Ogilvy Creative Consultancy Overview

Ogilvy Creative Consultancy Overview

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MEQ and EER Examples

MEQ’s (Module Evaluation Questionaires)

Module Impact

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

 

meq1718 chart

 

 

 

 

 

 

 

 

 

 


And here are the MEQ results for the Module 2018/19 after I took it over and redesigned it. 

meq1819 chart

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.

Ext Exam 001

Ext Exam 002

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Colab at Owlpen Overview

Colab Case Study

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Kingston Vienna Cultural Exchange Overview

Kingston Vienna Cultural Exchange Case Study

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Students Drawing Films Example SFHEA

Students drawing. Filmed in session.

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VR And Digital Work From Observational Drawing

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.

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MAMO Martins Drawings

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MAMO @ Imperial College, Class 05, 06 and 07

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David Bowie – The artist, the viewer, art and the Internet

 

Broadcast on Newsnight BBC in 1999, interviewed by Jeremy Paxman

On the effect the internet will have

‘’……the actual context and the state of content is going to be so different to anything we can really envisage at the moment’’

‘’Where the interplay between the user and the provider will be so in-simpatico it’s going to crash our ideas of what mediums are all about.’’

On art

‘’People like Duchamp were so prescient….the idea that the piece of work is not finished until the audience come to it and add their own interpretation….What the piece of art is about is the grey space in the middle’’

‘’The grey space in the middle is what the 21st Century’s going to be about’’ – Note; and so will our class.

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Ogilvy Detroit Found Art Class

In the summer of 2016 Paul Smith at Ogilvy invited me to Detroit to run a found art class based on the ideas of Marcel Duchamp, Robert Rauschenberg and Ai Weiwei.

I had to develop a method and approach that enthused the delegates, convincing them that they were artists and as artists they could see the world and the objects in it in different ways. How do you become and artist? You just declare yourself one and decide to move about the world around you more intensely.

Faced with Motor City at a time when it is broken, when junk is strewn everywhere; how could they reclaim these discarded objects? Raise them up, find meaning and show them to us in a new light?

This was the most challenging but also the most successful project I have taken on. As usual Paul Smith pushed me to my limits and thus my outlook on what is possible, not just in the students but myself.

 

 

 

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