We had different tools to mark make - pens, pencils, rollers, templates to draw over etc. 

I feel ghost printing is less detailed and more simple and neater compared to normal mono printing.

• playing around with different inks, different colours helped branch out further into the study of mono printing and just how far I could go with it.

I would definitely do more of these especially in colour because they're so much fun to make and create. The different tones by how much ink and the pressure when making these lines or pushing the paper down enough onto the ink is very crucial to how it turns out.

The only downside is cleaning big amounts of ink off the plates because of how much is there and how much mess it makes.

That way I could showcase more detail up close. 

For example, the alien looking creature was supposed to just be an alien but came out quite different from what was expected with other marks and smaller details not seen unless zoomed in on or looked at very closely.

By cropping and zooming in on certain parts it creates a more individual, personal connection with that specific mark as well as emphasising on the tone and smaller details that aren't as noticed from afar.

Furthermore, it does create more mystery on figuring out what exactly has been made - more thought process on the ideas of what it could be.

I felt my documentation could have included some photographs, but I also felt videos were a lot better for me to have for this induction as it shows how I am actually using each tool. This helps with any confusion using any of these in the future as well.

This process makes any process in cutting objects a lot easier.

This also got me thinking about my project and how I could use this specific tool to help me cut through my materials rather than using smaller hand saws that made it very difficult to cut neatly and precisely.

The arrow patterned stamp pressed onto the sheet more made certain parts of the stamping blanker which made it look like a more geometric style piece of work.

• safety goggles

• Emergency stop buttons under every machine.

• When using certain machines, use a tool instead of your hand to move the wood. (Especially for slicing through wood or foam blocks etc)

• Make sure hair is tied up, anything loose is put away or taken off as it could get caught in or on a machine.

  
  

I used an N instead of a H for my “wHo” as it looked like a H to me. Felt more unique and genuine. I then made a mistake quite small with picking up one of the letters, but I felt that made my work even better as my project is about how imperfect humans are and that each person is their own. We are all flawed in some way, and this showed how to me maybe this is imperfect but to another this is perfect in their eyes.

By practicing before placing text onto the thicker final paper I got more of an idea of what I wanted to do and how I wanted to place my letters.

However, I do prefer the practice paper than the final piece as I felt it was more authentic. It was less planned out and more go with the flow which I think fits my project more. Although, I do think that this contrast between the two also fits very well with my project idea of trying to perfect oneself instead of just being yourself and making mistakes and accepting them. For instance, I made a slight "mistake" with smudging the "R" but this became part of the work by accepting it. It's what makes it unique.

I could hang these on my shelf side by side to show the difference between each which could showcase this quite well.

• What could I do differently?

  • I could have applied more question marks or marks in general to the final piece. I personally think there is too much empty space left.

• The plate on top to heat the actual print varies on the size of the print. 

• Once the print or material is heated pull the object into the material, so it covers the object. 

• Place text piece into clay lightly and start carving into the shape using clay tools.

• If you want it to be really deep in the clay press harder.

• make sure to clean off powder or any clay excess after using type -> use water to wash off and dry using paper towels.

• Place types back into right place. 

Make sure to wash hands after washing the cyanotype off.

Steps:

1. first tape your image onto the glass to keep in place. Once ready add your cyanotype on the separate paper on top making sure each side and edge is stuck on the window as you want to avoid it being exposed anywhere else.

2. Wash off cyanotype in a tray containing water. There should be a yellow/greenish colour washing off them. Make sure all the cyanotype is washed off or else you will still have greenish yellowish residue left on your work.

3. This did not work as the images didn't transfer onto the cyanotype paper.

4. Using a UV light instead of the window method is a lot better.

• JPEG:

  -It’s a good format for printing and storage, but

  less useful as a working fi le type because it’s what’s known as a “lossy” format.

  Every time a JPEG is saved

  -it loses quality because of the build in compression, this is what gives JPEG the small fi le size. JPEGs do not

  support Layers

• TIFF - High quality format, useful for printing, but takes a lot of storage space

• PSD - photoshop document

  • all files should be converted to PSD on opening right through

    until you have a finished version.

  • PSDs support layers, transparency and many other features, but are terrible

    for printing because of the layers and require large amounts of space to store

• PNG - Useful “web graphic” file type, also supports transparent backgrounds which can be very useful. Reasonable storage

  • suffers from the same compression format as JPEG.

  
  

• one of most important component of an image is "resolution"

• Resolution is measured in "pixels per inch" - NOT CM

• Print resolution for Web or Screen graphics (E.g. for a Website) is 72dpi

• Print resolution for Print graphics is 300dpi

ALWATYS PRINT IMAGES FROM PHOTOSHOP

• Not resampling will keep the same number of pixels in the image.

  • For example, an 8mp image resampled from 72dpi to 300dpi will remain an 8mp image, even though the image’s physical print size gets smaller. Effectively pixels have been squashed closer together but the number remains the same

• Resampling will add or remove pixels from an image. Effectively, doing this will decrease image quality and

  can lead to blurring. Particularly if the image is low resolution and has a small physical size. Images downloaded from the internet - sourcing reference images online find “Large images” in the image search.

• MEGAPIXELS - mp - 1,000,000 pixels

• Image Menu ->Image Size

  Multiply the Width in pixels by Height in pixels.

• 2480 X 3508 = 8,699,840px

• ^ Approx 8.7 mp

File, edit, image, layers, type, select, filter, 3D, view, window, and help

TOOLS -

Located to left of screen. Hovering over "pop-up". "learn" - demonstration.

CONTROL BAR -

also known as option bar.

Windows - check if control is clicked.

Should be under menus at top of photoshop window once checked.

PANELS -

Located right hand side of photoshop.

can fully customise the Panels using

drag and drop. New Panels can be added from the Window Menu.

1. Rectangular Marquee Tool - SHIFT whilst selecting gives perfect square.

2. Freehand Lasso, Polygonal Lasso and Magnetic Lasso

3. Quick select tool

4. Magic wand

   
   

Embedding an image places a copy of the fi le into your Photoshop document. Any edits would now be done on the placed layer

Linking a fi le creates a “Smart Object”

Editing the Linked file -> update the image you have put into the document.

SELECTION TOOLS AND CUT AND PASTE

Open both files

USE selection tools

Edit menu -> copy

For image wanted to create new layer - Edit menu -> paste onto the other image.

SIMPLE TRANSFORMATION:

Basic change to selection or layer.

Includes move, scale, skew, reflect and rotate.

Control bar -> check "show transform controls".

^Selected layer will have bounding box -> outline with eight boxes are corners and centres of sides -> nodes

"newer versions of Photoshop, the default option is to scale proportionally, but in older versions, you will need to hold the Shift key. Holding down Shift will also lock the Rotate Tool to compass points.

(E.g. 45o, 90o, 135o, 180o, etc). Click and dragging one of the Nodes will Scale. Hovering the mouse just outside the bounding box near a Node will bring up the Rotate option. Again, click & drag to Rotate."

ADJUSTMENT LAYERS

Allow non-destructing editing. Can be switched on and off.

"To apply an Adjustment Layer to only a single layer within a multi-layer fi le, use the Alt-Click between the Adjustment Layer and the Layer you want to apply it to in the Layers Panel."

Linked to Layers Panel. If not -> Windows -> paths

Paths have Anchors and Handles

Anchors -> Square dots sitting on Path.

Handles -> Sticky out bits tangential to Path.

3 Main ways we use Paths:

1. Path to make Selection.

2. Selection to make a Path.

3. Add Stroke to Path.

Drawing Paths:

Two methods to using pen tool:

"Firstly:- Drawing a straight Path.

Click the start point. Click the end point. As long as you keep clicking, you will continue to draw new

straight paths. If you click back on the starting point, it will close the Path, you only need to do this if you

are going to use your new Path as a Selection.

In the Paths Panel (another tab in the Layers Panel) you will now see that you have a Work Path showing

in a similar way to the way the Layers Panel shows layers. You can also have multiple Path Layers too.

(E.g. “Path 1”)

Secondly: - Drawing Curves. Generating curves is not actually difficult, but does take a very specific way of

working and a lot of practice to master.

In the same way as generating straight lines, except, the sequence is: - Click the start point. Click and HOLD the mouse button down at the end point, KEEP the mouse button down and drag the mouse to make the curve".

CNTRL AND ALT

"With the Pen Tool selected, create a curve. Now, hold down the CTRL Key, note the cursor changes from a “pen” to a “white arrow”. This is the keyboard short cut to the Direct Selection Tool, hover the mouse over the start or end points (“Anchors”) of the curve and click and drag the Anchor. You’ll notice the curve also has “Handles”, try clicking and dragging a Handle. You can reshape a curve “on the fly” using the CTRL

Key with the Pen Tool.

Holding down the ALT Key will change the cursor to a “V” shape. This is the short cut for the Convert Point Tool. You can use this tool to change the direction that a curve follows. The main use it to add sharp angles to curves. E.g. Shark fin type shapes.

Both these tools are very difficult to master and take a lot of practice, however, it is well worth the time and effort."

FILL AND STROKE

"Fill - is fairly obvious from context. It applies a fill colour to the current Path. While there are some complexities such as pattern fills, mainly this involves block colour.

Stroke is slightly more complicated, but also very powerful. Generally, in its most common use, adding Stroke to a Path adds coloured pixels to the area beneath the Path.

However, as shown in Fig. 2 you can apply many of the different Tool Bar options. To use this feature, do not use the Add Stroke to Path button from Fig.1, instead Right Click the Work Path in the Paths Panel and click the Stroke Path option here.

Once you have set done this and selected the required tool, you may then use the button thereafter.

Use illustrator or InDesign for text if better.

InDesigns Frame tool -> to add image from photoshop into InDesign.

Click on photoshop doc.

Start typing.

Creates a new layer.

Text stays editable and movable on layer.

OR

Click and drag.

Create text box.

Gives more options.

Hovering over Path created - Type on a path option -> adds text on path.

FORMATTING

Font, point size, alignment and justification.

Some accessed on option bar and some on windows menu - top of program - character panel option.

"NB - When working with Text in any program, it is important to remember that Fonts are installed on each machine individually. If you have downloaded additional Fonts for your laptop, those will not be available on the University machines or (potentially) with any external printing agency you may use. In this case the Font will be substituted for a “default”. This can potentially “break” your design layout. It’s also work noting that many Fonts are subject to Copyright and are not “free”."

"Good Reason to use Text in Photoshop. A valid reason for typesetting in Photoshop is to create a Web Graphic (E.g. A logo) using a specific Font.

Text applied in Photoshop then rasterised (effectively this means converted to an image) to a PNG becomes a bitmap image (with transparency) which can be viewed on computers/mobile devices/etc where the original font is not present. NB - Once Text has been rasterised, it can no longer be edited as Text."

Tree Filter -> Filter - Render-tree

Adding life to a scene - generates random high resolution of different types of trees.

Find Edges Filter - convert regular image to outlines. Useful for creating underlays.

Menu: Image->Adjustments->Black and White convert the image to black and white.

Do NOT use “Mode”.

Secondly, from the Filters Menu->Stylize->Find Edges.

Can also do -> Image->Adjustments->Levels to clean up the grey scaling.

Drop the “white point” and increase “black point” -> dramatically increase clarity.

Perspective Warp

Two modes:

1. Layout

2. Warp

Edit -> perspective warp.

"Layout mode

set up a grid matching the vanishing points in the image.

Use the circles at corners to set perspective lines.

Second grid will “snap” to the vertical of the first grid when the edges are close enough together."

Click Warp

Shift-Left Click cental vertical grid line.

Aligns vertical grid lines -> locks in axis.

"Shoot multiple images of the landmark or area you want to remove all unwanted Tourists (or Goths) from.

It’s important not to move the camera. Ideally you should use a tripod and keep the position fixed while photographing the scene. You will need at least two, but ideally three to six.

Using modern digital equipment, there is no reason NOT to have a large number of images. Remember, it is better to have too many images.

and only use some than not to have enough images at all... The likelihood of being able to re-shoot the same scene will probably be low."

Menu bar

File -> Scripts -> Load files into stack (all image select - Ctrl + Left click)

Press OK

Select -> all layers.

Edit -> Auto Align

Layer -> Smart objects -> Convert to smart objects.

Layer -> Smart objects -> Stack mode.

Stack mode:

1. Mean or median to reduce "noise".

2. Median to remove objects.

Taking 100 photos seemed overwhelming however after being talked through about lighting, composition, shutter speed etc it became a lot less complex. I took photos both in the day and at night as it gave me more understanding of what types of settings to use at different times of the day.

This information has also helped me learn how to showcase certain work. For instance, if I wanted to show a heap of photographs under the same category -> I could use contact sheets to showcase this.

The skills from this course (photography) has also taught me a lot on the variety of different settings and many possibilities within photography which I didn't know of -> for example, ISO -> how sensitive film was to light.

Piers Bonnard creates a lot of his work with vibrant colours.

Bonnard creates his work using different settings yet similar compositions.

• His interior paintings/designs are full of life and happiness.

• Monotypes consisting of rich colours by pressing the paper by hand or with a roller on a previously inked or painted glass or metal plate.

• influenced by Japanese prints and the use of flat areas of colour.

The piece I uploaded by Bonnard is a print named La revue blanche, 1894

• size 31.5 x 24.5 in. (80 x 62.2 cm.)

This work was made during the movement -> Art Nouveau, Modern Art

The writing behind the people printed onto this piece directs my focus to that as I want to read what it says. I feel there is a lot going on in the one piece. I do also find that the title being printed all over the piece really emphasises onto that, La revue blanche. It makes me think that the artist wants that to be the main focus, the title.

This makes me think of my own work, "who are you?", as I want that to be the main focus when showcasing my work.

I could create similar mark making mono prints with the title repeatedly placed in the background of my image which could really show an emphasis on the idea behind my work.

Source:

La revue blanche by Pierre Bonnard on artnet

Eight Essentials to Know About Pierre Bonnard | Tate

Cubsim:

• Created to represent reality

• Invented in around 1907–08 by artists Pablo Picasso and Georges Braque.

• These artists took different views of subjects including objects and/or figures and put them together in the same picture to create paintings that appear abstracted.

• Was on one of the most influential art movements/ styles through the 20th century.

• Critic Louis Vauxcelles viewed Georges Braque's paintings, 1908, and described them as "reducing everything to ‘geometric outlines, to cubes’."

Cubism is seen to be seen in two phases: the initial and more austere analytical cubism, and a later phase of cubism known as synthetic cubism.

• Analytucal Cubism - 1908–12 - which is seen as the initial analytical cubism where artworks look more "severe and are made up of an interweaving of planes and lines in muted tones of blacks, greys and ochres".

• Synthetic cubism is said to be the later phase of cubism - approximately 1912-1914

  • characterised by simpler shapes and brighter colours.

  • collage real elements like newspapers.

  • It is also said, "The inclusion of real objects directly in art was the start of one of the most important ideas in modern art.

Source: Cubism | Tate

I feel this concept, cubism, could really help with my project as I like the idea of distorted images of people because of the mystery connecting to my project - Who are You?

By combining vacuum forming and sublimation with the idea of cubism I could create some really good outcomes for my final project. This could produce so many for my shelf. It could very much be my shelf?

It has made me question whether I could vacuum form my actual shelf as well as a sublimated shelf?

The image above, Pablo Picasso Bowl of Fruit, Violin and Bottle (1914), when I first saw this piece of work, I did not think there was a bowl of fruit or bottle - the first thing i saw was the violin strings. The way this work is so distorted geometrically inspires me to branch into cubism more. As said before - the mystery I could create from cubist work using vacuum forming could really express the message behind my work.

• regular digital camera

• scans of images

• video clips

• sound files

• Adobe After Effects

"The problem can come when multiple

sources are used to gather this footage,

for example still images (eg. JPEG or

PNG fi les) and video (eg. AVI, MOV or

MP4).

• The reason is because diff erent sources will have (potentially)

  diff erent Aspect Ratios and Resolutions. For example, the same mobile

  phone will produce diff erent resolution stills and video. Still images

  will probably be a minimum of 8 mega-pixels from a modern smart

  phone, while the video footage may be HD 1080 (approx. 2MP per

  frame)

The ideal solution is to re-scale any still images to match the video footage. In this case, Adobe Photoshop

could be used and Image->Image Size (see Photoshop - Week 1 - File Types). While it is possible to rescale assets within Premiere, it can be confusing and can easily lead to errors."

1920x1080

= 2,073,600 px

= 2.1MP (per frame)

• The Select Tool

• the Razor Blade Tool.

"Before you can edit anything, you

need to create a Sequence. This is so important it gets the whole next chapter in the notes.

• Zoom Points - Drag to zoom in and out. (You can also “ALT + Mouse Scroll Wheel”)

• Video Tracks - Like Photoshop Layers, you can layer Assets, V2 will be above V1. V3 is above V2,

etc. We will look at these lays in more detail later. For now be aware, anything on a lower layer will be

obscured by the layers above. Although only three Video Tracks show by default, you can add more.

Premiere Supports hundreds of layers if you should need them. Just drag the new Asset to the empty

space above V3.

• Video Head - This is used to scroll through your Timeline. It’s sometimes also called the “Play Head”.

Clicking and Dragging the Video Head forward and back will let you quickly skip to other sections of

the video. This is called “Scrubbing”. NB - The Zoom Points will always zoom to the current position

of the Video Head.

• Audio Tracks - These work slightly differently than the Video Tracks. Audio Tracks are mashed

together in the output. They do not follow a hierarchy. Eg. A1 is voice over narration. A2 is a piece of

incidental music. In the finished output video, the narration and music will be heard playing together.

• Audio Volume Levels - A visual indicator of the volume levels from your Audio Tracks these channels

should not be bouncing up to Red. If the indicator is reaching red, you need to reduce the volume of the

audio as it will likely be distorted when played back. It may overload the amplifier in what-ever playback equipment you are using. Basically your audio will sound like an angry, 10m tall bumblebee."

Line preview of project

Time code

preview Assets in the Editing Bin.

double-click the Asset in the Editing Bin that you want to view.

• Placed some of the letters too deep which caused a boxy effect.

I do like the boxy effect that was caused. Initially this was a mistake, but it fits my project idea of how no one is perfect, and everyone is different.

I would use clay again especially after knowing now how to create more in-depth marks. The texture of it was quite messy but smooth so I had freedom to cover up little mistakes or reapply letters.

It was quite easy to cut off pieces and edges as well.

The block was quite floppy, so I had to be a bit more careful in terms of moving to around.

• VERY HOT so use gloves

Steps:

• Print out image using the special printer

• Place material chosen (acrylic, wood, plastic, metal etc) onto the bottom plate.

• Add image flat on top (image facing downwards onto the material)

• Close machine/ clamp shut.

• Waiting time dependent on material in heat press.

• Once done remove using gloves.

The tones are much warmer to the original piece. It reminds me a bit of coffee.

The way it distorted the image really makes it seem more mysterious. This gave me many ideas for my shelf as I would like to continue this process - maybe adding more sublimated versions of these on different colour acrylics or even sublimating it onto the shelf itself.

• The acrylic material became really soft almost like spaghetti which was interesting - I had to clamp something on top to keep it from curling upwards.

I could try vacuum forming on this piece as it is acrylic and think enough. I think I could make the image more distorted!

Next time I think I would need to experiment more on maybe the height of the rolls as maybe that is why it got affected that way. 

The other metal bending machine was a lot easier and in my opinion looked more aesthetically pleasing. I would use this to create my book holder for my shelfie project as well as other little metals for my presentation. 

I would like to experiment on these metals using sublimation as well in the future. I think combining these processes could work very well for projects including the current one I am working on.

Materials:

• Eraser 

• Scalper 

• pencil

• Spare paper

• Tracing paper 

• Cleaning wipes 

• Ink
  
  Steps:

  1. Line the eraser up on the tracing paper. Outline the eraser onto the tracing paper. This is done so that you can draw out your design in the right size.

  2. Then cut out this outline with the design on it and place it face down onto the eraser. 
     Press down onto the eraser and you should get an outline of the design on the eraser. 

  3. Taking your scalper - start to cut around the outline to turn this design to 3D making it a stamp.
     When curving make sure your scalp is somewhat tilted outwards so you can cut smoothly 

  4. Once you’ve gotten your stamp - start to place it onto the ink making sure it’s fully covered 

  5. Using your spare paper - stamp onto it to make sure your stamp is working well to your standards. 

  6. Then reapply the ink and start to stamp onto your paper. 

  7. When finished make sure to use the spare paper to stamp onto so that the remaining ink is mostly taken off. 

  8. Use a cleaning wipe to clean off any ink left as well - this is to make sure when using other inks, you don’t end up mixing colours. 

     
     
     

• Better to use black pen or marker as it prints better.

• Once the first print is done, we can add it back to the scan with the text placed on top with the same or different ink.

The sublimation was definitely not as pigmented as it should have been, but this was a second use of the same photo sublimated again onto this piece of wood.

However, this sublimation is closer to the original than the acrylic sublimation as the colours are quite cold in the original too.

I would like to try this again with a fresh photo to see if it comes out less distorted and more pigmented.

I then did a remake of the question mark which was a lot better than the first as it did not break and was cut smoother.

This did somewhat remind me of the TEXT PRINT process which I will also be using for my personal project.

Although, I do not think I'll be making my own stamps and stamp making for my project, I will use this process in my own time or possibly for future projects.

This is part of who he is or his identity which connects to my ideas as well. Some people's identity is literally where they grew up and, in their eyes, it is who they are.

The Language of Flowers - ‘Victorian’ form where every flower had individual meaning.

Mainly used for sending loved one's secret messages.

My initial reaction to her was the title. The title made her work so much more interesting - I wanted to know more of what each flower cyanotype meant OR what she meant by the language of flowers.

The three cyanotype versions of the same flower each show different tones of blue. The middle one spoke to me more as I liked the different tones of blue fading out and the flower itself being a strong, solid blue. Also, compared to the other two which look like a flower completely to me - it reminds me of a tree.

The message behind this work (a somewhat secret message to loved ones) got me thinking about my own work and the subtle messages I could create using cyanotypes or other processes to people and see if they receive them (understand them) or not. I also like the simplicity yet strong meaning of each flower and if I was to do more cyanotype I would for sure make mine simple yet showcasing a message relating to my project.

"The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project."

"I was attracted to the noisy amateur aesthetic of the raw images. Street Views evoked an urgency I felt was present in earlier street photography."

Rafman's project using google street view gives a range of different images across many different areas in different countries of many different scenes as well as the people in them. The most interesting part to these images is that you can't really identify who is in these images. It shows the harsh reality or the beauty in life but also hides the faces of those people hence the blurring of identification on most the faces.

This work could and does really inspire my own work as my personal project is all about identification. Who are you? Who is this person? What do they do? What are they doing? What are they planning to do? What is going through their mind?

All these questions are sparked through images like these as there are so many different things going on within this series of images.

There's quite a lot of questions going on in my mind about this work which is what I want to spark in my own work.

• Next time I will make my TEXT bigger and maybe add some more collaging to make it less empty.

• It did not come out the way I thoughted because of the empty white noise.

• I am still happy with this as it still showcases my project as well as a fun first try at risograph printing.

• This process reminded me a bit of how outcomes of cyanotype come out as well as Text processes as well. However, I think I enjoyed this process more than both cyanotype and text as it was more fun, aesthetically pleasing and satisfying.

Single roller creates curve 

How higher dictates how tight 

Further up the tighter the curve 

Build up for tighter curves 

Keep going to build it.

Two handles on back operates how high it is 

Make a hole. 

For rivets 

Flared top is the front. 

Turn upside down once connected. 

Redo clamps 

45-degree angle 

Lift handles to bend 

Undo left side to open as well.

Start middle and work outwards. 

Soften the tiny strip of plastic. 

(Bending acrylics) 

Pop it under. Gap on top can see the wire. 

Leave it for a minute until it heats up.

Hold one side to see if it soft enough.

Leather gloves for safety (shouldn’t really need it) 

Hold while bending to just keep in place. 

Longer you leave in the hotter it’ll be. 

Larger rivets ^

Flare on top of one sheet and test sticking up

Rivet gun 

Rod should go all the one in so against flared surface and then squeeze 

Pop rivet 

The processes I have learnt include Mono-printing, Clay, Vacuum forming, Cyanotype, the Hyper workshop, Text printing, Risograph printing, Sublimation, Metal bending, Stamp making as well as the digital aspect including Photography, Premiere Adobe, Adobe Photoshop, Art steps, Google Street View.

This range of processes have taught me how in-depth fine art is. Originally, I thought I would be painting, drawing, and doing some digital drawing but entering this course has shown me the vast amount of work under Art.

By organising my work on Padlet using shelf mode, I could really manage my work and see what I have done and what I needed to add or wanted to add. Using processes like vacuum forming and metals alongside sublimation has shown me potential in my own work and how I can showcase so much more and push myself to do so much more.

Researching movements like cubism and artists like Jon Rafman, George Shaw, Joy Gregory, and Pierre Bonnard really helped guide me through my work and how to expand using the same processes. The impact each had on my work so far has been crucial to my evidence and buildup for my personal project, “Who are you?”. For instance, google street view has given me the opportunity to browse through different locations finding people who fit my work as it hides identity, and my work is all about questioning one’s identity in terms of who they are as a person.

The advice given from peers as well as my tutors has really expanded this guidance and my personal growth. For example, my tutor mentioning how my vacuum forming reminded him of cubism sparked an enormous number of ideas as well as research.

I would work on improving my documentation as well as consistently critically reflecting on my own work next time. Knowing what I know now about these processes has also given me the opportunity to improve on using them next time and know exactly what I’m doing rather than spending so much time experimenting - I can spend a lot more time focusing on final outcomes.

I would use each one of these processes again but maybe for different projects. I specifically think I would use sublimation, vacuum forming, metals, acrylic materials and risograph printing the most out of all these as they were the processes and materials I mostly enjoyed. I think there is a huge potential in these processes being a part of many future projects. The reason being, for example, sublimation offers so much in terms of what it can sublimate onto as well as what it can sublimate. The huge amount of work I could produce using sublimation is infinite as well as sublimating on materials like glass, metal, wood, acrylics.

This alongside vacuum forming which has brought out a lot of cubism within my ideas for my work as it really distorts the image making it more mysterious and questionable which is what I aim for.  

Personally, I would like to practice more sublimation as I haven’t gotten around to sublimating onto metals. I would also like to perfect sublimating onto acrylic making sure it clamps down onto the material fully making it more flat and not bumpy or curved in any way. Clay and video collage was probably my least favourite within this module.

However, with more practice and work on those specific processes, I feel I could grow to enjoy them more. I don’t think I spent enough time on them to fully understand or grasp onto the idea of how they could inspire and guide me through my own journey.

My work is successful to me as I feel that even if I make a mistake, it becomes part of my work. All my work for these processes has been a learning experience as well as producing outcomes that I will most likely showcase for my own project, As I moved onto the next process from the last, I made sure I was thinking about my own project more for the outcomes. I have a lot to improve on as I think that no matter what there is always more, I can do. An example being, I could improve on the depth of how much research I gather using sources other than the internet like books, magazines etc.

Overall, this process has given me the opportunity to use certain processes like sublimation and vacuum forming more as well as the knowledge on how to use them. I can also now use any of these processes because of the knowledge gained from tutors, peers and workshop leaders.

• This is a very good interactive way of planning out exhibition spaces. You can upload your own work into the space which makes it very realistic.

• I added in my monoprints to see what they would look like plastered over the walls. They came out as clear images and I could move and adjust them to fit the way I wanted.

• I would use this for my exhibition coming up to plan out my space in order to get a grasp or in preparation of how things would somewhat look.

• I think I made the space a bit too big so I couldn't really properly get up close enough.

• For future attempts, I will make the space a lot more closed up so I can really look at my work on the wall.

• It was quite hard to place objects on the floor like plant pots, but I think with practice I will gradually be able to figure that issue out.

• We did not really move slow enough causing certain parts of the video to move way too quickly.

• Next time we would need to make sure we move slow enough.

• This was a fun activity to do with the rest of the class, but I wouldn't really do stop motion on my own as it was a little too time consuming for me personally. I would do it again with a group of people as it was collaborative fun.