Compositional Gauntlet

 Compositional studies

You must complete 12 of the following pieces in your sketchbook. Please focus on creating strong and interesting compositions. You may use photography for up to a maximum of half (6) of the pieces.

Each picture must be at least 4" x 4"

1. Formal Line (contour) Organic
2. Informal Line Organic
3. Formal Line Inorganic
4. Informal Line Inorganic
5. Formal Line Negative space
6. Informal Line negative space
7. Formal Colour Organic
8. Informal Colour Organic
9. Formal Colour Inorganic
10. Informal Colour Inorganic
11. Formal Colour Negative Space
12. Informal Colour Negative Space
13. Formal Shaded Organic
14. Informal Shaded Organic
15. Formal Shaded Inorganic
16. Informal Shaded Inorganic
17. Formal Shaded Negative Space
18. Informal Shaded Negative Space

Formal : Focal point centered, Closed, Symmetrical, Visual movement is horizontal/vertical/circular, Visually calm
Informal : Focal point off-center, Open, Asymmetric, Visual movement is diagonal/random/elliptical, Visually tense


Definition of "organic" (ref dictionary.com):
Fine Arts - of or pertaining to the shapes or forms in a work of art that are of irregular contour and seem to resemble or suggest forms found in nature.

12/IB Self Portrait Rubric

Click on the image below to make it larger/easier to read :)

 

 

Collaborative project 2k15

Here we go again! In the ongoing series of really successful collaborations, this year's group has chosen the most dynamic image yet. This is going to be fantastic. The printed image given them was 15x24 cm broken into 18 4x5 cm rectangles - they are each taking responsibility to blow one of those up to an 8x10 inch canvas I have provided them. The overall structural integrity and alignment of the image must be maintained, but the surface treatments, colours etc. are completely up to the individual student!  Cant wait to see this come together.

Students - check the collaboration tag to see your rubric.

IB Internal Asessment - Exhibition

Internal assessment details HL - The Exhibition
Part 3: Exhibition  Weighting: 40%  
EXAMPLES FROM IB 1, 2

Students at SL and HL submit for assessment a selection of resolved artworks for their exhibition. The selected pieces should show evidence of their technical accomplishment during the visual arts course and an understanding of the use of materials, ideas and practices to realize their intentions. Students also evidence the decision-making process which underpins the selection of this connected and cohesive body of work for an audience in the form of a curatorial rationale.

During the course students will have learned the skills and techniques necessary to produce their own independent artwork in a variety of media. In order to prepare for assessment in this component, students will select the required number of pieces to best match the task requirements and demonstrate their highest achievement. Students at SL select 4–7 artworks for submission while students at HL select 8–11 artworks for submission.

The final presentation of the work is assessed in the context of the presentation as a whole (including the accompanying text) by the teacher against the task assessment criteria.

Task details
 

For the exhibition task students at HL should select and present their own original resolved artworks which best evidences:

1. technical competence
2. appropriate use of materials, techniques, processes
3. resolution, communicating the stated intentions of the pieces
4. cohesiveness
5. breadth and depth
6. consideration for the overall experience of the viewer (through exhibition, display or presentation).

Students will be assessed on their technical accomplishment, the conceptual strength of their work and the resolution of their stated intentions. To support their selected resolved artworks, students at SL and HL should also submit:

1. exhibition text which states the title, medium, size and a brief outline of the original intentions of each selected artwork
2. two photographs of their overall exhibition. While the photographs will not be used to assess individual artworks, they may give the moderator insight into how a student has considered the overall experience of the viewer in their exhibition. Only the selected artworks submitted for assessment should appear in the exhibition photographs.

Students at HL should also develop a curatorial rationale which accompanies their original artworks (700 words maximum). This rationale explains the intentions of the student and how they have considered the presentation of work using curatorial methodologies, as well as considering the potential relationship between the artworks and the viewer.  


Structuring the exhibition

It is expected that work developed for the exhibition will overlap or have grown from initial or in-depth investigations within part 1: comparative study and part 2: process portfolio.

Work developed for the exhibition will have been carefully supported and facilitated by both teacher-directed learning activities and independent studies by the student. In preparing for this task students will need to have engaged with a variety of skills, techniques and processes that will have enabled them to manipulate materials, media, techniques and processes in order to discover strengths and work towards technical excellence.

Art-making forms

Having worked within a range of art-making forms for part 2: process portfolio, students at both SL and HL may submit work created in any art-making form for part 3: exhibition. The submitted pieces should be selected by the student from their total body of resolved works and should represent their most successful achievements against the assessment criteria. They should be presented in a manner suitable for an audience.

Exhibition text (500 characters maximum per artwork)

Each submitted artwork should be supported by exhibition text which outlines the title, medium and size of the artwork. The exhibition text should also include a brief outline of the original intentions of the work (500 characters maximum per artwork). The exhibition text should contain reference to any sources which have influenced the individual piece. Students should indicate if objects are self-made, found or purchased within the "medium" section of the exhibition text, where applicable. Where students are deliberately appropriating another artist’s image as a valid part of their art-making intentions, the exhibition text must acknowledge the source of the original image.

Collective pieces
Students are required to submit individual artworks for assessment. Where students wish to submit portions of work in the form of one collective piece (such as diptych, triptych, polyptych or series), this must be clearly stated as part of the title of the submitted piece in the exhibition text, presented in parentheses. For example: Title of the piece (diptych). The requirements for capturing and submitting collective pieces is the same as with other standard submissions, however students deciding to submit collective pieces need to be aware that there is a compromise in the size an image can be viewed when submitted as part of a collective piece which may prevent examiners from taking details that cannot be seen into account. Collective piecesthat are presented without the appropriate exhibition text will be considered as distinct artworks and could lead to a student exceeding the maximum number of pieces.

Structuring the curatorial rationale

The curatorial rationale requires SL and HL students to explain why specific artworks have been chosen and presented in a particular format. It provides students with an opportunity to explain any challenges, triumphs, innovations or issues that have impacted upon the selection and presentation of the artworks. Students should use the curatorial rationale to explain the context in which particular artworks were made and presented in order to connect the work with the viewer. In addition to this, students at HL should also explain how the arrangement and presentation of artworks contributes to the audience’s ability to interpret and understand the intentions and meanings within the artworks exhibited.

HL students may find the following questions helpful when approaching this task. This structure is for guidance only and is neither prescriptive nor restrictive.

1. What is the vision for presenting this body of work?
2. How have particular issues, motifs or ideas been explored, or particular materials or techniques used?
3. What themes can be identified in the work, or what experiences have influenced it?
4. How does the way you have exhibited your artwork contribute to the meanings you are trying to convey to an audience?
5. What strategies did you use to develop a relationship between the artwork and the viewer, for example, visual impact?
6. How does the way you have arranged and presented your artworks support the relationship and connection between the artworks presented?
7. What do you intend your audience to feel, think, experience, understand, see, learn, consider from the work you have selected for exhibition?

Formal requirements of the task—HL
 

1. HL students submit a curatorial rationale that does not exceed 700 words.
2. HL students submit 8–11 artworks.
3. HL students submit exhibition text (stating the title, medium and size) for each selected artwork.
HL students may submit two photographs of their overall exhibition. They will not be assessed or used to assess the individual artworks.

 Submitting assessment work

Students may choose to capture and submit individual artworks for assessment in a variety of ways, depending on the nature of the artwork and the resources available. The work should ideally be captured in whatever electronic means is most appropriate for the selected art-making form. A two-dimensional artwork, for example, might be best captured through a still photograph, while a three-dimensional artwork might be best captured through a short video recording. Lens-based, electronic or screen-based artwork such as animation, however, might call for more unusual file types. Please note that time-based submissions such as these are limited to a maximum duration of five minutes.  

Unless it is impossible, schools are advised to submit two photographs of each student’s overall exhibition. These exhibition photographs provide an understanding of the context of the exhibition and the size and scope of the works. While the photographs will not be used to assess individual artworks, they may give the moderator insight into how a student has considered the overall experience of the viewer in their exhibition. Only the selected artworks submitted for assessment should appear in the exhibition photographs.

The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of artworks submitted. Where submitted materials exceed the prescribed limits examiners are instructed to base their assessment solely on the materials that appear within the limits.

 

 

 

IB External Assessment 2 - Process Portfolio - the evolution of the RWB!

External assessment task #2 - Process Portfolio
Part 2: Process portfolio 40%
EXAMPLES FROM IB: 1, 2, 3
 
"All students should use their visual arts journal to carry out their explorations with techniques, technologies, effects and processes and to record their discoveries. They should chart and reflect on their experiments with media, their decision-making and formation of artistic intentions. Students will select, adapt and present what they have recorded in their journal as the basis for material submitted for the process portfolio task." Weighting: 40%
  

Students at SL and HL submit carefully selected materials which demonstrate their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course. The work, which may be extracted from their visual arts journal and other sketch books, notebooks, folios and so on, should have led to the creation of both resolved and unresolved works. The selected process portfolio work should show evidence of their technical accomplishment during the visual arts course and an understanding of the use of materials, ideas and practices appropriate to visual communication. They should be carefully selected to match the requirements of the assessment criteria at the highest possible level.

The work selected for submission should show how students have explored and worked with a variety of techniques, effects and processes in order to extend their art-making skills base. This will include focused, experimental, developmental, observational, skill-based, reflective, imaginative and creative experiments which may have led to refined outcomes.

Structuring the process portfolio

Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.

The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.

Examiners are looking to reward evidence of the following:

1. sustained experimentation and manipulation of a variety of media and techniques and an ability to select art-making materials and media appropriate to stated intentions
2. sustained working that has been informed by critical investigation of artists, artworks and artistic genres and evidence of how these have influenced and impacted own practice
3. how initial ideas and intentions have been formed and how connections have been made between skills, chosen media and ideas
4. how ideas, skills, processes and techniques are reviewed and refined along with reflection on the acquisition of skills and analysis of development as a visual artist
5. how the submitted screens are clearly and coherently presented with competent and consistent use of appropriate subject-specific language.

Students must ensure that their work makes effective use of appropriate subject-specific language.
Art-making forms
 For SL students the submitted work must be in at least two art-making forms, each from separate columns of the table below. For HL students the submitted work must have been created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table below. The examples given are for guidance only and are not intended to represent a definitive list.

 

Submitted work might well include experiments undertaken during (and reflections upon) taster sessions in particular media, demonstrations of techniques, workshops, master classes, guided experimentation and studio practice experienced as part of the core syllabus activities outlined above.

Formal requirements of the task—HL  
 HL students submit 13–25 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For HL students the submitted work must have been created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table.


Submitting assessment work

The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.


The size and format of screens submitted for assessment is not prescribed. Submitted materials are assessed on screen and students must ensure that their work is clear and legible when presented in a digital, on-screen format. Students should not scan multiple pages of work from their journals and submit them as a single screen, for example, as overcrowded or illegible materials may result in examiners being unable to interpret and understand the intentions of the work. The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of screens when the materials are submitted. Where submitted materials exceed the prescribed screen limits examiners are instructed to base their assessment solely on the materials that appear within the limits.

 

 

IB - External Assessment 1 - Comparative Study Info

IB External Assessment Task #1
Part 1: Comparative study
Weighting: 20%
EXAMPLES FROM IB: 1, 2, 3

Students are required to analyse and compare artworks, objects or artifacts by different artists. This independent critical and contextual investigation should explore artworks, objects and artifacts from differing cultural contexts.

Throughout the course, students will have investigated a range of artists, styles, images and objects from a range of cultural contexts, through an integrated approach to exploring the three syllabus areas: visual arts in context, visual arts methods and communicating visual arts. Students select artworks, objects and artifacts for comparison from differing cultural contexts that may have been produced across any of the art-making forms, and that hold individual resonance for the student and have relevance to their own art-making practice. This is of particular importance to HL students.

Students at both SL and HL must examine and compare at least three pieces, at least two of which should be by different artists. It is valuable for students to have experienced at least one of the works in real time and space, such as a painting at a gallery, a sculpture in a park or an artifact from the local community that is brought into the school, although this is not essential. Good quality reproductions can be referred to when a student’s location limits their access to such works first hand. The works selected for comparison and analysis should come from contrasting cultural contexts.

Students use research and inquiry skills to investigate and interpret the selected pieces, applying aspects of critical theory and methodologies to the works examined and presenting their findings as a personal and critically reflective analysis, using both visual and written forms of notation. Students must support their interpretation with references to sound and reliable sources. A recognized system of academic referencing must be used in line with the school’s academic honesty policy. A candidate’s failure to acknowledge a source will be investigated by the IB as a potential breach of regulations that may result in a penalty imposed by the IB final award committee.

Students then undertake the process outlined below for assessment.

Task details

Students at both SL and HL must select at least three artworks, objects or artifacts, at least two of which should be by different artists. For each of the selected pieces, students should:

1. carry out research from a range of different sources
2. analyse the cultural contexts in which the selected pieces were created
3. identify the formal qualities of the selected pieces
4. interpret the function and purpose of the selected pieces
5. evaluate the material, conceptual and cultural significance of the selected pieces to the cultural contexts within which they were created.

Students at both SL and HL should then:

1. compare the selected pieces, identifying links in cultural context, formal qualities, function, purpose, material, conceptual and cultural significance
2. present a list of sources used during the study.

Students at HL should also reflect on the investigation outcomes and the extent to which their own art-making practices and pieces have subsequently been influenced by artworks, objects or artifacts examined in the comparative study.
The role of the teacher
 

Teachers must ensure that their students are appropriately prepared for the demands of this task through the careful planning and delivery of the core syllabus activities outlined above. This assessment task must not be teacher led and students should be made fully aware of the assessment criteria against which their work will be judged.

The teacher should discuss the choice of selected artworks, objects and artifacts with each student. It is important that the selected pieces are the student’s own choice. Teachers should also ensure that the students are acknowledging all sources used and referencing them appropriately.

Teachers should read and give advice to students on one draft of the comparative study. The teacher should provide oral or written advice on how the comparative study could be improved, but should not edit the draft. The next version handed to the teacher must be the final version for submission.

 Structuring the comparative study
 

Students should articulate their understanding through both visual and written forms, depending on the most appropriate means of presenting and communicating their findings. While the comparative study may include text-based analysis, it may also include diagrammatic and graphic elements such as annotated sketches and diagrams, annotations on copies of artworks as well as other visual organizing techniques (such as flowcharts, relative importance graphs, concept webs and Mind Maps®). An introduction to the study should summarize the scope of the investigation from which the focus artworks, objects and artifacts have been selected. Students should aim for a balance of visual and written content, and use an appropriate means of acknowledging sources. Students must ensure that their work makes effective use of subject-specific language where appropriate.

For each of the selected artworks, objects or artifacts, students at both SL and HL are encouraged to focus their analysis and interpretation of works through consideration of the role of the artist, the artwork, the audience and the cultural context. The scope and scale of the comparative study task will depend largely on the materials selected for investigation. Students may wish, however, to adapt the following structure to suit their needs. This structure is for guidance only and is neither prescriptive nor restrictive.

 Formal requirements of the task—HL
 

1. HL students submit 10–15 screens which examine and compare at least three artworks, objects or artifacts, at least two of which need to be by different artists. The works selected for comparison and analysis should come from differing cultural contexts.
2. HL students submit 3–5 screens which analyse the extent to which their work and practices have been influenced by the art and artists examined.
3. HL students submit a list of sources used.

Submitting assessment work
 

The size and format of screens submitted for assessment is not prescribed. Submitted materials are assessed on screen and students must ensure that their work is clear and legible when presented in a digital, on-screen format. Students should not scan multiple pages of work from their journals and submit them as a single screen, for example, as overcrowded or illegible materials may result in examiners being unable to interpret and understand the intentions of the work.

 The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of screens included when the materials are submitted. Where submitted materials exceed the prescribed screen limits examiners are instructed to base their assessment solely on the materials that appear within the limits.

 

 

 

 

USEFUL FORM AND SHADING TUTORIAL!

Couldn't resist posting this link as I think it will be very helpful to some of my new/junior students in particular:

http://juliannakunstler.com/images_art1/3Dforms.swf

Not quite life drawing - pose portfolios

It has long been believed that working from Life is the best teacher, when it comes to learning to draw the human form. Most post secondary institutions will offer course in life drawing and anatomy for the artist. In the high school setting we are certainly limited by access and expense, so finding additional ways to supplement your usual drawings of the same forms (often your friends and family) sitting on the same furniture or having to pose for you in ways and outfits that suit your needs can be almost as challenging as getting them to help you in these ways in the first place.

While I don't have the perfect answer by any means I would like to suggest a couple of websites than can give your drawing a little boost and can assist you in figuring our proportions and forms or push you to develop strong skills for quick pose sketches (Super recommended if you are going to be doing this type of thing post secondary....)

Senshistock http://senshistock.com/index.php - is a great one to start with. The figures are non nude but wearing form fitting clothing so that figures and musculature are still relatively clear.  They have some programs and collections of poses for sale but also have a number of free practice forms in their "sketch section". When you click on this it sets up a timed posed image for you to draw. When the timer runs out it moves to the next image - just like a live session. You may adjust the length of the timer, skip images and pause it in its entirety. The pictures use a variety of lighting, expressions and - in contrast to many sites - a lot of props. My only real critique is that there are far more images of female figures than male. Overall a great site with some really useful images and an easy interface.

Pixelovely - http://artists.pixelovely.com/ - another great one with a slightly more complex but still really user friendly interface.  This one gives you a choice of figure drawing, animal drawing, hands and feet or portraits an expression. The interface lets you choose between specific genders (or all/random), clothed or nude and two styles of session - standard or class. A class set will give you short timed poses first working into longer poses with breaks actually built into the time! Pretty awesome. A great variety of figures and forms coupled with a lot of choice in parameters make this an excellent resource.

Those should really help get you started with gesture and form!



Look for future updates/reviews for: Quickposes.com & posemanicas

Grade 12 reading list for exam prep

466-470 Neoclassicism (IMPORTANT - we have referred back to this and compared to this often!!)

471-479 Romanticism, English Landscape, Realism

480-489 Impressionism

494-500 Post Impressionism

516-527 Fauvism, Expressionism, Non Objective, Cubism (Analytical and synthetic - ensure you pay attention to Guernica!!)

528-535 Mexican Muralists, Frida Khalo (Avant Garde), Ashcan School (Armory show)

546-561 Dada, Surrealism, Regionalism, Abstract Expressionism, Pop Art, Op Art, Hard Edge, Photo Realism, Installation, several Avant Garde artists/concepts.

Intro Pages

Here are some intro pages completed by

current and former students:

 

 

 

 

 

 

 

Can you spot the key problem with this one?

Collaborative Composition Rubric

Collaborative Composition Rubric
	4	3	2	1
Creativity,  Originality and adaptability of design.	Original design showing unique artist-driven vision. The student thinks reflectively and creatively to evaluate concepts and solve design problems. Canvas works exceptionally well as both a singular surface and as a part of the whole.	Creates original design or original and personal interpretations of an existing design. Shows engagement with the creative process. Connects to prior knowledge and developing personal style. Canvas is notably better as either a singular piece or as a part of the whole but still functions on both levels.	Doesn’t come up with original ideas. Design seems derivative with minimal adaptations made to personalize. Canvas does not hold up compositionally outside of the collective whole.	Design is poorly planned and lacks both cohesion and personalization.
Design – Contrast/Emphasis, Shape, Line and Unity	This complex design shows excellent use contrast and emphasis to create multiple focal points or “attention grabbing moments” in the design. Painting has a clear, instantly readable and recognizable visual presentation	Emphasis is utilized in order to create a single strong focal point. Shape and line combine to make connections between readily recognizable subjects. Cohesive visual presentation.	Focal point present but shapes/forms are not developed to a point where the subject is readily recognizable understood. Design is not cohesive and lacks unity.	Homogenous finish with little or no clear emphasis. Unclear subject due to limited contrast and underdeveloped forms. Confusing visual presentation.
Surface Finishes (Application of Media techniques)	All surfaces have been finished with great technical skill and consistency.  Skillfully employs multiple techniques and mixes media in a manner which is appropriate to the project concept.	A well-developed surface that shows evidence of competent technique  and proper control of at least one media .  Equal treatment of all surfaces in a single media or inclusion of a second media with less technical acuity.	Inconsistent surfaces that show some evidence of attempts to control chosen media through addressing challenges surface control and/or consistency.   Completed with some areas being more developed than others.	Fails to create a surface that exhibits an understanding of chosen media. Limited evidence of technical refinement or control. Pieces are unfinished and/or surfaces are underdeveloped.
Use of Colour (in the case of non colour treatments substitute "value" for the term "colour"  in descriptors)	Shows a thorough understanding of the role of colour actively exploits colour theory, saturation, contrast, variation and/or temperature to enhance design.	Uses color as a meaningful element of design. Makes clear use of complimentary colours and/or analogous colour contrasts	Begins to consider the role of color as a meaningful element in design. Little or no colour mixing evident. Limited use of the colour wheel evident.	Fails to consider the role of color as a meaningful element in design.
Effort/Perseverance	The project was continued until it was complete as the student could make it; gave it effort far beyond that required and took pride in going well beyond the requirement. Flawless alignment to all adjoining images.	The student finished the project and met expectations for effort and commitment to developing their surfaces and techniques. Sections line up properly to all adjoining images.	Project completed. Image aligns reasonably well with most portions of adjoining canvases.	The project was completed with indifference and minimum collaborative effort. Misaligned in several obvious places.

Wolfgang - Collaborative Portrait Project

All Grades - Silk Screen (Serigraphs) Part 1

Silk Screening

Part 2: Waits/Corbijn x NCC Sept 2013

The Grade 12 class are going to do a collaborative reconstruction of one of the Waits/Corbijn images (see previous post for more information).

The image has been printed off and divided into a grid of rectangles. Each relates to the final image size in a ratio of 1cm=2inches (so each final painting will fit exactly on the 8x10 canvas I have provided you!).

You may interpet your portion of the image in any media you see fit and in any colour scheme. You must, however, remain true to the layout of the original image and your image must align correctly to all those that surround yours.

The image for this semester is:

Enjoy!

Part 1: Tom Waits through the lens of Anton Corbijn as interpreted by NCC

Photgrapher Anton Corbijn has been taking pictures of the larger than life, but smaller and quieter than you'd believe character that is Tom Waits since 1977. This friendship and partnership has resulted in an amazing and diverse collection of images and curiosities, now being published as a limited edition book.

The photographs, often accompanied by prose poetry, are included in a sumptuous book entitled Waits/Corbijn: '77-'11, most of which is devoted to Anton Corbijn's many portraits of Waits over the past 35 years.  Corbijn's stylised photographs show Waits at work and play, growing steadily older. They are a testament to the merits of sustained collaboration between the photographer and his subject, but the most surprising portraits are the ones that catch Waits relaxed or off-guard, whether hunched over a typewriter or engrossed in a bound newspaper archive.

Corbijn's photographs are beautifully evocative, conjuring up in the words of music writer Robert Christgau's fine introduction, the "goateed imp brooding wearily".

The wary and watchful Waits eyes are a constant in the images, although occasionally the grin seems real and lightens the look of a man pondering life's uncertainties. The best photos don't look staged but even those that do are affecting.

Waits and Corbijn like their props. Having Waits hold a water pistol doesn't add much to the manic look he seems to carry at most times, but among the other props are a discarded air conditioner, a fielder's mitt, a gramophone horn and child's hands peeping over his shoulder.  

There are also pictures that show Waits holding an accordion, though this may have reflected his quip about the instrument (which features on some of his most touching songs) that "a gentleman is someone who can play the accordion, but doesn't."

Now the Art students at NCC are going to take work of Corbijn and his unlikely muse and put their own spin on some of this wonderful wacky and well composed imagery. Details to come!

"Believe me, I won't go jumping off rocks wearing only a dracula cape for just anyone," ~Waits