Tutor Report – Assignment 1

Student name Mike Bayliss Student number 512828
Course/Module CIP Painting2 Assignment number 1

Overall Comments

A good start to the course Mike, you have taken a thorough look at the epochs and precursors and begun to experiment with some good outcomes.

You have found the balance of research to practice difficult but this will ease with time and having spoken over Skype, now you will hopefully gain a better balance.

Keep focused and work to enrich your textual and experimental research- this is not a broad exercise but a deeper view.

Assessment potential (after Assignment 1)

Feedback on assignments and exercises
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
This is a good first hand in, you have grasped the reality of research and practice and have assimilated what you are finding out into ways of working and this is impressive, because of this there are some good outcomes which we have spoken about.

Try making a series of small testers that play with back ground and foreground colour and techniques, don’t make ‘finished’ works each time but instead push your colour research and medium research to the max, reflect on what you are finding out.

Try to loosen up and explore the subject matter rather than trying to ‘make a picture’, the outcome will happen anyway if you let it. Try making quick interpretations of a subject, this will also help you to loosen up, a minute, five minutes, ten minutes and so on.

Overall, there is depth, feeling and emotion and care in your work, I am very pleased that you have worked so intensively and with good outcomes showing development, experimentation and establishing techniques for your future work.

Don’t aim to re-write art history, rather take an overview and focus on two or three examples.

Aim to make more expansive notes of the Skype tutorial next time for your records. These are scant at present.


Demonstration of technical and Visual Skills, Demonstration of Creativity
I know in the scope of this course that sketchbook can become less prioritized but it is important as a means to explore developing ideas and methods. If you are working loosely that is fine as long as you have a thought through collation towards the end of the course.

Learning Logs or Blogs/Critical essays

You are building your contextual and historical references; aim to collate them into a useable format- this will help you in the long run. Also you can consider building a bibliography as you find textual references. If you make a start now, it will stand you in good stead. Look at the OCA site for reference help and guidance, if you have any trouble email me and I will do my best to help. It is a good idea to add an annotation underneath each reference so that you know why it has been of interest to you.

Below is a chart that might help you to see how reflective writing can be structured- this should help with time and organization… so to explain: If you take the first step as Initial Experience- this might be looking at your own work or the works of others, then describe it clearly- the next step is to describe your initial reactions… and so on- this is a good method for the reflective texts that this course requires.

Suggested reading/viewing

Foster H, et al (2004) Art since 1900: Modernism, Antimodernism, Postmodernism, Thames and Hudson

Pointers for the next assignment

Continue your research – the on-line work is good, but try to flesh this out with reading texts. Scholargoogle.com is a good source if you use keywords to search.
Mike’s notes.

  • Contact Lia Harness for student help/support.
  • We spoke, or Tutor Michele did, about discussing different points of view in the Timeline or on a movement, artist etc if I come across them. Or express my own point of view or analysis if it differs from the view of others.
  • Leave time for critical analysis of experiments & finished work. Reflect & learn from the failures as well as successful pieces. It’s useful to keep photo reference of the process – development of ideas if the final work gets thrown in the bin.
  • It’s useful to have the Assessment Criteria to hand or nearby to avoid straying off course from Course objectives.
  • Michele spoke of possibly approaching experiments through a theme i.e, I am going to take the theme of ….
  • With experimental work pay more attention to the process, showing various phases of development, what techniques, materials, grounds etc. I’m using.
  • Same for sketch book work – more experimentation, exploration of ideas.
  • Michele mentioned that textural work was generally OK but need to pay attention when using quotes from artist’s or others, referencing specific works, exhibitions etc. that adequate foot notes are added.
  • When visiting museums & galleries, as well as paying attention to guide notes, P. 15 in Course Handbook, consider the theme, movement, artist in general terms & writing a few paragraphs on this, go into more detail describing one or two works, & take what I have learnt or find interesting back into the studio for possible further exploration.
  • Recommendation: Check out the book, Summers of Discontent – Purpose of the Arts Today, Raymond Tallis & Julian Spalding, Wilmington Square Books.



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