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Changes I would make if using the UOL again:

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Changes I would make if using the UOL again:

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I would make it mandatory that I had to print the student's best-chosen image for review and have that as a separate official midterm review of work. Instead of relying on the last day of the UOL. This would also encourage the students when creating their finals if they had a better idea of how our final exhibition would run.

There were many other artists that I had discovered during my lesson planning that would be better suited than I had originally planned. Such as Marilyn Minter and Richard Mosse.

I would introduce collage in the research stage and how beneficial it has been in other artists' work. Room for a collage class would be needed as well as other forms of mixed media such as oil pastels etc.

A relevant on-site visit would be necessary for the early lessons to allow students to gather images and see first hand the intended subject matter.

I would removes the bottle aspect from the UOL and consider the use of pipes and other metals or materials that would hold toxic materials.

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Changes I would make if using the UOL again:

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Changes I would make if using the UOL again:

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Having the promised allocation of time with the students I would introduce an A3 sheet for the students to document all their processes, thoughts and ideas onto as a form of sketchbook. As TY students don't have sketchbooks this would make its easier for me to track their progress.

I would allow time for independent research on famous printmakers.

I would change the design of a simple seashell/coral design and logo to a poster type of design for printing. Encouraging the use of text to show their conceptual understanding.

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Changes I would make if using the UOL again:

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Changes I would make if using the UOL again:

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I would prioritize a critique and review of work to either a single class a week where we mount the work and review or I would gather images of the class's work after every lesson for a swift review on the projector at the beginning of the next classes.

I would update the inspirational artists list that I have presented and relevant videos as I found more valuable artists relevant to the UOL as I went through placement. Such as Valerie Hegarty and Richard Mosse.

I would allow four weeks for the final piece project instead of the 3 weeks I had initially planned considering that a great deal of students were out for sport, meetings, or sickness. I would then ensure that I have an add on activity for students present in all classes with an early completion of work to engage in.

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Shortfalls regarding intended learning outcomes:

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Shortfalls regarding intended learning outcomes:

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Only had 4 weeks with the students instead of the intended 8 weeks so most girls only got to print one layer.

No students were able to complete the final stage of applying to Foras Namara (Marine Institute of Ireland Logo)

No student got the opportunity to review and critique their own work.

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Shortfalls regarding intended learning outcomes:

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Shortfalls regarding intended learning outcomes:

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Like my first-year group it would be necessary to allow a specific day a week for reviews as some students hadn't the opportunity to review their own and peer work from class absences.

It became evident when asked to plan their final pieces the students were still unsure of why toxic spills were harmful and why we were creating our content.

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Shortfalls regarding intended learning outcomes:

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Shortfalls regarding intended learning outcomes:

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Some students didn't finish their work.

It was difficult to get students to research a variety of artists despite naming and asking them to write independent notes in their sketchbooks. This was only realized after the research stage of my UOL and I had to print out worksheets for the students to fill in with guidelines so that there would be no excuses for incomplete homework.

The last class fell on a Friday and the majority of the class was absent from the class to partake in the review.

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Students all created simplified seashell designs with ease using inspiration from sample prints of similar shells they were observing.

Some conceptual understanding is relevant in some students' work, who created destroyed seashells or broken coral designs.

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Students took Richard Mosses' ideas literally and created and enhanced some interesting images to paint from. This is evident in the unique spills each student has created and their thought process in deciding what colours to use to mimic these 'oil' spills.

Students demonstrated their understanding of how flows work and how they spilt off of displays when we photographed them. They took these ideas and showed them as extensions outside of their A4 sheets of paper.

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Students were intended to use a range of learned skills from previous activities and apply them in their final piece. Most students used more than two types of textures, they all gridded their cardboard studies and most followed through with the underpainting process from a previous exercise. There is evidence of pen work in many of the studies.

Students created thumbnail plans with notes for them to follow through with.

There is a good range of tone and a great sense of experimentation with vibrancy and saturation thanks to the editing classes we had and the influence from Richard Mosses' photography.

Students provided personal responses about their work in handouts that had been provided after the final critique. Here they explained how they showed the appreciation for the decay process in their work.

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Playing with texture to master the manipulation of such materials before application to final pieces.

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Playing with texture to master the manipulation of such materials before application to final pieces.

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Decay is essentially a breakdown and destruction of material so by using cardboard and 'destroying' it  and pulling away breaking down the material the concept of the idea of decay should be realised.

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Collage and paint early stages of underpainting.

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Collage and paint early stages of underpainting.

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Evidence of underpainting, creative thinking using primary source images of bottles and spills.

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Evidence of underpainting, creative thinking using primary source images of bottles and spills.

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Thumbnail planning.

Strict timing of exercises.

Artist research sheets for students to fill in instead of relying on them to do their appropriate research.

Give them a limited choice of inspirational artists to research.

Analysis sheets of exercises for them to fill in.

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Thumbnail planning to quicken student pace towards the final piece.

Time classes and break them down into strict sections.

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Finish plans and begin the mapping out of their final paintings onto provided papers.

Impromptu 10-minute analysis sheet to assess students' understanding of the topic of toxic spills thus far in our studies.

Analysis sheets for h/w to stick into sketchbooks.

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The newer students will have to be separated from the regular TY students s that I can tend to them and catch them up on missed presentations.

The other TY students will then need to be assessed with analysis worksheets for my record.

I will use ideas found from the Lino workshop images pasted above and have the girls print onto more unusual surfaces.

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No images were taken in the last class but the students had begun to cut up their marbling pieces, create design plans for action after midterm using their imagery from photography classes.

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I suggested the students consider drawing from the flows evident from the marbling process or consider collage by cutting out the flows and adding them into their paintings or simply using the marbled prints themselves as the canvas for them to paint into. I want the students to lead their own way with the rest of the UOL with my guideline so that I can fully assess their own creativeness and engagement with the UOL.

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Paint onto textured card studies in acrylic paint to realise the effects and possibilities for their final works.

Ask students to reflect on previous assignments using printed handouts that they can then stick into sketchbooks near the work in question.

Use gathered imagery to inform their plans and initial drawings onto cardboard for their final pieces.

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Lino Printing Coral Reef Bag Campaign Image 1

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Lino Printing Coral Reef Bag Campaign Image 1

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Observational drawings.

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Simplified design and colour schemes.

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Lino cut.

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Messy water colour studies of decayed leaf and pen to refine the subject matters details. The idea is that by dribbling the paint and smudging elements of it the concept of decay and destruction can be realized more efficiently.

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Pencil studies of photographed droplets on a mirror plate.

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Water colour study of decaying leaves.

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Pencil studies of wine bottles filled with liquid.

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Acrylic painting progress in mimicking artist technique of painting.

-Students were asked to research an artists painting of a natural form and mimic a section of a painting by that artist to engage with the artists techniques for their own studies.

-Students were taught how to use the grid method

-Students were advised on how to identify what colours to use in an underpainting for a painting depending on the warm or cool feeling you gain from artists painting.

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Acrylic painting mimicking artist technique.

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Acrylic painting mimicking another artist painting techniques.

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Acrylic painting mimicking artists technique.

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My last Ty class was canceled due to a TY workshop day. The last class then was mayhem as I had an attendance of about 10 students the last four weeks to then a surprisal of a full class of 24 of which the majority had not been present the last four weeks. I found peer teaching to be the only way forward with this class and although it worked well and we were able to catch up most students. The conceptual idea behind what the new students were making their bags for was lost.

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Week 1: Observational drawings.

Week 2: Simplified designs.

Week 3: Cutting lino.

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Week 1: Photography, droplet studies in pencil.

Week 2: Bottle still life studies.

Week 3: Artist Research, acrylic studies of their work, and photography of bottle display for final composition.

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Week 1: Observational pencil studies of collected decayed objects.

Week 2: Observational studies in watercolours.

Week 3: Artist research and mimicking their work in acrylic paint.

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Photography final piece compositions.

Edit and crop images into successful compositions.

Create the final piece using the compositional tricks and painting techniques students have learnt.

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Photography of final compositions.

Editing and cropping these images.

Creating a final piece using the tricks and techniques students have learnt.

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Apply first colour for lino on paper and then onto the bag.

Apply second colour.

Apply third colour.

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After my first observation there was shift in the idea behind where my UOL will lead and a drive to be more adventures and a drift away from a typical Painting UOL.

So the students are going to be getting more hands on with decay concepts and how we can apply them to the creating stage.

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Students were asked to gather interesting imagery using makeshift toxic spills, focusing on spill qualities such as flow, form and reflection.

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Students are currently working on small textural studies of lemons that are present in their imagery collected. 

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These studies are intended for the students to take the concept of decay and destruction and apply it to their canvas.

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I didnt get the chance to photograph the TY prints onto their bags. I did however help team teach the 5th years Lino printing workshops with an outside artist. 

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I introduced the students to paint marbling with oil paints and water to give them exposure to toxic spills and how we can manipulate them within the classroom.

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This was another idea from the workshop that I would like to do with my Tys involving using a stencil first then printing with lino on top.