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if you want to be an artist you must be able to draw— Ben Nicohlson (1894 – 1982)
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MEQ’s (Module Evaluation Questionnaires)
Kingston university, Kingston School of Art, Illustration Animation BA(Hons), Level 5, Module 5001 Process and Purpose. This Module focused on approaches to drawing and technology.
Module Impact from taking over design and delivery of Module 5001 in 2018/19 and continued development and quality assurance trough 2019/20. These results also evidences highest achieving outcomes through comparative scores, two years running (2018/19 & 2019/20) across Department, Faculty and University. This shows the module working at the highest levels in organisation, delivery, student engagement, student experience, student outcomes, studio and online based learning and equality of opportunity.
Here are the results for years 2018/19 and 2019/20. A marked improvement can be seen across the module in 18/19 and that improvement can be seen to continue in the 19/20 outcomes.
It is also demonstrable that across these two years that the module, through MEQ feedback, achieved the highest outcomes across all 10 categories when (in 2018/19) compared across Department (+.55), Faculty (+.50) and University (+.51). The highest outcomes being 4.74 and the lowest 4.06:
…And also the highest outcomes across all 10 categories in 2019/20 when compared across Department (+.46), Faculty (+.53) and University (+.56). The highest outcomes being 4.87 (+.13 on 18/19 module outcomes) and the lowest 4.11 (+.05 on 18/19 module outcomes) in 2019/20. The results in the year 2019/20 were achieved under higher student numbers and tighter budget constraints.
Module 4.53 (+.04 on previous year)
Department 4.07 (+.07 on previous year)
faculty 4.00 9 (+.01 on previous year)
University 3.97 (-.01 on previous year)
These higher achieving outcomes in 2019/20 were facilitated by responding to the student feedback and external examiner observations. The module was made elective in response to student feed back relating to section 7 ‘There are opportunities for me to participate in learning activities throughout the module’. The use and integration of high end graphics software in relation to film, game and VR development, from hardware and software specs through to session design and delivery, were instigated by myself during the 2018/19 year. this went on to be recognised by the external examiners: ‘…exciting developments integrating new and rigorous approaches to developing students’ use of drawing as the foundation of their research whilst developing the potential of new technologies alongside more traditional skills.’ and ‘…astute initiatives to extend the exploration of drawing in experimental directions, particularly by engaging with new technologies such as VR.’
These processes toward traditional processes and methodologies were developed further and carried forward into the Module design, the results of which can clearly be seen in the aforementioned MEQ’s and also developed into workshops involving industry and cultural exchange workshops with the Drawing Room Collaboration and the 2020 Vienna workshop. these projects included video projection, Gallery visits, gallery showings, VR specialisation studios, connections with post degree courses and research/development methodologies.
MEQ’s (Module Evaluation Questionaires)
Module 5001 Process and Purpose.
This Module focused on approaches to drawing and technology.
These are the MEQ results for the Module 2017/18 before I took it over and redesigned it.
They give an indication of where the module was and how it was performing
And here are the MEQ results for the Module 2018/19 after I took it over and redesigned it.
Improvements can be seen across the board after implementation of interlinking and dynamic drawing sessions that utilised drawing as complimentary practice to drawing and
As a response to the criteria used in marking question (9) the year team have implemented a face to face formative assessment point at the end of the first semester toward giving clarity to the student experience.
EER (External Examiner Reports)
This is to evidence External Examiner recognition of the combination of Drawing and VR technology as an area of good practice.
Below are several examples of digital work made from observational drawings. Students from the 3D Animation (games) course at Middlesex Uni are encouraged to draw from observation as to develop a unique voice and that is where I come in. As a result the idea of combining observed drawing with digital tech has taken my interest.
I teach at several courses at several institutions including the NFTS (National Film School), RCA (Royal College of Art), Middlesex and Kingston. The areas of study are animation, game design, illustration and so on.
Below are several examples of personal (videos from Tilt) and student work that combines digital and observational drawing.
The following videos show my first attempts at using Tilt Brush in VR. They are memory drawings from previous sketchbook images I have made while drawing around London. Below the videos are several stills from them. This of course has huge potential due to the flow of marks and illusion of space that can be achieved.
Some stills from the videos that show the pull of space and imitation of brush marks. Also how, with Tilt Brush, flat linear drawing can be sculptual and create three dimensional forms.
Images showing VR pre vis for a sculpture. The sculpture was a hand drawn image to begin with that was made in ZBrush. Digital tech such as ZBrush and Tilt allow for the organic feel of human touch to be retained. Something that I have noticed in the past was missing or not negotiable for most animators/painters/illustrators and such. This has changed with the advent of Oculus. Artists and designers feel liberated.
Torso sculptures in ZBrush from a 3 hour drawing session. 1.5 hours spent in the life drawing studio drawing the figure followed by 1.5 hours in ZBrush. This time limitation really pushed the students to go with it, to let go of pre conceived ideas and as a result these strange, energetic human forms appeared based on their experience and memory of drawing from the figure.
Again the same idea was used to approach head drawing. Unique characters appear through methodologies of drawing in combination with software.
When the software allows the individual to work freely, when their minds are allowed to play and move – new ideas are generated. The issue with ZBrush is its complexity where as Oclulus and image making software in Oculus such as tilt Brush, Quill and Medium allows for a much greater freedom, not just because these pieces of software are easy to navigate but also the freedom of expression and movement combined with the feeling they allow through an illusory space.