18 September 2017
Assignment 5 – response to tutor feedback
My tutor for this module was Cari Morton. A link to her feedback can be found here.
Response to tutor feedback:
There were many positive observations from my submission, including: a varied and playful body of testing/sampling, thoughtful application of colour, and integration of highly relevant contextual references (including inspiration beyond textiles).
There were also some learning points which I would like to address below:
1. Tutor comment: “Drawing was used well, although media was quite narrow”:
I recognise that I have not been very adventurous with my use of media (I tend to feel comfortable with pencil sketches). However, a “lightbulb moment” came when I read the OCA blog post “What is drawing?” (Hall, 2017). In future, I shall certainly look not just towards different artist’s media, but also less conventional materials for mark making, and consider materials other than paper on which to make marks. An observation in the blog on choosing materials to suit the qualities of the object being described and/or explored was also something which I shall bear in mind.
2. Tutor comment: “It is fantastic that you feel you have made an “important breakthrough” in how contextual research has informed this final project – consider what enabled his to happen and how to ensure it continues to be as effective in future projects”
The breakthrough came as a result of realising that that contextual influence doesn’t have to come from textile practitioners. Looking outside the textiles sphere was a trigger which helped me to think more broadly and innovatively. I will continue to consider architecture in this respect as well as other creative disciplines.
3. Tutor comment: “Though the lines of enquiry in the sketchbook weren’t clear, the learning log filled any gaps”
As I was compiling the sketchbook, I was aware that there was some overlap between the topics/lines of enquiry, and that this had the potential to be confusing. Although I explained my thinking in the learning log, I would have preferred for the sketchbook to also be clear and unambiguous as a stand along document. I think this will become more important in level 2 and beyond, so I will focus on improving the clarity of the sketchbook in the next module.
4. Tutor suggestions: The polystyrene and grass boarder on the final maquette was distracting and detracted from the shadows.
Unfortunately, the poles on my samples had been glued into the polystyrene base, so it was not possible to implement my tutor’s suggestion of placing a large white paper sheet over the polystyrene and re-inserting the poles. Instead, I placed the sample on a table covered with white cloth and surrounded by white backing fabric. Although the edge of the maquette was still visible, there was less of a contrast to detract from the aethetics of the model. As suggested, I re-made some of my videos without sound (and this time with the recording equipment in landscape mode for a larger viewing field!). I have included links to these videos in my submission to assessment.
5. Tutor suggestion: The minimal aesthetic of the final maquette lacks the same visual immediacy of the earlier bolder coloured work. Think about how you might communicate the subtleties of material and structure with the same immediacy for assessment.
To focus on the light qualities of the piece, I have included two A2 display boards of photos of the maquette in different lighting conditions (one for indoor, one outdoor). These highlight the form and differences in tonal variation across the piece depending on where is it placed and the direction from which it is viewed.
Hall, F. (2017) What is drawing? At: https://weareoca.com/subject/textiles/what-is-drawing-2/ (Accessed 19 September 2017)