From these key elements of Roller Derby kit I've drawn up a rough sketch of how my final photograph will be layed out. I think the lines correlate really well to the original.
Tuesday, 27 March 2012
Dressing the Stuarts in Derby Gear
In my sketchbook I've been looking a lot at the shapes and lines created in Anthony Van Dyck's original painting of the 2 Lords. The lines from the breeches and fabric round the arms already naturally mirrors the lines created by Derby kit which you can see below.
From these key elements of Roller Derby kit I've drawn up a rough sketch of how my final photograph will be layed out. I think the lines correlate really well to the original.
From these key elements of Roller Derby kit I've drawn up a rough sketch of how my final photograph will be layed out. I think the lines correlate really well to the original.
Monday, 26 March 2012
There's something a-Bout Derby
Just for a bit of fun I was looking up bout* posters. I thought it was pretty funny that a lot of them are names taken from films or famous phrases, but somehow changed to be something about skating, or a little bit badass. (FYI this is the same with Roller Derby players names too!) Just as a possible extra comedic touch I'd like to maybe come up with some Derby names for Lord John and Bernard Stuart for a title for my piece.
Here's some of my favourite bout posters either for their names or the artwork.
*bout - a game of roller derby
Here's some of my favourite bout posters either for their names or the artwork.
*bout - a game of roller derby
Saturday, 24 March 2012
Final Choice and Next Steps
So as I said in my previous post, after my tutorial with Bunny Winter I have decided on using Lord John Stuart and his Brother, Lord Bernard Stuart.
After seeing The Anatomy Lesson of Dr Nicolaes Tulp transformed into a scene at a tattoo parlour I was so drawn to the comedy side of it as well as the alternative feel and I wanted to achieve something that also encapsulated that comedy in creating something a bit different. After the idea of recreating this as two 21st century Roller Derby girls sprung into my head I haven't been able to shake it as its such a personal love of mine. I've since been focusing a lot in my sketchbook on the key shapes and lines I want to replicate using the Roller Derby gear.
The idea is to turn the image of these wealthy 17th century men completely upside down, firstly by making them women, and more importantly by adorning them in the essential Roller Derby gear and giving them a bit of Roller Derby attitude.
The next step is to look at the gear itself and how I can replicate the shapes, lines and colours with it.
Images courtesy of the Dorset Roller Girls
The idea is to turn the image of these wealthy 17th century men completely upside down, firstly by making them women, and more importantly by adorning them in the essential Roller Derby gear and giving them a bit of Roller Derby attitude.
The next step is to look at the gear itself and how I can replicate the shapes, lines and colours with it.
Images courtesy of the Dorset Roller Girls
Thursday, 22 March 2012
Tutorial 1: Styling Project
Tutorial with Bunny Winter 22.3.12
Notes:
Wanting to modernise the portrait of choice.Good start with research, got a good feel for where I want to go.
Currently have 2 main choices:
- Madame Moitessier Jean-Auguste-Dominique Ingres, 1856
Focus on shape and colour
- Lord John Stuart and his Brother, Lord Bernard Stuart Anthony Van Dyck, 1638
Change the storyline with a comical twist - modern day Roller Derby girls.
Could use team mates at Dorset Roller Girls and friends.
Focus on colour, stance, shape.
Look at specifics of lines to make sure achieved correctly.
Will shoot after Easter. Prepare everything during Easter so shoot is easily done after Easter. Use Kevin Malbas (3rd year Photography) and hire out studio at uni.
Think about set, step to stand on, and something to lean on.
Do some test shots first with kit to get perfect.
Reflection:
After my tutorial it has become even more clear to me that Lord John Stuart and his Brother, Lord Bernard Stuart is the best choice for me. I really want to create something comical and personal to me, and really believe that I can replicate this painting well with my new context added to it.
From talking with Bunny I know that because it is such a massive change to the painting I will need to focus so strongly on the shapes and colours of my choices in everything to really make it a successful final photograph. I've already started speaking with Kevin Malbas, a photographer friend, to start thinking about achieving the best picture I can. I already have a pretty clear idea of what I want it to look like, and in terms of costume and outfit I feel really confident in my initial choices. The test shots I hope to do will be able to show me if anything needs tweaking before I do the final shoot.
Saturday, 17 March 2012
National Gallery
Today I spent the day looking around the National Gallery and the National Portrait Gallery. I have to say that I definitely spent the majority of my time at the National Gallery, and found a good few images which I could potentially use for my photograph. I have 6 images which I want to look a little closer at over the next few days before making my final choice. Each image has been picked for a variety of different reasons, so I want to explore these before making a final decision.
 |
| Michelangelo Merisi Da Caravaggio, The Supper at Emmaus, 1601 |
- The piece is incredibly well known, so a copy would be easily identifiable to its original.
- The colour is strong
- The facial expressions are strong, and the shapes created by the hand gestures are really interesting, and would be a great challenge to recreate.
- Interesting shadows that would be be difficult to replicate, but if successful would be great.
- Need to come up with some kind of modern context in which the hand gestures fit.
 | |
| Jean-Auguste-Dominique Ingres, Madame Moitessier, 1856 |
- Interesting neckline to play with. Could easily substitute modern costume for the various parts of the dress.
- Mirror image in the background, could show a contemporary flower in her hair.
- Would need to replace item in her hand, and items behind, could be hair straighteners? Or other, need to brainstorm.
- Interesting colour and pattern to work with.
|
| Anthony Van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart, 1638 |
- To give a comedic and personal touch I could substitute the characters for Roller Derby girls. The positioning would translate well.
- Costume interpretation would be quite fun, maybe using a denim jacket slung over the shoulder, and leather fingerless gloves. Would also dress in full Roller Derby gear - skates would substitute for the boots, elbow pads would be the equivalent of the left characters fabric slung round his elbow, knee pads would cut the leg at the point where the breeches would end, helmets would replace the long hair.
- Keeping the colour and positioning strong could make this very successful.
 |
| Jean Beraud, After the Misdeed, 1885-90 |
- Beautiful colouring, though the problem with colour would be the set.
- Could translate very well to a modernised costume and context.
 |
| Joseph Wright 'of Derby', An Experiment on a Bird in the Air Pump, 1768 |
- Problem coming up with a alternative context for the main characters stance and actions. The only thing I can think of would be students playing a drinking game, and he would be pouring into the middle.
- Expression is fantastic, and if done correctly would look amazing.
- I think it's unlikely I will go for this one. It could be great but there are too many details and factors that would have to be bang on perfect.
 |
| Bernardo Strozzi, A Personification of Fame, 1635-6 |
- Good colour palate
- Context could translate well to modern day, a new personification of fame. Possibly a WAG-like character, keeping the red corset, and the yellow and blue and draped fabric over her.
Friday, 16 March 2012
Classic to Modern & Context
After looking at a variety of different styles of interpretations of famous pieces in my sketchbook I think I've come to the conclusion that I would like to try an achieve a "classic to modern" photograph. I've been trying to look in detail at the context of the pictures and noticed that these mainly fit into 3 categories: keeping the same context of the piece but modernising it, changing the context entirely but still keeping the context clear, and having no obvious context at all. I would definitely like there to be a clear context and story to my photograph whether it is related to the original context of the painting or not. I think I can't be sure until I actually go to the National Gallery and National Portrait Galley tomorrow and get a feel for what sort of painting I want to use, as at the moment the only thing I know is that I want a piece I am able to modernise.
I've looked at quite a lot of "classic to modern" interpretations and these are my two favourite examples in terms of the very different approaches to context.
American Gothic - Updated Context
This is possibly my favourite photographer's interpretation for so many reasons. Obviously the purpose of this piece is to use the same feel and context of Grant Wood's original piece but give it a very modern alternative feel. I think that the execution is brilliant. Every detail has been thought about, from the positioning of the characters, the facial expressions, to the peaked building behind. The costume choices, though very simple, have obviously been incredibly carefully selected, as the black sleeves of the male's top mirror the shirt and jacket of Wood's piece, and the combination of the necklace and neckline of her top do the same as an equivalent of the old fashioned dress. The piece is effectively a very simple take on Wood's piece though every small thought-through detail really makes this piece work.
The Anatomy Lesson of Dr. Nicolaes Tulp - Context Change
I absolutely love the approach to this interpretation of Rembrandt's famous piece. By changing the context of the piece entirely she's made the piece really comical and an enjoyable interpretation to view. Iris Encina Baranda has taken this beautiful but morbid painting and used the people and shapes to recreate it as a man being tattooed. Though I feel not perfect in its placement of people and expression, the brilliant idea behind it is what makes this piece quite successful. I know that this kind of a context change to a painting would be more difficult to achieve successfully, firstly for coming up with a good enough idea and then secondly executing it focusing on shape and colour to make it a perfect match. If I can come up with a good enough idea I would prefer to try an attempt a strong context change, though I guess we'll see what happens tomorrow!
I've looked at quite a lot of "classic to modern" interpretations and these are my two favourite examples in terms of the very different approaches to context.
American Gothic - Updated Context
This is possibly my favourite photographer's interpretation for so many reasons. Obviously the purpose of this piece is to use the same feel and context of Grant Wood's original piece but give it a very modern alternative feel. I think that the execution is brilliant. Every detail has been thought about, from the positioning of the characters, the facial expressions, to the peaked building behind. The costume choices, though very simple, have obviously been incredibly carefully selected, as the black sleeves of the male's top mirror the shirt and jacket of Wood's piece, and the combination of the necklace and neckline of her top do the same as an equivalent of the old fashioned dress. The piece is effectively a very simple take on Wood's piece though every small thought-through detail really makes this piece work.
 |
| Jesse John Hunniford |
 |
| Grant Wood |
I absolutely love the approach to this interpretation of Rembrandt's famous piece. By changing the context of the piece entirely she's made the piece really comical and an enjoyable interpretation to view. Iris Encina Baranda has taken this beautiful but morbid painting and used the people and shapes to recreate it as a man being tattooed. Though I feel not perfect in its placement of people and expression, the brilliant idea behind it is what makes this piece quite successful. I know that this kind of a context change to a painting would be more difficult to achieve successfully, firstly for coming up with a good enough idea and then secondly executing it focusing on shape and colour to make it a perfect match. If I can come up with a good enough idea I would prefer to try an attempt a strong context change, though I guess we'll see what happens tomorrow!
 |
| Iris Encina Baranda |
 |
| Rembrandt |
Thursday, 15 March 2012
Vivienne Westwood Inspired by Portraiture
For Westwood's collection Portrait (A/W 1990-1) she wanted her models to look as if they had stepped out of a painting and her inspiration was 18th and 19th century portraiture. The jacket below was designed and created with direct influence from Walter Hawkesworth Fawkes's painting.
Though not the same process, or intention, it's interesting to see a different piece where classical portraiture has been a direct influence.
Though not the same process, or intention, it's interesting to see a different piece where classical portraiture has been a direct influence.
 |
| Vivienne Westwood, Portrait, Collection A/W 1990-1 |
 |
| Walter Hawkesworth Fawkes, The boy with a bat, 18th century |
Wednesday, 14 March 2012
A Sudden Gust of Wind
Jeff Wall has been one of my favourite photographers since seeing his exhibition at the Tate Modern in 2005. His style of photography is cinematographic, and each picture creates a context and scene for its purpose.
A favourite of mine from the exhibition was A Sudden Gust of Wind, an interpretation of Katsushika Hokusai's wood carving Yejiri Station, Province of Suruga. The photograph took over a year to get right and over 100 images were captured to obtain the perfect shot, giving the illusion of a coincidentally caught moment. It's not until you see Hokusai's original that you notice the beauty in the correspondence of Wall's photograph with its partner. I'm not surprised the image took so long to achieve, as every detail is perfect, from the pose of each character to the wind flow and direction of the flying paper. Even today I noticed a character in the background, who is perfectly positioned to fit Hokusai's piece, despite having looked at this image hundreds of times. His choice to dress his actors as modern characters makes this interpretation a new creation of something incredibly classic, and gives it, in some way, a sort of comical feel. I feel quite strongly at this point that this classic to modern feel is probably the angle I want to aim for.
A favourite of mine from the exhibition was A Sudden Gust of Wind, an interpretation of Katsushika Hokusai's wood carving Yejiri Station, Province of Suruga. The photograph took over a year to get right and over 100 images were captured to obtain the perfect shot, giving the illusion of a coincidentally caught moment. It's not until you see Hokusai's original that you notice the beauty in the correspondence of Wall's photograph with its partner. I'm not surprised the image took so long to achieve, as every detail is perfect, from the pose of each character to the wind flow and direction of the flying paper. Even today I noticed a character in the background, who is perfectly positioned to fit Hokusai's piece, despite having looked at this image hundreds of times. His choice to dress his actors as modern characters makes this interpretation a new creation of something incredibly classic, and gives it, in some way, a sort of comical feel. I feel quite strongly at this point that this classic to modern feel is probably the angle I want to aim for.
 |
| Jeff Wall, A Sudden Gust of Wind, 1993 |
 |
| Katsushika Hokusai, Yejiri Station, Province of Suruga, ca. 1832 |
Tuesday, 13 March 2012
The Kiss
To get us started with the project we
were shown a few initial interpretations that artists had produced to
inspire us. This particular image really stood out me.
Gustav Klimt's The Kiss has been a very significant painting for me since I was young. It was my parents favourite painting and I can remember admiring the colour and patterns as a child, imprinting them on my mind and giving them a strong familiarity for me now (my parents even had matching dressing gowns in the patterns of Klimt's lovers!). Seeing Moises González's interpretation I think has made me love Klimt's piece more, if that was possible. The colouring, though more vibrant works perfectly and the different textures of the fabrics substitutes for the opposing patterns. I love that he's used digital enhancement to create the background and floral ground, but still given it a significant difference to the original, keeping with his bold colour scheme.
After seeing this particular interpretation I researched some others, though found that none captured the facial expression quite like González has here. I know that this particularly is going to be vital, and that selecting the correct model is going to be key to creating a successful image.
You can see more of Moises González's interpritations of Gustav Klimt's work at Behance Network
Gustav Klimt's The Kiss has been a very significant painting for me since I was young. It was my parents favourite painting and I can remember admiring the colour and patterns as a child, imprinting them on my mind and giving them a strong familiarity for me now (my parents even had matching dressing gowns in the patterns of Klimt's lovers!). Seeing Moises González's interpretation I think has made me love Klimt's piece more, if that was possible. The colouring, though more vibrant works perfectly and the different textures of the fabrics substitutes for the opposing patterns. I love that he's used digital enhancement to create the background and floral ground, but still given it a significant difference to the original, keeping with his bold colour scheme.
After seeing this particular interpretation I researched some others, though found that none captured the facial expression quite like González has here. I know that this particularly is going to be vital, and that selecting the correct model is going to be key to creating a successful image.
 |
| Moises González, La Esencia de Klimt, 2007 |
 |
| Gustav Klimt, The Kiss, 1907-1908 |
You can see more of Moises González's interpritations of Gustav Klimt's work at Behance Network
Monday, 12 March 2012
Bibliography
To be edited throughout
Barrymore, D. (2009) Whip It [Film] USA: Mandate Pictures
Behance Network (2007). Le Esencia de Klimt. [online] Available from http://www.behance.net/Gallery/La-Esencia-de-Klimt/50709 [Accessed 13th March 2012]
Bruzzi, S.
(1997) Undressing Cinema. Oxon:
Routledge
Burton, T. (1999) Sleepy Hollow [Film] USA: Paramount Pictures
Burton, T. (2007) Sweeney Todd [Film] USA: Warner Bros. Pictures
Burton, T. (2010) Alice in Wonderland [Film] USA: Walt Disney Pictures
Churchill, T (2012) Tim Churchill.com. [online] Available from http://www.timchurchill.co.uk [Accessed 19th April 2012]
Burton, T. (1999) Sleepy Hollow [Film] USA: Paramount Pictures
Burton, T. (2007) Sweeney Todd [Film] USA: Warner Bros. Pictures
Burton, T. (2010) Alice in Wonderland [Film] USA: Walt Disney Pictures
Churchill, T (2012) Tim Churchill.com. [online] Available from http://www.timchurchill.co.uk [Accessed 19th April 2012]
Cole, H. and Burke, K. (2005) Costuming for Film: The Art and the Craft. Beverly Hills: Silman-James Press
Courtauld Gallery, The. (2012) The Courtauld Gallery. [online] Available from http://www.courtauld.ac.uk/gallery/index.shtml [Accessed 6th April 2012]
De Duve, T. et al. (2003). Jeff Wall. London: Phaidon Press Limited.
Dorset Roller Girls (2012). Dorset Roller Girls. [online] Available from http://www.facebook.com/pages/Dorset-Roller-Girls/173804386023479 [Accessed 24th March 2012]
Engelmeiner,
R and P. (1990) Fashion in Film. Munich: Prestel-Verlag
Harnada, J (2011). Remake/Submissions. [online] Available from http://www.booooooom.com/2011/10/04/remake-submissions/ [Accessed 12th March 2012]
Hirearchy (2012). Hirearchy Costumes. [online] Available from http://www.hirearchy.co.uk/ [Accessed 19th April 2012]
Hunnisett, J. (2003) Period Costume for Stage and Screen. Studio City: Players Press Ink
Mrs Marvel (2012) Who were they? [online] Available from: http://whowerethey.wordpress.com/ [Accessed 18th April 2012]
Mustenso Creative (2009). Klimt through the eyes of Moises González. [online] Available from http://mustenso.com/2009/12/31/klimt-through-the-eyes-of-photographer-moises-gonzalez/ [Accessed 13th March 2012]
National Gallery, The (2012). The National Gallery, London. [online] Available from http://www.nationalgallery.org.uk/ [Accessed 16th March 2012]
National Portrait Gallery (2012). National Portrait Gallery. [online] Available from http://www.npg.org.uk/ [Accessed 16th March 2012]
Nolan, C. (2006) The Prestige [film] USA: Touchstone Pictures
Parker, O. (2009) Dorian Gray. [film] UK: Ealing Studios
Ritchie, G. (2009) Sherlock Holmes. [film] USA: Warner Bros. Pictures
Tate Modern (2005). Jeff Wall - Photographs 1978-2004. [online] Available from http://www.tate.org.uk/modern/exhibitions/jeffwall/ [Accessed 14th March 2012]
Wilcox, C. (2004). Vivienne Westwood. London: V&A Publications.
Time Plan
To be updated throughout.
06.03.12 - Session with Claire Collins - CPlot Pro
12.03.12 - Briefing
14.03.12 - Film Club Session - Looking at last year's final films
17.03.12 - National Gallery and National Portrait Gallery Visit
22.03.12 - Tutorials
10.04.12 - Courtauld Gallery Visit with Film
11.04.12 - Refocus Meeting
12.04.12 - Tutorials (sign up)
13.04.12 - Film Pitches
17.04.12 - Assigned Film
19.04.12 - Film Club Tutorials
23.04.12-03.05.12 - Filming (TBC)
25.04.12 - Blog Reviews
26.04.12 - Girl with a Dove Filming - Costume Designer
01.05.12 - Memorial Filming - Costume Assistant
16.05.12 - Working Progress Screening - CANCELLED
17.05.12 - Student Presentations
21.05.12 - SDP Hand In
23.05.12 - Final Screenings
06.03.12 - Session with Claire Collins - CPlot Pro
12.03.12 - Briefing
14.03.12 - Film Club Session - Looking at last year's final films
17.03.12 - National Gallery and National Portrait Gallery Visit
22.03.12 - Tutorials
10.04.12 - Courtauld Gallery Visit with Film
11.04.12 - Refocus Meeting
12.04.12 - Tutorials (sign up)
13.04.12 - Film Pitches
17.04.12 - Assigned Film
19.04.12 - Film Club Tutorials
23.04.12-03.05.12 - Filming (TBC)
25.04.12 - Blog Reviews
26.04.12 - Girl with a Dove Filming - Costume Designer
01.05.12 - Memorial Filming - Costume Assistant
16.05.12 - Working Progress Screening - CANCELLED
17.05.12 - Student Presentations
21.05.12 - SDP Hand In
23.05.12 - Final Screenings
5th March
|
6th
Claire Collins
Session 6.30
|
7th
|
8th
|
9th
|
10th
|
11th
Roller
Derby
|
12th
Year Group
Meeting
Film Club Brief
|
13th
POP
Brief
Hand
in CIC
BFTW
Evening
|
14th
Film Club
Session
|
15th
|
16th
|
17th
National
Gallery Visit
|
18th
Roller
Derby
|
19th
|
20th
Lecture
BFTW
Evening
|
21st
|
22nd
Styling Project
Tutorials
BFTW
Evening
|
23rd
|
24th
|
25th
Roller
Derby
|
26th
Return
to London
E
|
27th
Courtauld
Gallery Visit
A
|
28th
S
|
29th
T
|
30th
E
|
31st
R
|
1st
April
|
2nd
|
3rd
|
4th
B
|
5th
R
|
6th
E
|
7th
A
|
8th
K
|
9th
|
10th
Courtauld Gallery Visit with
Film
Return to B-mouth
|
11th
Refocus Meeting
|
12th
Sign-Up Tutorrals
|
13th
Film Pitches
Return to London
|
14th
Time
off - Family
|
15th
Time
off - Family
|
16th
Time
off - Family
|
17th
Assigned Film
Time off - Family |
18th
Return
to B-Mouth
|
19th
Film Tutorials
|
20th
|
21st
|
22nd
Roller
Derby
|
23rd
Filming
|
24th
Filming
|
25th
Filming
Blog Reviews
|
26th
Filming
Girl with a Dove |
27th
Filming
|
28th
|
29th
Roller
Derby
|
30th
Filming
|
1st
May
Filming
Memorial |
2nd
Filming
|
3rd
Filming
Film Session
|
4th
|
5th
|
6th
Roller
Derby
|
7th
|
8th
|
9th
|
10th
Film Session
|
11th
|
12th
|
13th
Roller
Derby
|
14th
|
15th
POP
Hand in
|
16th
Working
Progress Screening
|
17th
Student
Presentations
|
18th
|
19th
|
20th
Roller
Derby
|
21st
SDP Hand in
|
22nd
|
23rd
Final Screening
|
24th
|
25th
|
26th
|
27th
Roller
Derby
|
Self Directed Project Brief
Learning Agreement
NAME: Georgia Jeffery
COURSE: BA (Hons) Costume with Performance
Design
UNIT TITLE: Self Directed Project
REF. NO./LEVEL: CSS518
WEIGHTING: 2.0
DURATION: 9 Weeks
HOURS OF STUDY: 300 Hours
Unit Leader: Adele Keeley/Graham Cottenden
Your Blog address: georgiajeffery.blogspot.com
DESCRIPTION:
Painting
for Inspiration
The project
is split into 2 parts –
Part 1:
Styling Project
I will
visit the National Gallery or National Portrait Gallery and select and painting
I would like to interpret. The painting can be from any period and can have
just one character in or a number of characters. I will decide whether I would
like to interpret the painting in the period portrayed whether you would like
to place it in a contemporary context. The outcome of the Part 1 will be
presented in a photograph. The project has £0 budget so you will have to be
resourceful and inventive in your creations. You will have access to the
costumes in the costume store and can contribute a small amount of your own
money if you wish to purchase items from charity shops etc. The skill in
creating this piece will be in the styling of the costume ready for camera.
Part 2:
Designing for Film
I will work
closely with a film crew from the BA (Hons) Film course to costume a film
inspired from a painting from the Courtauld Gallery. Students from the film
course will chose a painting and pitch their ideas to the tutors. 8 ideas will
be chosen and you will be assigned a film each to design and source costumes
for. The actors in the films are students on the BA (Hons) Acting course. The
turn around for the project is very tight and forces you to be creative with
time management and work to a tight budget. ALL costs come from this very small
budget so try and use our store as much as possible and try and negotiate
something with your producer. Each shoot will last 1 day and you will be
required to work on set. You will be assigned a film as a designer and will
also be required to work as an assistant on another of the films.
I chose this
project as I’m really passionate about film, and haven’t had much of a chance
yet to work with costume for film. The idea of working on set is really
exciting to me and having the chance to do the designs for a production, as
well as assist another designer on set is something that strongly appeals to me.
I’m also really interested in potentially working in supervising for level 6,
and the project has an essence of supervising in our roles on set and our
pre-production.
I will
produce a sketchbook including: research, development ideas and photos from the
styling project and research, development ideas and on-set photos from the film
project. As well as a film file: Continuity, Character breakdown, Budget
breakdown and any other relevant paperwork generated. For most of this you can
use print outs from Costume Plot Pro. And finally my blog.
Aims:
A1 To provide
opportunities for self-initiated, autonomous learning
and develop the ability to plan time
and work independently
A2 To provide opportunity to study the
contextual development of costume and performance design
A3 To further develop the creative,
intellectual and practical applications of research and contextualisation
within a self initiated environment
A4 To
propose, develop and evaluate professional aspirations through professional
development planning
Learning Outcomes:
On completion of this unit you will be able to:
LO1 Identify and define the context for the
development of your own work towards professional aspirations
LO2 Demonstrate an understanding of the
development of Costume with performance design
`
LO3 Have developed the creative, intellectual
and practical applications of research and contextualisation
LO4 Consolidate and
demonstrate professional aspirations and planning
Assessment
Requirements:
For hand-in
you will submit:
A
sketchbook including: research, development ideas and photos from the styling
project and research, development ideas and on-set photos from the film
project.
A film
file: Continuity, Character breakdown, Budget breakdown and any other relevant
paperwork generated. For most of this you can use print outs from Costume Plot
Pro under pinned by personal development planning (in your blog journal) and a
final written evaluation (750 words) evidenced in your Blog 100%
Each assessment requirement must be passed at a minimum
grade of 40% to successfully complete the unit
Assessment Criteria
(specific criteria related to the learning outcomes and linked to the statement
of generic assessment criteria matrix):
1.
Evidence
of knowledge of contextual and theoretical issues – The level to which you have considered the context of your project and
evidenced that to your body of work (LO1, LO2)
2.
Evidence
of understanding through synthesis and development – The application and extend to which research has informed
decision-making and project development together with the appropriate
management of time (LO2, LO3, LO4)
3.
Evidence
of evaluation and reflection – The extent
to which you have reflected on the progress of your project and used it to
inform personal development planning (LO4)
4.
Evidence
of realisation through the communication of ideas - The presentation of your work and the level to which specialist
knowledge has been applied, communicated and evidenced (LO3, LO4)
Reference Material
This will
vary according to the needs of the individual project. You will define Reference Material through
personal investigation and consultation with staff and list it in your Learning
Agreement.
Bruzzi, S.
(1997) Undressing Cinema. Oxon:
Routledge
Cole, H.
and Burke, K. (2005) Costuming for Film:
The Art and the Craft. Beverly
Hills: Silman-James Press
Engelmeiner,
R and P. (1990) Fashion in Film. Munich: Prestel-Verlag
Hunnisett,
J. (2003) Period Costume for Stage and
Screen. Studio
City: Players Press Ink.
Subscribe to:
Posts (Atom)