A1; Tutor Feedback

I am thrilled with my first formative feedback from my tutor, Cari Morton, mostly as she has clearly identified what seemed to have caused much of my despondency and disappointment at the end of Part One. I seem to have been duplicating a lot of the analysis of my work, addressing it in my ‘sketchbook’ and then again on my blog. This has been both time consuming and frustrating. I will discuss this further in my next post: Responses to Tutor Feedback.

Here it is:

Context, reflective thinking, critical thinking, analysis, Demonstration of technical and Visual Skills, Demonstration of Creativity 

“You’ve developed a really thorough, logical and interesting body of work, which demonstrates both your visual and practical abilities but also your critical thinking and strong writing skills. I really enjoyed your responses to each exercise, both visually and your evaluative analysis of the success and future potential of the samples.

Your sampling is varied and experimental, and you’ve documented the samples really well through photography. The three-dimensional, spatial samples were the ones which excited me most. The samples are really well analysed and evaluated: you critique the aesthetic and process, as well as posing interesting questions. You use drawing effectively to map out new ideas as well as documenting your samples. It would be great to see more drawing, possibly multiple responses to some samples to capture different aspects of one piece. For example, in your discussion of your drawing of the pleated tracing paper trimmings (sample 1.4.5), you state that you’re disappointed by the loss of the three-dimensional quality of the sample but that there was a pleasing simplicity to the resulting drawing, which holds potential for development using print processes. I agree with both of these points but I also wanted you to have tried to capture the three-dimensionality of that sample in a new drawing.

You’ve extracted some really interesting themes and ideas from the journey of the project, which could be explored further in future projects. For example, the gradations of shade ideas- how to unfold a shadow- could result is a really exciting body of work. Your discussion of this idea in relation to the ‘regularity and stillness’ of Agnes Martin’s work made your ideas much more tangible –  continue to discuss your work and that of others using such evocative language.

Similarly, the pleated text sample (1.4.11) could lead into a really interesting project using pleating and similar methods to distort, deform, contort visual information, just as the pleating has rendered the text nearly illegible. The pleated colour idea (1.4.12) holds similar potential – have a look at Ptolemy Mann’s architectural and spatial works in relation to this.

Your contextual research is consistently well integrated with your sampling, with a critical discussion of the nature of that work and its relationship to your work. It was also great to see you applying your colour theory knowledge and technical terminology in your discussion of samples 2.4.1 a & b.

This is a really solid start to the course. I’d love to see more drawing emerging during Part 2 and I would also like you to consider the different roles of the sketchbook and online learning log/blog, which I discuss in more detail below”.

Sketchbooks vs. Learning Logs

Demonstration of technical and Visual Skills, Demonstration of Creativity / Context, reflective thinking, critical thinking, analysis


“Your sketchbook in the lever arch file is a really thorough journey of the project but it is predominantly written rather than visual, more like a log in some respects. Your log is similarly thorough and detailed but there were times that I felt the two documents were playing the same role, with some log entries being very similar to what I’d read in the sketchbook. How do you feel the two documents differ? What different roles do they play in the development of your work? Consider this in Part 2 and try to differentiate their roles to a greater extent.

It would be good to see the visuals (your drawings, samples and photos) predominating over writing in the sketchbook, supported by written annotations. Perhaps the fuller, long-form discussion could continue on the blog, with more succinct, possibly note-form annotations in the sketchbook. There is a lot of really valuable questioning and analysis in the sketchbook writing, which I don’t want you to lose, but it would be good for the visuals to be the dominant element of the sketchbook.

Part of the answer may lie in developing more drawing -rather than one or two responses to a sample, consider drawing it in a few different ways, focusing on a different characteristic/angle/element in each visualisation”.


Cari went on to discuss what worked in my sketchbooks, providing photographic evidence to explain what she meant. I very much appreciate this input. She concluded:

“By reducing the duplication of information between the sketchbook and blog and writing less in the sketchbook, you should end up with more time to draw and develop new samples”.

I certainly hope this is true!







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