# data[].attributes.body
Final Production
—
Binding Print Media and Preparing Point of Sale/Displays
—
Preparing Show Reels
—
Part 1 Submission:

Deadline 5pm

Thursday, the 18th of October

Today was a very stressful day, but I could afterall finish everything on time. I was very glad I could this, it’s been a very longo process, but I am so so happy that everything is worth it!

I am very proud of developing this, as I feel this was a very personal work, since I am exploring the faces from my colleagues, allowibg me to get them to closer to their home and faces.

If I had more time I would develop further the presentation itself, like creating a package or something like this.

I am very excited for tomorrow’s fair, and happy to present my work, it was created with lots of love and thought.

# data[].attributes.body
Production
—
Creating Content and Review

Wednesday, the 17th of October

Today we were further instructed on how to manage copyright issues, including loose images and similar layouts/concepts, and then taught how to recreate a risk assessment, something that is very important to have a broad panoram of the future picture, and things that could happen, how to react, etc.

Everything can be observed in my own risk assessment, stated bellow.

How can I display my work to draw attention to it, or in a way that reflects the visual identity or concept of my zine at the fair?

I’m thinking about

What pricing will I choose for my prices? (For pricing - consider doing some research for zine prices) zin

When we started this zine project, we were

# data[].attributes.body
Creating Content and Review

Tuesday, the 16th of October

Today I’ve continued to follow my process on this zine project.

I’ve finished my serigraphy series, which consisted on two pages, the “na minha” and “o que tem? casa”.

I’ve chosen to work with red and blue, which I believe create the contrast I am aiming to conceive.

After observing the paper choices of other works, I’ve come to the agreement of printing the drawings on Vergé paper, with I deem it’ll provide the chic (also a contrast with the hand drawn content) and well finished attitude I want to enact.

Following my action plan, today at home I am going to finish my drawings, then tomorrow very early I am planning to buy the Vergé paper and also some clips, which will furnish the overall look and functionality of the zine.

# data[].attributes.body
Creating Content and Review
—
Sign-up Binding and Folding Skills Surgery
—
Part 1 Assessment:

Workshop and Deadline Briefing

Monday, the 5th of October

My project so far has been very productive. I am following the action plan created on my sketchbook, and it’s been very useful, so I get acquainted with deadlines and the “until when” I should perform each activity.

Tomorrow I am planning to emulsion the drawings I’ve created on baking paper, thus finishing my serigraphy section, which will be the first two pages of my zine.

I am also thinking about the best way to perform my cover, and how I am going to wrap everything nicely.

Today at Monique's binding course I’ve gotten an inspiration insight about using a yellow paper as a covere, as she presented and introduced to us many ways we could perform a cover or protector to our zine.

I’m thinking about on how I will perform this in the better way I can, and which layout I’ll choose to work with.

I’m having this idea on folding along the drawn lines, which can be nice, but can potentially distress the aesthetic purpose I want to achieve, which is the simple and made-by-hand appeal.

I am also planning to use this hand made look on the typography I’ll use on the zine, that will consist the info of the zine and first page (name of person, than phrase), then the second page (drawing).

I’m willing to reproduce the Didot typeface, as I believe that it’s appearance is perceived as a fancy and steady look, thus contrasting and creating a balance between the rest of the zine - the hand drawn stuff.

Also something interesting to be noted regarding Didot typeface, is that it is on the list of the most popular tyoefaces of all time, being the 7th colocated - the 1st is Helvetica.

# data[].attributes.body
Production
—
Critique of Initial Ideas
—
Adobe Workshops
—
Submission of A3 Image for the event and invitation list

Thursday, the 11th of October

Until this afternoon my ideas weren’t clear, since I had a plan, but it seemed pretty complicated to concretise it in such short schedule (Friday the 19th)

After revisiting my previous ideas, I’ve become aware that I could develop something else further, which was the idea of taking pictures of people and interviewing them about what are their favourite things at home, them drawing these objects/aspects on their faces.

When speaking with Carlos, I’ve became more aware that with a help of an action plan I could develop everything that I needed to do on my new plan, and so I did with Beanie, when asking her.

Perhaps I could  have gotten more information out of the critiques if I had asked more questions about her work. but she didn’t seemed comfortable sharing her work with me, so I let it be.

Today also I’ve learned from the software surgery with Leo how could I perform better the way my zine would be printed and displayed.

Since now I know how to develop everything I am physically creating into a digital file (thus reproducing as may copies as I need), I feel more comfortable into exploring the options I could develop, being thus digital or by hand.

# data[].attributes.body
Printmaking Workshop
—
Animation/Film-making Workshop
—
Development of Ideas
—
Tutor Presentation.
How to:
Develop an Action Plan
Risk Assess
Consider launch platforms, audiences and marketing

Wednesday, the 10th of October

The relashionship between my visual language and my concept is to be very bold and visually straightforward, letting the message be captured by the perceiver as he wish.

I’ll provide the questions, not the answers.

Until the exhibition next Friday (the 19th) I’ll need to develop my concept further, aesthetics approaches (choose media - screenprinting or photocopy, paper, format) and then to have everything ready and handy for the exhibition, then hopefully performing everything stated, this would be the best plan.

I am not sure yet how I am going to present my work in the exhibition, but I’m thinking about perhaps just displaying in a simple regular table com perhaps with a towel with different colours.

This might affect the way I produce my zine piece in the sense of being aware that I can choose to match my work with the background towel table, but I think the opposite is going to happen, with the towel matching the work.

# data[].attributes.body
‘30 ideas in 30 minutes’
Creative Agility Exercise
—
Explore and Develop
Starting Points and Ideas in Sketchbook
—
Visit to Casa Plana
—
Project Research
—
Progression Opportunities Research
—
Professional Practice Lecture: Henry

Tuesday, the 9th of October

I really enjoyed the 30 ideas on 30 minutes, it really made me stretch my brains as much as possible. I’ll keep this in mind when creating next projects - mindmaps are very useful!

Having a time striction felt like a good challenge, it really motivated me to fulfil my time as quickly and dinamicaly as possible - then achieving a sense of limit, deadlines and notion of time and even self-knowledge.

I felt that these 30 minutes were very productive, being able then to ideate lots of aspects I can image to follow on further projects.

But unfortunately, due to a lack of time to develop all of them, so remembering that right now exists a demand and urge to complete this projects within two weeks, I’ll have to choose one - tops, two.

What I can try to do now is to revise all ideas and attempt to attach the ones that make sense together.

Today at Casa Plana’s visit we’ve observed different types of publications and samples, displays, packages; it truly made me think about the extension my work could reach, and what I want to transmit.

The sense I’ve got from Casa Plana was that it seemed like a free and independent place to share autonomous publication - specially zines. It felt very valuable and exceptional to see real locations selling self-ruling work.

# data[].attributes.body
Preparing Event
—
Critique
—
Launch Event in Auditorium
—
Open 7 – 10pm to the Public

Self-Publish Evaluation Deadline 7pm

Friday, the 19th of October

When reflecting about the final pricing, I believe I did the correct choice (R$20 for the zines, R$15 for the posters and R$2,50 for the stickers, considering I’ve reproduced 25 zines, 15 posters and 56 stickers), as everything sold out - with the exception I’ve kept one sticker of each person for me, I think the overall numbers of achieving a return of money that trespass the money spent on it was achieved, so I feel that everything worked as it should, I am very proud and happy!

I really really enjoyed the fair as whole, since developing the aesthetics of my table - warm and inviting, matching my theme, to interacting with people - it was a pleasure to explain my process and acquainting them into my work.

As I really wished they felt connected to my outcomes, I also developed a stamp of a house, so they could stamp the zines of anywhere else if they wished to.

When interacting with visitors, I feel like they really enjoyed my work, as the immediate feedback from people on my stand commenting about my work was really positive, as also later I’ve received comebacks from friends telling me what their parents told them about their work at home, I felt reeeally happy!

Reflecting about production issues, I believe some precautions I should have taken a further step earlier was to mark on a paper how many zines, stickers and posters I was selling, so I could create a estimative and picture of the whole.

As the selling was condensed in one night only, it was easy throughout the night to just count how many I had sold until that time, but I imagine if I had some days to sell, the control over the pieces (and money outcomes) would be better visualised if I had kept under control these sells.

# data[].attributes.body
Project Briefing in Auditorium:
Creativity Exercise
—
Progression Opportunities Research
Jaygo Bloom and Kevin Fenemore
—
Introduction to EBAC BA Programmes in Auditorium

Monday, the 8th of October

The perception I feel from becoming a self publisher consists mainly on being aware that you can and should take the front upon your work, thus reproducing literally anything you wish.

As everything that is too good, when you are in the position of working to yourself, you’re also the one providing and financing everything, which can be very challenging, if you have a hard time to support your structure.

I believe my main challenges will be on the process of constructing the zine itself, and also making sure that the idea doesn’t own any lacks or missing parts, so when it gets to the part of only producing everything, there will not be any doubts.

After attending the afternoon lectures, I realised that I knew so little about the possibilities that we could follow, being thus the names of the courses itself, and even it’s content.

I don’t actually have a steady idea of what I want to do.

My former plan was to follow an illustrator path, but now I have doubts about it, since watching Kevin’s courses (moving image, etc) suggests to be very appealing and rich in content.

He seems to know what he’s doing, and what will be happening in the future.
When observing his creations and development, he actually looked like he is in the future.
The future is now.

I’ll think about the options he presented, let’s see what happens.

# data[].attributes.body
Staging a Protest and Documenting
—
Crit

Friday, the 5th of October

I believe my main problems consisted on time management, and also figuring out how the protest would be exposed to the maximum of its intent.

As stated in my last reflection, I persisted on finishing my posters via screenprinted media, which I enjoyed the outcomes a lot, but it surely took lot of time, as I couldn’t finish the whole series of posters on one day.

So yesterday the day ended with only concretising the “Me Deixa” series - having to finish the “Se Deixa” part today, as I did in the morning.

After finishing the prints, I had to reunite all off the 100 copies and bond them together, as I separated from 5 to 5 sheets so I could create a tear off paper display like this.

At first I searched a machine that created that perfurated line I needed, but after a relentlessly quest, as I couldn’t find the stated-said thing, I preferred to go vintage and do all this process by hand.

The outcome placed on a wall near school can be seen in the photograph below.

As for my presentation, I found that the concept was easier than I expected people to get, so I was relieved at least.

There were really good relevant questions, such as why I’ve decided to choose the typography I did and what was my intentions when I displayed the phrases in a position to be taken, which actually kinda got me with a surprise, because I didn’t actually had rationally thought about these details, which made me realise that my main focus was to achieve a bold statement - that’s why I decided to draw the letters like I did, and how could the message be transmitted in a clear and personal way, which in the end felt it would transmit all of those things using the tear-off media.

I’ll know if my posters worked and resonated the way I wish when I come back later and the phrases (hopefully) will have been gone by then.

If I had more time, perhaps I would’ve change some minors details, like the display of the two compared to each other, though I’ve would have created a series of poster of drawn characters with each phrase on each page, and also of stickers inspired by character of the poster.

Perhaps I’ll explore this further in the Zine project.

Overall, I think the feedback was really important, as it helped me to realise things I haven’t noticed before - as mentioned above.

In my opinion a good protest consists on a cohesive message, and also, very importantly, if it feels bold and inspiring.

Perhaps a “bad” protest would imply on confusing message, media and display - a conjunction of all our protest.

# data[].attributes.body
Screen Print Protest Poster Designs
—
Assembling Protest Placards

Thursday, the 4th of October

When I chose to use the screenprinting media to reproduce my work, I was aware that for me the choice itself implied on feeling a lot of connection between me and my work, since instead of sending the work to print everything automatically, the process to have to pass throughout the whole steps of developing the image appropriately for the screen (if digital, printing the image on a acetato paper, and if by hand drawing on baking paper), then emulsioning the image onto the screen, then prepare the screen by washing the non-emulsioned part off, etc, the process goes on until choosing the colours to print your image and then finally printing the image on the paper — which for me were about 100 sheets of papers, 50 sheets of each design.

So, after all, I truly feel that after all this development, you get very attached to your work, and feel directly involved in it’s outcome, which I believe can be very valuable.

As stated above, I think that the most difficult thing was to actually spend time in this process and going throughout everything.

For example, I had to stay until 7PM on the serigraphy room (1 hour past Marcelo having to leave), just to finish one design, so tomorrow I’ll have to attend very early at EBAC to do the second round of posters, and as soon as finish, I’ll start my prostest.

What differences between the poster and the placard have you noticed: design, effectiveness, message, execution, etc.

For me, the main differences can be stated by observing that the placard is a media characterised by having a immediate, bold and clear message, mainly without any distractions, only the message itself, and also it should be handmade.

As for the poster, it could be something more planned, for instance, with more projections and process for a idealized outcome.

Its design doesn’t have always to be immediate, can be mysterious in a way, intrinsicate and also deluding, if you wish.

The focus is to make people think and reflect - acts are consequences.

# data[].attributes.body
Combining images with Type: Illustration and Collage
—
Realising a protest design and planning to stage a protest

Wednesday, the 3rd of October

In the progress of my work today, I’ve found out that the main relationship between image and text in my designs are very thin, since on most of my designs, my lettering and typography have a very drawingly approach, so I believe I could explore something on the between, but I’m also planning to work with simple drawings, perhaps little faces that reflect about my drawings. I’m not sure which path I’ll take in the end, but I am very eager to the next steps.

Well, as seen in examples of posters showed during class, I’ve observed that the poster itself always brought a message by the illustration itself (having the exception when the image is very known, or pop, so then sometimes not needing to say anything else), but in general I see that one strengthens the other, nevertheless being as powerful and potential as they could reach, or impact.

Since today I’m preparing and planning a lot my time to do this tomorrow (despite developing six concrete different types of display), I’m expecting until tomorrow to have fishished all my drafts and chosen two layouts, so I can calmly move on with my project.

But my main concern is that perhaps since I’d like to work with screenprinting, I might adapt my work to fit the time I have to produce everything.

I believe that the place that we display and collocation of our protest is as important as the message itself, as I believe one could/should compliment the other.

As for myself, I’m thinking about positioning my protest glueing my posters on the streets or any public space, since I’m planning to affect all kinds of people with my message.

# data[].attributes.body
Designing with a Grid
—
Breaking the Grid

Thursday, the 2nd of October

Today I’ve chosen to work with layouts that are based on what I want to communicate, consisting on a very bold and straightforward language.

I don’t possess a specific layout in mind, but I’ll choose to varie and diversificate my range of approaches as I develop my message, which currently consists on “ME DEIXA” and “SE DEIXA” slogans.

As for the media choosing for the placard and poster, I think I want to work with both alternatives, being that both handmade and screenprinted poster.

Perhaps I’ll create the poster handmade, and the the placard screenprinted or even photocopied.

I’ve chosen to work with a handmade approach on the poster, since I believe it’s whole requires a more unique approach, being single by it’s unity itself (one instrinsicate and detailed poster).

The placard being created in a larger scale, as it is will own a more quickly way of reproduction, I believe it’ll be easier to create a mass media by utilising screenprinting, perhaps even photocopies (multiple rapid and straightforward placards).

As for the typeface itself, I’m not sure yet on how it will be or look like, but I’m thinking on following a similar approach to my layout, bold and straightforward.

An example that I am enjoy very much can be displayed here - as for it’s typography, as for the aspect it’s message is being displayed, associating then two meanings to the same word; something I’ll be workning on my one project.

And the same with colours - I’m thinking about working mainly with pink and green, as it’s aesthetics refers to the psychologic approach of Warmth (Pink) and Balance (Green).

Other colour option I may use is the Yellow, as it inspires a very strong aspect of emotion. Other aspects are it’s intrinsicate optimism, confidence, self-esteem, extraversion, emotional strength, friendliness and creativity.

(ph: ph of grid)

# data[].attributes.body
Briefing and Contextual Lecture: PROTEST
—
Visiting Lecturer: BIJARI - Art and Activism
—
Idea generation, creating a protest message in text

Monday, the 1st of October

Today I’ve managed to brainstorm my ideas based on the six values we’ve worked on to the process of materialising these pieces of paper, as seen in the attachment bellow.

The values we’ve materialised in this exercise  are the elements we most believe and stand in a remarkable place in our life.

As stated above, my major influences were my values, ideals - crucial inspirations.

We came to these values by having the proposal to write six things we valued the most in our life, being those observed and found if we explored a careful inner insight of ourselves.

Also I’ve learned that the way that I materialize and visualize myself is very fluid, as I feel sometimes a very loose passage in this world... Which is also important to become aware of, since even if it is that’s how I feel today, my attitude and thinking can be change, always - hopefully perpetually for the better too.

Presence, Gratitude, Wholeness, Purpose, Open Mindness and Search were my main chosen values.

Each and one owns an important role in my life, it’s on their individual way. It felt really nice to write these down, perceiving them in a visual and feeling approach, also their importance of those, which are very intrinsicate in my life.

In the exercise of trying to convince my partner to exchange values with me, I believe my communication was good, since she accepted to swap her principles with mine - I traded courage (I believe she could use some of that) and for exchange, she presented me with self-love, which she told me I could use some.

My work inherits and is directly connected to my beliefs and values, which by themselves consists on the making of my persona, the statement to the everything that is afflicted by my creations, and also how I want and will be perceived to myself and the world.

# data[].attributes.body
Tuesday, the 27th of September

Today I’ve been to the Instituto Moreira Salles at Paulista avenue, where I went to visit the exposition of Irving Penn: Centenário.

Both expositions were so so so good, but specially Penn’s perspective and vision left me devastated and very shocked towards him.

I love his mind.

He exposed his work diferent ways, but also managed to keep his characteristics very strong me: you’ll certainly recognise a Penn’s work if you see any around.

His mainly colourless pictures, composition and way of edition left him magnanimously unique and extraordinary.

In this exposition many series were presented, series he had created during his working life as an artist.

I was specially drawn towards observing his nudes (eg.: here, here and here) and still life pictures, (eg.: here, here, here, here and here) which brought me to observating a sense of perception towards a whole, specially his process, which I found very interesting.

Sometimes this consisted on drawing forehand how he would compose his pictures, like annexed below.

This left me very inspired and intrigued to try something in my self experimenting on my own photography.

# data[].attributes.body
Wednesday, 26 of September

Today I’ve visited the 33° Bienal expo with some friends. From this visit, I’ve experimented to draw a lot of visual references I’ve encountered, which for me was also very appreciative.

The whole Bienal structure also made me think about the impact on how the structure works along pieces disposed.

I found some interesting pieces on my way to observe everything, but I took a special look towards things what were in movement, like the videos on display.

I’ve forgotten the name of the artist, but I didn’t forgot his art.

His video consisted on short progressions of animals and things being formulated and created as the video took place.

It made me really interested even more towards stop motion in general, specially how he approached the evolution of a drawing throught stopmotion technique.

Bienal fell for me as a interesting experience, as a perceiver perceiving my surroundings, observing everything with open mind and a careful sight.

Perhaps I’ll come back again before it finishes.

# data[].attributes.body
Monday, the 24th of September

Today was my Progress Tutorial evaluation, and my tutor was Cesar.

I found the session really productive, as he helped me to analyse my progress, specially on pointing out and advising on specific fields I could reconsider when aiming a better rythm of work.

For instance, some important topics we spoke during the P.G.:

- He informed me this was a formative tutorial, so it should help me to inform me where I am in this point of the Foundantion course.

- Foundation it’s the progressing in a equivalent path with the final semester of a high school.

- Consider the importance of the all the units equally.

Units taken in consideration:

• Research
• Reflection
• Sketchbook Outcomes
• Final Outcomes

- I am spending too much time on my sketchbook. As stated above, all units must have the same effort.

- Sketchbook is the place to record the process. Raw documentation.

- Plan my time better, so I can take in consideration all the topics I should be aware to improve.

- Cesar liked my sketchbook. He stated that I am correctly documenting the process, also materials and steps

- He was concerned about my relationship with my sketchbook, he thinks I could be spending my time planning and developing the sketchbook than the work itself.

Tip: Perhaps try to be messier, don’t work twice! Plan time better, explicit my thoughts and thinking.

- Try to approach in a straightway documentation on sketchbook.

- Develop the ideas moreover, multiple ideas: develop ideas further.

- Sketchbook: Raw.

- He’d like to see more photographs, perhaps of process.

Question: What is the better way to record my progress? How can accomplish that?

- Develop ideas and solutions. Use drawing and photography to record.

- Keep as many research on sketchbook as possible, it is very welcome.

Important: Don’t forget to bring names and references.

- Key Words:

Independently and Autonomously.
> Don’t forget to bring my own research, own references.

- Don’t be passive.

- Asked me which was my most challenging work, I answered that I felt very challenged and excited when working with different media’s and materials.

- I’m not very good with editing and Adobe programs.

- Work on how to reflect. More reflection than description.

About Research:

- Too much text. More visual.

- Do reference of museums and places.

Try to specify a piece of art I like:
One paragraph about and picture of what you like, why you’re drawn to it.

Well, overall I enjoyed a lot Pogress Tutorial.
It really helped me to perceive my actions differently.

I’m trying to evolve as I can, paying attention and colocating myself as a whole in the process.

# data[].attributes.body
Finishing Outcomes and Documentation
—
The Crit!

Friday, the 21th of September

In general this felt like a very stressful week, but today in the afternoon crit everything was worth it, even thought I hadn’t my final outcome ready.

The the crit was conducted in a very different form than the last crit session, as will be on each one, since it’s project has it’s own singularity and consistency.

At least the process of the evaluation itself felt very rewarding, since I’ve received very constructive critics, as stated bellow are the overall notes in question and also my answers.

Malu said she found a unity in my work, but that I needed to document more carefully my process on sketchbook.

Victoria stated that she found my work very detailed and organised, thus liking the results very much.

This time we we’re prosposed to present our work to two random colleagues - Malu and Victoria, which was actually very nice.

After everything was finished, I actually wish I could have seen all of the other works and explanations, so I kinda feel like I’m missing something.

Although the crits I received from my peers were really directed and complete, I think the perfect crit would be a mix of our second project, Believing is Seeing.

Retrieving this session, our work was displayed to all of our colleagues, then received crits from everyone - including the teachers.

# data[].attributes.body
Tuesday, the 20th of September

I missed class today, due to reasons explained to Michael on an email sent to him today earlier, as it is annexed.

# data[].attributes.body
Tutor lecture:
Making 3D object from 2D images
—
3D Letterforms Ideas Development, Materials Research

Wednesday, the 19 of September

So after experimenting many materials, products, concepts, I’ve concretely decided to work with a structure of the conjunction of two wall-painting brushes attached to a brush extensor.

I believe my estructure communicates with an audience by it’s raw material and concept, since I believe this audice that will observe this piece will be artists - thus relating.

Also why I think my audience will be artists, is because I’ll place my work in a place often frequented by artists (and people interested in art), that being the chosen place in front of a tradicional gallery - perhaps that choice even possessing a spark of a spice, as the raw materials that composes my object don’t relate at all with the place that was displayed, despite being a art place.

Almost as this art piece felt disconnected to the whole, as it didn’t deserve to belong there.

This is the main point for me.

Connection in disconnections and the continuous in discontinuous.

Well, overall I believe my 3D letter (Y) was very simple, especially when it came to put the piece together to form the letter, but the process itself took lots of time to befully developed.

# data[].attributes.body
Type Safari, visit to Cemitério São Paulo
—
Creating Typefaces with Found Reference

Thursday, the 18th is September

Today the Cemetery Type Safari experience felt very nice, but also lonely somehow, especially when we walked among all of these places people where people were resting, while we, living people, were in a search for something so specific that occurred to be there letters positioned on the graves.

Our second task was to discover typefaces in very random places (a gap in a tree arm that looks like a “O”, something in the grid that feels like a “G”, etc), which for me felt very challenging, in the best way possible, because I truly didn’t want to stop to look for an alphabet that could be hidden on practically everything surrounding me.

Even after the work was done, I still kept looking, it felt so fun!

# data[].attributes.body
Visiting Lecturer:
Filipe Grimaldi Type Design Workshop
—
Letter Drawing Exercises on Paper
—
Wall Painting Activity
—
Students present outcomes for the Type Crit

Monday, the 17th of September

Today we received the visitor Filipe Grimaldi, which I was very excited about it since I knew his work previously.

Also I was very pleased to observe how he developed his own solutions for lettering.

The way he created perfect and fast lettering on the samples of directions and information he was porvifning us felt very impressive.

I also enjoyed a lot to know better his work instruments, which mostly consisted on plenty of flat pens, brushes, brush pens, among others.

After his presentation, we’ve started to develop a letter as we wished, so I’ve chosen to work with the letter “R”.

In various forms I did lots of sketches development I thought could go along with the “R” letter, phrases, names, words that contained or could be related with this letter, and also aesthetics approaches that could be used later on the wall.

On my sketchbook it felt pretty tricky to detail my process of creation, so then when we are to to draw on larger scales we’ll supposedly develop better and further out designs.

Eventually I didn’t got to paint on the wall, but some people and also Filipe did.

I’ve decided not to paint on the wall now because I wanted to practice more, since at first painting felt quite hard, consequently starteing to feel very frustrated even to draw simple lines.

Being aware of that, I wanted to make sure I felt comfortable with the whole paint + typography concept.

On the next few days we’ve received the task to develop a 3D letter, and in this moment I can’t think of anything that feels good enough for me.

Hope these next days presents me with some inspiration!

# data[].attributes.body
Preparation for crit session
—
Crit

Friday, the 14th of September

Today was Cesar’s professional practice lecture, in which he presented a sum of what abided his work.

When young, a very juvenile César moved to Israel, there discovering the feeling to miss home - creating then the foundation of questioning that would follow him his whole career, until now, a sense of “saudade”.

Saudade

/sɐwˈðaðɨ/, /sawˈdadi/ or /sawˈdadʒi/, /sawˈðaðe/; plural "saudades")

(especially with reference to songs or poetry) a feeling of longing, melancholy, or nostalgia that is supposedly characteristic of the Portuguese or Brazilian temperament

‘her songs are based on love poems and evoke a melancholy known to the Portuguese as saudade’

count noun ‘yearnings, saudades, those sonorous fruits grown for overripe hearts’

- According to Oxford Dictionary

I also share with him this strong sense of nationality, in the sense of intense appreciation of my country which I had been raised into.

After his presentation, both Cesar and Carlos instructed us on how to conduct and prepare our crit, which proved to be very distinct from the first we had before, as Carlos explained to us a few minutes later - each crit will happen in it’s singular way.

This crit consisted on a presentation and display of our work, which would be arranged by ourselves as we pleased, remembering principles that we found most important for us when exposing something - which for me took place in concepts such as organisation, how our eyes react when perceiving the disposal of our work (eg.: our eyes usually tend to start observing from the right top to the left bottom, which for me resulted in creating a narrative that followed that path).

Detached photographs displayed in front of coloured sheets (I believe that, if portrayed loose, in behalf of the small size of the photos, it’s content perhaps could have been passed as unnoticed - in whichever I reckon it didn’t happened; crediting so the red and orange coloured sheets background), deciding also to let loose some materials I use to create somente of my projects, which had the intent to help compelling the perceiver into feeling closer to my process, and also generally certifying myself that I was performing attentive and considerately as possible towards my work - in my opinion creating this a pleasing aesthetic for them.

I feel like this process of thinking our aethethic and display approach was very nice, in sense of considering how we would complete the objective to have the art exhibiting themselves - “work to present the work”, which I felt directly connected with our own life outside the art world, our way of creating our own perception about ourselves towards the society, somehow.

This afternoon, after we had set everything up, we received the task to choose at least three colleagues and then to give diverse pieces of advice, encouragement and observations (if truly genuine), choosing to not be at all presumptuous and obvious -  the crit is no time to give taps on the back, is a place and moment to grow up and try to inherit a panoramic overview upon our own and other works displayed.

Then we started to walk around the class, distributing our notes, according to our thoughts towards colleagues work.

After a while, when everybody had finished sharing their critiques, César and Carlos reunited us, starting to walk from work to work, reviewing the critics it’s work had received, getting an opinion from the tutors.

They were aiming to find out if we had kept and developed everything we created during this project (the 60 photos, destroyed pictures, lenses, hand-made contraption, register and documentation of the process on our sketchbook and 3d objects created with our pictures), and then provided us their own critiques and advices.

In my work, these are some critiques I’ve received and found most relevant:

“Do you feel like there’s a similarity between the outcomes of the shots taken with the camera using lenses?”

Well, I feel like when I printed everything out, they kinda turned darker, almost ruining the clarity of my picture. In my screen display they seemed pretty diverse.. Maybe I need to find a better suitable format to print out stuff, I’ll do some research about it. I’ll ask someone who works in the graphic how can I improve my quality when delivering the photographs.

“I really enjoyed your work, but the different orientations of the 60 photographs distracted me.”

Actually, I did not thought about this detail of orientation, I’ll keep this for future references. All the pictures in one standard position could fit better for our eyes, I can try  to develop some experimentation, maybe experimenting a new series..Let’s see and feel how that went.

“I liked your photographs, but I think you should have glued your photos on the display”

As a matter of fact, this was pretty much my fault, I had them all detached from my sketchbook, there was a plan to glue everything in my sketchbook - as I later did, so they wouldn't get lost, but I missed to deliver that on the exhibition, as I had forgotten my sketchbook home.

(Talking about the piece that is a picture of a woman with two men wearing sombreros) “This work should have been painted in a more 2D than 3D way, it would have been fitted better.”

I don’t think I have understood it’s point, since I don’t see were these pieces are perceived as 3D, so I can’t really agree with this crit.

“The destroyed pictures are your best work! I really enjoyed your use of layers to create a new image, also enjoyed the use of primary colours, is there a specific reason?”

Specifically there isn’t any, but I felt like they would proportionate a flat modern look that the I was searching for, a very simple yet distinctive display.

“Your work is really delicate, I feel like they had a lot of time invested in it’s creation”

In fact it’s very true, even if I don’t like he result I can’t say that I hadn’t spent time developing in the most careful way I could, so in this sense I feel very confident about experimenting new prospects of art.

“Did you enjoyed doing this project?”

Yes, I did, immensely! One of my most strong and deep passions is photography, but I feel like this project had brought the subject in a not in the mainstream way, so at the same time I sensed the approach of something I already felt comfortable, it has also brought for me plenty of challenges to work with.

“ What inspires you? Your work is very delicate and I feel that you kinda show a little bit of what is brazilian art.”

Well, this was surprising! It’s true that Brazil is one of my greatest passions, it’s life, colours, it’s culture in general, but I never thought that this was revealing in any way explicitly. I am feeling very bewildered and at the same time very pleased and happy :)

As now, from the teachers:

They missed the documentation of the camera “wearing” the contraption.

I didn’t take a photo of the camera using the contraption, but I’ve drawn a sketch of this process in my sketchbook - too bad I’ve let mine home :(.

Display all the pieces of process in a more organised way (i’ve displayed a tape and also a paper clip, representing some of the materials using during the process),

In my mind I had the concept that I wanted to present the whole concept: the start (raw pictures, as you can see in the left part of the picture bellow), process the tape and the clip (right picture) and the finished results (all the finalised outcomes), so I didn’t though it could have been somehow understood as a “disorder”. They suggested next time I could maybe prepare a session directed exclusively towards every part of the process.

Conclusively, I feel like in most of the comments obtained, read and acknowledged, I’ve started to work on then, feeling that I could almost instantly improve on what had been missed, or kept in my thoughts for future process, which is equally very important.

I’ve learned and absorbed many things today! What surprised me the most when receiving critiques, was that somehow I’ve learned more about myself when receiving feedback then sometimes when I do it by myself.

This felt pretty crazy! I mean, how can someone I don’t know at all can kinda “guess” my likes and dislikes through my art? I had no idea that it my work could be perceived with this layers of transparency. There’s something to learn from.. But after all, this experience inherited is a very nice feeling! I’ll be observing the outcomes, with a special eyes towards the “signals”.

# data[].attributes.body
Tutor Lecture:
Introduction to 3D object from 2D images
—
Experiment with a range of techniques to create a 3D object from 2D images

Thursday, the 13th of September

In the morning Lauren presented her Professional Practice Lecture about her work, and I found lots of inspiration from her art specially a punctual admiration and connection with her work that consisted a lot on critics and polemics approaches. Here’s a link to some work she has done, involving clay and stop motion.

Also I enjoyed immensely to get to know a little better about Albert Giacometti.

Great inspiration!

I especially observed how he reared his forms, body, construction of body and face - his whole concept of raw. Very amazing.

Afterwards, we were asked to turn 2D photos we bought on the Calixto fair into a 3D structure.

At first I didn’t had a clear idea of what I wanted to create, later on after some tryouts and experimentation, I’ve decided to persist with three projects: the 3D cube developed with clear acetato sheet, then a structure that was composed by various layers that should compose onto a scenario and finally a concepts of painting on various sheets of acetato paper, creating then multiple exposures of painting possibilities above the picture - without having to actually ruin it.

Overall, I don’t think these were my best work created so far, the outcome I enjoyed the most was the acetato paintings over the picture, because in the end they possessed elements I enjoy very much in a piece of work: the possibility of interacting with the audience, painting, layers, pictures, and also creativity involving something that already exists - without actually ruining the original picture.

# data[].attributes.body
Tutor lecture: Introduction to Destroy the Image Experimentation and Image Manipulation
—
Developing RAW files using Lightroom

Wednesday, the 12th of September

Our day started with a very interesting lecture about Roger, and then the class dividided in two groups and so I went to Mac Lab with Alex, where we experienced a brief, thought very complete and technical class about raw photography.

Regarding this class, I took some notes about the process.

Raw Induction:

Classic Lightroom - Offline Storage

Lightroom - Online Storage

Difference among PS and Lightroom:

- Lightroom works better when working with organization

- No layers in Lightroom, only in PS

Further Notes:

1. Create a new catalog for each session

2. Raw files are not compressed, JPEG are

3. When you use a raw file you do not lose quality when printing

4. Backslash to see the difference

5. HSL to adjust the colors

6. Select copy

7. F for full screen

8. B for quick collection

9. X for rejected ones

10. U for not picked

11. D for develop the colour etc

12. Export to hard drive > Choose folder later > File Settings > Quality: 100 > Size: 300 ppi

13. Has to be both triangles, not only highlighted

Then later this afternoon, we started to develop our process on creating four divergent types of modifying our photographs, involving thus Stiching, Adding and Subtracting, Cropping and our style, which felt so much fun!

At first I felt sort of guilty when I started to cut the pictures and sew over them, but after a while I just started to get so along with the process that I had immersed completely, and then further I could only think about creating more and more.

Personally I love to work with sewing, stiching, etc, and I have a clothing past experiences, where I build a few simple clothings, enjoyed immensely the process.

It felt very courageous and very nice to experiment with other media instead of only going through the same media, so I believe the variation of broading our media and materials can bring us to experience lots of interesting things.

The outcome I enjoyed the most to work with perhaps was the most simple one, it consisted on glueing the picture of this powerful lady sitting on a desk looking at something with her tiny glasses on a bigger sheet of paper (this framing the picture), and then I stitched sort of rays of linen around her, as I was highlighting her power.

I really liked working with this media! I’ll try to keep experimenting as much as I can.

picture of lady with rays

# data[].attributes.body
Workshp: Filter/Lens
—
Creating a Filter/Lens that is a functional filter to cover a camera
—
Creating a contraption to hold our Filter/Lens
—
Capturing still or moving images using the lens/filter

Tuesday, the 11th of September

So today Carlos introduced himself professionally in his lecture, which he spoke about his methods of developing and performing his art, inheriting the idea of not persuing a perfection in his art, in his strokes, simetrically and encouraging people to interact within his art practices, and for example here’s a installation he did.

I found his lecture very interesting, and discovered myself to be very surprised to fin out so much about him, it made me admire him even more.

After he finished his presentation, we had the task to develop at least three well-finished filters/lenses, a contraption to hold the created item in the camera and also to document every step of the process, since from how everything stuck together and the filter/lenses impact on the photography outcomes.

After, I've decided to experiment with various kinds of materials and textures, that went from from curling a coloured paper into a cone, being fitted then within the camera, and also a contraption (dispositive created by us to hold our filter/lens), it had to be at leat three filters/lenses, and I tried to expeirment as much as I could, perhaps that’s why it took this crazy path (for example note the contraption holding few ellastic in its structure), which I personally love.

And as some objects and things seemed to work nicely with the proposal, some didn’t, as some things didn’t felt transparent enough, such as the tissue paper, baking paper, plastic bags, etc.

I’ll keep trying to experiment asmuch as I can, but overall I enjoyed the outcomes very much, as they can be observed below.

I enjoyed these outcomes mostly because they seem very distinct from each other, thus reaching the goal that for me consisted on being as diverse as possible when aiming the results.

After Carlos finished his presentation, we had the task to develop at least three well-finished filters/lenses, a contraption to hold the created item in the camera and also to document every step of the process, since from how everything stuck together and the filter/lenses impact on the photography outcomes.

After, I've decided to experiment with various kinds of materials and textures, that went from from curling a coloured paper into a cone, being fitted then within the camera, and also a contraption (dispositive created by us to hold our filter/lens), it had to be at leat three filters/lenses, and I tried to expeirment as much as I could, perhaps that’s why it took this crazy path (for example note the contraption holding few ellastic in its structure), which I personally love.

And as some objects and things seemed to work nicely with the proposal, some didn’t, as some things didn’t felt transparent enough, such as the tissue paper, baking paper, plastic bags, etc.

I’ll keep trying to experiment asmuch as I can, but overall I enjoyed the outcomes very much, as they can be observed below.

I enjoyed these outcomes mostly because they seem very distinct from each other, thus reaching the goal that for me consisted on being as diverse as possible when aiming the results.

# data[].attributes.body
Student Presentation of 60 Images Project - Exhibition and Evaluation.
—
Tutor lecture: The Power of Photographic Narrative
—
Presenting 25 found photographs
—
Workshop: Introduction to Filter

Monday, the 10th of September

Today as soon we arrived to class, it has been disclosed that Solange Hoppen would be the first teacher to present herself in a series that will be presented this week, which is the Professional Practice Lecture.

Sol considers herself an technique immigator, observing that she had at some point involved within the practices of illustration, design, video artist/cinema, cultural management, printmaking, textile, product and jewellery; which really translates that we don’t really have to know right away what you are truly searching for, the keys is to never stop hunting.

Some references Sol considers important in her carrer consists on names such as Ernest et Célestine, Thorgal, Maus, Les Cités Obscures, Corto Maltese, Titouan Lamazou, Honoré Daumier, Edward Hopper, Mark Rothko, Cirque Plume, Pierre Soulages, Richard Serra and Roberto Burle Marx - this last one being the one to inspire her to build a garden in the house she constructed herself. I find herself very admirable, she studied every part of the process, being able to immerse as no one hadn’t studied could have, thus being a very admiring path to follow.

Sol also reinforced how much an exhibit could change a persons life, a role which the dOCUMENTA (13) exhibition in 2012 located in Kassel, took part in her learnings as an artist - she stated that

In this exhibit these artists and art practices were presented, but the ones that remarked her the most were Tacita Dean, William Kentridge, Christian Marclay and then the Alter Bahnhof video walk experience.

So after her lecture, remembering that Friday “The Collector” project has been officially concluded, today we were acquainted with our new one, which is called “Believing is Seeing”, that so far consisted on the task to print out and bring 60 photos, using as reference a list they had shared two weeks prior, and 25 old photographs found in the Benedito Calixto flea market.

I really enjoyed these tasks, both of them in their own way. When we acknowledged the assignment to take these pictures two weeks before, I remembered reading the list very carefully, so then I could spend the next weeks being very attentive with seeking eyes, trying to capture each moment that matched what was being asked.

An then later on during this process, I’ve acessed the Benedito Calixto flea market, which I’ve never been before, so it kinda took sometime to ground myself again into my task as soon as I got to the place, as I’ve got very astonished to observe all these diverse items being displayed to sell - since history-linked jewellery, household items, old money, curious objects, vinyls, and soo many other things. Wowed. There beholds a certain curiosity, perhaps an unconcernable feeling surrounding this whole concept of giving something that at some point could have been very precious to you, such as family pictures, items, etc, but you’re choosing to hand out these items, it’s time has come to start belonging and being transformed into history perhaps by others families and persons.

But returning to classroom surroundings matters again, as soon as Sol’s lecture finished, Monique and Cesar gathered everyone together in circle, and as we spoke about our process taking these pictures, our pictures started to roam around, so everybody could appreciate our outcomes.

For myself, as stated above, I really enjoyed this project, nevertheless reading the list very carefully, so I’d be opening my eyes towards a specific object, or situation.

It felt like a very interesting experience, even so for a self acknowledgement study, having to follow a certain "script" in a way, it kinda presented to me as an remarkable new way of perceiving things or situations: the honest answers of how a clear mind and self-directed "script" can be translated into very rewarding outcomes.

This afternoon Monique started to present her professional lecture, starting on that she decided to study architecture in college (FAU), but then slowly started to sense that the urge of her feelings towards being involved in smaller projects was way to strong to ignore, and this coincidently matched with the event of discovering an unused machine of screenprinting under her building, which snapped in her this feeling, which she shared with us has never stopped since.. What she also perceived was that she was into a form of initiating something at the start of the day, and finish it by the end of it.

She started then to handcraft books, posters, etc, basically anything she could find to print on, almost as a certain love obsession for her art.

She was involved in the Cavalera brand, being the art and colour director. Unforeseeingly she started to involve herself more and more with fashion, and then presented us this catalogue of Art in Fahion: MASP Collection Rhodia, which presented references such Aldemir Martins, Alceu Penna, Ugo Castellana, Genaro de Carvalho, Wyllis de Castro, which is said to be very inspiring to her, as I also felt, when flipping through the pages.

Actually I found this collection inspiringly crazy! I’m so glad Monique introduced this set of pieces of art to us. The shapes, the colours.. They all behold a special spice, a very Brazilian-African one, which it’s very rich in colour aesthetics, strong features in general inspires me very much. Love also how the negative spaces play an important role in the piece. For example: observing in between the legs and around where the hem would usually be, as we can see in the image below.

Monique also shared with us that she begun to participate in a initiative, in which she was hired by multiple SESC’s to do prints in a mobile cart she built herself, distributing then the copies to people that roamed around her in the building, the theme being willing-free or previously speculated by the institution forehand.

She believes she has found what northerns her life, which inspire and compels me to start to explore this same path of curiosity towards myself. My loving practices, likes, dislikes.. And as most people, I am also in this struggling search, trying to find my own prospects.

# data[].attributes.body
Book Binding Workshop
—
Adobe InDesign Induction
—
Solange Hoppen Professional Practice Lecture

Thursday, the 6th of September

Today I learned how to extract the best out the Adobe InDesign computer software with the intentions of creating a book, which would have it’s content curated and created by us (retrieving photographs that we shot from our works yesterday), being the theme our course during these past 14 days: The Collector.

At first Alex said that he had created a previous template, which later on would be used as our base of creation. This template of a page had specifications of a page from a book, with all the 4 margins delimitated, even having one side being larger then the others, so I would have space to sew everything together.

Arriving in the Mac Lab, Alex started to explain and instruct about the basics of InDesign, such as some keyboards shortcuts (most used tools to remember: resize frame and content: selection tool + command – drag and applying width, height, or scale value proportionally: command + enter) and then let us navigate throughout the process of ministering our images and finding a suitable display.

We had the task to approach and find a way to display and manipulate all the registered images of our work in a few pages, so I managed to try to compact some related images in one page, so in the end I wouldn’t end up printing more pages than I needed, which achieved to be exactly 17, not 55, as would happened if I have printed all together; plus I also felt that the quality with smaller images would be seen better - as I actually perceived, in the outcome.

In my pages, I tried to apropriate a visual representation relating it’s approach to my own collection, the Origami, which had it’s own emblematic figure, the Tsuru.

The origami and the Tsuru itself already owns in it’s very simple structure a minimalistic appeal, which for me seemed perfect conveying with the display I chose to perform, being thus  grouped into the subject of our previous classes and studies.

After this process, I feel now that I am attesting my work in a very sintetized way of sobriety, since now I am able to overview everything authentically clear, sensing that now I can really appreciate the whole as a whole, and also the beauty and joy of a finished work, acknowledging from start to process and then outcome, adding it’s possible endings and conclusions... And I also feel that I can have a better plataform to display and show my work with others, which is also a very important step of the process.

I also intuit that this task may have been projected towards the building of a concept of entity, so we can keep these lessons and use them in projects ahead.

On this afternoon, after getting all my images printed, the time had come and the next step would be to sew the whole composition as a book.

On the printing workshop room I asked for Marcelo’s and Joyce’s help, which they brilliantly provided with what they could.

At first Joyce reunited all my images together, asked me to choose a color for the cover - orange, and aligning a certain species of a wood “rule” to the cover, which possessed a few tiny holes that would later on serve as a sort of “cheat sheet”.

Then she attached everything, and soon she asked me to use this tiny drill against a wood protection on the table, and I did, perfuring through the papers and then after removing, moving on to the next step, which consisted on reframing the papers with a laser reframer, which took about 4 seconds for each cut.

It felt very impressive watching this not-so-big machine work with such powerful precision, it kinda maked me feel beforehand slightly nervous to image a finger under these cuts. Brr.

Well, after all these steps were concluded, now the time was to perform the chinese stitching, which I did, following Joyce’s lead.

Overall, after it’s conclusion I don’t consider this process to be very hard, I am even starting to imagine how it could actually potentially transform it's work (the task to stitch everything together) into being the main protagonist, creating patterns and even some drawings with these lines.

# data[].attributes.body
Crit Induction
—
Group Critique

Wednesday, the 5th of September

Today we started our day by having an Induction with Michael and Roger on how a successful narrative of an Crit should flow.

Critique x Criticism

The word ‘Crit’ in art and design is a term that describes a critique session

Critique (n)
The art of criticism.
A critical estimate of a work of art, literature etc.

Critique (v)
To discuss or analyse critically.

— Displayed by Michael

I observed that there’s a huge gap between a Critic and Criticism, for me being the main in common point it’s objective. For instance, if the beholder possess the intention of only pointing negative aspects, we can state that he is behaving in a criticism manner.

Although if, case in point, one does observes everything and decides to express itself in a manner that it’s expressions are being well collocated and not at all tendentious to neither sides, truly colocating itself, we can state that we’re talking about someone behaving on a critical way of expression.

I am very eager towards participating this group Crit, I have a feeling this could help me view myself better as a whole artist, and even position myself towards someone and so everybody together, so we can try to help one on the step of getting better and improving.

And also, after learning from Michael the concept from how a healthy critique should perform, I took some neurones to think and explore more about it’s fundaments, and so I’ve came to these “a versus b” conclusions:

Criticism finds fault / Critique looks at structure

Criticism looks for what's lacking / Critique finds what's working

Criticism condemns what it doesn't understand / Critique asks for clarification

Criticism is spoken with a cruel wit and sarcastic tongue / Critique's voice is kind, honest, and objective

Criticism is negative / Critique is positive (even about what isn't working)

Criticism is vague and general / Critique is concrete and specific

Criticism has no sense of humor / Critique insists on laughter, too

Criticism looks for flaws in the creator as well as the outcome / Critique addresses only what is evident

At last I feel I could go further, but I believe that when it comes to understanding the fundaments within this matter, we can genuinely construct ourselves to really deliver what’s expected, as I believe it’ll happen this afternoon. So excited to participate in this experience!! :)

First of all I want to share how proud I felt of belonging to this group, I truly felt that everyone was engaging among everybody, and providing constructive and valuables pieces of feedback, creating thus an safe atmosphere, so everybody got to talk, even if so for a little about their works.

As for myself, I’ve learned from my least successful outcome that the key relies of being true to yourself, however form that may take, be prepared to learn from our own individuality. And even thought I thought my least successful outcome was the worst, it truly felt special when everybody commented towards my piece, one stated that my works genuinely translates who I am, commenting also in behalf of what is called the quality of line, as another stated that my drawings and outcomes felt sharp somehow.

Taking place now in what I consider to be my most successful outcome, the feedbacks I’ve received had spoken about a very successful result, which inherited It’s success fundament on the repetition of shapes, the variaty of geometric shapes, the earrings with a slightly asymmetry to it’s structure. Also i’ve been told that the triangles shapes within the clothing gifts it’s structure with a sense unity to the outfit, sensitive and clean handcraft, and don’t translates as boring and also inherited a relation with my drawings, postulating that it feels very delicate and sharp at the same time.

# data[].attributes.body
Paper Outfit
—
Catwalk

Tuesday, the 4th of September

Today I arrived to class feeling partly exhausted and happy at the same time, the exausthion part in behalf of what I believe the cause was the lack of sleep, since I spent the whole night planning and executing my outfit, which I don’t regret for a moment.

My concept was to create clothing based upon the tsuru itself, blending with geometric shapes that composed it’s figure as a whole.

After a while analysing my options, in the end I decided to sew everything together, so it would proportionate a delicacy feeling that none could have done, as later at night I did with my work.

So when we started class and I had my entire work ready for the catwalk with only the shoes missing it’s completion (they were also planned to be stitched together), Carlos suddenly told us that all was changed and that our brief had shifted and we should adapt to these new conditions, being these the sense that we were not allowed anymore to stich anything, only using paper sources to colligate everything together. The only pieces we were allowed to keep was what we had already prepared at home.

As he was introducing the news, my mind kinda reseted for a moment or two, but I searched hard for a solution, and soon got to find one: paper strings.

Analysing the process of brainstorming when reflecting about my options, on which path I would choose to follow, I've got the opportunity to practice some very cool folding techniques, such as the ones taugh yesterday by the friend of Sol (such as zig zag, accordion estructured folding, among other interesting types) but my later in my final project project I only managed to fit two very simple foldings, being one located on the waist (one point stitched on each side) and on the “shoe cover”, which consisted on simetrically folding a triangle together until it’s tips were held together, and then creating a whole within the paper and trespassing it with a string, creating a structure to bond everything together.

During the process of trying to project an idea (mind to paper to reality), there’s always the importance to balance what should only be kept in the paper and what you can really try to convey in reality, as in real life everything is functioning all together, from gravity to weather conditions - everything should be considered.

Some things may be lost in the way of portraying such realness, but this is how life works, and our job is to overcome whatever steps and challeges we may face, creating something special, as it will happen, under the conditions of dedicating our mind and body towards our aim.

I planned my catwalk on the attempt to try to project my feelings towards the whole process concept itself, being this a minimal amount on information and simplicity, but when my turn came and I stepped into the actual thing, suddenly I started to feel quite shy, so I believe my walk was slightly affected and rushed due to this shy spark, but overall I feel confident and very proud of my creation, that despite it’s one short day deadline, the process felt very long but still very fun to me!

To build my collection the concept I had in mind relied on versatility, capacity of transforming and yet be capable of being very simple and minimal, so I believe that the final outcome really spoke for it’s origin roots, prospecting then a comforting yet powerful shadow, as I can analyse now observing the final outcome.

The only thing to be aware from was that during the process of walking, I felt one of my shoes ripping, which I attribute to the technicality of having paper being held by an only hard string.. Maybe next time I’ll try to reinforce everything better, it is very important to combine aesthetics with practicity and also reality.

My decision to document the catwalk with a camera, held by a tripod and managed by my talented fellow college Igor, can be observed here.
I felt this would be the best way of capturing the process, as when I saw the video it really stated itself that this was the best decision to be made. I am also so glad to get some Igor help, he truly helped me to captured this moment.

# data[].attributes.body
This afternoon we were presented to watch this 52 minute documentary, called “Between the Folds”.

Since I am half Japanese, origami is a great part of my cultural upbringing.
When I sat down to watch this movie, I figured out that I already knew everything there was to know about this craft - one enters “Between the Folds” thinking this is about origami.

Boy, was I wrong.

I was in a state of continual awe throughout this documentary.. I had no idea that origami had been taken to such amazing heights.
Not only is it a beautiful art form, but it is also being used as a tool for education, for research, for mathematical and scientific theories, and by the determination of a depicting cast of fine artists and eccentric scientists -from MIT and NASA - who have devoted their lives to the unlikely medium of modern origami, the have put themselves into the effort of reinterpreting the world in paper, arousing a fascinating mix of sensibilities towards art, form, expressiveness, creativity and meaning.

I thought this film was crafted in such a way as to gradually intensify the effect of discovering ever deeper meaning in the art and science of folding. Each artist portrayed approach their work with a passion and clarity that leads to greater discovery; their philosophical concepts derived from the methods to their art making is inspiring.

You will see origami that moves and transforms. You will see spectacular "paper sculptures" that you would never even imagine was created simply by folding one piece of paper, with no cuts or adhesive.

By the end of it, I realized the implications of paper folding are much richer and more complex than I am able to grasp. The film takes one on an aesthetic trip, a mind trip, a math trip and ends up showing how this (seemingly) simple act can affect/explain/develop/interpret an almost endless set of understandings about our world. It deserves to be shown in every school from 3rd grad through grad school, and if anyone wondered about the intersection of art and science, they will find here.

And afterwards all of these great learnings, we soon discovered that our next task would be to produce a three-pieced clothing (accessory, body clothing and shoe wear), using nothing besides the paper folding technique and sewing, due to afternoon the next day, so I went home with my head full of ideas on how I would perform these challengings claims.

# data[].attributes.body
Tool Induction
—
Destroy the Object
—
Remake the Object
—
Paper Engineering
—
Visiting Lecturer: Sol’s Friend Origami Master

Monday, the 3rd of September

Today the morning started with a friend of Sol introducing himself, he known as a very enthusiastic origami practicer.

Soon he got us onto familiarising ourselves into his presentation, it exposed itself as a display of broadly approached a diversely range of paper folding techniques.

I felt specially content to learn more about paper folding, specially when origami was the chosen object for my collection!

I am astonished to observe how many approaches can be created by only one or multiple pieces of paper attached by the art of folding, and also to observe and discover how much is there to learn and be inspired by, as for instance some few artists were introduced to us, being these partly japanese, partly brazilian. Here’s an example of each, following the written order; here and here.

In the 1930s Akira Ioshizawa created a language to “translate” origami, as stated here, this helping the understanding of many on achieving it’s principals steps, especially for the ones who lived outside Japan.

Besides the arrangements, the origami itself inspired far from scarse gadgets, including the Airbag itself and the Satellite itself.

So when introducing us about folding, he explained that there are plenty ways of performing this activity, but it’s outcomes are enhanced by it’s material, that in this case consists on practically on paper.

The higher the celulose contained in one paper the better, which would naturally provide a wider bend and stretch to the paper.

Since they explored more and more it’s conditions, a special paper was created to endure so many foldings, which is the mixture for what is told to be foil and silk paper, which helps the final piece to result in a very interesting and enduring look.

After this whole introduction of origami, we received some samples of paper to practice a few origami folds, which I pleasantly performed, eventually asking for Sol’s help when things seemed to get a little bit messy, but overall I feel that I could really absorb and learn throughout it’s lessons, I’ll certainly keep those in mind when exploring a new project soon.

Later past finishing some foldings, we were convoqued to come to the screen printing classroom and bring three objects with us, and when we arrived we discovered that we our task was going to destruct all of our objects using diffents tools, those presented by Marcelo, including it’s use, dangers and composition.

Everyone that wanted to manipulate and use these tools at some point, were asked to sign a responsibility document, attesting that we’ve learned the dangers that these could provoque, if not careful. Later on, we were also given the task to write a risk assessment, listing every tool that Marcelo had presented us, it’s dangers and preucations.

Subsequently his explanation, I’ve started to look around for tools I may could use to destroy my objects (which for signal weren’t at all difficult to destroy, I mean, it still continues to be a paper folded bird ), and then decided to choose a quite heavy walk stapler, a metallic wire and a scissor for this execution.

As expected, they were all very easy to destroy, which actually happened to be somehow amusing - I ended up wishing I had brought a more endurable object, such as a metallic bar maybe, I would appreciate to feel the resistance between my arms and the object being pushed to it’s limits, and then observe the damage afflicted by me on it’s condition.
Maybe next time?

# data[].attributes.body
Adobe Premiere Induction: Video Creation
—
GIF and Chroma Key Workshop

Friday, the 31th of August

Today I shamefully admit that did I didn’t arrive with an idea of what I wanted to do, mainly because I wasn’t sure of how would this work, so I thought that when Lauren further explained the topic I would get some enlightement and then snapped into work, but foreseably it dint worked well. but I know there’s no excuse, and I should have done some research at home previous to class.

which I believe was the cause of my disliking of my final outcome, although that process itself was very fun.

My video consists on a horde of hippopotamus chilling on a lake, and then there’s my tsuru, floating around. My first idea was to position a tsuru inside a hippopotamus mouth, as does a specific cleaning bird for him, but then I had trouble into finding a good quality video, and since the time was running short, I had to stick with this regular one.

The most difficulties that appeared for me consisted on how to actually manipulate the software, and later, the lack of creativity, which felt very bad, as this don’t happen very often. I guess this is a mixture to not repeat, the lack of creativity and lack of knowledge of its tools.

On the afternoon, using a 5 minute small-pieces raw footage we previously shot of our object displayed in distinct places, we were assigned the task to produce a 2 minute video.

We’ve started to learn some basics concepts of Adobe Premiere guided by Alex, such as how to reuniting all it’s pieces together, filtering which ones would you keep, and then chopping off what we wouldn’t use in the final version, how to input filters, among other useful tools.

Overall I enjoyed the result, especially the camera focus, framing and it’s vibrant colours, but something now I can’t stop on noticing is how I would increase the speed of the video a little bit, I don’t see the point of extending each frame that long, I wish I had transformed it’s rhythm so it would flow in a blunter way, this providing a little more excitement on the shots.

Link of the video here.

# data[].attributes.body
Library and Research Induction
—
Trip Ibirapuera Park MAS African
—
Drawing/ Filming (Primary Research)

Thursday, the 30th of August

Today Carlos helped us to understand better on how the library works, and also explained and enlightened further-better us with some induction about our research.

He navigated with us through a few collections by artists he appreciated the most, such as On Kawara - Today Series, Ann Hamilton, Annete Messager, Song Dong , Dieter Roth, Nicholas Nixon, Jim Shaw, Martin Parr - Boring Postcards, Paulo Brusky and Simone Moraes, speaking then about their mechanics of working and at our own perceiving of their art, thus also being able to relate all this learning with ourselves, our present and future upcoming personal work; learning then how to be to handle and manner ourself with the information of inspirations and references, connecting everything as a hole.

Overall, he provided us with us with some key information - which a part being here with a few vital steps, as stated:

Research: The Collector

1. Identify a theme

2. Subject Matter

3. Rules

4. Narrative

5. Relationship between the Objects

6. Well Considered

7. Specific Interests

8. Reflections

9. Obssesion

10. Practice

11. Process

In an attempt to analysis myself, I found out that research was and is something I am very pleased to participate, in every step of it’s process. I fell that it’s experience enrich and enlightens me to enroll more and more information, saving them either by visual representations (sketches, printing out images), or online. It has also conditioned myself to follow a solid development thinking and a aisle to evidence my relation amidst the raw thought and the decisive outcome.

The trip to the museum with Roger consisted on drawing the objects that we found most appealing on it’s curatorship.

Unfortunately due to it’s 2 short hours duration visit, I didn’t had spare time to widely explore through more occupations, so I decided to concentrate myself into the main hall, this containing mainly objects from the XX century, specifically slavery relationed objects.

For me, these objects were chosen because I found an interesting appeal and a correlation among past and present objects, projecting my thoughts and visual representations of them, creating certainly better uses than it’s horrendous original ones.

Roger suggested that we let ourselves roam our hands and styles free, so there was no need of an strict style or visual representation to be followed.. I felt myself very free, during it’s process.

# data[].attributes.body
Colour Theory Lecture
—
Colour Mixing

Wednesday, the 29th of August

Today we arrived to class and experienced a preview on how does the colours work.

We first learned that the RGB colours stands for Red, Blue and Yellow and CMYK for Cyan, Magenta, Yellow and a “K” for Black.

Each colour scheme possess it’s own purpose of creation, Being the RGB for screens in general, CMYK for the printing industry and Pantone for t-shirts, letterheads, business cards, etc.

RGB: Primary colours - used in computer monitors, television sets and theatre.
Addictive colour system.
CMYK: Primary colours in the print industry - used in the print industry.
Subtractive colour system.
Pantone: Print without dots. Used in graphic, textiles, paints and plastics.

After our theoretical class, the task now was going to create the black colours starting from these three RGB colours, and I’ve soon learned that making black out of the primary colours is sooooo not easy as it seems.

It took a very long while to achieve a very dark grey/something, but I don’t think it is actually possible to create a 100% black colour; we test out to confirm it’s identity by mixing a small quantity of white colour, attesting that the colour in fact turned into a shade of black/grey.

I felt that my main challenge about creating colour swatches simply relied on the organisation, clean space and subjects of work, so I could create without any inference from other colours, creating pure and clean swatches.

Considering and reminding myself that we’ll be filming with green screen on Friday, I’m not sure how this knowledge can be specified towards this practice.. However I know for sure It’ll help, I am certainly aware that we’re not supposed to use any green objects, if I want less interference and an easier task on removing the background.

This afternoon, we used our knowledge to create some color schemes with our primary colour acrylic paint tubes, based on what we’ve learned this morning.

Our task was to explore a colour scheme ranging from the the darkest to the lightest colour, which I chose to compose with only 7 blocks, leaving then a very visual and distinct representation of the difference among each range of colour.

Somehow I feel that I can tell that this work was made from an minimalistic setting in mind, leaving each colour, individually, to distinguish each one apart, I feel very satisfied with the final outcome.

I also was really surprised on how the acrylic paint felt smooth, it was my first time painting with it’s integral and raw format, and for sure I was surprised for good, I hope that I’ll be able to explore more and more all my available resources.

# data[].attributes.body
Screenprinting Induction
—
Monoprinting Workshop

Tuesday, the 28th of August

We started the day by watching Carlos stumble a big white buck on the table, and soon as he started to explain our duties this day, my cravings crescently grew, and I was very keen on starting to experiment this so-called monoprint.

By practical acts, he started by grabbing a small and thin layer of acetate on the spatula and applying a quick stroke on the glass table, and soon started to roll-out all the excess until the limit of the table, and as we watched and learned, soon we repeated it’s steps on the rest of the table.

As on all the tables the product has been applied, he suggested that we should start grabbing some papers, and try experimenting multiple techniques (hand and body positions), draw with different materials (toothbrushes, back of pencils, finger, etc, everything you may find interesting to draw with), and observe what happened with the first sheets we drawn in, which displayed a smudgy and messy appearance, and so it happened for about three more sheets, and then I felt that it was somehow stabilising, as the excess of ink now was gone, and then I felt further able to work in cleaner ways.

Despite the whole range of options to chose to draw with, I decided to stick with a regular closed-cap pencil, personally it felt more firm, and provided a cleaner and delivering result that I loved to work with, and honestly I couldn’t stop drawing! I was producing as crazy.

Reminder for future references: After each piece we drew, we hanged our work on the wall, so they could dry without creating any further mess.

I only stopped when Carlos asked us to do so, but even though I was feeling the want to do more and more,  something really snapped for me.

The results of this process seemed for me one of the most satisfying - if not the most - yet.

Actually I’m not sure of the cause of why I enjoyed this whole thing so much - well, I surely enjoyed the rusty look, perhaps it’s unfinished quirky lines.. But I’m not reeeally sure, my head and hand could not for a moment stop drawing, creating, I truly felt like a human machine, in the most wonderful way! I feel that I want to explore more of this process, I sense that something very insteresting may be laying ahead. Loved the feeling of now having anything on my mind, and just letting everything flow constant and naturally, without any drafts.

I feel that the printmaking techniques helped me perceive a sense of creation that I had never thought of, the power of copying without any machines, this feels very compelling, and also having to working with the Tsuru, my object, made everything feel very compact and simple, which are very pleasing characteristics in my opinion.

As my object is composed mainly by lines and geometric shapes, I feel already that it in its essence provides some feelings of a 2D object in our 3D life, which is very cool, if you think about it, although that when printing, the power to manipulated is taken from the perceiver, and then another sense is asked to be positioned, the visual sense.

The task of inputting the image into another surface is already interesting by itself, if you consider the range of possibilities that could be produced, and yet you chose to stick with a particular one, I like the feeling that each photograph is unique and stands out for each person divergently, as naturally will happen.

The image, from strange eyes, can purely only reflect it’s own material and figure, but if you inspect into the concept and the creator, you can certainly discover more details, the making the behind the scenes, where the most exciting things way be awaiting, the inspiration, and yet maybe another cycle of creating is created. An image is not only always an image.

Although my relationship with the screenprinting felt very smooth, as if I had manipulated these instruments and materials before, the thrill of not planning (as in the monoprint experience), felt more real and yet extra engaging to me, the feeling that I can make a “mistake” that may change the sense and direction of a work is very appealing for me, so if I had to choose between these two processes I would prefer to work with, I would choose the Monoprint for sure.

# data[].attributes.body
Adobe Photoshop Induction
—
Printing Acetate

Monday, the 27th of August

So today we divided our class and soon my group headed to the PC Lab, and the other one to the MAC Lac, and Alex introduced himself, he’s representing the Adobe team here at EBAC.

Alex started his Photoshop induction explaining some basics of the system, starting on inputting our image (the one we took yesterday on the photography studio. I chose this one) into the software.

Soon we acknowledged that the intention would be to manipulate the image, transforming it into an appropriate form to fit standards (such as sizing, halftone, optional cropping, etc, it varies depending on what you want to achieve, but these are the basics) for it’s release, since we’ll tomorrow learn how to screen print them on paper during the screenprinting workshop.

We learned the basics, like how to crop images, change some basics presets (brightness, exposure, vibrancy, saturation, temperature, sharpening, vignette, color changing tools), and then quickly moved on on how to transform our image into a halftone image (black and white), resize it into the size I wanted the image to be printed and if we wanted, how to crop-off parts of our image, as pointed bellow.

Since my image relied on a minimalistic composition, I felt that I wanted the same concept appeal, so the decision of cropping everything out besides the tsuru was planned, which for me was conclusively perceived as a kind of stamp, achieving it’s direct and explicit appeal I was aiming to lure.

At last, I’ve decided to leave the tsuru turn it’s limelights and translate his image for himself, as I believe he already achieves, primary by his regular standards of a simple conjecture of lines and geometrical shapes, very fitable for the eye.

Analysing the resulting image, I feel very satisfied and ready to experience the next steps within this figure, which next steps, as has been told to us, will be to use it’s frame in the screenprinting workshop tomorrow.

After lunch, we rushed to the Mac Lab, where Lauren was waiting for us, on behalf of introducing the keys concepts and tools on how to skilfully manipulate and imerge into the GIF world.

Lauren briefly introduced us to the keyframe and inbetween frame concept, which consists on the main frames of a video/gif, the frames that behold the sense of the whole (that wouldn’t make sense if they weren’t there), and the inbetween frames is the glue, the parts that sticks everything together, aggregating the all and transforming it into a consistent work, with a fluid narrative.

After these explainings, she left us with some time to experiment mainly with Adobe After Effects and some Adobe Premier, having the task to create a GIF using the chicken and space templates she early provided us.

I felt that the GIF looping conceived the idea of infinite, creational/never ending background, which for me relies the fun of this whole thing, you could watch still for hours, and nevertheless be excited (or not) to see the next step.

My main problems inhered mainly on the software manipulation, not at all with the creation possibilities, which is fine for me, I’m all in for learning. I did ask for loads of help from Lauren (saint paciente she has! my god) to complete the work, but eventually made it.

Inspired by the success of the first one, I decided to persue into the making of my own personal GIF, using previously taken photographs bursts.

Well, I won’t lie, the process itself hurt, hurt pretty much hahah, but with some help again - although I had to stay until 2 hours later afterclass to complete the task, (thanks A LOt lauren!) I was very happy to see the results!

It feels surprisingly fluid, and overall I’m very proud of the outcome :)!

Some key animation tips to record:

1. What am I trying to convey?

2. What are the most important gestures?

3. Storyboard

4. Laws of Physics (ex.: slow in / slow out) How can speed of movement affect the feel of your animation?

# data[].attributes.body
Photography Studio Induction
—
Framing

Friday, the 24th of August

So today we started our day with Lauren, and thus she presented us some reputed photography and movies references, which included some of the greatest tributes to our arts and movies culture - Wes Anderson and Henri Cartier-Bresson, and some aspects we should also consider when creating an interesting image - such as reflections, contrasts, colors, negative spaces, lights, scales, close ups, abstracts, among others attributes.

The presentation itself was very consistent and it really helped me to understand other ways of perceiving an compelling aesthetic appeal, it felt very fruitful.

I truly believe that these will also help me into projecting more ways of approaching a visual sense, such as photography and video.

I’m really prone towards the practice of blending multiple - or monochromatic - colours, I feel like that they can really speak for themselves, such as they owned the object their being displayed on, giving the example between a regular-yellow banana or a coloured-blue banana.

Guess which banana you would eat?

Certainly the blue banana would be seen as the dubious one, since it’s original colour does not derivate from a cold, blueish tones; so assuredly our surviving instinct would beep, as signal that the blue banana may seem as poisoned, or at least a bit suspect.

There are multiple details that can be regarded as a point of divergence among our decisions and displays, hence I believe that colour is in fact a very interesting path to be explored.

As speaking for myself, I am very enticed by Anderson’s work in behalf of what I believe is based on his aesthetic appeal, stablished by his simmetrical and amazing-colours approaches, and of course by his film narratives, so on. But I truly sense that the key itself rely on the inheritance by fusion of all these elements together, hence performing the impact on ourselves as he has been doing, with striking repercussions and outcomes.

Still, despite his whole composition, my eyes can’t help on noticing his colour choice, as he does, here, here, here, here, here, here, here, here, here and here. For me, there’s really something truly appealing that I can’t certainly explain.. I just get these right feelings of smoothness, amplitude, softness, and yet, somehow, it doesn’t take at all it’s power and strength.

Well, afterwards Lauren enlightenments, we were given the task that consisted on taking ten photographs of our object in ways that seemed the most appealing to our eyes.

During the process of exploring my surroundings, mind, plus the choice of which concept I would choose to support, at last I opted to just follow my gut and feeling, resulting in images mainly implying a very strong colourful approach, as portrayed here, here and here.

Overall, I feel very proud of the outcome, all the issues or any controversies (such as framing, creativity process, concept, etc) I thought that would may have stood eventually, weren’t that dilemma. I feel motivated and very ready to use my hands, mind and body to create.

I also feel I have a special consideration for complementary/contrasting colours, as I used some of them today - I’ll keep these in mind for soon projects.

Colour keeps me alive, they behold the power of transforming it’s situation into however we colocate them in... Blue for cold, red for power.. Actually there’s no such rule, but sometimes we just should let our minds perform the exercise of completing its own phrases, being true to our own feelings.

On this afternoon, Cézar introduced us to the photo studio here at EBAC, plus how it’s structure and rules works, and also - as he asked yesterday - we were asked to bring some independent source of light, now soon to be used.

Promptly we absorbed some of the safety + everything basics, we started to experiment with the camera, changing the preset to B&W and taking pictures of our objects, using some lighting and space we just learned how to manage, within this condition.

First, free handed, we took some shots, and later analazying the session, I realised that I preferred the lowestexposed pictures over the overexposed ones. Me, personally do really feel very keen towards this darker and low-light preset, sensing a possession of a certain mystery matter surrounding it, which makes me feel very prone on creating such atmosphere.

It surely nourishes a subtlety of shadows and lights that I enjoy, as the images (especially the first one) attached below are displaying.

After this first experiment using shadows and highlights in B&W, we started to try out the next proposal, which consisted on taking low exposure shots and then drawing our objects in the air with our sources of light brought from home.

Now, using the tripod (since the camera needs to be very steady during the process), I started to set the camera right, there is a need to set it’s exposure to it’s lowest setting, and then when positioned the camera solidly as it should be for the shoot, the only requirement is to hold the button as long as you want the picture to capture what’s is happening in front of them.

As I experimented a couple of times, I felt very satisfied with the result, as annexed in the second image below. I think I feel that way because of how easy it felt to create something so beautiful and so easily, because when you detach each situation from it’s context, they don’t mean the same as if positioned among a whole.

For instance, if there were no one registering theses images altogether, I would just be an odd girl standing somewhere doing some weird movements with a light stick.

I feel that I could truly appreciate and immerse into this photography trial, and most importantly, bear the ability to structure each part of the process, deconstructing the development and then fusing everything back together, being participant on each part of the process, to the position of as the one capturing and the being captured.

In this ground lays something very rare and special about disposing ourselves into multiple positions of actions, so when we try to portray something, we feel that we were already previously in the skin of what’s being captured, so you know how to handle and manage the situation at your will, extracting whatever you are aiming in your proposal.

There it develops the commitment to be always consisting and unfeigned to ourselves and our projects, hence we never stop to challenge and pursue ourselves, changing our positions, mindests, slants - being thus in our jobs, or most importantly our life.

# data[].attributes.body
Perspective Drawing
—
Camera Skills Aperture

Thursday, the 23th of August

This morning soon when we arrived to class, Cézar along Sol introduced themselves, them made us split into two groups. I got to stay with Cézar, displaying a slideshow about photography, where the its principles where introduced to us.

After the introduction, it was proposed to us a task that consisted on photographing three of our objects, having the concepts of deep depth of field and shallow depth of field in mind (disfocus on everything else and focus on the first object, then repeating the process on each object).

Thereafter it was done, we had to go save the images for and send them to ouserselves.

My final thoughts on this whole understanding and exercise was to realise that photography also has a very broad range of fields to explore, and how exciting (and as much sometimes confusing? here are so many abbreviations and nicknames!) it can be!

The process is almost - if not more - interesting than the outcome, considering that there are so many divergent paths and layers of functions to work on! Being these organic ( if there is a - model, lights, backgrounds, tackles, textures, etc) or digital (softwares, and other programmed sources).

There are so many things to explore!
The only circumstance to avoid is the will to be so disposed to to everything and in the outcome don’t do anything at all. No good work is done if done passively.

On this evening, we’ve now started to work with perspectives, being very well introduced to these notions by Solange.

I’ve not only learned that there are not only more than one point perspective, but five! There’s pleeenty of matter to fill my brain and study, since until now nothing has had my head closer to a nutcracker like this subject has done on three hours and a half. We had to draw an 1 or 2 point perspective illustration, using the learned concept we just had been given.

This goes so beyond our eyesight that is crazy! I feel that I do not possess one tiny rat of control over this, I do also feel a little bit discomfortable and wanting to stop, since I didn’t understood this whole concept thing very well.. But I surely won’t, I’ll practice a lot at home to thrive through everything.

However of all of these, what I did get the most excited to draw, was the 5 point perspective, I can see some work using pinhole photography, fisheye door and even some Escher-inspired illustrations. How surprised I am to learn all these roots! Where Escher seemingly studied powerfully, considering his staggering work. Inspiration :)

# data[].attributes.body
Composition and Environment
—
Life Drawing

Wednesday, the 22th of August

As I entered (somehow way earlier than I use to normally), I got shocked to see how different the class was, with the center of the room fullfilled with grid strings. I can sure imagine that Michael may had a fun night the day before heheh

So, as pronto our teachers Lauren along Roger introduced themselves to the class, we soon learned that our exercise was going to be about negative spaces, presented to us some archetypes artists - M.C. Escher and Noma Bar.

Afterwards, we were given the task to portray our object however we preferred among the class scenario (I chose to place my tsuru in the midst of strings), practicing the negative space technique. I particularly enjoyed this task immensely, I felt like I had plenty of ground to work and lots of ideas started to boil on my mind, such as tiny people among the strings, maybe even drawing a draft of a person intercalated by the strings. See our common space surrounde with such light (the expessure

Subsequently, we soon headed to an very odd assignment: draw the classroom as we were upsidedown! (do I smell some spider-man clues?)

After all, actually I had no idea of how the heck I was going to portray this challenge, but nevertheless soon started to work - I know if I accept the idea that I’m not capable of doing something, then it’ll surely then turn into something I’m not really able to handle.

Well, as soon as I let my hands roam free around the paper, the drawing kinda showed itself have some very loony characteristic, as I decided to illustrate the strings as they were very close to me near the ceiling, but with very distorted proportions, so they looked huge while the rest of the room and the knots seemed very small close to the floor.

Well, it’s really a feeling, to conceive the understanding that you may not know a thing, and that it is absolutely wonderful not to, so we are pushed more and more towards who knows where. Hope it’s somewhere special :)

Subsequent lunch we returned to class, were we met Elena, our life-drawing model for the evening.

A quick explanation was given by our teachers, and soon we started our exercises, that consisted on creating four drawings using ink and a watercolour-pencil only.

The two initial drawings task proposal were to just draw the model, and then in the consecutive row of drawings we were supposed to draw the model plus our object somehow interacting with her, which I found quite challenging, and in the result I feel that you can sense this “discomfort”, I could say, by how oddly my object, the tsuru, was places on each case.

In one of the drawings, the tsuru even suggests that it is in fact trespassing her body, using what can be perceived as a blade.

It feels very odd to me, I can’t really say that I enjoyed the outcomes, but for sure the reflection was worth it.

At last I really enjoyed the session, as I could really perceive and analyse how curiously my eye and hands worked, and how sometimes I should really let my hands guide, instead of being afraid of making mistakes.

There it is, my concept of mistake is all wrong - which I believe is very common assumption, even belief maybe.. Assuming that as you start over to reprogram yourself towards your needs, I sense I’ll be very surprised to see the results.

Raising the right questions can be as fullfilling as answering one.

# data[].attributes.body
Observational Drawing Reflection Induction
—
Observational Drawing Sketchbook Induction

Tuesday, the 21th of August

So, today is our second day of class here at EBAC, and our second task (being the first one to collect as many things as you could, with one feature in common - my choice was to bring some origami paper, with a few tsurus already made, we’ll be using them as our study in the next few weeks) in class.

Here we found that our exercise was going to be to draw on an extense paper taped on the floor - thus using as our sketch tool a stick wrapped together along a black felt marker pen, and as follows, with this mirabulous creation attributed to our teacher, Michael, we were proposed the challenge to draw the objects we brought to class on the first day, as we did.

Later on, during the analysis of the outcome, I’ve come to discover that the purpose of this practice was to achieve the persuit of exercising ourselves into something we’re not acquainted to, being this way able to push ourselves into unknown techniques and unfamiliar boundaries, as I noticed when observing my classmates.

One did move their entire body along with the stick, so it would become sort of an extense of it’s own body, not far from an strange lengthy arm she just found out how to use for the first time, and so did others their own body-equipment experiments.

As for myself, I see now that I could have pushed myself harder to not follow the stigma and progress on the clearest path, considering that I almost used the equipment as a normal pen. Well, I can tell that this certainly taught me that the rocky path may be the worthier one! :)

After lunch, we quickly gathered all of our classmates and teachers (Michael and Carlos) together, then quickly took the class photography to register the “first” day of school.

And so on, soon started our exercises, which mostly consisted on conversations about our mourning work, then moved on to a brief explanation about ways of using an sketchbook (ex.: drawings and sketches, visual thinking - interesting things for the eye, selected research, material samples, annotations, design drawings and development, etc), and then afterwoods we were given 30 minutes to draw all of our objects, getting to choose how to distribute our time, depending on how complex or how your collection was disposed.

Subsequently, the following task was to choose one object from your collection and to draw them for 10 minutes, also getting the same idea that depending on how were your object, you could distribute your time as you wished.

Well, on the aftermath, I really enjoyed the process of reflection, specially if when I’ve got to think and feel how were my feelings towards the concept of time distribution on this study, it certainly raised some important questions, such as identifying the feeling of having no control over time, and the most important, being acceptive and let ourselves flow within the circumstances.