Course Title: Extend expertise in a specialised art form to professional level
Part B: Course Detail
Teaching Period: Term1 2017
Course Code: VART6380C
Course Title: Extend expertise in a specialised art form to professional level
School: 340T Art
Campus: City Campus
Program: C6149 - Advanced Diploma of Visual Arts
Course Contact: Deb Williams
Course Contact Phone: +61 3 9925 4215
Course Contact Email: deborah.williams@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Deb Williams deborah.williams@rmit.edu.au
Carolyn Eskdale carolyn.eskdale@rmit.edu.au
Loretta Quinn loretta.quinn@rmit.edu.au
Tyler Payne
Saffron Newey
saffron.newey@rmit.edu.au
Nominal Hours: 80
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
This course describes the performance outcomes, skills and knowledge required to add depth to expertise in a specialist field or technique.
This course will be clustered with BSBCRT501A Originate and develop concepts
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUAPPR606 Extend expertise in a specialised art form to professional level |
Element: |
1. Maintain currency of specialised knowledge in professional practice |
Performance Criteria: |
1.1 Initiate own exposure to contemporary practice in chosen art form 1.2 Proactively identify and explore the potential of new and emerging technologies, materials and methodologies 1.3 Evaluate impacts of current and emerging trends on the creation of ideas, production of work and management of professional creative practice |
Element: |
2. Evolve ideas in a specialised art form |
Performance Criteria: |
2.1 Research historical and contemporary themes and concepts in chosen art form 2.2 Analyse the motivations, philosophies and cultural origins of different works in chosen art form 2.3 Identify new sources and research opportunities 2.4 Identify the potential for individualised or specialised research based on current practice 2.5 Evolve own ideas and develop innovative approaches 2.6 Hone and adapt concepts for work based on emerging ideas and res |
Element: |
3. Manage specialised resources |
Performance Criteria: |
3.1 Evaluate the requirements for the set-up, handling and storage of specialised materials, tools and equipment 3.2 Create resource management systems that support professional practice |
Element: |
4. Refine specialised technique to professional level |
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. 3Apply critical and creative thinking to challenge, adapt and refine the creative work |
Element: |
5. Resolve technical and conceptual challenges |
Performance Criteria: |
5.1 Trouble shoot technical challenges that arise in the creation of work based on detailed understanding of specialised materials and processes 5.2 Develop innovative solutions that allow for experimental approaches 5.3 Find solutions that enhance the conceptual integrity of the work |
Learning Outcomes
On successful completion of this unit, you will have the ability to:
- evaluate own skills and knowledge against planned strategies and career goals
- apply planned strategies to develop and enhance own skills and knowledge
- research trends within area of specialisation.
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 four areas which include painting, printmaking, sculpture and digital art.
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 | DATE | TOPIC | TRAINING ACTIVITY | ASSESSMENT REQUIREMENTS | ELEMENTS |
1 | 8/2/16 | Studio set up |
Introduction to general knowledge of different styles of printmaking and unique possibilities within printmaking in the production of imagery, specifically intaglio printing. Introduction to the work of key practitioners |
Project 1A Completion of ONE resolved image with a minimum of 6 colours/differing stencils. The edition will demonstrate photographic colour separation / exposed stencil techniques, opaque & transparent inks and layering as introduced in class.
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2 | 15/2/16 |
Introduction: Health and Safety Conventions and Terminology. Overview of semester delivery. Course information and requirements Handout Project 1B Object as reference (Semester 1) View examples of differing intaglio techniques Paper stencil demonstration Students prepare paper stencils Screen allocation |
Familiarisation with the use of tools and equipment Understanding cleaning and maintaining of tools and equipment Understanding various print technique introduced in class – printing paper stencil Establish a visual diary that includes relevant visual research investigation and engagement of contemporary and historical artistic practice Eg working drawings, experiments in media, examples of relevant artists, and conceptual development. Apply basic printing processes and techniques in the production of a series of prints which is consistent to the related research. Identify the occupational health and safety aspects of printmaking materials and processes, and demonstrate safe working practices, including PPE. |
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3 | 22/2/16 | Demonstration of exposure application on screens and stencil exposure
Continue with printing paper stencils. Continue to plan work with demonstration in mind for following week |
Project 1A Completion of ONE resolved image with a minimum of 6 colours/differing stencils. The edition will demonstrate paper stencil / exposed stencil techniques, opaque & transparent inks and layering as introduced in class.
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4 | 29/2/16 | Students will apply emulsion and expose screens and / or continue with paper stencil printing | |||
5 | 7/3/16 |
Demonstrate splitting channels of an image on photoshop for photographic aspect of project Continue with project 1A |
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6 | 14/3/16 | Continue with project 1A | |||
7 | 21/3/16 | Continue with project 1A | Critique folio, technical and conceptual, to enable effective use of time in the lead up to assessment. | ||
28/3/16 | 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. |
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8 | 4/4/16 | Continue with project 1A | |||
9 | 11/4/16 |
Introduction of next Project and requirements Project outline disseminated
Handout Project 1B Object as reference View examples of differing intaglio techniques Introduction to soft ground Refresh aquatint Soft ground textures Commence preparation of 2 plates |
Introduction to general knowledge of different styles of printmaking and unique possibilities within printmaking in the production of imagery, specifically intaglio printing. Introduction to the work of key practitioners. |
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10 | Introduction to soft ground
Refresh aquatint Soft ground textures Commence preparation of 2 plates |
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 Application of new and emerging technology in the production of original prints. Discussion of contemporary and historical contexts of Printmaking Discussion of contemporary and historical contexts of Printmaking |
Participation in the workshop is required for assessment. Appropriate support and resource material including a visual diary should also be submitted for assessment. Folio of outcomes. You should note that preparatory work and experimental printing will be a major component of assessment. We will be looking for engagement in the following: Evidence of research
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11 | Sugar lift demonstration
Demonstrate chin colle and sharpie block out Demonstrate transfer of image and editioning
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12 | Work on resolving images/ plates |
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13 | Finalise plates, complete projects for editioning |
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14 | Edition 2 plate etching |
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15 | Edition 2 plate etching |
Assessment task An unique state of one of your two plates with chine clolle Content/requirements |
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16 | FOLIO PREPARATION / COMPLETION |
SCULPTURE SPECIALISATION
WEEK | DATE | TOPIC | TRAINING ACTIVITY | ASSESSMENT | ELEMENT |
1 |
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Introduction to unit:
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Staff presentation on individual career and work | ||
2 | Structural analyses & Armature | ||||
3 |
Concept briefs due. Class discussion. Feed back session. View studios/Conduct Tutorials |
Concept Brief ProcessingIdeas, Techniques And Materiality Individual and group tutorials |
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4 |
Commence head modeling work shop Construct basic armature Studio production own work group and individual tutorials |
Understand the process creating armature for head modelling Individual tutorials |
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5 |
Commence modelling the human head working with a life model Modelling the head in clay Studio production own work group and individual tutorials |
Understand the process of modelling Individual tutorial |
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6 |
Continue modelling the human head working with a life model modelling the head in clay Studio production own work group and individual tutorials |
Develop skills base working from observation in clay | |||
7 |
Refine the head and add final touches to the head Shim up the head for part A and part B meld Create part A in Latex or Silicone Studio production own work group and individual tutorials |
Resolve the look of the work Continue to develop skills base |
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8 | MID SEMESTER BREAK | ||||
9 |
Classes resume Create Part B container mold Studio production own work group and individual tutorials |
Production of head modelling | Due week 12 | ||
10 |
Paint the mould with release agent. Cast the positive of the mold in material of choice Wax, Plaster, Agnews water putty, Cement, Resin Studio production own work group and individual tutorials |
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11 |
Paint /Complete the final look of the head Studio production own work group and individual tutorials |
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12 |
Exhibit the works in the foyer on plinths and glass cabinets in foyer of level 6 Studio production, group tutorials, Individual tutorials |
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13 | Group and individual tutorials,research |
Prepare for assessment Management and execution of sculpture of folio for assessment |
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14 | CLASS PRESENTATIONS | Group and individual tutorials,research | |||
15 | Pre assessment and preparation for assessment | Finalising sculptural folios | |||
16 | Assessment Preparation |
Assessment folio should include: 5. Assessment title: Folio: Concept Development minimum of three sculptures Minimum of one completed head cast 6. Visual Diary: |
PAINTING SPECIALISATION
Week |
Class Content |
Task / Assessment due dates |
Elements |
Week 1 |
Gather resources |
Move into studios |
3.1, 3.2 |
Week 2 |
• Course Outlines • Discussion of Folio and Assessment requirements. • Presentation and discussion of Project 1
|
Project 1. Painting and materiality Part 1 |
1.2, 1.3, 4.1-4.3, 5, 6 |
Week 3 |
Studio Practice
|
Presentation of Project 1. Part 1 |
5, 7 |
Week 4 |
Studio Practice
|
Individual consultations with Saffron |
5, 7 |
Week 5 |
Studio Practice
|
Individual consultations with Saffron |
5, 7 |
Week 6 |
Student presentations |
Group Critique: Project 1: Painting and materiality progress |
5, 7 |
Week 7 |
Studio Practice
|
Project 2. Homage, Appropriation and Critique Excursion NGV/NGVI |
1.1, 1.2, 1.3, 2.1,2.2,2.4,4.1, 4.2, 4.3, 5, 6 |
Week 8 |
Studio Practice
|
Individual consultations with Saffron |
5, 7 |
Week 9 |
Student presentations |
Artists of influence presentation – Powerpoint 10 artists
|
1, 7 |
Week 9 |
Studio Practice |
Individual consultations with Saffron |
3 |
Week 10 |
Student group critiques Peer review
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Students each present folio work to date for feedback. Students conduct peer review |
1, 5, 7 |
Week 12 |
Studio Practice |
Individual consultations with Saffron |
5, 7 |
Week 13 |
Studio Practice |
Project 3: Times 20 |
1.2, 2.3, 2.5, 2.6, 4.1-4.3, 5, 6 |
Week 14 |
Studio Practice |
Individual consultations with Saffron |
5, 7 |
Week 15 |
Student group critiques Peer review Focus on Installation for Assessment |
Students each present folio work to date. Students conduct peer review |
1, 5, 7 |
Week 16 |
Studio Practice |
Individual consultations with Saffron |
5, 7 |
Week 17 |
Install folio work and Projects 1,2 and 3 for assessment.
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No classes scheduled Untutored studio access. |
6 |
Week 18 |
Assessment |
No student access. |
6 |
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 Digital Imaging
You will be required to have your materials purchased prior to the commencement of the project. Please refer to the materials list provided at enrolment.
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 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 & Sculpture
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
Minimum of 3 substantial works
One completed head cast
Relevant back up work
Visual Journal
Due date Week 16 Semester 1
Assessment Tasks - Painting Semester 1
1.
Materiality
Part A Group project in class, due Week 3
Part B Individual materiality project: 3 x artworks due Week 18
2.
Homage, Appropriation and Critique
3 x Artworks due Week 18
3. Times 20
20 Artworks based on week 13 class exercise, due Week 18
4.
Compulsory Tasks
Group Critique Week 6
Artists of Influence presentation Week 9
Peer Review week 10
Visual Diary
Public Art Semester 2
Assesment title: Project Revision
Due W8
Assessment title: Peer Critique
Due W12/14
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W18
Digital Art Semester 2
Assesment title: Project Revision
Due W8
Assessment title: Peer Critique
Due W12/14
Assessment title: Resolved body of work related to project proposal.
Due W18
Assessment Title: Visual Diary
Due W18
Graded assessment applies for courses within the Diploma of Visual Art.
Grade CHD
Outline Competent with high distinction
Grading 80 - 100
Criteria Highly developed
Grade CDI
Outline Competent with distinction
Grading 70 - 79
Criteria Well developed
Grade CC
Outline Competent with credit
Grading 60 - 69
Criteria Developed
Grade CAG
Outline Competent achieved - graded
Grading 50 - 59
Criteria Sound
Grade NYC
Outline Not Yet Competent
Grading
Criteria
Grade DNS
Outline Did not submit for assessment
Grading
Criteria
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