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I found that out of all of the traces prints this ghost seemed to have worked the best so I decided to use it for my final

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This little trace mono print also worked alright so I used this as my black and white final

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Ever is over all (1997)

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Trying to echo the style of ever is all 1997 by pipiloti rist as I really loved that piece

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Sip my ocean exhibition

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Pipilotti Rist: Sip my Ocean / Museum of Contemporary Art Australia, Sydney

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Martin Parr is a British collector and photojournalist born on May 23rd 1952. He was born in and grew up in the suburbs of Surrey and developed an interest for photography at a young age that his grandfather encouraged him in as he too was a photographer.
He went on to study photography from 1970 to 1973 at Manchester Polytechnic.
Parr became interested in film making and began to use his skills for the likes of advertising and fashion.
He has since became especially well known for his inventive photo projects of modern British life. He has won multiple awards for his work and also went on to exhibit his work many times. He has also worked as a professor on different occasions including his work as a professor for photography at the university of Wales Newport campus  (2004-2012).
More recently in 2019 his Only Human exhibition opened at the National Portrait Gallery. It included portraits from around the world with Britishness being a central theme with projects that explored the British identity. He now lives and works in Bristol.

Martain Parr is widely known for his observational photography. During the 1980s the work he created gave a glance into the lives of  British working class people under Thatchers rule. Growing up in the suburbs of Surrey, he himself being born into the working class and living under thatchers rule at the time would've had an influence on this work and gave an understanding to what he was capturing making his work all the more raw and real. This work was the gateway to his now distinct style of photography is sharp and vividly coloured and this combined with the candid nature of his work gives a real glance into what he is capturing almost as if seeing it through your own eyes.

Using humour
Definition: "the quality of being amusing or comic"
This technique has been adopted in the British art scene historically so it makes sense that Parr chose to use this within his own work. A sense of irony or humour within his art is a language that helps to get across whatever he is giving us a glimpse into with his photos and also makes the Parrs work a little more pleasant and pleasurable to observe.

Use of flash
Definition: "Photography involving the use of a camera attachment that produces a brief very bright light"
Parr often uses flash in his images. This means he often adds additional light using flash on his images. This is one of the techniques he uses to create such vivid colour. Using studio flash in his daylight scenery also helps to create the loudness and liveliness that his work is so well known for.

Use of a wide-angle lens
Definition "a lens which allows you to photograph a wider view than a normal lense"
This is another preferred technique of Parr and this technique is what helps to create a field of view that gives us a hyper realistic view into whatever scene he is shooting and help make us feel as though we are really there as this angle is a similar likeness to how the human eye perceives a scene. For this reason, the preferred lens of Parr for his street photography is a 35mm.

The main focus of Parrs work is humans and their cultures- especially British culture.
The street is one of the main environments that he captures his work in as the street is a melting pot of people and their cultures and a good place to get a feel of what an area is and what it is known for.
The beach is also a recurring environment that his work takes place in, when asked why Parr had this to say "I like the fact that they’re open-ended spaces where people can enjoy themselves, where people can relax and be themselves. There are many different ways you can photograph the beach, which I’ve employed over the years; all beaches around the world are different, and all people are different. It’s where people go for leisure and they’re just lying there, you know, ready to be photographed. I’m also drawn to the fact that it’s slightly shabby in this country, it’s slightly falling apart."
Another note on the context of his work was his clever decision to create a project that focused on the working class and then another project that focused on the middle class of England in the 80s. The contrast between these two photography projects: The last resort ( published 1986) and The cost of living (published 1989) shows just how opposing middle class vs working class culture was in England at this time even though these groups of people were all living in the same country under the same government.

During the 1980s the work he created gave a glance into the lives of  British working class people under Thatchers rule.

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Preparing lobster pots, Newlyn Harbour, Cornwall, England, (2018)

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Born in Cape Town, South Africa on August 3rd 1963.
Her mum was a homemaker and her dad ran the vineyard that belonged to the family since 1916. She grew up with two older brothers and they were raised protestant (this was the main religion of the dutch settlers that landed in South Africa in 1652).
Although segregation wasn't discussed upfront she had a faint idea of it from an early age as there was a maid working in her house and although they were very fond of one another they were not allowed to sit at the same table. Apartheid became more apparent to her the older she got but it was always defended as fair and anyone who spoke against it or wishes for the cultures to mix were seen as instigators and terrorists. She was interested in art from an early age and always gravitated towards portraits and figure drawings even then.
She started her studies of a BA in viral arts in 1972 at Cape Town university and finished them in Haarlem in the Netherlands.
In 1976 she moved to Amsterdam where she would also study psychology and since then she has worked and lived there.
She has won many notable awards for her work and exhibited work globally. In 1995 she represented Holland in the Venice Biennale and is considered as one of the most influential painters currently in practice.

She is most well known for her portraits but the portraits usually represent and emotional state or frame of mind rather than the actual person. Her work is often filled with feminine sexuality and loaded with emotion. Her ability to provoke emotion of such range in her paintings probably comes from her interests and studies of psychology. Her other studies that included ethics and philosophy may have also influenced her to Create controversial artwork that can be dark and disturbing. The impact of her upbringing as a white girl in South Africa at the time of apartheid also led her to art that reflected political concerns. The sexual nature of her works were influenced by the fact she had seen so many beautiful ladies in life drawing and she was bored of that she wanted to depict sexuality in a more fresh way on top of that she lives in Amsterdam which is a very sexually liberal country so this too had an influence on the erotic nature of her work.
I find it so amazing how she can explore themes in a way that she can depict them in a way that is so visually bold and creative.

She uses a wet on wet technique this is when you put a new layer of oil paint on top of the last before it has dried.

The central themes of her work include sex, race, guilt and innocence, roughness and gentleness. she really pushes the limits of what a portrait is by focusing on an emotion or attempt to provoke a feeling than the actual figure its self.

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She was born in Rheintal, Switzerland in 1962 as Elizabeth Rist. Her nickname growing up was Lotti and she mixed this with a character in a kids book called Pippi for her artist name in 1982. She studied commercial art, illustration and photography at the Institute of Applied Arts in Vienna, Austria, 1982 – 1986. She also Studied audio visual communications (video) at the School of Design in Basel 1986 to 1988. In this time in school she created her first video where she sings "I'm not the girl who misses much" and jumps around frantically in her dress. From 1988 to 1994 she was in a band called Les Reines Prochaines.
She received  received a Premio 2000 award for her video "ever is over all" (1997) a video where a lady in a dress walks down the street smiling and smashing car windows with a big flower. Since 1984 she has won awards and exhibited work all over, from San Fransisco to the Venice beinnale and she now lives in Zurich and in the mountains of Switzerland.

She is most well known for creating surreal experimental video art much of it heavily saturated in colour. Her work has a recurring theme of the female body which might be why it often gets characterised as feminist art. The time she spent in a band in the 80s influenced the music-video-like aesthetic of her video artwork at the time. Her work is vividly coloured and dream like. She combines aggression and destruction with soft and sensual femininity in works like "ever is over all" (1997) and  "sip my ocean" (1996) and the combination of these two seemingly opposing vibes create an empowering hopeful theraputic atmosphere showing female empowerment.

High Camera saturation is a technique where the intensity of an image or video is turned up resulting in very vivid colour. This helps Rist achieve her dreamlike intense feel to her video art. This high saturation makes combines realist perspective with a fantastical one and this is one of the main charactaristics of her work.

The environment in terms of how her work is displayed is often immersive and multi sensory which is a unique characteristic of her work. The setting of much of her work are places such is within nature, or on the street and the central figure in the environment are often women and the female form other it is bikini clad women or her own face pressed against glass. The environments of most of her work appear half realistic and half dreamlike giving some sort of reflection of daydreams or imagination. This environment she creates is often described as surreal and is unique to her video art and helps her art work to be so interesting in my opinion.

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For Whom the Bell Tolls (2008)

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Jule-die Vrou (1985 )

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Feather stola (2000)

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The painter (1994)

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Selfless in the bath of lava (1994)

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Sip my ocean (1996)

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Be nice to me (2000)

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Pipilotti Rist - Be Nice To Me (Flatten 04)

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In order to understand the outside of an object (the skin) we will be looking at the shape of the peel scaling it up and then recreating it by rebuilding it scaled up and making a plaster cast of it.
After cutting the peel off of an orange
we traced this peel
and then scaled it up so that it was a larger trace to cut out.
I then cut out the scaled up trace of the orange peel

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Trying monoprinting for the first time using photo reference from my research
I did a crosshatch drawing for this print but I wasn’t sure if I liked how it turned out

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I then tried using a continuous line drawing for my print and I preferred how this looked

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Stacked chairs positives and negatives with charcoal and chalk

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Positives and negatives from my own photo reference which charcoal and white chalk

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Self portrait using acrylics and experimental technique and colour scheme

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Exploration of different types of painterly techniques

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Understanding tonal range of graphite stick drawing from buildings across from studio

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Very quick continuous line drawings of the buildings  to help understand line and shape

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Printing using additive technique (subject matter based on own primary research photos)
Enjoyed this painterly way of working and it fitted the subject matter well

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Monoprint using reductive technique
This method was much more abstract but I didn’t find I could convey my theme well with this.

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Ghosts and failed print from this class that are being kept to work back into

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Rachel whiteread

She grew up surrounded by other artists and her mother’s art.

Her first favourite artist as a child was Picasso.

pierre de francesca was a big influence on the composition of her art like the room. He is her favourite historical artist.

She takes casts of many different things

Ghost was her breakthrough peice and in this peice she actually took a cast of the inside of a room.

She then took a cast of a whole house in her work “house”. It is regarded as one of the great sculpture works of the 20th century. So she came very well respected in the art world she won awards and exhibited and commissioned work globally.

After all these huge works she moved back to more intimate works through the 2000s things like doors and windows.

Poetry inspires her and her work also inspires poets. Similar to poetry her work tells a story in only few words.

She is of the opinion that art should be well thought out and intellectually stimulating and she finds “lazy” art uninteresting.

George Orwell was another writer she felt inspired by and after reading 1984 she decided to make a sculpture from the room that he worked in to tell a story about his work and life. She ripped out the inside of the room before taking a cast of it as she wanted it to have a sort of war torn feel to it relating to his life and memories.

She believes because the titling of artwork alludes to what it is or means that this was something she tried to choose carefully and simply and if she didn’t want the name to affect perception of the artwork she would simply leave the works as untitled.

She now has two kids and works differently than what she used to- taking breaks from her workspace and a much smaller team because most of her sculptures are on a more intimate small scheme than what they used to (with a couple of exceptions).

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Looking at texture, printing with objects. (Mesh and tinfoil)
This work was only experimental to see if I could use this to fit in with my theme

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Photocollages from research images and video still

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Rebuilding scaled up model of orange peel and sealing with glue gun and gum tape in preparation for plaster cast

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Working back on top of failed prints drawing from photo references and video still

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Two continuous line monoprints taken from video still.

Really enjoyed the trace printing like drawing method, there is a simplicity about it but I am able to convey my image reference and theme well

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Slightly unsuccessful painterly print that I drew on with posca to add some extra playfulness.

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Small painterly studies of research photos using techniques explored in previous class

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Beginning on artist research in sketchbook

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While In the previous process we used an already existing pattern (the orange peel) and scaled it up. This time we are building another object that we are looking at but we are creating the shape ourselves by looking at our object (for me, a broken brick) and figuring out how to recreate that object into the slices.
Cutting shape of object (broken brick) out of a loaf of bread and pouring plaster cast in to create a cast version of said object

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Continuation of painted studies from artist research in sketchbook

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Pouring plaster cast and making cast of the same object (orange peel scaled up and rebuilt)

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2 A3 drawings working out composition for final drawing from photo collage

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Drawing from photo collages in sketchbook to create A2 final^ as seen above. Using coloured pastels to add a touch of colour.

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Compositional thumbnails and further artist research. Looking at Jenny Savilles work and deciding on a multiple viewpoint composition for this particular development to give a sense of depth, speed, urgency etc

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Developmental paintings

Working with thick impasto paint on the face and juicy colour to give an energy to the fast moving painting. Brushwork is messy and playful as is colour choice as this was something I wanted to incorporate from my artist research.

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Taking negative space drawing from week one and creating some of those shapes with sticks to form a 3d structure then creating a skin over the structure with masking tape. Thus again is creating my own pattern and structure from the shapes that I have drawn constructing those shapes into a 3D structure and adding a skin and then later removing that masking tape skin. It is like the orange when we took the skin off except this time the skin will be my own pattern instead of a doing pattern like the orange skin.

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Completed orange peel sculpture

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Drypoint print. Taking inspiration from the artists that I studied. Exploring messy scratches and tone similar to the work of William Kentridge and then adding colour with watercolour in the same way Louise Bourgeois did. I like both of these prints but the colourful one seems to match the happy energy that the girl being depicted radiates, it is full of energy and the saturated colour and messy marks help illustrate this nicely.

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Cling film technique used in background to create texture this worked beautifully and I want to include it in my final painting it works well to give the painting depth yet keep the focus on the more polished subject. This wet abstract technique is reminiscent of my Marlene Dumas artist research.

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Full skin added to structure using masking tape. A new skin pattern has been fully created by construction of stick structure from drawings and then wrapping it fully with tape. The stick shapes are concealed but new ones created with the tape.

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Creating own measurement and measuring monument in footsteps to finger print ratio. This was a good way of understanding a large scale object in my own way and thinking outside of the box rather than a ridged and mathematical way of thinking. It was creative and opened up another way of thinking about measurement entirely similar to the problem solving that came with reinventing the kilogram in the documentary that we watched

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Starting final painting
Angles slightly off here so decided I am going to restart my final painting

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Restarting final painting and taking more time as I wasn’t happy with my first attempt

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Tracy Emin

Born in 1963, Tracy Emin is an English Artist Who is well known for her controversial self exposing work. She was born in Surrey and grew up in Kent and raised by her mother and father who ran a hotel. Her father abandoned them leaving her mother in bankrupcy. She was then forced to live in poverty with her family.

When she moved away to study study fashion at the Medway College of Design she met Billy Childish. Her relationship with him and studying printing  at Maidstone art college are experiences that shaped her as a young artist.

After studying for and recieving an MA in art at the Royal College, She went on to destroy the work she made there after she left and suffered a traumatic experience.

She has had a turbulent life and has suffered from mental illness, addiction and her experience with this and gender issues are mostly what her art focuses on.

In 1997 her work Everyone I have ever slept with she created a tent with all the names of the people shed slept with in her life and the biggest most central name was billy childish, showing the lasting impact he had on her life. This work was completely self exposing and the art came from one of her most private parts of her life made into art for public consumption.

Her next breakthrough work was highly controversial it was called My Bed. Similar to marcel duchamps urinal sculpture this art work was readymade. It simply consisted of the artists dirty bed, used condoms bloody pants etc. This artwork again was extremely exposing of a dark side and heavy side of her life filled with emotional turmoil. In many cultures the darker unsanitary parts of life like messy rooms should remain private and this is why tis artwork caused so many uncomfortable reactions.

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John Chamberlain

Born in 1927 in rochester Indiana, John Chamberlain grew up in Chicago and served in the navy as a young man. He later attended the black mountain college  to study sculpture.

He is known for his industrial looking scrap metal sculptures that are crumpled and folded into abstract shapes often with bright pops of colour.

His work often used steel from autobodies and while studying at the art institute in Chicago he became heavily inspired by the work of David smith. He described Smith’s work as “very strange looking” and explained that he had never seen anything like it. Like many sculpture artists of the 1960s John chamberlain eliminated to pedastal element of his sculptural work, instead having his work free-standing on the floor.

His work had a tortured feel to it and damaged twisted metal that looked like it had suffered crash damage which could have been influenced by the fact that he served in the navy as a young man. He was criticised for using scrap metal from discarded autocrats as this metal could have came from tragic car accidents but this could have been part of something he was trying to communicate in his tormented maltallic works.

His works are abstract and often have folds in them similar to draped fabric.

His work Dolores James (1962) like many others was first assembled purely by balancing and later welding. He often talked about the importance of weight and the parts of metal marrying together naturally with the state they were found in rather than trying to force them together or deliberately fit them together. For me - I learned while making my skin sculpture in class that letting gravity do the work rather than trying to force the object to the shape I  wanted it was important as it held together and as he said “married” together better. The bold colour and abstract shape of Dolores James was very much reminiscent of the abstract expressionist painters from the time; almost as if one of their paintings was in a sculptural form.

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Similar to the way out body fills up with our breathing it also decompresses and deconstruction of the sculpture was a good way of illustrating this

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Completion of final painting, really happy with the results- a more polished effect on the face but more painterly to give an impression of clothes. Using the same cling film technique for my background as I thought this was successful in my bunny development. It gave it an interesting depth and atmosphere and I found this to be successful. This wet technique replicates the wet on wet painterly style of Marlene Dumas from my artist research.

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Louise Bourgeois

Born on December 11th 1911, Louise Bourgeois was a Fresh American sculptor, painter and printmaker. She mainly used drypoint technique in her printmaking. She started creating drypoint prints in the 40s and then picked up printing again in the 1980s. The themes of her work included life and death, sexuality and home life. Much of her work reflected upon the trauma she had endured as a child and her relationship with her parents. Living through the First World War as a child also had an influence on her work.

Her work “the young girl” 2016 uses drypoint and hand colouring which is something that I would like to experiment with in my own figurative wok as it works well. This work explores the identity of a young female and her body is shown separately on either side which to my understanding illustrates the disection and criticism that a young woman faces for her body from such a young age. Her hair is shown to be growing out of her head like branches and its a nice way of representing growth, puberty and a young woman forming her own opinion. It has a rebellious feel as these branches grow out of the circle that the young woman is held within.

Her work “empty Nest 1994” is much more minimal in its mark making and very much a linear minimal drypoint print. She suffered from a fear of abandonment and loneliness in her life and this simple print beautifully depicts a woman who has lost her child as they have grown older and fled the nest. The woman hands are up at her face and her knees are bent high up like she’s curled up in a vulnerable fetes position which we often curl u in during our most sad and empty times. Her work is mostly based on memory so everything has her own charming style to it and is far from photorealistic making it interesting and very personal. The lack of surface tone and keeping the minimal amount of lines to create this print brings the sense of emptiness that is being felt by the woman herself and the artist in times of loneliness.

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William Kentridge

Born in 1955 is a South African Artist. He is a white artist who was around for the time of apartheid in africa however his father was one of the leading anti apartheid lawyers in South Africa and his knowledge of the injustice and atrocities that went on during this time was also something William felt strongly about. His work explores oppression, colonialism and conflict- all of which relevant to his South African upbringing.

In his work “domestic scenes” 1980 he focused on shining a light on the black maids, nanny’s, and cooks and his relationship with them and their relationship with elite South Africans. Serving things to them and almost being invisible to them. These works are etchings using black ink and they have a nice movement to them.

His two drypoint series were called Thinking aloud 9 small thoughts (2004) and Copper notes, states 0-11 (2005). These etchings are playful, loose and full of movement. While he explores different ideas he conveys this by using exploratory techniques that are lose and rough in their application. 8-11 look as though when you put the three together they are animated. The face subject appears in 8 as light with a light background and then fades into a haze of black etched scratchings as it reaches eleven. These are interesting studies to look at and useful to me looking at suggesting tone in a playful way in my own drypoint prints.

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Negative space drawing of stacked chairs

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Negative space drawing of stacked chairs

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My object is my comfort object that I have a significant emotional attachment to. It is a hippo teddy that I named bear that I have mostly slept with my entire life. My Nan bought it for me on my first Christmas and it has travelled with me and also brought me comfort in times of emotional distress.

What exactly is an object?

a material thing that can be seen and touched.

How do you define what an object is?

To me it is a thing that could be hidden or in the open that is visible to the eye or to touch regardless of wether is is hidden it may be accessible to anyone or any thing that is in its area. Even if you are blind you can touch an object and if you are deaf you can still touch the object this is unless it is an object hidden, not yet discovered or rediscovered or off limits to certain groups of people.

Is there really any objects?

As living beings we can only perceive objects with the senses that we inherit. But if you were a being with no senses maybe objects wouldn’t exist, and who is to say that our senses are correct? I think there are objects to me as a human being as my brain has decided to process that there is, but I cannot say the same for if my brain were to have a different perception of what phycically exists.

To our current understanding on a scientific level objects like everything else are made up of lots of atoms vibrating to create something almost like a hologram that shows us that the object is there.

Can there be objects in art?

Yes there can be. If art is supposed to be interpreted, an an object is something you can feel with your senses and interoperate

On a personal level or on the level that the artist found or created this object with.

Why do we care about objects?

Certain objects have personal or sentimental value and hold memories like for example the bear my nan gave to me as a child that I’ve slept with ever since, this object brings me comfort. Equally they can carry traumatic memories depending on the specific object. I think that humans fear lonliness/ isolation and tend to attach themselves unconsciously to objects that hold the value of memories. Objects can have interesting histories and humans find it an important thing to keep our history documented in order to try and understand what we are and objects are another way of doing this.

Do objects matter?

This again is personal. The teddy bear I have does not matter to a stranger as it matters to me. And equally a historical artifact that may matter to many humans does not matter to other animals. Equally a banana in the jungle that is not inhabited by humans but only animals, this banana is a food source to an animal like the monkey so this banana is more important to that monkey than it is to us humans. Most man made objects matter on a more superficial level than a life and as humans I think that made objects may matter more to us than to most animals as we are complicated beings and value things out with our own lives and survival. However having said this some man made objects if you class machines as objects do help with survival and these objects matter to any human who wants to keep living!

Is an object something that you make?

I think an object to me is something made by someone or something that grows in nature. And I’m my opinion the true owner of nature’s objects are earth itself and even though they can be capitalised on Or claimed the person who owns or inherits land will die and eventually their family will not own it and the fruit being sold at the market can be stolen so nature’s objects to me aren’t owned by one person. When it comes to man made objects the owner of the object includes the person who came up with the idea and the people who made it. So objects can be something you either make or find.

Is an object readymade/ found?

Yes we can only perceive an object if it is made or found. The process of it becoming an object means that it is not an object until it has actually been created or found.

Who is the owner or author of the work if the artist didn’t make it?

This is something I have thought about before but I believe the author is everyone who went into making it and not just the artist themselves. They made the idea, that doesn’t mean they made the object as an idea is not something that can be defined as an object. However without the idea the object wouldn’t have came to be so they should be the first listed owner but the makers should definitely be credited in my opinion.

Is an idea more important than the thing/ object?

Without the idea the object couldn’t come to be. And you can have an idea without an object but not an object without an idea. But the person attached to the idea and who came up with it is no more important than the people who help to create it.

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Using a composition from a collage in my drawing class to achieve a drypoint print. Scratchy playful mark making used with a bit of a surface tone

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Playing with linear minimal background and use of more etching on the subject to draw more attention to the figure in foreground before the before the act of leaving a trace behind them (discarding of a cigarette on that bin)

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Working out the image reference I would use for my final and what composition I would go forward with

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Deciding what technique to use for final

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Deciding what technique to use for final

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If I was going to create a drypoint I was figuring out a more pulled together yet still playful way of etching so here I was practicing how I would create that in my sketchbook

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I then decided my that since the trace monoprint worked so well with this image and was really visually interesting that I would make a trace monoprint similar to the one I had done previously but try to change the drawing and make it a little more intricate while still playful

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Failed first attempt at final in the studio so final will be created at home. I missed out the part of the process where I blotted off the ink with an initial sheet of paper before printing and I now know this is likely the reason it failed.

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PRINTMAKING REFLECTION AND EVALUATION

We would like you to reflect on your final prints and evaluate your creative process which led to your final artwork by answering the following questions:

1. How well did you respond to the brief of “Environment” – did ideas form easily? Was it quite challenging?

I know that instantly for me I am totally drawn to people in my environment so I found it easy to think of what I was interested in to make work from. I am also drawn to the traces that people leave behind them and the story these traces tell. It can be a cultural thing like the buckfast bottle or a childlike thing like the toy or even a coping mechanism like the discarded cigarette and it tells a nice narrative and evidence of the person who left it. However if I could go back I’d either pick just the still lives of the discarded objects or the people with their items to save confusion. Regardless of all this I made a few peices of nice work in amongst everything I done during this project that I am proud of.

2. What has your process been like?

For me it’s been my first time working with print making and I have really enjoyed just trying to be playful and learn the different techniques and processes. I would say my process has been very experimental because of this. Trying out more playful styles to see what would fit best with my theme and trying not to just be too precious and keep everything tight and ridged. This included painterly stippling brushwork in my additive print and scratchy messy lines in my drypoint print. I had to solve the problem of what methods would work best for the particular subject matter.

3. What do you think of your ideas and how did you develop them?

I think my ideas were thought out in that they did include many different types of traces that people left but I also think I could of pushed them further had I had more images, not only for print making but the project as a whole. However I did develop different styles with these ideas and try and fit particular styles to particular ideas. For exapmle my more figurative work of the girl on the bench who left her bag was taken from my drypoint artist research as this was a successful method for an artist to record more figurative work. And my additive print of the bunny had a softness to it in order to try and capture the essence of the young child who had left it there, the softness of its fur and also the solemn, lonely atmosphere that it radiates. If I were to redo this project I would’ve been more experimental and tried printing onto different materials etc and just pushed a bit further.

4. What worked and what didn’t?

I think that the example of the bunny I just have worked however the first version of it actually failed. I also think that the first trace monoprint I created of the bottle that I created wasn’t the best. I found that the line drawing method had so much more charm and was much more visually pleasing and interesting which is why I chose it for my final eventually. I found that printing with objects didn’t work out as well in terms of fitting in with my theme as it was quite abstract and if I could go back i would have played more and pushed it a little further to make it work in response to my brief. The failed prints made for a good base to draw on top of for my drawing class so they weren’t just cast away and that recycled nature gave a nice depth to my work. Also the first attempt at my final trace monoprints didn’t work very well and failed quite badly but this was because I missed things from my process.

5. How well does your final meet the requirements of the brief?

For my final I selected the best trace monoprints from the ones that I had done. In response to the word environment I chose the traces the people leave in the environment and the Image of the Buckfast bottle does illustrate a cultural trace of a Scottish individual. The final print in black and red is at least in multicolour like the brief required and the other is in black and white. So in terms of colour I think that the brief requirements were met but all in all this is definitely not my best work and I would be more likely to use my developmental work in my actual portfolio itself.

3. Are you happy with your finals? If not how could you have improved?

Im definitely frustrated and not very pleased with my finals. I think I made nicer work throughout my developments. I think that this is definitely down to time management. If I had taken longer to prepare my finals correctly I know that I would be much happier with them. Next time I could improve by allowing myself sufficient time to make sure I have the correct materials at hand and utilise them properly. I could study the chosen printing process by looking over the tutorial videos and making sure I have plenty of practise attempts before utilising my last precious studio hours wisely. My finals not going to plan has definitely taught me a lesson about time management and I will take this forward into my next project.

Remember to analyse your work, not describe the process. We don’t need a full run down of the print processes but rather a reflection on your process and the work you have produced.

(100 work minimum for each question)

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Failed print I drew back on with soft pastel

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Failed print I drew back on with soft pastel

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Failed print I drew back on with posca pens 

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Failed print I drew back on with posca pens 

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Failed print I drew back on with Soft pastel

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Failed print I drew back on with Soft pastel

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These sculptures were made from cutting patterns into paper with a scalpel. They helped to develop an understanding of patten making but also a transitional peice between 2D and 3D work. The flat paper is 24 but the protruding marks made stand out from the page. The pattern from this one was vertical horizontal and diagonal wavy lines. The marks made look sort of troubling claw like marks. And with dramatic lighting they also cast interesting shadows that have the same sort of spontaneity of the abstract expressionist painting.

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I also created one with various circular shapes, the shadows were a little bit more predictable for this one and emphasised the circular shapes. This one reminds me of the craters in the moon and again here I am playing with the effect that light has on the surface and holding it to the side rather than directly on top makes the shapes pop out more

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Turning the culture fully into 3D. Making the sculpture a free standing shape makes it more into a 3d object and dramatic lighting seems to affect the scale. I think from this angle of photography and also the angle of the lighting makes the sculpture look like it is almost on a big scale- like we are looking up at it in a gallery!

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This video helps to illustrate the effect that different angles of lighting have on the sculpture. They effect the scale size and shadow effect that the sculpture has and help us to understand how a sculpture like this can either look like a lamp on a table or a large gallery scale sculpture

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This photograph is taken at an angle which to me makes the sculpture appear smaller as the viewer is looking down on it. The light shining through and casting a shadow on to the paper bellow also helps to fill the space

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3D version of the circular sculpture. I wasn’t sure what shape to make this so I just contorted it into a random free standing shape and I like the effect the shaping of the structure and lighting had on the big circle I think it makes it become a focal point as your eyes are drawn towards it

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The kilogram is measured by a historical artifact that was created in france in 1889 but because this was a man made object it slowly degraded getting lighter and lighter and this has an impact on all kilograms across the world as they are all based on the weight of this artifact called Le Grand K.

This means that the current kilogram is not truly accessible as the true kilogram is locked in a vault in France and all the other kilograms on earth are based on this weight.

So scientists from all over the work set out to redifine the kilogram into a new and truly accessible way to define the kilogram. By doing this they wanted to use a constant of nature rather than an artifact as this is something accessible to everyone on earth.

The universal constant that the scienctists chose that they wanted to measure the kilogram by was planks constant. It relates mass to frequency as everything in nature is made up by atoms and it relates the speed these atoms vibrate at to to the weight of the object they make up. In the end all the scientists from all the different countries got together and a final decision was made at a conference that planks constant would be the new way to measure the kilogram!

Watching this documentary helped me to understand the measurement of objects. I have never really though about the making of a kilogram and was shocked when I found out it came from a historical artifact.

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It became apparent that my inks at home have dried in their tubs so I will now have to select my final two best prints out of the failed prints. This is definitely not something I wanted to happen and next time I will manage my time correctly to prevent this from happening again

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Combination drawings

Combining line drawing from first week and more pulled together refined drawings for an overall more playful and interesting style. Combining different images into composition in a balanced way.

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Scaled up drawing monochromatic

Keeping a loose and playful approach and changed composition slightly. Used Woden desk to create rubbing texture. Combination again using line drawing and creating a shadow and centre on bunny as it is a nice focal point for this peice

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Group mind map