2.2 and 2.3 paint

These are the first practical standards we are aiming to complete. It is your starting point for the body of work that goes on your folio.

As you have developed your 'why', I have asked you to plan your folio. This was a rough plan, with thumbnail sketches.

In painting, planning like this will lead you to make art works:

Here is an example of some sketches we worked out with Kingston:
His why is:
Old school mafia in America - gangsters and romanticising them.

His artist models are:

James Rosenquist, "Day job painting"

Rosenquist
AskewOne

Askew One - For Paradox exhibition, Tauranga, NZ, 2017

His subject matter is:
A man in a suit,
New York city
hands to wrap around the city
fingers in every pie (as the mafia had hold of new york)
Control through the force of guns

The first sketch on the top right is taking some compositional devices from Rosenquist - angles, cropping, images banging into each other and being cut off awkwardly, some layering of the subject, but no real space detailed.

The second sketch with the full figure is based on some Askew One ideas, where there is some layering of textures and lines that are almost abstract over and within the portrait. there seems to be a word used at the base of the askew one image, so we have attempted to play with that detail in Kingston's work here too.

Following on from here, It is Kingston's job to figure out a series of works that introduce his why more clearly and show how he is learning from his two artists.
The evidence he will collect as he goes:
- His brainstorm
- His subject matter as photographic or real sources (not out of his head)
- Notes and thoughts are written up on paper and on his blog
- Some careful observational drawing of his subject matter (3 - 4 A3 pages is good)
- His finished first series of paintings (at least 2 paintings)

Next step is to paint them and stick them on his board for the folio.