will be encouraged to attend exhibition openings and visit galleries outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Below is a list of resources that will be relevant throughout the course:
• Glenn Harper, Landscapes for Art: Contemporary Sculpture Parks
• Kirsten Mey, Sculpsit: Artists on Sculpture and Beyond
• Causey, A. Sculpture since 1945 (Oxford History Of Art) Oxford University Press 1198
• Collins J. Contemporary Sculpture Phaidon
• Eleanor Heartney.Art & Today Phaidon
• Uta Grosenick. Art Now, Taschen
• Periodicals, Art Almanac, Current Exhibitions, Public Art
Recommended resources for Painting
Mayer, Ralph. The Artist’s Handbook of Materials and Techniques. Viking Adult; 5th revised and updated edition, 1991
Vitamin P: new perspectives in painting / [contributors] Tomma Abts ... et. al. ; introduction by Barry Schwabsky, London : Phaidon, 2002.
Journals in Library:
Art & Australia
Modern painter
Overview of Assessment
Assessment for this course is on going throughout the semester. Your knowledge and understanding of course content is assessed through completion of a body of work that demonstrates concept development, understanding of materials and adhering to the guidelines of working in a studio.
Assessment Tasks
To demonstrate competency in this course, you will need to complete the following pieces of assessment to a satisfactory standard. You will receive feedback on all assessment.
Assessment task
- Printmaking specialisation
Final proposals
Content/requirements
Need to show evidence of research and present experimentation with materials (eg a set of trial Prints for Printmaking, experiments on a range of surfaces and media for painting), any concept changes / development and a clear outline of what they will achieve in Semester 2
Due date
W16 Semester 1
Assessment task Semester 2
Present a thematically connected body of work in direct response to your final proposal from Semester 1 in negotiation with relevant Staff.
Content/requirements
Present a thematically connected body of work in direct response to your final proposal from Semester 1 in negotiation with relevant Staff.
Due date
W16 Semester 2
Assessment task - Sculpture specialisation
Evidence of the ability to:
- • apply knowledge of materials, processes and techniques for a particular art form
- • manage specialised resources for the particular art form
- • originate and realise a coherent body of creative work in a particular art form
- • create work of a professional standard for sale, promotion or use in the public domain
- • evaluate and discuss work in a professional context.
Present a minimum of three completed sculptural works. Relevant back up work.
Visual Diary:
Description: Your visual diary should be a living document that provides insights to you influences, your ideas and how they impact your practice.
Assessment task - Painting specialisation
Assesment title: Project Revision
Due W7
Assessment title: Peer Critique
Due W11/13
Assessment title: Artist of Influence presentation
Due W13
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W1
Graded assessment applies for courses within the Advanced Diploma of Visual Arts.
| GRADE | OUTLINE | GRADING | CRITERIA |
| CHD | Competent with high distinction | 80 - 100 | Highly developed |
| CDI | Competent with distinction | 70 - 79 | Well developed |
| CC | Competent with credit | 60 - 69 | Developed |
| CAG | Competent achieved - graded | 50 - 59 | Sound |
| NYC | Not Yet Competent | ||
| DNS | Did not submit for assessment |
Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant unit of Competency. These are available through the course contact in Program Administration.
Other Information
Feedback
You will receive verbal and written feedback by teacher on your work. This feedback also includes suggestions on how you can proceed to the next stage of developing your projects.
Plagiarism
RMIT has a strict policy on plagiarism. Please refer to the website for more information on this policy.
Special consideration policy (late submission) All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension.
Please refer to the following URL for extensions and special consideration:
http://www.rmit.edu.au/browse;ID=qkssnx1c5r0y;STATUS=A;PAGE_AUTHOR=Andrea%20Syers;SECTION=1;
(unresolved)
Please note
While your teacher will cover all the material in this schedule, the weekly order is subject to change depending on class needs and availability of speakers and resources.
Course Overview: Access Course Overview