Part 2:3 – Ways of Saying & Seeing

Exercise 1

The Herefordshire Landscape by Elizabeth Barrett Browning – purely evokes a sense of place. The use of descriptive writing emphasises the countryside ie. “hills, vales, woods, netted in a silver mist”. Repetition also helps to emphasise this ie. “cottage-chimneys” “cottage-gardens”.

Slough by John Betjeman – makes a social comment about progress or place. It sounds like he is talking about war and the destruction of Slough which is obviously negative comments ie. “come friendly bombs and fall on Slough” and “come, bombs and blow to smithereens”. Also repetition of the word “tinned” exaggerates the sense of feeling trapped.

The Lost Land by Eavan Boland – speaks about place in relation to identity and exile. Seems to be physical loss of land “saying all the names I know for a lost land: Ireland. Absence. Daughter” this also implies the emotional loss through the word daughter.

Exercise 2

I found a poem called “The Letter A” and pointed out what poetic devices were used:

In the extract by Darren Sardelli, he uses devices such as rhythm and alliteration to make the poem more exciting.

Experimenting with my own:

I just got a new puppy,

took her for a walk by the lake,

she got a little bit muddy,

then chased after a huge snake.

Exercise 3

Close reading of Dylan Thomas’ poem called Fern Hill.

When first reading the poem, i felt like it gave off a positive mood as most of the words that have been used are very positive. It looks like he is talking about the past. Beautiful things he has come across when he was younger. Whereas when I listened to the poem, it gave off a different emotion. It sounded like something you would hear in church, it’s almost quite theatrical.

I think the poem has a few poetic devices. The main one that stands out for me i believe is personification. He talks about ‘time’ as if its a person: “time let me hail and climb golden in the heydays of his eyes”. He uses a similie: “happy as the grass was green”. and he also repeatedly uses alliteration: “house high hay” “tuneful turning”. There isn’t really a rhythm in this poem, it doesn’t flow well. To me I think, rhythm has a huge impact on the poem as I think it makes it more exciting.

Part 2:2 – The Hero’s Journey

Research

The most recent thing i’ve read is Hazel Smith’s ‘Creative Writing and New Media’. Although it’s not a story or novel, I believe it still has elements from Aristotle’s list. I’d say this piece of text has thought, it has a theme of creative writing and the new media combined. I believe it also has elements of diction as it portrays the expression of meaning.

Exercise 1

Toy Story is one of my favourite childhood movies that used to watch over and over so I have chosen this to apply The Hero’s Journey to it.

We are introduced to the ordinary world where Woody and the other toys come alive when Andy isn’t around. Woody is Andy’s favourite toy and the “leader” to the others. The toys then receives a call to adventure when Buzz Lightyear is brought into the picture and Woody gets jealous as he thinks Buzz will become the new favourite. Woody’s refusal of the call is he feels replaced and “accidentally” pushes Buzz out the window. There is no meeting with the mentor however, Little Bo Peep tells him to not let Buzz get to him. Woody has to face crossing the first threshold when him and Buzz have to work together to get back to Andy.

They are faced with tests, allies and enemies when they lose Andy, come across alien toys then are captured by Sid and Scud, the dog. Their approach to the inmost cave is when Sid takes Woody and Buzz to his bedroom. The ordeal is Sid torturing Woody and Buzz but in order to escape Sid and his dog, they had to gain each others trust to get the reward of escaping.

Woody and Buzz chase after the removal lorry on the road back to Andy’s house. They soon realise their resurrection is they have a true friendship and return with the elixir back home safe as new friends.

Exercise 2

Character archetypes:

Hero – J in Men in Black
Mentor – Hagrid in Harry Potter
Ally – Robin in Batman
Herald – R2D2 from Star Wars
Trickster – Dobby from Harry Potter
Shapeshifter – Gollum from Lord of the Rings
Guardian – The Doorknob in Alice in Wonderland
Shadow – Voldemort from Harry Potter

Assignment 1

A: Reflective Commentary

In the beginning, I was asked: “What is Art?”. Looking back on my answer to that, I would say that my views haven’t changed; I’d say it has progressed more. Art has a purpose, that’s what makes it art and the audience completes the piece with their opinions. The context is also important these days with art changing so much. I believe it’s rather easy to identify art if it has some context with it, however, coming across a piece of work with very little context can be challenging to understand.

These past couple of months completing the first project has been a challenge. It took some time getting back into the studying routine after being away from it for a year. I need to work on my time management as I can get easily sidetracked. However, I’ve become more motivated to study as I’m enjoying the projects. I have been using the Pomodoro technique when doing my studying as it helps me to focus and go back to it with a fresh mind. One of the study skills I feel I have developed is planning for essay writing. Before, I used to try and go straight into it whereas now I write out a plan with separate bullet points for each paragraph to ensure my work is well-constructed and produced efficiently.

I chose to use a learning log as a way to exhibit my research, coursework, and assignments but I also chose this because I’m familiar with using a blog due to using Blogger in school. I feel I’ve always got carried away with the writing side of things and forgot to add the visual elements. I can improve this by attaching photos, videos, drawings, and notes to make my posts look more visually exciting.

I did quite a bit of contemporary art in school that was also familiar to me. The first project was fairly easy, looking at the context discovering the true meaning of art, etc. The second project was very interesting. I loved doing the case study about the Longplayer, it was so fascinating and so many beautiful sounds. However, I felt I struggled a little bit with explaining the positioning of bowls and spectators, etc within the analysis. I also enjoyed doing the case study about Nathan Coley’s piece. I believe I could have put more effort into doing further research to gain full knowledge but as I said before time management isn’t my thing and this is something I need to work on.

Word Count: 419

B: Jeremy Deller’s ‘The Battle of Orgreave’

In this essay, I am going to discuss my interpretation of ‘The Battle of Orgreave’, a re-enactment by Jeremy Deller that took place in Yorkshire 2001. I will consider the form and the context within this piece, but also the relation it has to time and place.

When I first watched the documentary, I felt slightly shocked. I was surprised at how real it felt when watching it. It had many factors that helped to engage the viewer and take them back to 1984. It portrays feelings of rage and fury but also vulnerability for the miners as they take a beating from the police. On the other hand, I thought of the people that were at the 1984 clash and how they would have responded to the re-enactment. Would they have felt offended by it or seen it as a tribute to what happened that day?

The Battle of Orgreave was a horrific confrontation between the police and miners at Orgreave on 18th July 1984. The most violent clash in history. This happened because the National Union of Mineworkers went on a yearlong strike. Jeremy Deller staged a re-enactment 17 years later to educate the viewers on this tragic event. But for the locals, it was an event they had to emotionally experience all over again in a different form. “I’ve always described it as digging up a corpse and giving it a proper post-mortem,” said Deller (The Battle of Orgreave, 2001). His piece is built up of 3 sectors that all have contributing factors to the event; the actual re-enactment, the film, and the installation.

The re-enactment that took 2 years of research and planning consisted of more than 800 participants, 200 of which were former police and miners that Deller encouraged to take part in. There were 80’s denim jackets worn by the miners and the police wore their uniform. By including these, Deller has created a sense of realism for the audience, but he’s also created feelings of anger for those re-living the event. The re-enactment effectively addresses the viewer directly through live performance.

The film was directed by Mike Figgis for Artangel Media and Channel 4. It includes shots from a variety of angles, from police hitting miners with truncheons to miners trying to avoid the cruelty. This emphasizes the brutality of violence that took place. Still shots from the proper event in 1984 flash over the 2001 re-enactment. We hear the sounds of pictures being taken, interviews from victims sharing their perspective and how it impacted their lives. Seeing how emotional some of the victims are, implied that they never intended for a war to break out, but it did and they fought, “It was not simply jobs that were being fought for here, but also local identity and the importance of place to our continued sense of self” (Dean and Millar, 2005;106). All these elements enhance the significance and engage the viewer as if they were involved. It makes you feel sympathy for the men that work hard for the nation.

The footage has features that resemble a historic battle such as the continuous bangs of the drum connote soldiers preparing for war. Charging towards fleeing pickets, the cavalry and the sounds they make help to implicate a battle. The title itself puts a stamp on the violent confrontation. The term ‘battle’ instantly makes the viewers think of the major conflict between armed forces such as The Battle of Hastings. By giving it this title, it produces real emphasis on the significance of this event.

Whilst the film effectively incorporates these features together; the installation at Tate aids the audience with social and political context through the use of documents, maps, riot shields, videos and audio files from the event. The title of the installation is ‘The Battle of Orgreave Archive: An Injury to One is an Injury to All’. That slogan is used by the people of the Industrial Union, implying everyone is equal regardless of their trade, skills, gender or race. I believe this slogan is very fitting for The Battle of Orgreave as it wasn’t just those involved that it affected.

There are references to place within this piece. Firstly, it is site-specific. I think the location of the re-enactment was important it had to be staged in the same place as the 1984 clash to ensure it was an accurate remembrance rather than a mockery. The piece also has references to the theme of time as Deller held the re-enactment at the same time as the original event, 17^thJune but 17 years later in the same village. The effect of these dates and location being the same is almost like creating a time machine for those participating and those spectating. Every last bit of detail had to be correct for it to be successful and I think Deller had done a great job. It allowed the veterans to be transported back in time to this life-changing event.

Many of Jeremy Deller’s other works have political and social connections, “The History of the World” 1997 is another piece by Deller that includes brief information about Britain and how some things have changed over the years. It has links to the miners’ strike, implicating civil unrest at Orgreave. There are other links to privatization and deindustrialization, this piece demonstrates a thought process that could have potentially helped to influence ‘The Battle of Orgreave’ re-enactment. Deller has a fascination with ‘living history’, a term he uses to denote his representation of historical events. He discusses his fascination and suggests that his works like ‘The Battle of Orgreave’ 2001, ‘It Is What It Is’ 2009 and ‘We’re Here Because We’re Here’ 2016 are “public inquiries, creating ‘living memorials for the dead'”. (HeniTalks, 2017). He gives participants and spectators a sense of stepping back in time through his re-enactments.

To conclude, I strongly believe Jeremy Deller created this piece not to influence but to educate viewers and help them to understand. “I was not interested in a nostalgic interpretation of the strike” (The English Civil War: Part II, 2002). He intended to represent that specific time in history that changed the conduct of industrial relations and I believe that he has done this successfully through the context of his works in ‘The Battle of Orgreave’.

Word Count: 1051

Bibliography:

Jeremy Deller – ‘ The Battle of Orgreave’ (2001). At: www.jeremydeller.org/TheBattleOfOrgreave/TheBattleOfOrgreave_Video.php [accessed 05/05/19]

Tate Installation (2001) An Injury To One Is An Injury To All. At: https://www.tate.org.uk/art/artworks/deller-the-battle-of-orgreave-archive-an-injury-to-one-is-an- injury-to-all-t12185 [accessed 07/07/19]

Artangel (2001). At: https://www.artangel.org.uk/project/the-battle-of-orgreave [accessed 10/07/19

Faquharson, A. (2001). The Battle of Orgreave. At: https://www.frieze.com/article/jeremy-deller [accessed 10/07/19]

Jones, J. (2001) Missiles fly, truncheons swing, police chase miners as cars burn. It’s all very exciting. But why is it art? At: https://www.theguardian.com/culture/2001/jun/19/artsfeatures [accessed 11/05/19]

Apollo Magazine (2014) The Battle of Orgreave and ‘The Battle of Orgreave’. At: https://www.apollo-magazine.com/battle-of-orgreave-battle-orgreave [accessed 12/05/19]

Heni Talks (2017) Jeremy Deller: ‘It Is What It Is’. At: https://henitalks.com/talks/jeremy-deller/#transcript [accessed 14/09/19]

Part 2:1 – The Craft of Writing

If language as a sign system is based on arbitrariness of this kind then it follows that language isn’t a reflection of the world and of experience but a system that stands quite separate from it.
Barry, 1995, p.42

Textual Revolution

It all began with oral storytelling around 10,000 years ago. The arrival of the written word meant that a story could now continue to exist even if there was no one left to tell it. The first textual revolt happened in the fifteenth century with the invention of the printing press. The tradition of shared oral storytelling began to decline as private reading became more accessible.

Exercise 1

What happens to a story when you take it from its source, make it permanent in print and disseminate it to a wider audience?

There are positives and negatives when you do this with a story. It could become more accessible to a wide variety of people and the story becomes well known. However, it could have negatives such as once the story has been published, it’s out of their hands and anyone could use and abuse it. It’s no longer just the artists piece of work, it’s everyone to read and enjoy.

Write a list of implications arising from the printing press. For example, think about who has control/authority over the text, the meaning of the text and the relationship between the source of the text and its recipient.

copyright issues – who owns the work once its been made permanent
educations resources – the printing press can distribute learning resources for educational purposes

I’ve struggled with this section as i’m very new to the creative writing side of things.

Research

Consider the implications of the digital revolution for creative writing.

it can be productive to mediate between page and screen pg.103
the screen replaces the page which makes creative writing more visually exciting
algorithmic constraints
D.Howe and J.Cayley’s “the Readers Project” – algorithmically selecting words from prior text to generate new text, its evolving itself.

Exercise 2

Last 24 hours:

I was asked to write a list of everything i’ve heard, seen, written or read and when it comes down to it, you don’t realise how many things you pick up in a day and its very hard to note down everything.

‘cant walk around fire and expect not to sweat’ from a song i heard
written in my gratitude journal
been told my little sister in law nearly strangled my pup by accident
listened to radio 1
read emails and text messages

Information is soaked up into our brains every minute of the day when we look at our phones or the tv or listen to the radio. It’s how you decide to take and use this information. Personally, I feel that something only sticks in my head when I’m really interested in it.

I would only consider certain things to be art such as the lyrics to a song or writing in my journal. I wouldn’t say the other things could be considered as art because these are things you do everyday.

Part 1:3 – Place In Art

1: Place – T.Dean & J.Millar

The first skim read through the text was difficult to get the gist of, but after reading thoroughly I started to understand. Some of the notes I made on the text can be seen here:

place has no fixed identity
it’s hard to define
‘sense of place’ – more sensed than understood
space becomes places when familiar with it
“a place for everything and everything in its place” – Samuel Smiles

The text mentions many names of artists that i’ve never heard of before so to gain some knowledge about these people, I have done some research.

Research Point

The text mentions Ian Hamilton Finlay. From what I’ve read, he moved into an abandoned hillside croft in 1966 to begin work on a sunken garden. This garden contained large pieces of stone with eighteenth-century quotations inscribed into it.

I did some further research on tate.org.uk and I found out Finlay was recognised as a ‘concrete poet’ in the early 1960s. This terminology is unfamiliar to me as I’ve never come across this before, however, I can figure out what it means through the title.

Scrolling through his artwork, the first one that catches my eye is the shovel embedded into the stone. Named ‘Ventose’, Finlay completed this piece in 1991. Again, this piece has text incorporated into the work, along with his other artworks. I think this piece has a reference to ‘place’ through the shovel. It is associated with the garden so it reminds the viewer of this and the physical activity that goes into gardening. This piece has connections with Finlay’s other piece I looked at called ‘Little Sparta’, which is also associated in a garden.

The text also mentions Douglas Huebler. In the 1960s, he created a number of works as part of his ‘Location’ and ‘Duration’ series. With a lot of research, I managed to find a piece called Duration Piece #5 completed in 1969. It consists of 10 photographs documenting the location in Central Park where individual bird calls were heard. Each photograph was taken in the direction of the sound, then walked towards until another sound was heard and so on. The piece has reference to ‘place’ as we are all aware of the Central Park in New York, it is a very popular place to visit.

2: Developing Your Research Skills

Katie Paterson created a live phone line to an Icelandic glacier via an underwater microphone submerged in a lagoon. An outlet of Vatnajokull. The number 07757001122 can be called from any phone in the world and hear the glacier melting.

Listening to the extract, I can hear drops of water or ice particles dropping into the water below. It’s very interesting and fascinating, almost soothing to hear. It makes you want to be there to see it and hear it in person but I probably wont be able to encounter it which makes it such a unique experience.

When you look at her website, she has photographs to support the extract so the viewer can get an idea of what they’re listening to. She also included an image of a neon phone number, this is very significant as the viewer must ring the number in order to hear the glacier.

Due to climate change, glaciers have been receding over many years. Maybe Paterson wanted to raise awareness and draw attention to the global issues through this piece. She has also portrayed this through a phone which is an everyday object that everyone is familiar with.

Tate Gallery

Installation Art

A term used to describe large-scale, mixed media constructions, often designed for a specific place or for a temporary period of time. – Tate

It often occupies an entire room or gallery that viewers have to walk through in order to engage and understand fully. Installation art is very common nowadays, I came across many installations when studying in school.

But Is It Installation Art? – Claire Bishop 2005 – It summarises how you should interpret the ‘environment’ and how categories of installation art has changed over the years.

Tate Artist Rooms: Language

The terms ‘visual language’ or ‘vocabulary’ describe the distinct characteristics of an artist’s practice. The use of written or spoken words have been a significant feature of artists practice’s since the early twentieth century. – Tate

Jenny Holzer – variety of mediums that portray language, some elements of political statements.
Lawrence Weiner – suggests physical action, seen as instructions.
Bruce Naumen – colourful neon text-pieces.
Ed Ruscha – conceptual art, pop art, ‘words have abstract shapes, world of no sizes’.

Ive come across artists in the past that incorporate text into their work such as Tracey Emin.

Case Study: ‘A Place Beyond Belief’

My first reaction to this piece is its bold but basic, its different and stands out obviously more so in the dark. Is it an unbelievable place? Where is this ‘place’? Why is it in front of a church? Does it have views on religion? Is it portable? The piece consists of illuminated text on scaffolding, a neon sign with circus-like bulbs. I’d say this piece is a light-based installation and site-specific. It’s definitely conceptual but also minimal? I think its a place that is beyond believing, a place beyond religious belief. Some religions have certain boundaries.

Monologue

Is he talking about a past experience or someone else’s?
religious beliefs?
unbelievable events such as 9/11
what people make us believe is not always right
everyone is equal

My first thoughts after watching the monologue is it sounds like he’s talking about a past event or experience. It originated from a narrated story of a tragic event that happened many years ago, the twin towers. This piece has temporary fixings that make it look like an advertisement for a new product. It is easy to target someone who is different to others but to grow together we should see past religion and stereotypes. This piece is actually located at the gallery of Kosovo, Prishtina. Reading additional information has altered my view of the piece because it has more religious links than I originally thought. The contextual information is key to understanding this piece.

Guardian – Charlotte Higgins

After reading this article, I think the contextual information is definitely essential to understanding this piece. But it’s not always compulsory when making artwork. however, I believe some contextual information could aid the viewer in understanding. It shouldn’t be an essential ingredient because sometimes a mystery makes it exciting.

It certainly gets you thinking about the context of the piece as its so hard to understand at first glimpse without context. I think it tries to achieve equality within religion. “You Imagine What You Desire” 2015, this has links to religion as it is located in church, whereas the 2014 piece is located in a plain white room. I think the location of the piece is important when trying to understand it. The majority of his work have religious connections whether it be context or location, but he also uses the neon signs frequently. would say this is because it really draws the viewers in and stands out from anywhere. I think place is his key motive for his work but history also comes into it.

Part 1:2 – Time and Time-Based Media

“Place is an indistinct region of awareness rather than something clearly defined. ‘Place’ has no identity” – Entrance: Place – The First of All Things

1: The Fourth Dimension

1st dimension – the dot
2nd dimension – the line: drawing or painting
3rd dimension – the cube: sculpture
4th dimension – time: sound, film, video, performance

I’ve never really thought about time in relation to art before and i’ve only come across time related work in this course. However, I have thought about time itself. People nowadays are preoccupied with making the most of the time you have. Also, time is portrayed through day and night, sometimes it goes quicker than others.

Case Study: Interpreting Sound – Longplayer

My initial reaction to the piece ‘Longplayer’ is, it’s utterly astonishing. It was beautifully constructed to create these sounds. They are very calming, soothing sounds that relax you.

“The term site-specific refers to a work of art designed specifically for a particular location and that has an interrelationship with the location” – The Tate Guide to Modern Art Terms.

Short Interpretation

In the performance of Longplayer at the Roundhouse 2009, Jem Finer placed singing bowls in certain positions that refer to the solar system with concentric circles. He has positioned them to produce sounds that influence the viewer to reflect on time. When a singing bowl is struck, the sound slowly fades away. This could be associated with the human life and how in the beginning its bold and strong but eventually becomes weak.

Finer began this piece in December 1999 and it will continue to play until December 2099. He did this to ensure no one will ever be able to hear the piece of work from beginning to end. It portrays that human existence is only a part of time not the full length. The piece is played by computers but sometimes by people at scheduled times. So when people no longer want to interact, the computers would continue the work. This adheres to the human existence only lasting for a certain amount of time.

2: Interpreting Video Art

http://samtaylorjohnson.com/moving-image/art/still-life-2001

My initial reaction to Sam Taylor-Woods Still Life is nothing lasts forever, however, its weirdly satisfying to watch. It’s not necessarily ‘still life’ as the fruits are moving in terms of decay. It is composed with a video format to create a film that speeds up the ‘slow’ process of decomposition, todays technology allows us to do that. Our attention is divided from the fruit to the ball point pen next to the bowl. Slight confusion comes to mind because they have no relation at all.

Taylor-Wood has other pieces that relate to this one such as ‘A Little Death’, which is again a decaying hare. Other artists including Frans Snyder and Jan Weenix have also produced similar artwork to Taylor-Woods with the dead animals.

Part 1:1 – Art & Ideas

1: Fountain

My first response to this artwork by Duchamp is very basic but the more you look at it, the more curious you are. It definitely has a deeper meaning behind it that entices you to find out more.

2: What is Art?

Art is a piece of work created with a purpose, often to portray a message. We know it is art by noticing the time, effort and more importantly the creativity that goes into making it. The artist decides that it is art but the people will have the last say about it. However, you can’t just display a found object and say ‘this is art’ because it’s in a gallery. It doesn’t work like that unless you have an explanation or reason behind it. Duchamp says “A work of art is completed by the viewer”.

Technical skill can be an important quality of an artwork, however, it depends on the artwork. Art doesn’t necessarily need to move you emotionally, it should just catch your eye and make you stop for a second. Equally, it doesn’t necessarily need to be unique however, it would stand out more if it was.

Duchamp said he wanted “to put art back in the service of the mind”. What do you think he meant by this?

Often work is forgotten about or mostly not understood by many so by Duchamp saying this he is wanting to help bring art back to life and help others gain knowledge.

3: Reading About Art

Art History: The Basics by Grant Pooke and Diana Newall – the authors say art is recognising the diversity in which various categories have been made within definitions of visual art. However, regardless of categorisation, all definitions of art are medicated through culture, history and language.

4: Looking At Context

My first reaction to the ‘Shark’ is, it is bold and stands out. It makes me feel intrigued. I think there is a much deeper meaning behind this piece along with the title, it really makes you think outside the box.

My first reaction to the seventeenth-century painting is, it is ancient and it makes me feel like I need to take a closer look at the detail. I think it’s trying to portray someones life with the objects used or more so implying life and death through the use of the skull.

5: Finding out more

Notes from Khan Academy – Damien Hirst’s piece:

real shark caught and killed, suspended in a tank of formaldehyde
framing the shark
processing death in front of you
the first one dissolved, replaced by second shark
created the impossibility of its own preservation
the title and the work together is very complicated

The contextual information about The Physical Impossibility of Death in the Mind of Someone Living has changed my view on the piece. It’s a really confusing piece of work and requires time to understand the true meaning.

Getting Started

What do you want/need to gain from higher education?

The main reason for doing this Open Foundation course is to gain an undergraduate degree to then progress into becoming an art teacher, however, my love for the subject is what pulled me in. I’ve had a gap year recently leaving Sixth Form so I want to get back into the routine of studying. In order to successfully fulfil this, I need to develop my skills in some areas such as flexible learning and finding out which style of art I progress in the most and develop this further. I am excited to get back in touch with my creative side and hopefully this course can assist me in doing so.

Analysing and Reflecting

This is a piece of work by Clare Allen called ‘All’s Right with the World’. It contains a beautiful scenery overlooking a valley in Derbyshire with a reservoir in the distance. The sky is a light shade of blue with planes soaring and the birds enjoying the fresh air. To the right hand side, two people and their dogs are taking in the sunshine across the peak of the hills. At the top of this cliff lies a large rock with peoples initials carved into it, some from 100 years ago.

When I first saw the artwork, I was instantly intrigued. I loved the detail in every part from the dog walkers to the tiny birds in the sky. These combined with her use of colours created a stunningly beautiful piece of work. More so, the initial scenery within the artwork caught my eye. Nature is beautiful and peaceful, I feel calm when viewing this piece of work.

Self Reflect

I felt this task was easy for me as I analysed a lot of artwork during my time in Sixth Form. It helped me get back into the mindset of studying.

Managing your time

This Foundation Course requires around 400 hours learning, this can be broken down further by allocating 80 hours for each part of the course. Within each part, this can be further subdivided into 16 hours per exercise/topic. I figured out if I study roughly 8 hours a week, I should complete this course within 12 months.

Study Space

I have access to a desk with a computer and room to work in notebooks or sketchpads. I believe a workspace is very important to get into that mindset of working without any distractions.