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P42632A
20l3 Pearson Lducatlon Ltd.
l/l/l/l/l/l/l/l
Art and Design
Advanced
Unit 4: A2 xternaIIy Set Assignment
You do not need any other materiaIs.
6AD04-6CC04
Paper Peference
7imed xamination: 12 hours
dexceI CC
Instructions to 7eacher-xaminers
Centres wlll recelve thls paper ln 1anuary 20l3. |t wlll also be avallable on the
secure content sectlon of the Ldexcel webslte at thls tlme.
Thls paper should be glven to the teacher-examlner for confldentlal reference
as soon as it is received in the centre ln order to prepare for the externally set
asslgnment. 7his paper may be reIeased to candidates from 1 February 2013.
There ls no prescrlbed tlme llmlt for the preparatory study perlod.
The l2 hour tlmed examlnatlon should be the culmlnatlon of candldates' studles.
Instructions to Candidates
Thls paper ls glven to you ln advance of the examlnatlon so that you can make
sufflclent preparatlon.
Thls booklet contalns the theme for the Unlt 4 Lxternally Set Asslgnment for the
followlng speclflcatlons:
9AD0l Art, Craft and Deslgn (unendorsed)
9PA0l Plne Art
9TD0l Three-Dlmenslonal Deslgn
9P0l Photography - Lens and Llght-8ased Medla
9TL0l Textlle Deslgn
9GC0l Graphlc Communlcatlon
9CC0l Crltlcal and Contextual Studles
Candidates for aII endorsements are advised to read the entire paper.
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Lach submlsslon for the A2 Lxternally Set Asslgnment, whether unendorsed or endorsed,
should be based on the theme glven ln thls paper.
You are advised to read through the entire paper, as heIpfuI starting points may be
found outside your chosen endorsement.
|f you are entered for an endorsed speclflcatlon, you should produce work predomlnantly
ln your chosen dlsclpllne for the Lxternally Set Asslgnment.
|f you are entered for the unendorsed speclflcatlon, you may have been worklng ln two or
more dlfferent dlsclpllnes ln Unlt 3. For the xternaIIy Set Assignment, you may choose
to produce work in one discipIine onIy.
ou should provlde evldence that each of the four Assessment Ob[ectlves have been
addressed. |t ls antlclpated that A2 candldates wlll show ln the Lxternally Set Asslgnment
how thelr knowledge, skllls and understandlng have developed through thelr work ln
Unlt 3.
The Assessment Ob[ectlves requlre you to:
Develop your ldeas through sustalned and focused lnvestlgatlons lnformed by contextual
and other sources, demonstratlng analytlcal and crltlcal understandlng.
Lxperlment wlth and select approprlate resources, medla, materlals, technlques and
processes, revlewlng and reflnlng your ldeas as your work develops.
Pecord ln vlsual and/or other forms ldeas, observatlons and lnslghts relevant to your
lntentlons, demonstratlng your ablllty to reflect on your work and progress.
Present a personal, lnformed and meanlngful response demonstratlng crltlcal
understandlng, reallslng lntentlons and, where approprlate, maklng connectlons between
vlsual, oral or other elements.
7he starting points in each section wiII heIp you generate ideas. You may
foIIow them cIoseIy, use them as background information or deveIop your own
interpretation of the theme. Read the whoIe paper as any section may provide
the inspiration for your focus.
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Preparatory Studies
our preparatory studles may lnclude sketchbooks, notebooks, worksheets, deslgn sheets,
large-scale rough studles, samples, swatches, test pleces, maquettes, dlgltal materlal.
anythlng that fully shows your progress towards your outcomes.
Pteotototy stuJ|es shoulJ show:
t your development of a personal focus based on the theme
t a synthesls of ldeas
t evldence of your development and control of vlsual language skllls
t crltlcal revlew and reflectlon, recordlng your thoughts, declslons and development
of ldeas
t the breadth and depth of your research from approprlate prlmary and contextual
sources
t relevant selectlon wlth vlsual and/or wrltten analyses rather than descrlptlve copylng
or llstlng of processes.
7imed xamination
our preparatory studles wlll be used to produce an outcome(s) under examlnatlon
condltlons ln tweIve hours.
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7he 7heme: Inside, Dutside, In etween
Placlng works of art lnslde, outslde or ln between speclflc envlronments can have an
lmportant lmpact on our perceptlon of them. All works of art are contalned ln some
way or other by frames, gallerles, dlsplay cases, contexts or envlronments. The nature
of thelr conflnement ls often a ma[or conslderatlon, and the relatlonshlp between the
contalnment and the plece can be vltal to the vlsual effect of the work. Thls relatlonshlp
was epltomlsed by Loulse 8ourgeols's exhlbltlons at Tate Modern (2000 and 2007) where
her glant splder sculpture Vomon was placed both lnslde and outslde of the Turblne Hall.
Outslde lt was dwarfed by the scale of the bulldlng, whereas lnslde the same sculpture
towered over and lntlmldated the spectators. Thls partlcular gallery space has attracted
many such lnterestlng exhlblts slnce lts refurblshment.
Other notable examples of thls sort of lnteractlon are Damlen Hlrst's 7he v|t|n Vothet and
8arbara Hepworth's slte-speclflc sculptures such as lom|ly ol Von.
Howard Hodgkln also uses these relatlonshlps ln hls palntlngs where the frames often
become an lntegral part of the work, restrlctlng yet releaslng the lmage at the same
tlme. Many artlsts have been fasclnated by thls relatlonshlp between the palntlng and lts
border.
Devlatlng from accepted formats creates lnterestlng and dynamlc optlcal effects such as
those seen ln Anthony Prost's three-dlmenslonal, collaged canvas surfaces and Patrlck
Hughes's unlque manlpulatlon of perspectlve ln hls palntlngs.
Many contemporary artlsts use gallery space as an lntegral part of the work of art wlth
lnstallatlons that utlllse the bulldlngs they are housed ln. Anlsh Kapoor's monumental
work 5voyomoh explored these concepts. Thls conslsted of a huge block of red wax that
moved contlnuously ln and out of each gallery ln the Poyal Academy. |ts modlflcatlon as lt
eroded on the doorways and lts relatlonshlp wlth the bulldlng comblned to form the work.
Craftworkers also explolt the potentlal of the lnterestlng shaped surfaces on the many
dlfferent forms they create. The exqulslte effects of these comblnatlons can be seen ln
such dlverse ob[ects as weapons, armour, rellglous artlfacts, clothlng and pottery. Ceramlc
vessels especlally present the lnterestlng challenge of both lnner and outer surfaces for
decoratlon.
Capturlng the effects of llght when passlng from lnslde to outslde has provlded lnsplratlon
for artlsts such as Ldward Hopper and Ken Howard.
Zoos and wlldllfe parks provlde spectacular opportunltles for artlsts to encounter
terrlfylng wlld creatures ln what would be perllously close proxlmlty ln the wlld.
|nterestlng and often unexplalned feellngs can be experlenced when enterlng cathedrals,
barrows, castles, stone clrcles, caves and mlnes that have been opened to the publlc.
These may be the result of your lmaglnatlon formlng an empathy wlth thelr prevlous
occupants, or slmply an emotlonal response to the lnterlor, whether deslgned or natural.
Anyone who has experlenced breaklng down on a busy motorway, and stepped out of
a safe and comfortable vehlcle onto a hostlle, nolsy and dangerous roadslde verge, wlll
be well aware of how powerful an experlence such a transltlon can be. The shock of thls
contrast can be experlenced ln a mllder form every tlme one ventures out from a warm
lnterlor lnto extreme weather. Artlsts such as Ldward Seago and 1ohn vlrtue attempted to
capture thls sensatlon of the raw elements by worklng dlrectly ln the open alr, regardless of
the weather. 1MwTurner requested to be lashed to the mast of a shlp durlng a raglng storm
to embrace the experlence personally, before trylng to capture the sensatlon on canvas.
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Here are some further suggestlons generated by the theme that mlght lnsplre
your [ourney.
t Dlvlng, cavlng, forests
t Tunnels, underpasses, subways, arches
t Moors, mountaln passes, hlghways, tracks
t Chests of drawers, wardrobes, cupboards
t 8lnoculars, telescopes, mlcroscopes
t Skln, clothlng, handbags, shoes
t Computers, lnformatlon, newspapers, books
t Pelatlonshlps, emotlons, thoughts
t Plerclngs, operatlons, organs, syrlnges
t Greenhouses, hydroponlcs, tublng, ducts, condults
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Fine Art
DptionaI discipIines:
t Palntlng and drawlng
t Prlntmaklng
t Sculpture
t Alternatlve medla
PossibIe starting points:
Portals lnto dlfferent worlds or envlronments are often explored by artlsts and wrlters.
Doorways, wlndows and mlrrors have all been used as devlces to allow the vlewer
gllmpses lnto secret places. 1an van Lyck and velasquez frequently used these to add
mystery and narratlve elements lnto thelr works. Self-portralts often allow the vlewer to
effectlvely step lnto the palnter's studlo or even galn access to the artlst's psyche.
when a bulldlng loses lts roof or wlndows, nature ls qulck to lnvade and reclalm the
space. Artlsts have often used thls lmagery to make powerful statements about the
fraglllty of human exlstence and the futlllty of attemptlng lmmortallty. Pomantlcs,
especlally durlng the Lngllsh Pomantlc movement of the l8th and l9th centurles, often
lncluded these derellct bulldlngs ln thelr work, maglcally transformlng the derellctlon
lnto nostalglc beauty. 1MwTurner's treatment of Tlntern Abbey and 1ohn Plper's
palntlngs of Chrlstchurch, Newgate Street are excellent examples of thls approach to
rulned bulldlngs. Contemporary artlst Anselm Klefer uses great sklll to create exqulslte
heavy rellef palntlngs such as 5hulom|te and Athonot ln response to the remnants of
decaylng Natlonal Soclallst archltecture.
when Mlchelangelo was asked about hls approach to sculpture he sald: "|n every block
of marble | see a statue as plaln as though lt stood before me, shaped and perfect ln
attltude and actlon. | have only to hew away the rough walls that lmprlson the lovely
apparltlon to reveal lt to the other eyes as mlne see lt. Thls ablllty to vlsuallse the
flnlshed plece as lf lt was trapped lnslde the raw materlal has been appreclated by many
sculptors. Several of Auguste Podln's pleces appear to be unflnlshed as the sub[ects
stlll seem to be burled, or emerglng from, lnslde the marble block. Thls sensltlvlty and
appreclatlon of the medlum epltomlses the sculptor's relatlonshlp wlth thelr materlal and
process. The ldea of releaslng a person or anlmal from an lnorganlc block and brlnglng
lt to llfe has lnsplred artlsts for many centurles. Pon Mueck ls a contemporary artlst who
uses tradltlonal clay modelllng technlques wlth new materlals such as flbreglass resln
to produce super-reallst flguratlve sculptures. The sculptures emerge prlstlne from the
moulds llke newly hatched butterflles or moths.
Many naturally occurrlng ob[ects have startllng contrasts between thelr lnner and outer
surfaces. Prults such as watermelon, lychee, coconut, klwl frult and shells llke abalone,
conch and mussel demonstrate thls. Some organlc structures lncludlng [ellyflsh and
prawns are so transparent that thelr lnternal organs can be seen through thelr outer
sklns. Stlll llfe palnters have often been fasclnated by these ob[ects. The l7th century
Prench and Spanlsh stlll llfe palnters Plerre Dupuls and 1uan Sanchez Cotan dellcately
[uxtaposed natural and man-made ob[ects to create powerful composltlons. Many of
these palnters slmply revelled ln the sumptuousness and beauty of such ob[ects, seeklng
no other purpose than to produce as llfellke an lmage as posslble. Contemporary artlst
Laura Shechter contlnues to be lnsplred by thls approach to stlll llfe.
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7hree-DimensionaI Design
DptionaI discipIines:
t Scenography
t Archltectural, envlronmental and lnterlor deslgn
t Product deslgn
PossibIe starting points:
The conservatory has recently become extremely popular as a way of extendlng llvlng
space. These structures take the lnslde outslde and brlng the outslde lnslde. Thelr deslgns
and the deslgns of the furnlture to accompany them, have tended to follow hlstorlc
vlctorlan templates and use a mlx of tradltlonal and colonlal patterns. These explolt
the qualltles of materlals such as wlllow and rattan, and processes llke Lloyd loom.
There ls great opportunlty to push the deslgns lnto and beyond the 2lst century uslng
contemporary materlals and new technology.
The challenge of trylng to obtaln temptlng and deslrable ob[ects that are dlfflcult to
access has provlded the lnsplratlon for a host of chlldren's games. These range from
Oetot|on and mechanlcal grab slot machlnes, often seen ln amusement arcades, to
dlgltal games such as 7he leenJ of ZelJo or AJventute lslonJ. Ceramlc plggy banks had to
be physlcally smashed or dexterously teased wlth a flat knlfe blade to retrleve the colns
lnslde. Some vendlng machlnes use clever splral sprlngs that rotate to drop the product
lnto a tray. Deslgners have lnnovatlvely deslgned hanglng feeders that allow blrds but
not squlrrels access to thelr contents.
wlldllfe and safarl parks present a unlque set of challenges for deslgners to provlde
maxlmum vlslblllty, whllst keeplng the spectators safe. New materlals and lntelllgent
landscaplng have resulted ln some lnterestlng and successful solutlons to thls problem.
Lxamples such as the aquarlum at 8rlstol Zoo, where you walk under and through the
aquarlum, and the ha-ha (dltch) around the rhlno enclosure at the Cotswold wlldllfe
Park demonstrate the lngenulty of the deslgners. London Zoo contalns several llsted
bulldlngs, each orlglnally deslgned to facllltate optlmum safe contact for vlsltors. The
Mappln Terraces were deslgned to slmulate mountaln terraln to create an envlronment
for bears and other rock dwelllng wlldllfe. The set deslgners for the fllm 1utoss|c Potl also
had lnterestlng challenges ln creatlng bellevable enclosures for the lllusory dlnosaurs.
Creatlng a convlnclng outdoor set lnslde a theatre audltorlum has always presented
great challenges to deslgners. Dlgltal pro[ectlon and dramatlc llghtlng are the latest
weapons ln thelr armoury. Creatlve deslgner Ls Devlln uses cuttlng edge technology to
create lmpresslve sets for theatres and concerts. She created the entlre clty of Gotham
ln the 8otmon l|ve wotlJ Ateno 7out 2011 and a dlsturblng fantasy cltyscape ln 0|e tote
5toJt (The Dead Clty) for the Plnnlsh Natlonal Opera. |n 20ll Pw Productlons' set deslgn
for thelr lnterpretatlon of 1 8 Prlestley's play An lnsectot Colls used more tradltlonal
stage mechanlcs to create a street scene where an entlre house terrlfylngly tlps forward
towards the audlence.
Contemporary bulldlngs often use vast areas of glass for roofs, walls and even floors.
Thls glves the occupants a great sense of space and lnteractlon wlth the envlronment.
Clever deslgn ls needed, however, to afford the occupants the prlvacy necessary for
relaxed llvlng. Glass floorlng can also have an unsettllng effect, evoklng a strange sense
of vertlgo and fear. 7he Closs louse by Carlo Santambroglo and Lnnlo Aroslo, the |t louse
by Taalman Koch and the \ louse by Arcqultectura X glve lnslght lnto how archltects
address such lssues.
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Photography
DptionaI discipIines:
t Pllm-based photography
t Dlgltal photography
t Pllm and vldeo
PossibIe starting points:
Porms wlthln forms provlde a fasclnatlng source of study for many photographers. |n
nature, coarse outer cases protect soft and dellcate forms wlthln. Sponge-llke frults
envelop and cushlon preclous hard stones. Occaslonally, lnslde and outslde become
contlnuous and lnseparable, for example ln the forms of onlons or cabbages. The
relatlonshlp between lnslde and outslde ls a recurrent theme ln the work of Ollvla Parker
who captures the nature of humble organlc forms ln ways that make them appear
preclous and exqulsltely beautlful. Clothes and accessorles can protect an lnner character
by pro[ectlng an outer persona. The work of Dlane Arbus and |nza[eano Latlf hlnts at thls
tenslon between outer facade and lnner truth. Conversely, vulnerable outer appearances
can sometlmes belle steely lnner characterlstlcs, as evldent ln the reslllence and apparent
maturlty of the chlldren documented ln the photographs by Steve McCurry. Plneke
Dl[kstra explores the relatlonshlp between lnner and outer forms of ldentlty. Her lmages
of adolescent bathers capture the awkward and compllcated transltlon from chlldhood
to adulthood.
|n cars, buses and tralns the experlence of movlng between places ls often a rapld one.
The world dances by, between the patterns of dlrt on the wlndscreen and the raln and
the wlper blades. Starlng out of wlndows, commuters repeatedly face the transltlon from
home to work and back agaln. The ploneerlng photographs of walker Lvans captured
the enlgmatlc expresslons of commuters uslng the Nework subway ln the l930s. Lee
Prledlander's qulrky and compelllng lmages of the Amerlcan landscape are deflned
wlthln the wlndscreen and wlng mlrrors of hls car as he travels through the States.
|n some of the beautlfully unfocused lmages ln her book 8etween Ploces, Uta 8arth
explores the falnt traces or lmprlnts of landscapes passed through and the ways ln whlch
these can be lnterpreted. |n hls collectlon of photographs called 7tons|t, the Pomanlan
photographer Cosmln 8umbut captures the experlence of passlng through an expanslve
and hostlle landscape wlth lmages that feel both eplc and touchlngly mundane.
watchlng a performance, whether lt ls a sportlng event, a ballet, a glg, a fllm or a drama
on stage, can trlgger very powerful emotlons. Sometlmes the events and characters
outslde the actlon, away from the maln focus of attentlon, can also be lntrlgulng, the
rlngmaster who watches the clrcus performance, lnvolved but also sllghtly removed,
the llnesmen, the ball boys, the roadles and the performers waltlng ln the wlngs. The
moments 'off camera' become the focus. |n Z|Jone: A 21st Centuty Pottto|t by Douglas
Gordon & Phlllppe Parreno, seventeen cameras obsesslvely follow the actlons of the
footballer durlng a match between Peal Madrld and vlllareal. |t ls fasclnatlng to watch
Zldane's behavlour off the ball as he prowls and reads the actlvlty on the pltch. Lve
Arnold's photographs of Marllyn Monroe on the set of the fllm 7he V|sl|ts suggest a
less assured persona off screen. Por the palnter Ldgar Degas, the rehearsal was often
more lnterestlng than the performance and hls composltlons are unlmaglnable wlthout
the lnfluence of photography. 8ruce Davldson's photograph 7he 0wotl shows a clown
drawlng on a clgarette as he stands mlrthless ln the mud outslde the blg top.
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Perhaps the overrldlng challenge for the photographer ls what to flt lnto the frame and
what to crop. Some compelllng lmages rely on a vlewer's awareness of what lles outslde
the frame, what ls left unseen. vlsual frames often also exlst wlthln a composltlon, shapes
created by shadows or wlndows, doorways or branches. The lnterplay between the
elements that appear lnslde and outslde of these frames can offer excltlng posslbllltles.
The photographer Davld Spero explores our perceptlon of spaces by creatlng frames
that break down lnterlor spaces. He uses wood, tape and balls to construct dellcately
balanced composltlons. The poetlc urban landscapes of the Hungarlan Andre Kertesz and
the Swlss photographer Pene 8urrl are exqulslte composltlons of shapes wlthln shapes
lnterlaced by shadows, contrasts of tone and accents of movement.
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7extiIe Design
DptionaI discipIines:
t Constructed textlles
t Dyed textlles
t Prlnted textlles
t Plne art textlles
t Pashlon textlles
PossibIe starting points:
The lnner llnlngs of clothlng, whllst tradltlonally servlng a purely practlcal role, are often
used to complement the flnal plece and ln some cases domlnate lt. Some deslgners have
experlmented wlth outflts that can be turned lnslde out and worn elther way. Others
have used darts and sllts to reveal fabrlc of spectacularly contrastlng colour or texture.
Madelelne vlonnet created a famous ensemble where the llnlng of the coat and the dress
were made of the same fabrlc. Thls ldea was also used ln the dlstlnctlve Chanel Sult, where
the blouse and llnlng were made of the same sllk. 1ohn Galllano's sprlng/summer 20ll
haute couture collectlon for Chrlstlan Dlor epltomlsed the artlstlc use of llnlngs, wlth
sklrts severely pleated to reveal the contrastlng fabrlc underneath.
Lxtreme changes ln weather condltlons present lnterestlng challenges for textlle
deslgners. Natural cotton, wool and fur have been replaced by synthetlc flbres that
demand dlfferent constructlon technlques and deslgns. Contemporary deslgners use
both to produce practlcal yet fashlonable garments that can cope wlth freezlng wlnters
and scorchlng summers. The Moncler Gamme Pouge autumn/wlnter 20ll/l2 collectlon
deslgned by Glambattlsta valll demonstrates the versatlllty of these fabrlcs.
8y lts very nature the process of weavlng produces vlsually lnterestlng forms as the flbres
loop ln and out, creatlng a fuslon of texture and colour. Some contemporary weavers
have pushed the boundarles of the tradltlonal process to make fantastlc wall hanglngs
that comblne many unusual materlals such as metal, plastlcs, wood and mlnerals. The
artlst Ann Powles used crochet to construct Potos|ty, an lntrlcate lnstallatlon commentlng
on the frallty brought on by osteoporosls, and freely comblnes dlfferent materlals ln
many of her works.
The tradltlonal red carpet lald out to welcome the rlch and famous represented the
helght of lndulgence and extravagance. |t made a powerful polltlcal statement as
natural materlals cannot cope wlth the ravages of weather and sun. Carpets have always
been expenslve ln terms of productlon and materlals. To place one outslde to welcome
dlgnltarles dlsplayed the opulence of the host. However, recent developments ln man-
made materlals such as polypropylene and olefln have made outdoor carpets a practlcal
posslblllty. They are now avallable for exotlc or mundane appllcatlons such as tennls
courts, patlos, boat decks and many archltectural features. At present the deslgners
and manufacturers of such materlals provlde llmlted cholce for customers. Thls offers
great opportunlty for lmaglnatlve development of these new textlles. Seyed Alavl's
lly|n Cotet lnstalled ln Sacramento |nternatlonal Alrport ls one example of the creatlve
potentlal offered.
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Craphic Communication
DptionaI discipIines:
t Advertlslng
t |llustratlon
t Packaglng
t Typography
t |nteractlve medla
PossibIe starting points:
8ooks should not be [udged by thelr covers but many are purchased because of thelr
appeal on the outslde. Can the lnner splrlt of a novel be captured by lts outer sleeveI
Chlp Kldd has deslgned covers for many best sellers such as Cormac McCarthy's All
7he Ptetty lotses. Looklng at the range of styles and approaches that he employs, lt ls
dlfflcult to ldentlfy a formula, what ls certalnly apparent ls hls conslstent ablllty to create
a deflnlng vlsual exterlor that ls succlnct and styllsh. Occaslonally a book's cover becomes
so lconlc that lt ls dlfflcult to thlnk of the text wlthout also recalllng thls vlsual reference
polnt. Thls ls the case wlth Davld Pelham's deslgn for Anthony 8urgess's A Cloclwotl
Otone. The supreme economy of 1ennlfer Carrow's deslgns for Stephen Amldon's
5ecut|ty: A Novel and Lrlc wllson's Ao|nst lo|ness mlght say llttle about each book's
contents but they exclte the lmaglnatlon of the prospectlve reader.
The phrase'thlnklng outslde the box' ls a strong vlsual metaphor suggestlng a fresh
and unconstralned approach. Tradltlonally, graphlc deslgners were encouraged to
work wlthln the formal constralnts of a grld layout and to follow certaln aesthetlc
conventlons ln the use of typography. |n the second half of the 20th century, a number
of Luropean and Amerlcan deslgners started to break out of tradltlonal conflnes wlth
thelr unconventlonal approaches to the grld system and typographlcal rules. wolfgang
welngart ls often credlted as the father of Swlss Newwave or Punk typography, and
hls nonconformlst approach was perpetuated by many of hls students, llke Aprll
Grelman. The enormously popular and lnfluentlal Davld Carson shares thls tendency to
deconstruct conventlons wlth a more anarchlc approach to graphlc deslgn.
|n llterature, characters often transfer from thelr ordlnary, 'real' llves lnto a realm of
fantasy through a portal of some klnd, Al|ce 7htouh the lool|n Closs and 7he l|on,
7he w|tch onJ 7he wotJtooe belng obvlous examples. |n flctlon, danger and drama and
maglc and mystery are often encountered by passlng out of one'real' space lnto another
'adventure' space: Llttle Ped Pldlng Hood goes lnto the wood, the characters ln countless
horror storles face danger when they go outslde lnto the wllds or go lnslde lnto a creepy
house. Por lllustrators, to present thls key polnt of transltlon ln the narratlve ls a very
excltlng challenge. Dave Mckean's unsettllng lmages are masterful ln thelr conveyance
of tenslon. Hls lllustratlons ln the book 7he wolves ln the wolls fuse tradltlonal and dlgltal
technlques and tap lnto the vlsual elements of drama that are evldent ln the work of
palnters such as Caravagglo and fllm-makers llke Hltchcock and Murnau.
12
P42632A
"8y chon|n soce, oy leov|n the soce ol ones usuol sens|o|l|t|es, one entets |nto
commun|cot|on w|th o soce thot |s sych|colly |nnovot|n.lot we Jo not chone loce,
we chone out notute. Gaston 8achelard, 7he Poet|cs ol 5oce
Much lnteractlve medla and gamlng ls deslgned to take users from reallty lnto a 'vlrtual
reallty'. A key to thls ls the prlnclple of lmmerslon whlch deslgners create to fully engage
the user's senses ln the experlence. Thls feellng of lmmerslon can be dlvlded lnto
dlfferent elements: cognltlve, emotlonal, spatlal, etc. Artlsts have also explored these to
create dlgltal envlronments and lnstallatlons that vlewers enter and experlence as 'real'.
Char Davles's Osmose and Maurlce 8enayoun's Cosmool|s are fasclnatlng examples of
these approaches to new medla.
13
P42632A

CriticaI and ContextuaI Studies
PossibIe starting points:
we assoclate palntlng landscapes outslde (en le|n o|t wlth the |mpresslonlsts. The
avallablllty of oll palnt ln tubes ln the l870s and the rlslng demand for smaller, more
portable palntlngs contrlbuted to artlsts venturlng out of the studlo to work from
llfe. However, such a practlce would have been unthlnkable for some artlsts ln earller
centurles. The landscapes of Poussln and Claude Lorralne, for example, were ldeallsed
vlslons, contrlved ln the studlo and based on notlons of the perfect landscape. Not
all contemporary landscape artlsts work out of doors, the opportunltles provlded by
photography have resulted ln many palnters golng back lnto the studlo. George Shaw's
landscapes, whlch are often large and produced uslng enamel palnts, have to be created
lndoors from photographs. |n contrast, artlsts llke Davld Tress and Davld Hockney flercely
support the experlence of worklng outslde from llfe.
Art and deslgn hlstory sometlmes has a tendency to overlook the creatlve work of those
who don't appear to flt the'lsms' and the prevalllng trends of what's ln and what's out.
Occaslonally though, the work of these resolutely dlfferent lndlvlduals cannot be lgnored.
Stanley Spencer's palntlngs, wlth thelr flguratlve detall and rellglous sub[ect matter,
seem strlklngly dlfferent compared to the prevalllng trends of abstractlon and surreallsm
ln the l930s. The orlglnal Dyson G-Porce vacuum cleaner, whlch flrst appeared ln l983,
must have seemed lncongruous agalnst the tldy, sleek llnes and mlnlmallst shapes of
other vacuum cleaners on the market at that tlme. The documentary photographs of
blast furnaces, coollng towers and outmoded lndustrlal edlflces that were obsesslvely
recorded by 8ernd and Hllla 8echer seem very much out of step wlth many other
Luropean preoccupatlons ln 20th century photography.
The notlon of the artlst as an outslder has fuelled many ldeas and narratlves ln art hlstory.
van Gogh spent the most productlve years of hls llfe as a forelgner worklng ln Prance.
when he flrst started palntlng ln hls natlve Holland he also chose to adopt an outslder's
vlew. van Gogh came from an educated mlddle class background but focused hls
attentlon on the rural poor wlth palntlngs llke 7he Pototo lotets. |n the same decade Paul
Gauguln abandoned hls llfe ln Prance ln exchange for a slmpler exlstence, palntlng the
customs and appearances of the lndlgenous people of Tahltl. |t has been suggested that
ln the work of both of these artlsts there ls a remoteness and a dlstance that comes from
thelr posltlon as cultural tourlsts. The same could not be sald of the work of Scandlnavlan
photo-[ournallst Pagnar Axelsson, who has documented the fast erodlng llfestyles of the
|nult peoples llvlng ln the Arctlc Clrcle. These lmages are powerfully hard-hlttlng and
empathetlc.
The relatlonshlp between the artlst and the vlewer has constantly evolved throughout
hlstory. Pellglous palntlngs and sculptures from Pomanesque and Penalssance perlods
ln western Lurope were lntended to teach, lnstruct and lnsplre, as were the hlstory
palntlngs from the Neo-Classlcal perlod. Cublsm, at the beglnnlng of the 20th century,
challenged conventlons by lnvltlng lts audlence to decode the clues lmbedded wlthln
amblguous seml-abstract palntlngs and collages. |n the l960s Antony Caro and Plchard
Serra encouraged audlences to lnteract wlth thelr sculptures whlch, rather than
remalnlng pllnth-bound, spread out lnto the vlewer's space. |n order to engage thelr
audlence, many conceptual and mlnlmallst artlsts ln the l960s and 70s demanded
conslderable lntellectual lnvolvement wlth the work. The relatlonshlp between deslgners
and thelr cllents has also evolved slgnlflcantly. Thls ls especlally the case ln the realm of
new medla. Papld advances ln dlgltal technology have generated a need for lntultlve
deslgn that develops an almost symblotlc relatlonshlp between creator and user.
14
P42632A
Reference MateriaI
Please note that UPLs are checked at the tlme of prlntlng, but are sub[ect to change.
CeneraI references
www.tate.org.uk
www.natlonalgallery.org.uk
www.lnlva.org
www.brltlsh-museum.org
www.whltworth.man.ac.uk
www.artsmla.org
www.walkerart.org
www.getty.edu
www.moma.org
www.metmuseum.org
www.sfmoma.org
www.cnac-gp.fr
www.guggenhelm.org
www.deslgnmuseum.org
www.craftscouncll.org.uk
www.artlncontext.org
www.henry-moore-fdn.co.uk
www.vam.ac.uk
www.nmpft.org.uk
www.photonet.org.uk
www.bfl.org.uk
15
P42632A

ndorsement specific reference materiaI
Fine Art
Web:
www.gardenofpralse.com/art29.htm
www.edwardhopper.lnfo/
www.aaronartprlnts.org/escher-eye.php
www.all-art.org/neoclassclsm/romantlc_era3.html
www.answers.com/toplc/anselm-klefer
www.ltallan-renalssance-art.com/Mlchelangelo-sculptures.html
www.artmolds.com/all/halloffame/ron_muek.htm
www.bowersarthlstory.wlklspaces.com/1uan+Sanchez+Cotan
www.blddlngtons.com/content/creatlveshechter.html
ooks:
The vlslble world: Samuel van Hoogstraten's Art Theory and the Legltlmatlon of Palntlng
ln the Dutch Golden Age by Thl[s weststel[n, Amsterdam Unlverslty Press, 2008
Ldward Hopper: An |ntlmate 8lography by Gall Levln, Unlverslty of Callfornla Press, l998
Masters of Deceptlon: Lscher, Dall & the Artlsts of Optlcal |lluslon by Al Seckel, Sterllng
Publlshlng Company, |nc., 2004
1.M.w. Turner by Luke Herrmann, Colln Harrlson, 1oseph Mallord wllllamTurner,
Ashmolean Museum, 2000
Quallty and Lxperlment: The Prlnts of 1ohn Plper: A Catalogue Palsonne l923-9l
by Orde Levlnson, Lund Humphrles, l996
Podln: Sculpture and Drawlngs by Catherlne Lampert, ale Unlverslty Press, l986
Pon Mueck by Davld Hurlston, ale Unlverslty Press, 20ll
Spanlsh Stlll Llfe fromvelazquez to Goya by wllllam 8. 1ordan, Peter Cherry, Natlonal
Gallery Publlcatlons, l995
Stlll Llfe by vlctorla Charles, Parkstone |nternatlonal, 20ll
16
P42632A
7hree-DimensionaI Design
Web:
www.housetohome.co.uk/conservatory/plcture/practlcal-conservatory-furnlture
www.lloydloom.com
www.shannongames.com/board_games_bespoke.html
www.youngadults.about.com/od/graduatlontlps/gr/8est-Dorm-8oard-Games-Settlers-Of-
Catan.htm
www.zoolex.org/publlcatlon/flby/zootrends08/flby_topos62.html
www.edgcompany.com/edg_pro[ects/[urasslc.php
www.esdevlln.com
www.anlnspectorcalls.com/#/gallery/
www.thecoollst.com/glass-bulldlngs-l5-creatlve-uses-of-glass-ln-archltecture/
ooks:
The Conservatory 8ook by Peter Marston, weldenfeld & Nlcolson, 200l
|ndoors Outdoors: Lloyd Loom Seen by vlncent Sheppard by vlncent Sheppard, Lannoo,
2008
The 8lg 8ook of 8lrd Houses & 8lrd Peeders by Thom 8oswell, Davld Schoonmaker, 8ruce
woods, Sterllng Publlshlng Company, |nc., 2004
Chrls Crawford on Game Deslgn by Chrls Crawford, New Plders, 2003
Deslgn Hlstory: Understandlng Theory and Method by K[etll Pallan, 8erg, 20l0
A Dlfferent Nature: The Paradoxlcal world of Zoos and Thelr Uncertaln Puture by Davld
Hancocks, Unlverslty of Callfornla Press, 2003
The Lost world, 1urasslc Park: The Movle Storybook by 1ane 8. Mason, Mlchael Crlchton,
Davld Koepp, Grosset & Dunlap, l997
Pllm Archltecture and the Transnatlonal |maglnatlon: Set Deslgn ln l930s Luropean
Clnema by Tlm 8ergfelder, Sue Harrls, Sarah Street, Amsterdam Unlverslty Press, 2007
Houses of Phlllp 1ohnson by Stover 1enklns, Davld Mohney, Phlllp 1ohnson, Nell Levlne,
Steven 8rooke, Abbevllle Press, 2004
New Glass Archltecture by 8rent Plchards, Dennls Gllbert, Lawrence Klng Publlshlng, 2006
17
P42632A

Photography
Web:
www.ollvlaparker.com
www.guardlan.co.uk/artanddeslgn/20ll/[ul/26/dlane-arbus-photography-sldeshow
www.lnza[eano.com
www.stevemccurry.com
www.sfmoma.org/exhlb_events/exhlbltlons/438
www.guardlan.co.uk/artanddeslgn/gallery/20ll/sep/02/lee-frledlander-amerlca-by-car-ln-
plctures
www.bumbutz.ro
www.magnumphotos.com/brucedavldson
www.davldspero.co.uk
ooks:
Under the Looklng Glass: The Color Photographs of Ollvla Parker by Ollvla Parker, Nework
Graphlc Soclety, l983
Dlane Arbus: An Aperture Monograph: Portleth-Annlversary Ldltlon by Dlane Arbus, Ldlted
Marvln |srael and Doon Arbus, Art Pub |ncorporated, 20l2
The Unguarded Moment: Thlrty ears of Photography by Steve McCurry, Phaldon Press
Ltd, 2009
|mage Makers, |mage Takers: The Lssentlal Gulde to Photography by Those ln the Know by
Anne Cellne 1aeger, Thames and Hudson, 2 New Lxp edltlon, 20l0
Many Are Called by walker Lvans, |ntroductlon by 1ames Agee, ale Unlverslty Press, 2004
Lee Prledlander: Amerlca by Car by Lee Prledlander, Dlstrlbuted Art Publlshers, 20l0
Uta 8arth: |n 8etween Places by Sheryl Conkelton and Pussell Perguson, Henry Art Gallery,
2000
Marylln Monroe by Lve Arnold, Harry N. Abrams, 2005
The Genlus of Photography by Gerry 8adger, Quadrllle Publlshlng Ltd, 20ll
FiIms:
Zldane: A 2lst Century Portralt |DvD| dlrected by Douglas Gordon and Phlllppe Parenno,
Artlflclal Lye, 2007
18
P42632A
7extiIe Design
Web:
www.plnterest.com/kxbcheese/vlntage-reds-oranges/
www.retro-fashlon-hlstory.com/html/l957_fashlon_and_vlntage_clothlng.html
www.moncler.com/collectlons/20l2/SS/moncler-gamme-rouge
www.coolantarctlca.com/Antarctlca%20fact%20flle/sclence/clothlng_ln_antarctlca.htm
www.annrowles.com/artworkl.html
www.lnterflbers.com/woven_wall_hanglngs.html
www.here2day.netwlz.net/seyedslte/publlcart/flylngcarpet/flylngcarpetframe.html
www.backyardclty.com/Outdoor-Pugs/
ooks:
Pashlon Mldl Serles by Kyoto Costume |nstltute, Taschen, 2002
Shoes: Thelr Hlstory ln words and Plctures by Charlotte ue, Houghton Mlfflln
Harcourt, l997
Alaska wear: The vlsltor's Gulde to Clothlng & Gear by Tony Puss, Northern Publlshlng,
200l
1apanese Pashlon Deslgners: The work and |nfluence of |ssey Mlyake, oh[l amamoto
and Pel Kawakubo by 8onnle Lngllsh, 8erg, 20ll
Pashlon |llustrator by 8ethan Morrls, Laurence Klng Publlshlng, 2006
The Gulde to Textlles for |nterlors by Dlanne P. 1ackman, Mary Katherlne Dlxon, 1lll
Condra, Portage & Maln Press, 2003
Pugs & wall Hanglngs: Perlod Deslgns and Contemporary Technlques by 1oan Scobey,
Dlal Press, l974
The Outdoor Llvlng Poom by Martha 8aker, Chuck 8aker, Clarkson Potter, 200l
Seven Hundred ears of Orlental Carpets by Kurt Lrdmann, Unlverslty of Callfornla
Press, l970
19
P42632A

Craphic Communication
Web:
www.ted.com/talks/lang/en/chlp_kldd_deslgnlng_books_ls_no_laughlng_matter_ok_lt_
ls.html
www.bookcoverarchlve.com/1ennlfer_Carrow
www.creatlverevlew.co.uk/cr-blog/2007/may/penguln-by-deslgners-davld-pelham
www.aprllgrelman.com
www.davldcarsondeslgn.com
www.davemckean.com
www.guardlan.co.uk/artanddeslgn/20l0/[ul/25/caravagglo-scorsese-lachapelle-peter-dolg
www.lmmersence.com
www.moben.net
ooks:
Chlp Kldd: 8k. l by Chlp Kldd, Plzzoll |nternatlonal Publlcatlons, 2005
8ook Deslgn (Portfollo) by Andrew Haslam, Laurence Klng, 2006
Paber and Paber: Llghty ears of 8ook Cover Deslgn by 1oseph Connolly, Paber and Paber,
2009
welngart: Typography - My way to Typography: Petrospectlve ln Ten Chapters wlth
Thoughts by Paul Pand by wolfgang welngart, Lars Muller Publlshers, l999
Grld Systems ln Graphlc Deslgn: A Handbook for Graphlc Artlsts, Typographers, and
Lxhlbltlon Deslgners by 1oseph Muller 8rookmann, Nlggll verlag, 2008
Maklng and 8reaklng the Grld: A Layout Deslgn workshop by Tlmothy Samara, Pockport
Publlshers, 2005
The Lnd of Prlnt: The Graphlc Deslgn of Davld Carson by Lewls 8lackwell, Laurence Klng
Publlshlng, l995
The wolves ln the walls by Nell Galman, |llustrated by Dave McKean, 8loomsbury
Publlshlng PLC, 2007
Hltchcock Poster Art: PromThe Mark H. wolff Collectlon by Mark H. wolff, Aurum Press Ltd,
l999
The Poetlcs of Space by Gaston 8achelard, 8eacon Press, l992
Char Davles: |mmerslve vlrtual Art and the Lssence of Spatlallty by Laurle McPobert,
Unlverslty of Totonto Press, 2006
20
P42632A
CriticaI and ContextuaI Studies
Web:
www.musee-orsay.fr
www.courtauld.ac.uk/gallery/collectlons/palntlngs/lmp-postlmp
www.youtube.com/watchIvvflGKaoPGS4
www.davldtress.co.uk
www.[amesdysonfoundatlon.com
www.guardlan.co.uk/artanddeslgn/serles/classlcsofeverydaydeslgn
www.rax.ls
www.guardlan.co.uk/artanddeslgn/2008/oct/05/serra.art
www.anthonycaro.org
ooks:
Landscape and western Art by Malcolm Andrews, Oxford Paperbacks, l999
vlncent van Gogh: Artlst of Hls Tlme by Pred Orton and Grlselda Pollock, Phaldon Press Ltd,
l978
Art of the western world by Denlse Hooker, foreword by Mlchael wood, 8oxtree Ltd, l989
Gauguln: Maker of Myth by 8ellnda Thomson, Tate Publlshlng, 20l0
Last Days of the Arctlc: 1ourneys wlth the Greenland |nult by Pagnar Axelsson, Polarworld,
20l0
Davld Tress by Clare Pendell Gomer Press, 2002
Davld Hockney: A 8lgger Plcture by Tlm 8arrlnger, Thames and Hudson, 20l2
Stanley Spencer: Complete Catalogue by Kelth 8ell, Phaldon Press Ltd, 2000
8ernd and Hllla 8echer: Llfe and work by Susanne Lange, M|T Press, 2006
Groundwaters: A Century of Art by Self-Taught and Outslder Artlsts by Charles Pussell,
Prestel, 20ll
|nslde the whlte Cube: The |deology of the Gallery Space by 8rlan O'doherty, Unlverslty of
Callfornla Press, 2000
The Shock of the New: Art and the Century of Change by Pobert Hughes, Thames and
Hudson, Pevlsed Ldltlon, l99l