UNIT 3 STUDIO ARTS OUTCOME 1: EXPLORATION PROPOSALINTRODUCTION: Monday 3 February 2014DRAFT 1 DUE: Friday 14 February 2014DRAFT 2 DUE: Friday 28 February 2014FINAL DUE: Friday 7 March 2014

Outcome 1Prepare an exploration proposal that formulates the content and the parameters of an individual design process, and that includes a plan as to how the proposal will be undertaken.

Nature of the TaskAn exploration proposal should create a framework for an individual design process in which the student plans how their subject matter, ideas, aesthetics, materials and techniques will be explored and developed through the design process.

Assessment: School-Assessed Task 1 School-assessed Task 1 contributes 33 per cent to the study score and is commenced and completed in Unit 3. The School-assessed Task for Unit 3 has two components:

Outcome 1 Exploration proposal Outcome 2 Design process.

The exploration proposal relates to Criteria 1, 2, 3, 4, and 6 of School-assessed Task 1.

Criteria 1Use of an exploration proposal to define the development of an individual design process that includes a plan of how the proposal will be undertaken.

A personal and comprehensively defined, highly detailed and articulate exploration proposal that plans how the individual design process will be developed.

The focus and subject matter to be explored are clearly defined and detailed and provides insight into the sources of motivation and inspiration to be investigated.

Perceptive and thoughtful discussion of conceptual possibilities relevant to the subject matter and art forms and a range of related ideas to be investigated.

Comprehensive explanation of the aesthetic qualities to be explored and developed in relation to the ideas. Demonstrates thorough, detailed documentation and visual material.

Comprehensive description of the art form(s), materials and techniques to be explored in reference to ideas.

Detailed discussion of the proposed exploration of appropriate materials, development of techniques, processes and skills to be investigated.

What you will do:

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Complete an exploration proposal and work plan that contains each of the following parts:

1. The exploration proposal is a written document that contains detailed written and visual references to:

an explanation of the focus and subject matter to be explored and developed in the design process.

a discussion of the conceptual possibilities and an explanation of the ideas to be explored

a description of the art form/s to be explored in reference to the ideas to be explored.

a discussion of the sources of inspiration to be investigated

an explanation of the aesthetic qualities to be explored in relation to ideas to be explored.

an explanation of the appropriate materials to be explored in reference to ideas to be explored.

an explanation of the techniques, processes and skills to be developed in reference to ideas to be explored.

and

2. a weekly plan for how the exploration proposal will be implemented. The plan should start from the work you completed over the holidays and conclude on

and

3. Visual reference material that may include illustrations, diagrams or images of other artists’ work or sources of inspiration as a means of clarifying ideas expressed in the exploration proposal. The visual reference material must be cited or appropriately acknowledged. It should relate to the each area listed in bold text in point 1.

The exploration proposal should be developed prior to the commencement of the individual design process but may be expanded upon during the initial stages of the design process. However, it should be noted that the exploration proposal sets out the content and parameters of the student’s future proposed work and is not a summary of what has been done.

Tips for doing well in the task:

Read chapters 8 of Artisan (pages 124 – 139) carefully. See examples of an exploration proposal and work plan there.

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Read the study design carefully, especially outcome 1. Of particular importance are the key knowledge and skills listed for Outcome 1. Go to: http://www.vcaa.vic.edu.au/Pages/vce/studies/studioarts/studioindex.aspx

Visit www.vcassstudioarts.wikispaces.com and follow the links to the exploration proposal page.

Avoid writing lists in the exploration proposal. List can look like: colour, line, texture…oil paint, acrylic paint, watercolour. Explain rather than summarise.

This task will require you to submit drafts of the exploration proposal. Ensure that you work on this task during self-directed learning time and at home.

I will meet with you and provide feedback about the progress of the exploration proposal. I will also write notes in the VCAA Authentication Record during the task and at its conclusion.

This exercise is worth ten marks on the SAT criteria sheet, however, it relates to nearly every other criteria in some way. Please see: http://www.vcaa.vic.edu.au/Documents/vce/studioarts/SBA_studioart.pdf for more detailed information about the assessment of SAT 1, Unit 3 Studio Arts, Outcomes 1 and 2.

This task must be completed individually. A good idea is to read each draft of the exploration proposal aloud to identify any grammatical errors. Read the exploration proposal at the end of this document to help develop your understanding of the task.

Try summarizing the idea of your exploration proposal in one paragraph. Put this at the start of the exploration proposal. This will give you an overall picture of the research you wish to produce. It should help to clarify your ideas as well when you come to explain each point in the body of the response. It also gives the reader a clear understanding of what you want to achieve.

Use appropriate art language and vocabulary. Know the name of your materials, techniques, skills and processes and name them accurately.

Don’t forget to talk about surfaces you wish to explore.

If you have a small feeling that you would like to work with a material or technique, it’s better to put this into the exploration proposal now.

Use interesting quotes from artists and philosophers who have explored similar ideas to you.

The exploration proposal is due on: Friday 7 March 2014.

Glossary of key terms

Focus: a focus is the key idea in the exploration proposal, for example: “The phrase ‘the personal is political’ gained wide currency in the 1970s feminist movement. Its reinterpretation of the relationship between individual experience and institutionalized power informed a broader development of art the explicitly reflects minority or marginalized viewpoints.”

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Subject matter: Is the arrangement and placement of figures and objects within a composition. The subject matter is what can be seen in the artwork, for example, a landscape, a portrait, an animal. Look at how artists have treated subject matter similar to yours. Draw comparison between them and your work and explain how you will approach your subject matter in a new or interesting way.

Conceptual possibilities: Are the potential of the ideas you would like to work with in the design process. Where can you see your ideas leading you? What is the potential of your idea? What different directions can you take in your work?

Ideas: are concepts, themes or issues that you would like to make art works about. Ideas are individual to the artist and can be inspired by other artists or experiences an artist has in their daily life.

Art form/s: are painting, drawing, printmaking, sculpture, ceramics, interdisciplinary practices, installation, design and sound.

Aesthetic qualities: are the application and manipulation of art elements and principles such as colour, line, shape, form, texture, space, movement or balance to create a particular mood or feeling that communicates ideas to a viewer or audience.

Materials: are specific to the selected art forms listed above, for example, traditional drawing materials include: Chalk, Charcoal soft or hard, Conté, Crayon, Graphite, Marker, Pastel, Pen and ink, Pencil, Sand, Watercolour. Traditional surfaces for drawing include: Canvas, Card stock, Metal, PaperPlaster, Scratchboard, Walls (typically for murals), Wood, Glass, Fabric.

Techniques: are specific to the selected art forms listed above, for example, in sculpture, there are four basic sculpting techniques. (1) In modeling, a soft material—such as clay, wax, and plaster—is built up and shaped. (2) In carving, the sculptor cuts, chips, or drills from a solid mass made of wood or stone. (3) In casting, molten metal or another substance is poured into a mold and allowed to harden. (4) In assembling or constructing, various materials are gathered and joined together to make a sculpture.

Processes: are specific to the art forms listed above and relate to the use of materials, techniques and skills. The process of creating a painting varies from medium to medium and from individual to individual. It is best to have a canvas or panel with a prepared ground, painting tools, a medium (either oil or gel for acrylic), and some solvent (either baby oil for oil paint or water for acrylic).

Skills: are specific to the art forms listed above, however general skills could include the ability to use the rule of thirds to compose an image, control and manipulate lighting to create different moods, creating perspective through layering images, understanding colour theory to mix colours and apply them to create contrasting and complimentary effects.

Before you submit the exploration proposal, check the following…

Is the exploration proposal at least three pages in length and word-processed Does the exploration proposal reference a number of acknowledged illustrations and images Is the exploration proposal individually titled and contain the words “Unit 3 Studio Arts

Outcome 1 Exploration Proposal” at the top of the document Has no sub headings Has my name at the top of the document with the date it was submitted Is a copy of the exploration proposal placed at the front of the design process Has page numbers inserted at the bottom of each page Has a work plan that is at least two pages in length The work plan includes a column for handwritten amendments

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‘Adam and Eve’ by Lucas Cranach, Germany, 380x500cm, Northern Renaissance, Oil Painting on Panel

‘The birth of Venus’ by Sandro Botticelli, Italy, 172.5x278.5 cm, 1496, Tempera on Canvas

An electronic copy been saved at school and at home An electronic copy has been emailed to Mr Landrigan An electronic copy has been emailed to your mentor

IN MY DISCUSSION OF FOCUS, SUBJECT MATTER & SOURCES OF INSPIRATION HAVE I:

Clearly defined and explained the focus and subject matter to be developed? Linked the focus and subject matter to the ideas I would like to explore? Clearly discussed and linked the artform/s I would like to work with to the ideas I have defined? Clearly explained sources of inspiration that have inspired me? Clearly explained and discussed the conceptual possibilities (ideas) to be investigated?

IN MY DISCUSSION OF ART FORMS, MATERIALS AND TECHNIQUES HAVE I:

supplied evidence to propose how art forms or techniques can be used to support the development of concepts and ideas?

Listed and explained specific information about my existing skills in using the art form, materials and techniques and then explained how I would like to enhance and extend upon my understanding of these during the design process?

detailed the reasons why and how a particular art form or techniques are to be used in the design process?

proposed how the art form/s and/or techniques will best support the communication of individual concepts and ideas in the development of a design process?

IN MY DISCUSSION OF AESTHETICS & STYLE HAVE I:

shown a very clear understanding of aesthetics and their importance to the communication of the concepts and ideas in my exploration proposal?

explained how I propose to develop and use aesthetics in the context of the ideas outlined in the exploration proposal?

discussed aesthetics in reference to formal elements and art principles? explained styles and how they can be used to achieve the aesthetic I’ve specified?

IN MY WORK PLAN HAVE I:

included a plan of how the exploration proposal will be undertaken in the design process? Taken information directly from the exploration proposal and used it to formulate the work

plan? Set out the plan with the following columns: WEEK (1, 2, 3, and dates), DESIGN PROCESS

(copy and paste sentences from the design process), PLAN (what you would like to do), Achievements (blank), Amendments (blank).

Example of a high scoring exploration proposal Conceptually, I would like to explore the symbolism behind apples and how it is represented in religion, mythology and modern society. An apple exists as an object that can be rendered faithfully and beautifully. I am interested in the psychological effects of an apple that is perceived in a surreal manner and not so much in their absolute accurate portrayal. My intrigue lies in altering the apple’s appearance for

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“Granny Smith” variation of an apple

‘Morning Shadows’ by Ji Chen, Australia, 56x56cm, 2007, Oil on canvas

‘Greate Wave’ by Ji Chen, Australia, 133x112cm, 2006, Oil on canvas

artistic and emotional reactions through the juxtaposition of the art elements in creation of both surreal and an ironically realistic artwork. The apple may have its place and get its look as part of the narrative an artist is telling. I would like to explore narratives through my work relating to what an apple symbolises. The apple is a very rich symbol where temptation is first to spring to mind. I believe that an apple is depicted as a forbidden fruit and tempting to humans as it is the foreign product portrayed in the Garden of Eden as the symbol for knowledge, immortality, temptation, sin and the fall of man. An apple’s symbolism is ambiguous as it could be presented as an immoral object intended for enticement or the depiction of love and sexuality as the apple is also often associated with Venus –the Roman goddess of love, beauty, sex and victory. Apples have also been symbolic of immortality and reincarnation. Along with the pomegranate, it represents the cycle of life, death and rebirth. In many tales the apple is the World Tree, the axis of the worlds and it is often a doorway to the realms of heaven. Apples were also often given as gifts to humans by the Gods and sometimes believed to confer psychic power. In contemporary times the fruits of the apples trees are associated with health, for their abundance of medicinal uses and from cleansing the teeth to relieving indigestion to relieving fevers and much more. Apple trees furthermore grow abundant fruit thus is normally associated with the principles of generosity and abundance.

Personally, I relate my likeness to apples because it has been my favourite fruit to date, due to its juicy and succulent texture. The many varieties of apples intrigue me where every different type of apple have different taste and colour varieties. My favourite variation of the apple is the ‘Granny Smith’ apple due to its sour and tangy flavour with a vibrant and bright green skin. An apple not only strikes me as a captivating fruit but its old, mature symbolism from the ancient times pose as a debatable and appealing factor in my artwork where I can present it in a negative or positive light. Apples appear in many religious traditions, often as a mystical or forbidden fruit therefore many renaissance painters add apples in their artwork to symbolise evil. In Latin, the words for ‘apple’ and ‘evil’ are strikingly similar which has influenced the apples as being interpreted as a biblical ‘forbidden fruit’. Apples representation and symbolism has and still exists to be a popular interpretation of iniquity. A fashionably popular elucidation of the apple is demonstrated in the most notable folklore tale ‘Snow White’ where the evil Queen cuts the

apple in half and eats the white part giving the poisoned, red half to Snow White. She eats the apples eagerly only to immediately fall into a deep stupor. I plan to explore in my design process the significance and numerous meanings behind such a simple object, an apple.

The choice to work with drawing was obvious to me for I have always linked my artistic abilities to drawing. This art form had always swooped me in enthrallment and sheer joy during my spare time where I would doodle or sketch in my visual diary occasionally. I feel that I have resounding knowledge and more skills in this area to explore my ideas completely. The decision to explore my theme through drawing stems from my love of having total freedom and no constrictions within my artistic abilities whilst drawing as I am able to do it anytime of the day with such basic materials of pencil and paper. I adore the intimacy of being capable of drawing at any time with the ability to capture and preserve a moment in time. I sense passion and comfort working with drawing as it provides me with the freedom to move and work quickly. The technique of drawing can manipulate how I portray or represent my subject matter and conceptual ideas associated with the apple. Drawing is chosen to determine value and texture, and how to apply the execution in order to produce various effects.

My main artistic influence is derived from my father, Ji Chen. He has been a major figures and influence through my entire life inspiring me to draw and learn to enjoy art. Waking up in the morning to see my father compose landscape oil paintings so passionately is an insight to his excitement and ardour, lost in his own world. Being a Herald Sun Camberwell Rotary Art Show winner and three times finalist in the Australian Archibald Art Competition, my father’s artwork has a particular loving

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‘Mother’ by Del Kathryn Barton, Australia, 960x960cm, 2008, watercolour, gouache, acrylic and pen on polyester canvas

‘I ate the rainbow up’ by Del Kathryn Barton, Australia, 180x160cm, 2007, synthetic polymer paint, gouache, watercolour & ink on polyester canvas

Shading technique, continuous tone varying pressures gradually

Cross hatching techniques

softness to it, born of a freshness of eye and passion for vast and open spaces. His artworks exhibits the development of perspective in an unusual and innovative way being presented in the rear, middle and forward fields of the picture plane, then pushed further into the forward field off the canvas into the space inhabited by the viewer outside the picture plane. I would like to experiment with this curious approach to placing my subject matter hoping to achieve an irregular sense of perspective in my art. His artwork also exudes quite unusual explorations of the oblique vanishing points. This aspect of his artwork in particular fascinates me as I plan to work on this technique in my art and apply it during my design process. The dissonant compositional symmetry and design balance with proficiency in defining and moulding space indicate that his pictures are much more than vigorous suggestions of the landscape in fluctuation. Hi artwork radiates a very Zen-like allure all which is part of his visual conjuring and appeal. I aspire to produce a similar emotional impact through my artwork to the autonomous spectator viewing my artwork.

Another artist who I am strongly influenced by is the Australian Archibald Prize winner, Del Kathryn Barton. Her incredible winding lines and transparent, layered colours evoke feelings of tranquil and complacency. I plan to explore Barton’s treatment of colour and use of line throughout the design process. Aesthetically, I am aiming for my work to be engaging for the viewer therefore I want my work to note only exude the sensation of nausea on the uncovering of an ‘evil’ apple, but I also would like to be able to take the viewer on a psychological journey delving beyond the initial cover of the feeling of sin and malevolence. I want viewers to experience firsthand the apples colour and texture for

them to appreciate the captivation and approval of this ‘forbidden fruit’. Though I have discussed wanting to express the cruel intentions that an apple represents. It is important for me to make my artworks aesthetically pleasing where the viewer will see my artwork as a genuinely great piece of work. Line will define my works, while colour will evoke various feelings. The line emphasizes meandering shapes to delineate my artwork as the different colour palettes I will be utilizing, will determine the emotions I plan to evoke. Upon employing a more monochromatic palette, the feeling that I will be evoking is a sense of discord and unsettling tension. When utilizing more of a bright and warm colour palette, I feel that the sensation of calm and serene will be conveyed. I will also be considering the juxtaposition of both cold and bitter colours to possibly portray the apple in the foreground whereas the placement of more warm and affectionate colours placed in the background will draw awareness and additional attention to the apple demonstrated as the focal point in my artwork. I am also aiming for my work to exude a sense of freedom and liberty adjacent with ambiguity and perplexity. I want my artwork to be visually pleasing and satisfying for the viewer, opening up the possibility of multiple meanings, keeping the spectators guessing.

I plan to experiment with a range of materials and techniques throughout the design process. I am interested in experimenting with various types of cartridge papers with wider tooth and canvas because they have an organic feel and it is their textures that I am naturally drawn to. I also plan to experiment on transparency papers which will allow me to create transparent layers of subtle

colour and pattern. Fine liners with the very slim tip will permit me to explore the application of thin lines whereas thicker markers will assist me in the formation of thicker lines producing variety as I experiment with line weight during my design process. The utilization of graphite pencils is comparably different to charcoal as the graphite will give me a bit more precision but will require more time in sketching ideas. I will experiment with graphite pencils of sizes including thin and thicker leads to sketch out inspirations and ideas during my design process. Where graphite pencils are ideal for sketching, cross hatching is a technique predominantly used to create tonal depth and can produce realistic textures. Another important technique is applying continuous tone, varying pressures gradually to create a smooth shade. Creating a wash with the graphite pencil and making the transition from light

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Symbolism behind apples: Isaac Newton, Eve, and Steve Jobs

to dark in one continuous stroke using the side of the pencil will help in the initial sketching. At random, varying the stopping and starting point of the strokes will avoid unwanted groups of undesirable bumps while sketching. When I use charcoal, I hope to also explore shading techniques to portray where light and shadows are placed on inanimate objects. I will be using mainly vine and compressed willow charcoals. The charcoals are great to produce tones on larger covering surfaces with the ability to darken and lighten areas. It is a tool for drawing, shading and blending, but there is something psychologically different about using charcoal. It lets you get more expressive and work larger without getting stuck in details. Compressed charcoal sticks especially can force you to focus on large shapes and general contours because of their blunt ends. I plan on also experimenting with watercolour pencils where I am able to imitate the effect of watercolour painting where water is added on top of the pencils. Pastels are also a medium which intrigues me therefore I will be utilizing oil pastels to create different textures. Oil pastels provide a harder edge therefore is more difficult to blend. When used dryly and with a light touch, the effect is similar to a chalky finish whereas with a heavier hand and weighty build-ups, oil pastels create an impasto effect to create texture. Once applied to a surface, oil pastels can be manipulated with a brush moistened with any type of vegetable oil or solvent. Because both charcoal and oil pastels are medium that tend to move around and is messy, a special fixative is required to protect the work and prevent smudging or smearing. Different textures can be produced in my artwork with different drawing surfaces that I will be exploiting therefore I aim to use variations of paper from thick to thin to produce different consistency in the texture. I also hope to incorporate bold lines and delicate broken lines to create boundaries in my artwork.

I plan to develop a series of potential directions that reflect my subject matter effectively. Ultimately, I hope that my explorations reflect the intangible symbolism a person may experience when they encounter an apple in stories, pictures and media. Challenging the viewer to see beyond the sometimes aesthetically displeasing meaning behind an apple and to see the complex and underlying beauty that figuratively lies beneath the blanket of mystification surrounding the symbolism of apples will be a concept that I aim to explore throughout the design process. I will be satisfied if the viewer is questioning the symbolism and imagery of an ‘apple’, pondering whether apples are emblems for sin or love.

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