Lens Based Media- Face Value
Faces are fundamentally important to social life. ‘we are not solitary mammals like the fox or the tiger; we are genetically social. what is most profoundly felt between is, even if hidden, will reappear in our portraits of one another’. The network of faces we negotiate a daily basis, are not only of the physical, flesh and blood variety, but the ageless, de-fect free, care-free, cloned faces of the billboard and glossy magazine page. Today, photographers who wish to say something meaningful about the face are looking for strategies and tactics to match its rapidly evolving social and technological environment. we are expected to interact both on a physical level and a rapidly evolving artificial social media level.
Bruno Metra and Laurence Jenson
These two artists worked together to primarily create plastic surgery using printed facial features and sticking them to the faces of models, most of their work appearing from 2013 onward. I believe their work does not only impact the physical element of the person but the psychological aspect of the person as it is only themselves that find imperfections and consider cosmetic surgery. this reflects back to their work as it challenges the viewer’s perspective of themselves or others. Their work highlights the difference between the human face and the edited faces from magazine advertisements. Metra and Jenson’s aims were to get people to challenge themselves to not conform to social expectations shared by social media influencing peoples behaviour expectations of how people should look. This is similar to what I aim to explore through my own work, to counteract what can be seen as ‘the perfect face’.
Linder Sterling
This artist was a radical feminist, known for her montages made from a combination of pornographic images and cuttings taken from women’s fashion and domestic magazines, particularly those including domestic appliances highlighting the cultural expectations of women and the treatment of the female body as a commodity. in Sterling’s most recent work she been more focussed on performance art involving photography, film, print and artefact, most of her work have reoccurring themes of outsiderdom, religious non-conformism, ecstatic states and female divinity/sainthood. in many ways, her collage artwork are in sync with the time period and the subversive practices of punk: ripping things apart and reassembling them was a way of showing counterfeit quality and construction of any social image. when exploring into the topic of ‘Face Value’ Linder Sterling was fitting to the theme and the overarching theme of ‘Networks and Systems’ as she uses the influence of societies stereotypical functions toward her own work.
Experimentation with artist’s work
Once I had looked at the artists I began my exploration into the topic more by generating quick ideas by using photographs taken from the internet and from magazines.
I then began to generate my own work using photographs I had taken of other members of the class. As my idea was to deviate from the stereotyped generic looks of people in the media, using these photographs gave a much more realistic impact upon my work. I used the artists as influence when doing these experimentations.
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Evaluation
I became interested in the methods artists were able to manipulate faces creating a different identity and to highlight the way people find imperfections within themselves, often leading to cosmetic surgery. This is influenced through different media such as magazines and photo sharing on social media sites. Some people witness photographs of de-fect free faces spread through the media and therefore imagine a stereotypical idealisation of how they should look.
This photography project is based upon the theme of ‘Face Value’ while taking into consideration of the overarching theme of ‘Networks and Systems’. When producing my final piece, I used ideas from both of the artists that I researched and experimented with. However, my original idea of what I could create as a final outcome was very similar to that of the artists once I had researched their work. As a result, I then used the artists’ work as influence to composing a portrait image.
As both of the artists manipulate faces to create a different perception, I thought I could use a similar concept to reconstruct a face using a combination of different portrait photographs. Primarily, the outcome of this idea would relate to what extent a person is to look like in order for it to be socially acceptable. I then took into consideration that every person is individual and unique to any other person. Therefore I decided to use photomontage to reconstruct a face that is not necessarily perfect to fit the needs of society but unique to themselves.
My aim of the final outcome is to challenge people’s perception of themselves as well as other people. This does not only meet the theme of ‘face value’ but also the overarching theme of ‘networks and systems’ as the materials that I will be using are influenced by methods of communication by photo sharing. Plus, I will be exposing the psychological aspect of ‘face value’ and the ways in which the brain functions according to the way in which people find to what point of cosmetic surgery they then find themselves acceptable to fit in with society.
I have created multiple final outcomes to show a variety of the way people can look. Some photomontages that I have created were more successful than others. This was due to the choice of facial features as some of the facial features did not exactly fit the face it was places on top of. The majority of my final outcomes were very successful and the choices of facial features were fitting to the face that I was manipulating. The two final outcomes located at the top of the page were the most successful in comparison to the other two outcomes. I think this was due to the right use of facial features from other portraiture photographs. The outcomes located at the bottom of the page were not as successful; this is because I attempted to change a much larger area of the face rather than smaller aspects of the face. However, they still highlight different ways people can look.
Fine Art: The Body
Whether represented through traditional portraiture, modern performance or contemporary concept art, the body has occupied the thoughts and ideas of artists since ancient times. Art historical, socio-political and cultural developments, from radical feminism in the 1970’s to contemporary scientific breakthroughs, have all had a profound influence on artists’ attitudes to, and representations of the body. Consider these influences and that of specific artists/ movements, and develop a ‘body’ of work which explores your own thoughts and opinions on this topic.
Monoprint
When experimenting with Monograph, I found the printing aspect of the work very intriguing as when drawing over the ink it created heavy outlining to the figure. I liked this characteristic of creating monographs as when developing my own work I would like to imitate the density of the outline to exaggerate the figure I will be drawing. As an experiment I then used an image of a young girl as a secondary image, created a monograph of the image, photocopied the print to replicate the image on acetate. This then enabled me to use a projector to enlarge the image. Once I had a line drawing of the image I then used graphite to add depth into the image using heavy lines into the pleats of the dress and the outline of the figure.
Development of Monoprint
I decided to use a graphics tablet and Photoshop to digitally create an image. One of the monoprints I created I photographed and then uploaded onto
Edgar Degas
He is especially identified with the subject of dance; more than half of his works include dancers. He is regarded as one of the founders of impressionism, however it was known that he preferred his work to be recognised as realism. He was able to capture movement within his work very well, giving his work a realistic visual impact. Primarily, as the beginning of his career he aimed to be a history painter, studying classical art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.
Using Gustave Courbet and Jean-Baptiste-Camille Corot as influence towards his own work, he interpreted his surrounding environment in the same way, wanting to capture the immediacy of the environment of what they saw at that exact moment.
Response:
I then experimented with the artist Edgar Degas. I really liked the way in which he presented figures in his work, appearing to be very peaceful and appearing to be very momentary work. I decided to experiment with his work to determine whether I wanted to further my work using him as an influence towards my work. As a result, I found the technique of using coloured chalk to be very effective and created a successful outcome. In the process of creating this piece of work I used the same process as the previous image, allowing me to enlarge the image to which then enabled me to create a lot more detail within the figure.
Henri de Toulouse
Henri Marie Raymond de Toulouse-Lautrec-Monfa, also known as Henri de Toulouse-Lautrec was a French painter, of the 19th century he was a successful printmaker, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing, elegant and provocative images of the modern, sometimes decadent, life of those times. His work appears- to document the reality of the life of that time period, allowing you to be involved in his artwork.
These are experimental pieces using coloured chalk to create the final outcome. The artist Henri de Toulouse captured the figures of dancers differently than the artist prior. His work appears to use the dancers as they are stationary, not like his other works which present more in movement images. These chosen images I have experimented were much more colourful and loose in technique allowing me to generate the images much quicker.
Derek Overfield
Derek Overfield is a modern artists expressing movement of the human body using different media. This is a statement made my Derek Overfield:
‘Through years of studying the human form – formally and informally – I am able to craft works of immediacy that displays a balance of precise control and gestural abandon. Through that appreciation of the figure, I create works devoid of ornamentation and pretence. Instead of a visually busy piece, they are simple and direct. Minimal, yet compelling.’
I believe Overfield’s work has an emotional aspect, as the way in which the figure is structures seems to be emotionally expressive. This is the main reason as to why I decided to study this artist as it reveals the psychological state of people, relating to the overarching theme of ‘Networks and Systems’. Overfield has always had a keen interest in figurative art and therefore pursued a career in this chosen field of work, a lot of his work shown in numerous competitions and galleries.
When using Derek Overfield as an artist to possibly influence my own work, I liked the emotional aspect of his work. However, when replicating his work I was not able to create the same outcome which may be due to the chosen media. As a development of his work, I used the life drawing session to attempt to work in his style, but it was unsuccessful and I believe that the life drawing that I had created did not strongly present any emotions within the figure.
Further development of work:
Final Outcome:
For this final outcome, I decided to generate a digitally edited piece of work to show evidence of developing my work further. I photographed my work and then imported it to Photoshop. This then enabled me to use a graphics tablet to draw around the figure I had drawn as a response to Edgar Degas by adding a layer under the original image which after I had traces my work, I would have a new image on a white canvas. Rather than just have a digitally drawn image as a final piece I then developed it further into a gif. As it was an image of a dancer that I had drawn, the gif I created shows the process of the dancer moving, as if it is dancing. I have also inserted an inverted version of what I had drawn.
Textiles
Throughout this project I will be developing an awareness of technical methods and processes used in the fashion and textiles industry, analyse key artists and designers and experiment widely within the specialism. I can experiment using traditional and non-traditional materials and processes.
I decided to use a floral theme throughout my own work to highlight the issue that people have raised suggesting that modern day people are detached from nature. Primarily I decided to experiment using different materials when testing different flowers and petals. As I have never created flowers from fabric I decided to use YouTube tutorials in assistance.
Elvira’t Hart
Elvira ’t Hart is a designer and label based in the Netherlands. The inspiration behind the label is drawing, its characteristics and how we interpret them. The garments are not designed to look like drawings, they are the real thing. Sketches are used as patterns or patterns are literally drawn. Keeping every line of the original drawing in the final garment; Lines that disappear abruptly, some parts are not completely coloured in or not colored in between the lines. Although the brand is all about drawing, in the end the main goal is to make playful designs and to turn the drawings into wearable garments. Elvira’s designs are sold worldwide and worn by celebrities, among them Lady Gaga.
Sonja Bäumel
Sonja Bäumel works across various disciplines including art, design, fashion and biological practice. The interest in Sonja’s on-going research and creative process lies in the human body and the unexpected diversity of the human ecosystem, in its ‘social network’ and in our changing perspective on the human body.
Sonja studied Fashion Design at the Fashion Institute of Vienna, and holds a Bachelor in Arts from the University of Arts of Linz, as well as a Master in Conceptual Design in Context from the Design Academy Eindhoven. In 2012 she was awarded with the Outstanding Artist Award Experimental Design, for the project Textile Anatomy, from the BMUKK Federal Ministry for Education, Art and Culture of Vienna.
Ruth Singer
Singer’s work has been influenced by her career working in museums. Within her work there is usually narrative theme often bared around objects, history, people and places. Using simple natural materials and favour traditional hand techniques. Some of her work is often created collaboratively and prefer to make site-specific pieces, commissions for museums and installations in response to archive materials. Many of the techniques that Singer uses are developed from studying historical textiles during and since my time working in museums.
Greg Sands
This in an artist and a photographer and an artist who explores existence, time and death. He primarily uses his photography work, then manipulating it to create a piece of art work. The outcomes of his artwork using photographs are mainly consisting of human figures and portraiture photography. I was mostly interested in the way he collages two portrait photographs together, weaving the two photographs with each other, having a very successful outcome.
This in an artist and a photographer and an artist who explores existence, time and death. He primarily uses his photography work, then manipulating it to create a piece of art work. The outcomes of his artwork using photographs are mainly consisting of human figures and portraiture photography. I was mostly interested in the way he collages two portrait photographs together, weaving the two photographs with each other, having a very successful outcome.
This in an artist and a photographer and an artist who explores existence, time and death. He primarily uses his photography work, then manipulating it to create a piece of art work. The outcomes of his artwork using photographs are mainly consisting of human figures and portraiture photography. I was mostly interested in the way he collages two portrait photographs together, weaving the two photographs with each other, having a very successful outcome.
Response:
Graphic Design
A north east design agency have been commissioned to create designs for a print and web based advertising campaign to launch a new government initiate focused on giving young people a voice in today’s society. I have been asked to create suitable graphics that will be ised for the advertisement and promotional artworks.
Campaign: feel my words- a lottery funded campaign which will be made into a channel 4 documentary and also published as a book and digital journal. The documentary and booklets will include words of advice, wisdom, saying and troubled thoughts from thousands of interviews across the country from this generations youth culture.
Stefan Sagmeister
Sagmeister is a New York based Graphic Designer from Austria. He manipulates convention changing people’s perceptions. The way in which he achieves this through design, typography, environmental art, conceptual exhibitions and few in video form. I watched a video of a talk that he did about his work and his journey on discovering ‘Happiness by Design’. I found his exploration very helpful and highlighted key areas of which happiness can be shown or felt through a design. I believe I would be able to use similar concepts when creating my own work.
Lawrence Weiner
Weiner was an American Graphic designer, being a part of the Conceptual Art movement of the 1960’s. it was interesting the way in which he would create and present his work such as on canvas, objects or on the surrounding environment. In his work, Weiner found that he was able to create his work through language rather than the physical construction. Although most of his work is portrayed directly onto the environment, he still considered his work as sculptural pieces of art work just in different media.
The Conceptual Art movement occurred during the 1960s, often simply known as Conceptualism. This procedure consists of involving traditional mediums and using them to create a much more modern unusual piece of artwork.
David Carson
David Carson was a well-known American Graphic designer who modified the way in which you were able to design an advertisement. He designed modern unique ways in which to express something within a design. Within his work he deviates from the simplicity of creating an advertisement and mixes the words and position of the words to make you concentrate more on what you are looking at, challenging people’s perceptions. His use of typography has influenced many other artists work, therefore that style of working has become more popular within the art world.
Experimentation with words: response to Stefan Sagmeister
I did an experimentation consisting of creating words using different materials. I found this interesting as the materials I could use impacted upon the how a person would feel when looking at the word. By using ordinary objects to create a word I found was quite an expressive way of portraying the word; being able to say the word using different media rather than saying it physically. Although it is not being said by a person it can appear as quite detached to some individuals. However I believe it is still meaningful psychologically as there is an importance to what has been written; a reason behind the words and it challenges the individuals thought process.
Experiments: response to David Carson
To show development of my own work and learn more about how to use Photoshop; I began to experiment using text type. As Carson rearranged text within his work I decided to use a similar technique and rearrange the positioning of the word ‘confidence’. I believe I would be able to use this technique in the production of my final outcome.
Experiments: response to Lawrence Weiner
The work of Lawrence Weiner consists of using text over the surface of a wall. As a result, in my response I used Photoshop to add text to the walls; I was able to manipulate the positioning of the words and the perspective of the text to make it look like it was actually written on the wall. In Weiner’s work the phrases he uses are obvious, leading me to write ‘X marks the spot’.
Experiments:
I decided to experiment with words using a graphics tablet I found it easier to write with a graphics tablet than writing using a computer mouse. I was able to use different brush types, all being unique and having a visual impact. As I changed the opacity of the writing and over layering the works creating more dense areas of the words.
Experiments:
I began experimenting using Photoshop. Cutting the background away from the face in the photograph and applying a plain background. Just to experiment with manipulating the face by using different filters. I then decided to add a different background to the portraiture photograph, adding a coloured background by adding it as a layer behind the image and rubbing the original background out; revealing the coloured background. I did this using a graphics tablet as I had much more control over what I was doing.
I began experimenting using Photoshop. Cutting the background away from the face in the photograph and applying a plain background. Just to experiment with manipulating the face by using different filters. I then decided to add a different background to the portraiture photograph, adding a coloured background by adding it as a layer behind the image and rubbing the original background out; revealing the coloured background. I did this using a graphics tablet as I had much more control over what I was doing.
Development:
I then began to use a graphics tablet to write on top of the portrait image. I changed the brush type as it achieved a different texture on the image when I was writing. Having the writing completely black was very dense and distracted away from the image. This then lead me to change the opacity of the paint tool that I used to write with. I found this to be successful especially when I used two different types of paint tools on top of each other. Where the lettering overlapped were denser creating a visual impact.
This lead to experiment more with lettering using the paint brush tool as it achieved a different outcome. I enjoy using the graphics table within my work as I like being more practical with my work rather than just using the computer to create an image. This is a process that I would be interested in using towards my final piece.
I decided to then use the same wording over layered on top of the portraiture image using text types. I tested different text types to decide which would be the best option to use on the image. I decided to use the font ‘Stencil Std’. I used a large font size so it would fill the canvas; the choice of white for the colouring was the best option as it did not over power the rest of the image. It was also a good choice as it ensured the colour or the text and the background colour did not contrast against each other, allowing the outcome to be more successful.
I used a portraiture photograph which had a textured background to it which I found would create an interesting canvas to place text over the top of. Rather than use a bold text type I decided to use a delicate text so it looked part of the image and so it does not distract from the picture itself.
Development of final outcomes:
When I first began creating this image I wanted to incorporate colours into the image to emphasise the confidence a person can have. Used the paint tool to achieve the texturing of the colour layered on top of the image. Primarily I wants to have the portraiture image layered from the background but once I added the colour and brush strokes over the top of the figure it created a better visual effect. I achieved this with assistance from a graphics tablet. I added text to the image and I decided to incorporate ‘Confidence is key’ in the image. The reason why I chose this is because I believe confidence is very important in consideration to youths; in order for them to be heard, they must be confident and speak aloud. I used different effects on the text that I added; changing the opacity of the letters to reveal the image behind.
This image I used Photoshop to create a double exposure image, revealing two photographs at the same time. The photograph of the individual looking more directly at the camera lens is revealed more than the other photograph of the individual. I did this purposefully to show the confidence in the image, being confrontational with the camera. I exposed another image which was textured. I then used the paint tool to add colour into the image, lowering the opacity of paint to add only hints of colour to the image, once again to highlight the confidence in a person.
Final outcome:
For this outcome I removed the background from the photograph allowing me to add a different background. I decided to use a textured background as it has a good visual effect. This was enhanced by adding colour over the top of the image using the paint brush tool and lowering the opacity of the paint. The type of brush I used created a scratchy and loose look which interests me. I then began layering test up on the canvas; similar to the way David Carson created his advertisements for companies. I rearranged the positions of the inspirational words and phrases. I incorporated the bold colours into the lettering as well as the background.
The outstanding theme of this Graphics project with use from a campaign scenario linked to the overarching theme of Networks and Systems. I needed to make my designs fit the Campaign. For this project, I wanted to use confidence as my theme as I believe that is very important in consideration to youths. I used Photoshop to use digitally edit a portrait photograph. I edited the background of the image to a textured background allowing me to change the opacity of the portrait image, darkening the image too which gave the full image a different visual effect. I then used the paint brush tool to add various colours over the surface of the image which I found expressive of the confidence that young people should have. I achieved the prior by using a graphics tablet as I found it easier to work with.
3D Ceramics- self
Picasso said “All art is autobiographical”. All creative people draw upon their own life experience which together with cultural influences, informs and inspires their artwork. Clay has a long and rich history as a medium for artistic expression, from small 30,000 year old figurines to the status symbols of Imperial Chinese porcelain to the political ceramics of Stephen Dixon. The most plastic yet permanent of art media, clay has infinite possibilities. It can become utilitarian pots, challenging sculpture or both at once for example Grayson Perry’s ‘shocking pots’. It can be art, craft or both. Explore and exploit the qualities of clay and the work of various makers. Design and make ceramic work that expresses your sense of ‘self ‘. This could be within the structure of for example – society, contemporary culture and its values or gender roles and stereotypes.
Glossary
Absorbency- the ability of materials to absorb a liquid into its air spaces. This needs to be known for the application of the glaze for to bisque ware in preparation for the glaze to be fired.
Blaque- this refers to both preparation firing process and the pottery piece that has undergone firing.
Bone China- a clay body discovered in the 18th Century. It is usually used in slip-casting or press-moulding. This material is more commonly used as dinner ware.
Casting slip- a cream-like mixture of clay and water used in the process of producing ceramic objects by means of pouring the slip into a porous mould. Water is drawn from the slip and into the mould. When the clay achieves the correct thickness, the excess liquid is poured out and the clay is then left to dry thoroughly.
Coiling- a hand building technique where snake-like pieces of clay are places in a spiral formation. There-by building a cylindrical shape. The coils are them smoothed out so that the piece takes on a continuous contour. This is a time consuming process and can have weak points within the coil.
Contraction- A decrease in size due to a temperature change. It should not be confused with shrinkage, which is a non-reversible occurrence. Contraction is reversible with a reverse in the temperature change. As a piece of ceramics heats and cools, it expands and contracts. The rate of expansion and contraction of a glaze must be compatible with that of the clay body, otherwise flaking off or separation of the glaze may occur.
Firing- the process of exposing ceramic pieces to high heat in order to convert them into durable finished piece. During firing, the clay or glaze undergoes a transformation whereby it is fused together into a solid piece. The clay will become impervious to water after firing.
Frit- glaze materials that have been combined by melting and are reground to powder to be used in subsequent glaze formulations.
Kiln- the oven in which ceramic pieces are fires to convert them from malleable clay works into durable pieces of work. This term is derived from the Latin “culina”, which refers to a structure built for the purpose of retaining heat that is introduced into the main chamber.
Oxidisation- In pottery this refers to a process that takes place during the firing stage of production. Oxygen in the air is allowed to enter the kiln to combine with elements in the clay and glaze. This is particularly important so that carbon and sulphur naturally occurring in clay can be “burned off”.
Shrinkage- An irreversible reduction in the size/volume of a ceramic piece or glaze which is caused during the drying and firing process. This differs from expansion and contraction, which occurs naturally as a piece heats and cools. All pieces usually undergo a small amount of shrinkage
Venus of Willendorf
Some of the earliest Ceramic makings date back to 28,000 BC. The Venus of Willendorf was discovered in 1908 by Josef Szombathy. This sculpture is estimated to have been created 28,000 BC. It was found in a mammoth hunter’s home which is located nowadays Austria, Vienna. There have been many theories proposed as to what the sculpture is. There has been speculation that the figure was created as something for pagans to worship; a ‘goddess’ for them to worship for food and other amenities. That could be accountable as to why the figures are were located in fire pits, next to the fire, a way of keeping the figures safe or a method of worshipping the figure. However, the figures could have been placed next to the fire in the pit to dry the clay.
Another suggestion was that the man-made figure was made as an idol; it could have been made in commemoration of a successful mother in the tribe. It could have been an elderly woman of the tribe who had many children and raised them correctly, assisting in helping the rest of the group to survive; similar to a good-luck talisman. This could be the reason why the figure of the woman is large in proportion, due to being pregnant to many children. It was also suggested that the small figure could have been made for sexual purposes, a way of allowing the men to be pleasured.
Clare Loder
Most of Loder’s work consists of making bodiless heads. It has been known for her work to be made within the influence of memory, contemplation and melancholy. Loder involves her own perspective of contemporary issues within her work such as feminism. In some of her most recent work she has been exploring what constitutes the face; experimenting with what can be added and subtracted and how this can affect the meaning. In her work she explored the representation of raw by gouging out eyes, mouths and omitting noses. Recently she has been exploring the ideas around communication, those with power and a voice; and those without.
I was interested in the ideas and issues that Claire Loder explores in her work. As an artist and most of her work involving the human face which can be expressive of emotions; I decided to respond to her work. I modelled my own face using modelling clay. It has been known that it is possible for a piece of ceramic artwork is unique to the person that makes it. Through modelling and experiencing other people’s interpretation of modelling themselves I found that everyone’s work was different. I found this interesting as through working with ceramics it is possible to find someone’s thought process and identity in their work. this lead me to believe that ceramic work can be very emotive and it would be interesting to explore into that further.
Response;
I then responded to this artist by modelling my face out of clay. I wanted to make the facial features prominent as the clay canvas was flat, leading me to have noticeable facial features. Facial features are what creates a person’s identity. A person face is important to the way in which you perceive them; emotions are expressed using the face.
The way in which I was able to achieve the outcome of my model was by gradually building up the form of the face by using lumps of clay and using the additive method to build layer by layer the basic form of the face and continuing to the shoulders. I then began to add the facial features gradually. To make my outcome more effective and realistic but also impressionistic; I added my hair and added texturing into the hair. For this model I did not use any modelling tools as I wanted this outcome to be expressing myself as well as it being a model of me.
Avery Palmer
Palmer aims to look at the nature of humanity and to express the inherent complexity and mystery of our relationship to the world and with each other. some of her work I believe explores how we see ourselves and our inner emotions; perhaps the way we hide our emotions, the way in which we feel in our own body.
Palmer combines the familiar imagery in an unfamiliar way, meaning that she creates scenarios which can be interpreted as a puzzle but there are no right or wrong solutions. These scenarios are analogues to the changing and perpetually unsolved nature of life itself. the interpretation of the ceramic figures vary depending on the individual but are key to the concept of what Palmer was conveying through her work. Many of her works are metaphors or symbols for a specific aspect of a human experience.
Experimentation
As part of the project I decided to make a personal item. I decided to use this object which I received at a movie Premier of ‘Ben-Hur’. this item is a reminder of going to the opening of a cinema and watching the movie Premier with my father. I wanted to create the object using clay realistically; I used the object as a template when creating my own. I was unable to replicate the leather strap being flat in clay as it made it very vulnerable and was not successful in the process of making. As a result I made it cylindrical like a piece of string; this was much easier to work with and allowed me to thread it onto the cut piece of clay and make a knot. Then using a modelling tool I calved into the clay ‘BEN-HUR’ to make it identical.
Response to Venus of Willendorf
As the Venus of Willendorf is an important part of history in the art world involving ceramics; I decided to create my own Venus figure. I used the additive method to accomplish the final outcome, gradually building up the body of the Venus figure. I found the final outcome to be very successful as a response to such an important piece of ceramic history.
Final Outcome
I wanted to use a Buddha as my final piece. I find Buddhas very peaceful and I found that reflective of myself. I always found the representation of Buddha’s to be calming .
I then made the basic form of the Buddha, to make it look similar to the Buddha I photographed, I built the figure up gradually. This allowed me to create the crevices and gaps in places such as between the legs. At this stage I was only forming the basic shape but it allowed me to ensure the proportions were correct before adding detail to the figure only to realise that it was not the correct shape, size or positioning.
Once I had the basic shape of the Buddha I then began to add detail. The folds in the garment that the Buddha is wearing I found a challenge to do as I wanted it to look realistic. I achieved this by flattening the clay and laying it on the figure in places to make it look 3D. I then added what can be referred to as a hem line on the garment, similar to that of the photographed figure. When creating the hair I decided to use balls of clay to create a similar effect to that of the actual figure I photographed. through further development of my final outcome such as smoothing the edges, the balls representing the hair was not successful as they kept falling off; evident in the progress photographs, there are fewer balls on the head the further the progress photographs.
This slideshow is representative of the stage of development I had reached part way through making the final outcome.
As my first attempt at making the hair was unsuccessful, I created a different way I would be able to achieve the hair. I decided to still use balls of clay but applied them in a different way. once placing the ball on the head I then use a small modelling tool to press the surrounding surface of the ball which was touching the head; joining the ball to the head. This had a much more successful outcome. It gave the head a different texture which I found effective, as well as creating detailed hair.
This is the outcome of my piece prior to further development. Although I was aware that I was going to change my figure I still made the Buddha at this stage perfect to the outcome that I wanted to achieve. I got as much detail into the figure as possible.
I then decided to change my modelled figure so it did not become a mere replica of the figure that I photographed. I did research into Buddhist symbols and I found that lotus flowers were used in Buddhism. Depending on the colour of the Lotus flower, it has a different significant meaning. I wanted to incorporate the flower into the figure rather than just have it attached to the figure. In order to do this I calved out the back of my figure. Initially I was going only add three petals to the figure; but when I did it looked incomplete. This then lead me to calve further into the figure adding more petals to make a complete flower.
Final outcome
I found my outcome to be very successful. I really enjoyed this project of 3D Ceramics. It was very time consuming when creating this final outcome as I wanted to have the most successful final result. As I primarily decided to create a Buddha I believe it was a good decision to incorporate something else that is not only significant to Buddhists but would further represent myself. This will be influenced by the colour of the lotus flower located at the back of the figure.
Life Drawing
As part of the life drawing we created a clay figure using inspiration from the model. we needed to generate a figure in very little time. once we had 3 small figures we then used one and using any spare clay we had to do something expressive. We all did something unique with our work, I decided to add the spare clay I had to my figure and then created a video of me in the process of squashing the clay I had.
Painting- Process
The word process can have many different interpretations and applications. A noun and a verb process can be: a system or series of actions, a technique or collective method, it can be the action of going on or of conditions being carried on. Process can be about systematic organisation and the transformation from one thing to another. You may wish to consider ideas surrounding scientific processes, cycles, the process of growth and decay, the passing of time or simply the process of method and technique (material quality and potential). Many historical, traditional and contemporary painters have produced work linked, either directly or indirectly, to the theme of process. Contextual research into such artists will support your own personal investigation into the theme of process.
Piet Mondrian
Piet Mondrian, one of the founders of the Dutch modern movement De Stijl. He is recognized for the purity of his abstractions and methodical practice by which he arrived at them. He simplified the elements of his paintings to reflect what he saw as the spiritual order underlying the visible world, creating a clear, universal aesthetic language within his canvases.
Key Concepts within his work:
A theorist and writer, Mondrian believed that art reflected the underlying spirituality of nature. He simplified the subjects of his paintings down to the most basic elements, in order to reveal the essence of the mystical energy in the balance of forces that governed nature and the universe.
Mondrian chose to distill his representations of the world to their basic vertical and horizontal elements, which represented the two essential opposing forces: the positive and the negative, the dynamic and the static, the masculine and the feminine. The dynamic balance of his compositions reflect what he saw as the universal balance of these forces.
Nolan is a self-taught artist exploring the emotional connection within her work as well as the physical representation of what she has painted. I was really interested in the way in which she uses colour within her work and the fluidity of it in the sky. The colour choice by Nolan is very important as it impacts upon the emotional perspective of the painting.
Elizabeth Magill
Magill is a painter who’s work derives from a range of different visual sources. The techniques which Magill uses are interesting as some of her work involves photographs which she has taken and sprayed chemicals over he surface of the photograph achieving different outcomes and colour manipulation as a result of a chemical reaction.
Mark Rothko
This artist is an American painter of originally Russian Jewish. He was not involved in any art movements but was recognised as an abstract expressionist. He is one of the most famous post-war American artists. Rothko then began to develop work named ‘multiforms’ which were very large pieces of artwork using block colours which has a psychological impact upon the viewer. Depending on which colour was used and the quantity of colour.
Colour and the physical body:
Red was used to stimulate the body and mind and to increase circulation.
Yellow was thought to stimulate the nerves and purify the body.
Orange was used to heal the lungs and to increase energy levels.
Blue was believed to soothe illnesses and treat pain.
Indigo shades were thought to alleviate skin problems.
Colour and psychology:
One study found that warm-coloured placebo pills were reported as more effective than cool-coloured placebo pills.
Anecdotal evidence has suggested that installing blue-coloured streetlights can lead to reduced crime in those areas.
The temperature of the environment might play a role in colour preference. People who are warm tend to list cool colours as their favourites, while people who are cold prefer warmer colours.
More recently, researchers discovered that the colour red causes people to react with greater speed and force, something that might prove useful during athletic activities.
One study that looked at historical data found that sports teams dressed in mostly black uniforms are more likely to receive penalties and that students were more likely to associate negative qualities with a player wearing a black uniform.
Warm colours are inviting, happy and cozy. These colours can make spaces appear smaller because warm tones seem to advance, creating a cozy feel. Warm colours can create an active response in the brain and bring feelings of excitement, passion and sometimes aggression. In extremely large spaces, an abundance of warm colour can get overwhelming and is best matched with neutral tones.
Cool colour choices, considered calming and soothing, are somewhat recessive and can make spaces feel a little more open than they are. Some argue that a cool colour scheme can make a physical space actually feel cooler than it is and should be matched with open spaces. Cool hues bring about a more passive reaction in the brain and can make a person feel pleased, relaxed or even subdued.
what colours represent:
Reds can feel sweet and innocent when mixed with white to create pink tones or bring about sharp responses when used in the pure form. With the addition of black, reds can create a darker emotional response, such as anger or convey passion.
Green, another primary colour, is one of the most calming and neutral of shades. Green represents balance and harmony and is often used to depict nature and hope. Lighter shades of green (with a bit of yellow) are a bit more cheery and light and can even have some warm associations. Darker greens represent stability, safety and affluence – think money; American bills are dark green in colour. With the addition of blue, greens become more teal and take on cooler tones.
Greens work in many situations, as base colours and accents. This hue is one of the most pleasing to the eye. Be aware of sometimes unintended emotional consequences associated with greens, such as inexperience or sickness.
Blues are the hues of serenity, peace and security. Blue works well as both a background and accent colour and is a shade that most people can relate to, although it can have masculine properties. Darker blues are also text friendly. Darker hues are often used in the colour schemes of corporate websites, while lighter hues are more commonly showcased in lighter applications. Blue, which has associations with water and the sky, can also help add a natural feel to your site. In contrast, blues are seldom used in combination with food or in food packaging because some studies have shown that the calming effect from the colour can actually suppress a person’s appetite.
Purple colour is a mixture of the warm and cool colours, and passionate and tranquil qualities of red and blue. Purple has long represented royalty, power and wealth. Purples also promote a sense of creativity and imagination, because the color is not dominant in nature.
Purples can have a variety of practical uses. Lighter shades, which are soft and feminine, can create a light or romantic mood. Darker shades have a heavier, moodier feel and can sometimes cause a sense of instability or uneasiness.
Yellow is simply happy. It has long been associated with energy and encouragement. The hue is stimulating and makes everything feel light and sunny. On the flip side, yellow is also associated with caution.
Yellow is a great highlight or accent colour but can be difficult to use in broad-based design. Pair and match yellow with contrasting colours to ensure that your message is clear. Yellow easily “washes out” and can lose lustre when used in lighter forms.
Orange is the harmonic marriage between red and yellow. It combines the passion and energy from the primary colour with the sunniness and freshness of yellow. Orange hues tend to be balanced, energetic and inviting.
But this hue can be tough to make work. Oranges are great for splashes of colour and accents but can almost cause a too-busy effect when used as a dominant colour. Use orange to represent movement but be wary of the colours’ ability to overpower other design elements.
Neutrals and browns are the epitome of nature and are used abundantly in design (so much so that many natural tones may go unnoticed). Brown and neutral tones can represent anything from peace and calm to wholesomeness and reliability or even boredom.
Browns work in a variety of functions – for backgrounds, accents and as a text colour. The hues blend with almost every other shade to create a pleasing effect.
White and black are the purest forms of colour (or lack thereof). Each represents simplicity and formality. It is almost impossible to create anything without the addition of white or black.
White is often associated with purity, cleanliness and perfection. Black is the colour of power, elegance and mystery. It can also be associated with fear and unknowing. Each of the colours can have a stark look when used without accentuation. The combination of black and white, grey, can be calming and dull.
Response to Mark Rothko:
In order to respond to this artist, I used pieces of thick card and laminated card to spread the paint over the page. this allowed be to achieve a similar outcome to that of the artists’. when I was developing my responses to Rothko I wanted it to relate to an idea that I had made using the influence of the theme ‘process’; I decided to explore the dawn of the sun and the sunset. The colours that are present when the sun is rising or setting I find very interesting.
Experimenting using a range of painting tools:
For this part of the project I created my own painting tools as I was made aware that artists designed their own painting style. I believe finding my won painting style could be achieved through creating my own painting tools out of natural materials. I decided to use these painting tools to create further responses to the artist Mark Rothko.
Experimentation using Photoshop:
Water Colour :
As I wanted to use the theme of dawn and sunsets throughout this project I wanted to show that I experimented with different medias in order to accomplish the most successful outcome. I created this sunset using water colour. I was not able to achieve the bold colours I wanted needed to infuse the image with.
Acrylic work:
I then decided to use acrylic paints to further my development in this project. I found this media easier to use, accomplishing a much more successful outcome. I was able to layer the colour to achieve the intensity and brightness of the colours. I was able to create fluidity in the sky which I found visually effective.
Final Outcome:
This is my final outcome. I was very interested in the way ‘process’ could be perceived as a process of something being done in nature. The colours that are formed in the sky and the colours that are reflected and exaggerated by the landscapes characteristics. This outcome I believe conveys subtleties within the image while also being accompanied by bold colours and detail. At first I was able to use the paint quite thick to achieve the fluidity and the colour for the primary layer of the image. I then used the acrylic paint thinner by adding water, this allowed me to use washes of colour over the top of the first layer; intensifying the colour within the image, especially in the sky. Gradually building up the colour in the image had a more successful outcome than that of the developmental acrylic piece of which I attempted to add the colour and detail as I progressed through the image, which was not as successful as the process I carried out for this image. I used an ordinary paint brush to achieve the final outcome which was successful and I believe it met the theme of ‘process’.
Morgan Collin 