Chapters. / FREE PLAN
Chapter 1.0 /
NUTS AND BOLTS
How to Get a Concept.
Method, Process and Formal can be Concepts Too!
Expanding a Conversation to Develop a Question or Proposition.
How to Have a Conversation ‘About Ideas’ to Generate Ideas.
Turning Subject Matter into Ideas.
What is NOT an Idea?
What is a Good Proposition.
How to Structure a Proposition.
Chapter 2.0 /
WAYS TO BEGIN FRAMING CONTENT
Topics that Belong to the Field of Visual Arts: Design, Painting, Printmaking, Photography and Sculpture.
What Contexts Can you Draw Ideas From?
Context Example: The Everyday.
Context Example: The Political.
Context Example: The Biological.
Context Example: Art Satire.
Context Example: Art Artifice.
Context Example: Edible Materiality.
Context Example: Text as Image.
Context Example: Graphic Attitude.
Chapter 3.0 /
GENERATING MATERIAL
Using Materials to Generate Material.
Using Brainstorming Strategies to Generate Material.
Using Mapping and Collation Strategies to Generate Material.
Using Lists and Diagrams to Generate Material.
Using Categorisation and Organisation to Generate Material.
Using Metaphor and Symbols to Generate Material.
Reconfiguring Media to Generate Material.
Chapter 4.0 /
APPROACHES TO MAKING
Ways of Thinking Through Ideas Through Making.
A Conceptual Approach.
A Formal Approach.
Process as an Approach.
Strategy as an Approach.
Materiality as an Approach.
Humour as an Approach.
Chapter 5.0 /
NEGOTIATING A DIFFERENT METHODOLOGY
Considerations to Prompt Action.
Experimental Approaches.
The Backstory as Context.
Using Format to Create New Contexts.
Activating Your Imagination as a Tool.
Using Intuition as a Method.
Keeping Your Investigation Active.
Using Multiple Elements.
Chapter 6.0 /
RESEARCH THROUGH PRACTICE
Practice is Research.
Research Around Practice.
How to Locate Your Cultural Neighbourhood.
Getting to Know Your Practice.
Chapter 7.0 /
DRAWING
What is Drawing?
Traditional Drawing Media versus Unconventional Media.
Drawing in 2D and 3D Space.
Layering as a Drawing Device.
QuickFire Compositional Solutions.
The Camera as a Quick Drawing Strategy.
The Archive as a Drawing Tool.
The Inventory as a Drawing Tactic.
Chapter 8.0 /
DRAWING IN THE EXPANDED FIELD
Drawing with Colour.
Collage and Montage as Drawing Processes.
The Grid as a Drawing Structure.
Sequence as a Drawing Device.
The Interface between 2D and 3D.
Drawing on Installation.
Performative Drawing Practices.
Chapter 9.0 /
CONCEPTUAL FRAMEWORKS IN CONTEMPORARY PRACTICE
The Readymade.
Text and Image.
Text and Object.
Intuitive Practices.
Materiality.
Representation.
Scale.
Temporary Practices.
Participation and Performance.
Socially Engaged Art.
Community Art Practices.
Chapter 10.0 /
PRACTICE IS MAKING
Material Making.
Format as a Making Tool.
Surface as a Site.
Regeneration as a Game-changer.
The Role of the Maker.
Using Emerging Technologies.
Staging Interventions.
Invention and Risk-taking.
Iteration and Serial Processes.
Chapter 11.0 /
SKILLS MEET CONCEPTS
Crafting a Visual Language.
Exploiting the Technical.
Generating by Hand.
Exploiting Low-fi Technologies.
Employing Digital Conventions.
Incorporating Industrial Processes.
Chapter 12.0 /
EXPANDED PRACTICE
Extending the Platform of Enquiry.
Experimental Play.
Alternative Surfaces.
Craft Processes.
Guerilla Practices.
Devices from Other Disciplines.
Chapter 13.0 /
COLOUR
Knowing the Basics of Colour.
Dark or Light Colours.
Tertiary Colours.
Complementary Colours.
Application of Colour.
Chapter 14.0 /
CRITIQUE
Analysis and Reflection.
Strategies Moving Forward.
From Saying What You See: How to talk and write about art.
Looking Critically.
Listening Critically.
Reading Critically.
How to Write in a Visual Diary.
How to Talk Critically.
Chapter 15.0 /
DOCUMENTATION OF PRACTICE
Thinking About Composition.
Documenting Your Work in Context.
Practical Tips.
Documentation as Evidence of Process and Learning.
Documentation as a Conceptual Strategy.
Titling Work.
Chapter 16.0 /
AFFIRMATIONS