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In the first and second tutorial, we discussed what additional elements we could add. If we want to interpret ourselves in costume, we can experiment with adding materials to the eyes and lips, such as stickers, pages from books, flowers, or any other details.

At the second tutorial, we were advised to look at the work of other artists, such as Marie Toyen, to better understand how to work with shapes and possibly develop abstract ideas. We also discussed the development of a frame for the costume and how to strengthen this unstable construction.

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How was the overall process of the project?

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How was the overall process of the project?

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To me this project was quite challenging, but also very unusual for me as I had to work with 3D materials. I learned a lot about myself, because I stopped limiting myself in terms of use of materials. Before, I was afraid to use too many tools, but here I was given a lot of freedom, and at first it even confused me because I didn't know where to start. But then I gradually got into the process and started asking myself what I wanted and what I wanted to find. It really helped me develop, even psychologically, so this is a crucial step for me!

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Our idea is a hybrid of three personalities in one costume. The bright shell of the costume reflects how we and society see us (complexity, multi-layeredness, colours, shapes). The eyes and lips of our forms on the surface are our preferences, that also creating our shared identity. And beneath the shell lies an important inner part — a mask, a symbol of our diverse soul that “no one” can see. I think it is a kind of interplay between the external and the internal, between what people see and what remains hidden from their eyes.

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Two main materials were used in the production of my scarf:

1. Black fabric

2. Light white fabric (for decorative elements)

First, I cut out hands from the light fabric and gave them different shapes (sharp, rounded and softer) to better convey various emotions. Then I took the black fabric and cut out a very long base in the shape of a scarf. Next, I painted the fabric hands and used a glue gun to attach them to each other in a row.

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In my project, I choose to focus on the idea of "connection," and the first thing that came to mind when I associated this word was hands. To begin with, I decided to make a couple of live sketches to understand their shape.

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Here you will find sketches of our costume design, starting with the first drafts and ending with the final design of our costume.

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As it shown we decided to create a dome structure, so we started working with cardboard and building the basic frame. So, to keep the shape intact, we cut long strips of cardboard approximately 1.5 metres long (based on the height of the person who would be wearing the costume) (Poppy is our victim)

Consequently, we connected these strips in the centre with a strong metal bolt that we found in shop. This structure reminded me an octopus (long cardboard legs that diverge downwards and create the volume of the future dome). To strengthen the top of the structure, we made a cardboard cap that fixed the entire dome and allowed us to try it on a person. But we still was afraid that hat will not hold the entire cardboard shell.

Next, we added large sheets of paper on top of the cardboard to see the overall silhouette. After several attempts, we finally covered the frame with black fabric (even if it didn’t look neat)

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Here we decided to experiment with materials for developing costume details. On the internet, we found an idea to use the papier-mâché technique, where newspaper is dipped in a mixture of warm water and flour and applied in layers to a mould.

We took:

1. Newspaper.

2. A glass of warm water.

3. Flour.

4. Foil (to create the base for our first eye)

First, we formed the shape of the eye out of foil, then covered it with layers of papier-mâché, dipping newspaper into the mixture of water and flour and covering the base. After that, we left the blank to dry so that it would harden and hold the shape.

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Questions that were analysed in the group

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Questions that were analysed in the group

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Here are all the artists I could find to start with. I also decided to focus on people who work with textiles and play with textures.

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Our group mate Yuna shared this article with us to help spark our imagination and find a starting point for developing our costume. From this article I learnt about phenomenon of “pareidolia” — the human tendency to see familiar shapes and faces in inanimate objects, such as Moon's surface. Due to pareidolia influence, people around the world interpret the Moon’s light and dark patches in absolutely different ways. In Europe, some see a banished man carrying sticks. Also, in China people see the Moon Rabbit Yutu, companion of the Moon goddess Chang’e. Lastly, in Japan and Korea, the rabbit is seem as making rice cakes. In general, I found this intriguing that people from different cultures can see different images on the Moon, turning it into a real space for imagination.

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Why do people see faces in the Moon? And what shapes do you see?

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My scarf depicts the connection between me, Yuna and Poppy. So, it combines the colours we associate with our emotions and hands that trying to hold each other. And on the hands are our eyes looking at each other which brings the composition to life. Each eye is attached to the hand that best links to the person’s colour and emotion.

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I also took photographs on the streets of London. I was particularly drawn to the graffiti on the streets, especially the illustrations that most resembled human faces. It was quite intriguing to look closely at different graffiti and see human eyes in them. I thought it would be an excellent source of inspiration for creating a mask.

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Here is a collection of my primary research for the project "The Parade." My first research began in New York at The MET museum and the Katya Leonovich art gallery, and I also visited The National Gallery in London. I took photographs and made observational drawings of various sculptures and oil paintings, focusing on human forms that could serve as inspiration.

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Finally, one idea popped up to my head and I asked my classmates to send me monochrome photos of their eyes to create an interesting contrast with colourful hands. I cut out these eyes and added them to the fabric hands, making them more "alive". Each eye was attached to the hand that matched the person in terms of colour and emotional context. This idea came across to me night before parade and I’m glad that I managed to realise it.

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Photo of my hand from different angles (1)

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Photo of my hand from different angles (1)

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Photo of my hand from different angles (2)

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Photo of my hand from different angles (2)

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I decided to create a drawing of several hands reaching out to each other, and I also decided to add different colours. I felt that experimenting with colour is what I will focus on when designing my scarf.

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Also, I attached photos of the time-consuming work on the eyes and lips. We cut out all the shapes from cardboard, then covered the elements with papier-mâché and painted them in bright colours.

Each of us expressed ourselves way more differently. Poppy and Yuna stuck stickers and additional materials on the eyes and lips. I focused on the shape — my eyes and eyelashes were shaped like flowers and the sun, reflecting my temperament. (Because I like to shine)

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After attaching the eyes and lips to the costume, we noticed that there was a lot of empty black space around them. To fill it, we decided to use paper cuts that we had made at our 3D mask-making workshop. We chose different strips of paper in variety of colours and covered the empty areas with them. It was a successful detail for the composition as I think.

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We decided to create an illustration that would peek out from inside the costume. We desired to show the complex shapes and forms of our soul on paper.

So Poppy asked each of us how we imagined it and combined all the ideas on one large sheet of paper. For example, I described my soul as sharp, sparkling, consisting of many "sharp" shapes. We combined all our descriptions into one common outline. This idea was inspired by the art works of Marie Toyen, her bold abstraction and surreal forms.

Consequently, we cut out different shapes from paper and collaged them into a composition on a large sheet that was attached to our inside part of the costume.

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Together, we tried to understand what could unite us in the project, taking into account our identity, inner experiences and interests. Since our main idea is to interpret ourselves in this costume and what unites us, as well as how people may see us and how we see ourselves inside.

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In the initial sketches, we thought we could combine several heads in the costume and tried to play around with this idea, making various sketches.

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We also came up with the idea that we could make various heads that would interpret different emotions inside us, such as anger, sadness or joy. We also discussed that heads could grow together or, conversely, separate from each other, forming a single shell. In addition, we considered what materials we could use for our mask, such as plaster and papier-mâché.

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As a result, we came up with the idea that we wanted to create a massive costume that would attract a lot of attention.

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We came up with the idea of creating a costume resembling a cage or shell, that envelops the body from head to toe. We thought that our lips and eyes would be the appropriate details on the costume. Accordingly, in this sketch, I tried to choose a palette for the eyes and lips that would be symbolic and contrasting.

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I really wanted to play around with colours, seeing how they could be combined and influence the atmosphere of the work itself. Later, I came up with the idea that if we wanted to interpret our facial features in this costume, it would be a great idea to attach details that represent us. For example, items that we value or love, different marks, flowers, badges, and stickers.

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Thus, we came up with the idea that we could use fabric to cover our cardboard dome. We also decided that we wanted to make this costume mechanical, meaning that it would open and close at the front, giving it mobility and making it more lifelike. The idea was that our costume would open and close like a book.

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In these sketches, we are trying to visualise how we can make this suit so that it stays on us inside and is practical, using our “engineering knowledge” to do so. Additionally, since our costume is quite bulky, it would be heavy, and we needed to figure out how to make it stand up, so we came up with the idea of placing a cardboard hat on top to hold the upper part of the costume in place.

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We were asked to think about the places where we spent our childhood and draw three things we associate with that landscape. I first drew a spider and web, as they always appeared in my home and summer house. Nearby, I added reeds that grew by the swamps near the house. Lastly, I drew pine branches and cones that I often collected as a child.

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Later, we were asked to think about the place we associate most with the word “home” and choose an animal and a plant connected to it. I drew a hedgehog because I had a toy hedgehog that I played with throughout my childhood, which made it a strong memory for me. Next to it, I drew chrysanthemums — my mother’s favourite flowers that were always present in our beloved home.

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The next task was to write down three words that represent something I value. I chose support, unity, and achievements. Next to these words, I drew variety of hands reaching toward them, symbolically expressing their meaning and showing connection.

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The next task was to sketch at least six different design ideas for a flag, placard, banner, or scarf using only the images and words we had already created. My first idea was to draw the sun, which in many cultures symbolises divinity. Inside the sun, I added eyes and experimented with different patterns, sometimes making the eyes look like suns, and other times shaping the sun to resemble eyes.

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I liked the idea of hands reaching toward the sun, which could represent the sun as a symbol of achievements. These rough ideas came to me while I was making the quick sketches.

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As instructed, I worked on an A2 sheet using only two colours — black and yellow. On this banner, I created yellow hands of different shapes, each containing an eye, possibly representing the shared vision of living people. All the hands reach toward the sun, symbolising a common goal.

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I also found flower graffiti, inside which I thought I saw an eye. To emphasise this, I added notes to the photo in Procreate to show my vision.

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I took some closer photos of various oil paintings by this artist. I liked the strong, swirling brushstrokes and the unusual play of colours.

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Copy of a Greek bronze statue of ca. 430 B.c. by Polykleitos

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Fragments of a marble statue of the Diadoumenos (The MET)

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Fragments of a marble statue of the Diadoumenos (The MET)

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Renaissance

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Renaissance

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Observational drawing of woman in the middle of oil painting 

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Observational drawing of woman in the middle of oil painting 

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The Toilet of Venus ('The Rokeby Venus') 1647-51 

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The Toilet of Venus ('The Rokeby Venus') 1647-51 

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Baroque

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Observational drawing of baroque painting

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Observational drawing of baroque painting

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First part

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Second part

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First part

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First part

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Second part

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Third part

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When I was searching for idea in Pinterest I noticed this monochromes illustration. The idea of multiple faces itself is quite unusual. I like this surrealistic illustration because it creates the effect of multiple personalities or split personalities. In addition, it seemed to me that a similar concept could be incorporated into our mask.

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My first research was about Henri Matisse, whom our tutor Matt has introduced to me during a technical workshop. He was definitely a good starting point because I inspired by his understanding of space and forms through collages. Henri Matisse was a prominent French artist (1869-1954) known for developing the paper cutout technique. This working method enabled him, as he quoted, to draw "with scissors on sheets of paper coloured in advance, one movement linking line with colour, contour with sur-face”. So, using movable paper cutouts let Matisse experiment freely with how shapes were placed in space and in relation to each other. In general, I really like his free use of bright gouache papers and the geometric forms he creates, especially the not ordinary shapes that make his work so distinctive to me. Don't we all think it’s interesting? This stunning artist should be studied more in my future projects.

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JSTOR is a digital library of academic journals, books, and primary sources.

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We were given a task to create 2–3 maquettes for masks or costumes using different materials. Based on this, I decided to attach pieces of coloured paper onto cardboard shaped like a face.

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I wanted to experiment with texture and form. The first part of the mask was made with crumpled paper pieces, meanwhile the second part had strips of flat paper, showing a sense of process and movement. Accordingly, these strips were gradually transforming into the crumpled texture.