NUMBERS


NUMBERS
Crits:

15

25

35

Participation:

15


Exploratory Studies

10 light box


Total 100




UNIT ONE ASSESSMENT total 15

Exploration and Discovery 3 Points

There is an exploration and discovery in the design of the piece. There has been thought and exploration of the design and design here is the way it appears; it is the dynamism of the work. You can change and influence this by the way you emphasize different aspects of the constructed materials to affect the balance, the unity and the variety in the work.

Is it 2D or is it 3D 2 Points

The two forms are joined such that it is difficult to discern whether or not the work is a sculptural work or an image based work.

3D substrate is an abstraction and 2D Image is figurative 2 points

Execution and ARTISTRY 5 points

connections between the materials, glueing, additive processes, execution strong, transitions clean, edges well sanded etc. In other words PRESENTATION is strong and consistent with the desired outcome. There are not surfaces or finishes that DISTRACT from the overall effect.


Judgement and Editing in the Design 3  points
The Work demonstrates a solid design, and the artist is able to speak to the design qualities in the work. You’ve explored what design is to you in the execution of this work. You’ve looked into other fields for inspiration; you’ve expected the unexpected and gone for it; you consider more than one possibility for the display.

Transitions between one material and the next and or one area in the sculpture and the next are fluid or are consistent with the overall feel of the work. A gradation between stages in the work creates sequential change within the entire system itself.




Choose your Materials Brightly

Composition and Construction

Choice of Materials

The materials used in a project may affect the range of possible solutions. In selecting a material, consider these qualities in relationship to your intended design.

  • Strength. How much weight can a given material support? What is its breaking point when stressed?
  • Workability. How difficult is it to alter the shape of a material? Does it cut and bend easily?
  • Durability. How long must a project last? In what context will a sculpture be shown? The hard basalt used for many Egyptian sculptures has endured for millennia, while the flexible fabric used in a temporary installation may last less than a year.
  • Weight. A material that is too light for a  given purpose can be as problematic as a material that is too heavy. What is the function of the design, and how can weight serve that function?
  • Cost. Can the material chosen be obtained easily and at a reasonable cost? If your budget is limited, expensive materials will have to be removed from consideration.
  • Toxicity. Many plastics produce toxic gases when cut, etched, or burned. Paints and solvent may require the use of masks and gloves and often present significant disposal problems. Is the ventilation of your workspace appropriate for your work process? Are less toxic materials available?
  •  Function. Most important, how appropriate is a given material for a particular purpose? A teapot will be useless if the material used is porous, and a chair that is too difficult to construct can never be mass produced. Any material chosen must serve both the structural and aesthetic needs of the physical object.
From Launching the Imagination: A Comprehensive Guide to Basic Design 2001, Mary Stewart
Opening paragraph Part Three Ch. 8 Three-Dimensional Design: Organization, 8-10