Friday, 21 April 2017

END OF MODULE EVALUATION 401



Leeds College of Art
BA (Hons) ILLUSTRATION
Level
04
OUIL401 Context of Practice
Credits
20
End of Module Self Evaluation

NAME
Diandra Wardhana

1.  What skills have you developed through this module and how effectively do you think you have applied them?

I consider researching a skill that I developed throughout COP 1. I did not just learn how to investigate at a surface level, but actually to analyse and synthesise information. I personally think that research is not a simple task or skill. I think that I have effectively applied them as I learned to take elements that derive from research and implement them to my practical work. Another essential skill is the ability to evaluate and be critical of my own practice, particularly being able to then plan out what to improve or further develop. I feel that evaluating my work is quite difficult as I am required to think, consider what is successful, why and how I took certain approaches. It is the process and learning curve that I thought is effective. For instance with the Visual Journals, I started off with creating generally random and representational images, though through research and reflection, it led me to more concrete illustrations.

2. What approaches to/methods of research have you developed and how have they informed your practical outcomes?

Reading theories, articles, and philosophical books. I usually focus on the ethos or certain key words from these sources and translate them to visual means or imagery. I feel that the most effective and developed way of researching was through practical work. I think that the subject I looked into made much more sense and I could see a more defined connection when I begun to visually respond to it. I could understand what methods or materials work, how I could create a certain aesthetic or why I did it, why it was a success or a failure. For instance for the Visual Journal, creating multiples and exploring materials often lead to more ideas, which then urges me to do more research. When it came to the collages, I mainly work with paper and printed photographs, though I would create the same imagery with different media. That led to creating collages digitally as I was looking into modern society and values. Researching by doing and experiencing is also an approach that was helpful. For instance, talking to peers, tutors and people is beneficial. Not only do you get answers to questions, such as what do you think about this or what do you know about social media, but I also obtain different opinions. From there, I tend to further look into certain topics of the conversation through the Internet or books.

3. What strengths can you identify in your work and how have/will you capitalise on these?

I feel that I did quite in depth research and have a sufficient understanding about the topic. However, there are still some parts that I still find myself stranded in the grey area. I personally think that my research informed significantly on my practice, particularly the visual journal. That is where I could try to make sense of my understanding through visual means. Though from research, reading and evaluating, it gave a concrete base on the content of my work. For instance, with the visual journal perhaps some of the viewers would think of my collages as ‘random’ illustrations without meaning. Though there is thought, research and process done for every single element.


4. What weaknesses can you identify in your work and how will you address these in the future?

I would say, quality. I think that I should spend more time crafting my work, both the visual journal and essays. After completing these tasks, I feel that there are certain areas in which I wish I could have changed or improved. There are also parts that I hoped that I could have done more. Particularly the visual journal. There are sections where I wish I could explore even further from a different angle. For instance, aside from simply looking at modern ‘aesthetics’ through collages, I perhaps could look into photography or a more illustrative approach? Another case would be the essays. Perhaps I could have been more straightforward with my writing and have more concrete argument. Indecisiveness also played a part in this feeling of dissatisfaction. I found it difficult to decide on one idea or design to focus on, hence my work tends to be rather vague at times. For future reference, I would perhaps consider spreading out action plans. I may have spent most of the time given doing research rather than gathering them into a more conclusive outcome. I perhaps need to consider investing my time in the quality of the work rather than to just complete tasks.

5. Identify five things that you feel will benefit you during next years Context of Practice module?

-       Synthesis. To be able to research in an analytical level. Also not to simply look at information, but to try and make sense of them. Eventually creating links and connections to my own practice. They are not separate entities and actually inform one another. 

-       Contextual research. Aside from linking research with practical work, I think that looking at other creative practitioners or field of work is essential. Not only in terms of art and design, but perhaps society or culture. I realised in COP, that art and design could not stand on its own. They are often informed by the society, history, politics, they are a response to the world.

-       Time management. Particularly for the COP 1, there were several briefs to complete. Planning thoroughly would be very crucial. I never realised that researching was very time consuming, as it requires verification, counter arguments through crosschecking with other sources of information.

-       Motivation and generally having interest in the subject. From the general topic, my interest and curiosity led me to further explore those particular areas. Thus, I am more invested and immersed in my own work.


6.How would you grade yourself on the following areas:
(please indicate using an ‘x’) 

5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor

1
2
3
4
5
Attendance



x

Punctuality


x


Motivation



x

Commitment



x

Quantity of work produced


x


Quality of work produced


x


Contribution to the group

x



The evaluation of your work is an important part of the assessment criteria and represents a percentage of the overall grade. It is essential that you give yourself enough time to complete your written evaluation fully and with appropriate depth and level of self-reflection. If you have any questions relating to the self-evaluation process speak to a member of staff as soon as possible.

COP 2 Proposal

Final Essay: Context of Practice 1

Monday, 3 April 2017

COP NOTES - Synthesis + Rationale


further notes 
Synthesis notes

Continuation

8. From practical work --> questioning why I did it? How I did it? Leading to more research/theories. Such as when I looked into colours, colour theories, Pantone. Made me consider more about using colours in my own practice, how it could change the mood/atmosphere, the audience's perception.

9. (link from point 1) As simple as key words! I read articles about the subject, constantly talking about 'form and function', 'aesthetics', 'design thinking'. It then took me back all the way to the Bauhaus era, Modernism, Post-Modernism. (then did more research. as geeky as it sounds, I really love knowing new things)

10. (elaborating point 7) Media. Even to the slightest detail in the choice of media/material, there is thought put into it. Often they are based from the research I had done. From analog work, I had transitioned to a digital approach. I wanted to know if analog and digital aesthetics differ, what are the effects, which is more effective when it comes to producing a simple, minimal, modern aesthetic?

  • I would say that looking back at my work throughout COP, I didn't truly realise the connections/relation between my research and practice. It made much more sense now that I reflect back to my own work, why I did things, how I did things. 
  • I could see the significant relation when creating my visual journal, the materials, content and the theories/research. From when I tried to create 'meaningless' artworks, to exploring aesthetics and why it exists.  Though from there, what interests me is how it leads one subject to another, even leading me to more questions that needed to be answered (sometimes with more questions). It's never ending!

Manchester Art Gallery - Japanese Design Exhibition 


I had looked into Japanese aesthetics, though it was different seeing that theory/ideology applied to practical work. Having been aware of the basis of the theory and looking at the works exhibited, I could see the influence (it was kind of like walking into IKEA, though I wasn't sure if most of the furniture/clothes are actually functional)

Tatsuya Nakamura 
Haine Yasume table
(2004)
Sori Yanagi
Manufactured by Vitra
Butterfly stools (1954)



  • What I noticed is that, not only does pure aesthetics inform the artists' works, but also the intent and function. There were various chairs, lampshade, vases -designs intended to serve a purpose (furnitures, for the people). 
  • Though it made me wonder if creative practitioners could create products that are purely based on aesthetics? Could it effectively communicate meaning/intent? Could it be functional/useful? If not, what is its worth?

Yohji Yamamoto
Man's Coat 
(1985-90)

Recurring themes

Nature

Shadow and light

Subversive materials

Deconstruction
(breaking away from conventionally completed look, asymmetrical)

Line and pattern 

Junichiro Tanizaki wrote an essay on aesthetics,  In Praise of Shadows (1933): "We find beauty not in the thing itself but in the patterns of shadows, light and the darkness, that one thing against another creates...were it not for shadows, there would be no beauty" 
  • It made me think that as Buddhism significantly informs Japanese aesthetics, what about Western aesthetics? I am pretty sure it would be different (well duh. what am I saying?). I would like to further look into social/cultural, historical and philosophical connections to aesthetics. 
  • Thinking back to my own practice/work, perhaps right now I have been quite fixated on what they would call 'internet' aesthetics or the current generation's mainstream trend (faux-nostalgia, internetism, vapourwave). 
  • Looking at other things made me want to further explore what aesthetics really mean and its purpose/function in design. Why it exists? International aesthetics (if that is even a thing)? Not only in terms of how it looks as a whole, but in more detail such as the materials, colours etc.