Assessment information

This page contains information for the OCA accessors in line with the requirements for Illustration 3: Visual research (IL6RES) outlined by the OCA Assessment Team.

The assessment submission consists of four parts:

1. A selection of learning log entries (or equivalent) – See below
2. A selection of creative work – See below
3. Any critical reviews, essays, or other written reports – Uploaded to the G:Drive here. (Note that access to this drive is restricted)
4. A reflective presentation or evaluation – Created as part of Assignment 5 Finalising your submission. Accessed here.
5. Your tutor reports – Uploaded to the G:Drive here. (Note that access to this drive is restricted)

A selection of learning log entries

A selection of learning log entries selected to demonstrate the connections between the coursework and learning outcomes:

• LO1 demonstrate comprehensive knowledge of your subject area and contextualise your practice
• LO2 demonstrate the application of appropriate research methods in the development of your written and visual practice
• LO3 demonstrate a comprehensive knowledge of technical and practical skills through your work
• LO4 synthesise, articulate and evaluate critical, contextual and conceptual knowledge and understanding of your subject area

Learning log entries

• Assignment 1 – Initial project proposal
• Visual development Experiment 1 – Text combinations & visual styles
• Visual development Experiment 2 – Rules based processes to generate new materials
• Visual development Experiment 3 – Rules based processes for text
• Visual development Experiment 4 – Formats
• Resolved work

A selection of creative work

The creative work I produced during Visual research was as part of visual development experiments.

I’ve selected pieces that either represent key learning points or that I just like.

Selection 1 – The first notebook visual reference

During Experiment 1 I became increasingly disillusioned with the direction I was taking with the pandemic diary.

A key moment was recognising my Zoom notebooks as another valid source of visual content. This added a completely new dimension that I felt comfortable to develop and work within.

Selection 2 – Variants of concern

A key learning from Experiment 1 was to change my perception of the pandemic diary from being a chronological list of daily diary entries into a database of text and content assets.

Variants of concern is significant because it was the first experiment that used chance based rules to identify and combine text and visual assets into something new.

Fig 2 – Variants of concern (2022)

Selection 3 – Financial services

Financial Services extended the use of chance operations to combine diary and notebook content into the creation of a silkscreen print.

Building an image from different layers matched my approach of combining different types of content together to create something new.

Selection 4 – How do we recover from this

How do we recover from this was created using the same method as the previous selection, but this time produced as a risograph.

I love the saturated colour and transparent layering that adds a richness and complexity to the image.

Selection 5 – Dada poetry generator

During Experiment 3 I explored chance operations to combine and recreate texts. This was a freeing experience.

I’ve selected this double page spread from the Draw a line booklet because the combination of dada poetry and image is a poignant reminder for me of how Covid 19 impacted my elderly parents.

Selection 6 – A gift horse

The final selection is a silkscreen print development that took the transparent colour layers used in the risograph process and replicated it as a silkscreen print, using transparent CMYK process inks.

References

List of illustrations

Figure 1 – Hadfield, Hugh (2021) The monster plan [Mixed media] In possession of: the author

Figure 2 – Hadfield, Hugh (2022) Variants of concern [Booklet] In possession of: the author

Figure 3 – Hadfield, Hugh (2022) Financial services [Silkscreen print] In possession of: the author

Figure 4 – Hadfield, Hugh (2022) How do we recover from this [Risograph] In possession of: the author

Figure 5 – Hadfield, Hugh (2022) A double page spread from Draw a line [Booklet] In possession of: the author

Figure 6 – Hadfield, Hugh (2022) A gift horse (magenta) [Silkscreen print] In possession of: the author