1. Methods & Materials of the Artist
Lecturer: Mark Parkin

2. M & M Module
Aims
Research into the methods & materials of the artist in a historical context.
Be able to apply the appropriate language & terminology when appraising works of art.
Understand the methodology & technical elements utilized in the various aspects of the visual arts.
Objectives
Understand the evolution and application of materials used in art in a historical context.
Prepare a support & understand the method & application of a chalk & half oil ground.
Appraise an artwork and its various aspects of colour & composition relative to the subject using the appropriate terminology.

3. Assessment Student Portfolio: 50% Submission: Oct. 29 – Oct. 31/18
Criteria:
Journal outlining conceptualization, research, experimentation;
The ideas, methods & materials, and processes utilized in your art practice.
A visual diary and catalogue containing any aspects related to art practice through research & experimentation. It could be in the form of literature, poetry, sketches, photographs or multi media.
Portfolio of practical work from workshops & completed studio works.
Format: written, video or blog-digital media-portfolio of practical work

4. Assessment Written Essay: 50% Submission date Oct. 31/18
Criteria: Word count; no more than 1,000 words-please indicate the word count.
Front cover; can be downloaded from the Methods & Materials 2018 page along with other required information for the module at the University website.
Essays without the front cover, students name or numbers will not be accepted.
Select one of the following Subjects;
Renaissance Painting techniques
Emergence of Abstract Impressionism in America
Surrealism
Dada movement

5. Methods & Materials Journal
A compilation of your research, ideas and conceptualization of your art practice on a daily basis. Essentially, a diary of your art practice.
A catalogue consisting of sketches of ideas for paintings or sculpture, multi-media or even photographic references for present or future projects.
It may include poetry, literature or your own written ideas on a subject. It will be part of your overall portfolio assessment.

6. Methods & Materials Purpose of the Journal
Refining your ideas through media, materials, techniques and processes. There are various ways of using these to develop ideas and create a personal response.
Experiments, practical samples and studies in different media demonstrate that you have developed and communicated your ideas through practical investigation. This will equip you with a working vocabulary of resources, practical knowledge and technical skills and enable you to make an informed choice when selecting materials and approaches for your theme.

7. Methods & Materials Portfolio
A compilation of practical work from workshops & completed studio works. It is also to include all practical work that has been in the workshops and your development studies. This could be written, video or blog-digital or multi media.
Experimentation with different techniques & processes
Preparatory sketches, photographs, etc. of ideas or related subjects in the realization of your finished art works.
Finished art works
Journal

8. Methods & Materials
DEVELOPMENT STUDIES

9. Methods & Materials
METHODOLOGY to making a personal, informed & meaningful response to the subject-Conceptualization
Making a personal response and developing a personal visual language. (Individuality)
Making an informed response and demonstrating critical understanding. (Know your subject-research)
Realising your intentions and elements in your work & presenting a meaningful response. (Is your realised artwork pertinent to the subject , Does it have a narrative? )

10. Methods & Materials Approaches: Using resources, media and materials
Practical experience and experimentation will help you understand the possibilities of various media and develop your technical skills. Many artists and designers refine their ideas through techniques that have been developed over long periods of time.

11. Methods & Materials Approaches:
How do you select what to use to develop your work?
Try a range of different approaches in your development studies. Look at the work of other artists and designers, this can give you a direction for your project. You might be inspired by a painter to use brush strokes, tools or colour in a particular way, or by integrating mixed media into the concept of the work.

12. Methods & Materials
Approaches: Transcribing or translating images in different media:
A photograph could be interpreted in watercolour to see the possibilities of softer more fluid tones & colours.
An image could be reproduced using collage to explore textures and broader sweeps of coloured areas. The possibilities are endless.
The only limit is your imagination

13. Methods & Materials
Experimenting with materials, techniques and processes
Consider how other artists and designers have used media and processes?
Have you experimented and practised with your chosen materials and techniques?
Have you used contextual references in your development work?

15. Video 1

16. Methods & Materials

17. Experimenting with materials, techniques and processes
Methods & Materials
Experimenting with materials, techniques and processes
Discover what techniques different media lend themselves to in terms of the suitability to the project.
Explore the effects you can achieve with any proposed medium.
Explore the way in which an image, design motif or form can be changed or adapted.
You can use a study in one medium to inspire work in another.

18. Methods & Materials
Experimenting with materials, techniques and processes
ie; A pencil illustration could be transformed by working in ink and wash on a larger or smaller scale.
The linear qualities of the initial study would be expressed in tonal values or a sense of different form & space .
Work in a broad range of media, to explore how texture, paint effects and colour may be manipulated and incorporated into a final composition.
Experiment with a variety of oil-based or water-based paints of different thicknesses and fluidity, characteristics which significantly affect the final appearance of your work.

19. Methods & Materials Endorsement Activity Media and methods Fine art
Recording tone
Conveying form
Analysing structure
Expressing mood
Different grades of pencils and charcoal
Pen and wash
Broad brush strokes
Different colour schemes, eg monochrome or vibrant colours
Graphic design
Experimenting with layouts, images and text
Exploring colour
Image manipulation
Collage, tracings and ICT
Different paints to explore depth of colour and surface texture
Digital media to explore image combinations
Quick studies in pencil or marker pens
Textiles
Exploring colour, texture and pattern
Experimenting with joining and combining materials
Using different designing and construction methods
Producing small samples or mock-ups
Using different stitches, weaving, knitting or embroidery techniques
Stitching, gluing, tying and knotting
Pattern drafting, bias binding, wire and card inserts
3D design
Using different construction and joining methods
Bringing different media together
Experimenting with different scales
Experimenting with different 3D elements
Gluing, soldering; slab or coil pot (ceramics)
'Junk' or recycled sculpture
Organic and man-made materials
Producing maquettes or models
Photography
Exploring viewpoints and compositions
Experimenting with different exposures and timings
Different digital and darkroom processes
Combining images
Different lenses, focus range and depth of field
Aperture and shutter speeds
Digital manipulation, graded papers and filters, chemical developers and photograms
Montage and collage

20. Methods & Materials Refining your ideas
The visual impact and form of any work is affected by the characteristics of the chosen medium or media.
a large scale painting will look very different from a small watercolour or black and white photograph of the same subject matter.
Ideas can be developed by reworking them using a different medium, method or technique. Each study should provide evidence that you are refining your ideas.
Adapt or change your images rather than simply repeating them in different colours or copying them in a different medium.
Video-2

21. Methods & Materials

22. Modern Paints

23. Modern Paints
Historically, Oil paint has been the most important predominant type of paint over the last 500 years. Oil as the binding medium was well established by the start of the fifteenth century.
The advent of the twentieth century has introduced a wide and varied range of synthetic polymers have been developed, many of which have been used as binding media in modern paints.

24. Modern Paints

25. Modern Paints

26. Modern Paints
Synthetic binders most notably acrylic, alkyd, and polyvinyl acetate(PVA) has enabled great advances to be made in paint technology.
Benefits:
Reduced yellowing, greater flexibility, faster drying times, elimination of organic solvents as thinners and diluents.

27. Modern Paints Synthetic binders
There are three principal classes of synthetic binder that have been widely used by artists:
Acrylic, alkyd, and polyvinyl acetate (PVA)
(PVA) (Crook and Learner, 2000; Learner, 2000).

28. Modern Paints Synthetic binders-Acrylic
In 1934 the first usable synthetic acrylic resin dispersion was developed by German chemical company BASF, patented by Rohm and Haas. First used in the 1940s, combining some of the properties of oil and watercolour. Between 1946 and 1949, Leonard Bocour and Sam Golden invented a acrylic paint solution under the brand Magna paint. These were mineral spirit-based paints. Acrylics were made commercially available in the 1950s.

29. Modern Paints Synthetic binders-Acrylic
A fast-drying paint made of pigment suspended in acrylic polymer emulsion. Acrylic paints are water-soluble & become water-resistant when dry. Depending on how the paint is modified with acrylic gels, mediums, or pastes, the finished acrylic painting can resemble a watercolour or an oil painting, or have its own unique characteristics not attainable with other media.

30. Modern Paints Synthetic binders-Alkyd paints
A paint in which the vehicle (binder) is an alkyd resin.
Oil-modified polyester paints, introduced in the late 1930s, they did not make a significant impact on the paint industry until the late 1950s.
The vast majority of oil-based house paints have incorporated an alkyd resin as the principal binder.

31. Modern Paints Synthetic binders
Establishing the constituents of paint is frequently necessary prior to any kind of conservation treatment and for developing long-term preventive conservation strategies, as well as for technical art historical studies and issues surrounding authenticity. The identification of binding media is particularly important, as this component appears to have the largest influence on many of the properties of the resulting dried paint film.

32. Modern Paints Glossary of terms
Synthetic Polymer: Are man made products & materials derived from man made processes in laboratories most commonly sourced from petroleum.
Vehicle, medium or binder: The paint emulsion that suspends the particles of pigment and adheres it to the support.
Acrylic paint: A synthetic paint where pigment is suspended in polymer emulsion.
Alkyd: An alkyd is a polyester modified by the addition of fatty acids and other components.
PVA: Polyvinyl Acetate
Video-3

34. -FIN