i believe that this model represents a lot of the themes of the project well. the bondage-like wrapping of the fins links back to the ideas of eroticism and fetishisation

i am particularly pleased with this model!!! i am happy with the level of detail i was able to achieve in the model, showing major improvements from even unit 9.

what i am most happy with is the texture, reminiscent of the pale, yellow skin in the containment jars in museums. i believe this is successful

i decided to cut this one from the final outcome. despite alot of the images being somewhat gory, they all retain a softness or mythologic runic feel. while i believe it does have some properties feeling magical, overall the aesthestics of this model as too harsh and loud, which would contrast in a poor way to every other model.

as they would all be displayed in a cohesive diagram book, all of the renders should feel like they exist in the same world

upon feedback i was made away of the almost runic archaic feel to some of the renders, i leant into this with the designs of swords and monsters. pulling inspiration from celtic and medieval mythologies and art.

there was something very exciting about bringing them into 3D

i also came to the conclusion that the canvas was not a suitable medium for cyanotype in this scenario. it absorbed larger amounts of the liquid in non uniform ways leaving splotchy patches in the prints. i could also never seem to get the exposure times right on them

i experimented with cotton printing and this was a massive success. the cotton was very easy to print on and gave the crispest result out of any medium.

in relation to my own work, kanda explores thing that are considered repulsive when in truth there is often no reason for us to be disgusted by them, and we move past our own biases we can see the beauty. this rings truthful for the reality of queer bodies and relationship.

queerness is still perceived as disgusting or perverse, while as a queer person so much the beauty and love in my life relates to queerness. this was a major theme i wanted to explore in this project

i opted for cotton as the canvas was too unpredictable when printing and this was one of the only successful canvas outcomes.

although i ended up cutting it for the cu síthe model as i felt it encompassed the latter aesthestics of the project, this model represents the early stages of the visuals and shows how they developed throughout

initial ideas for this project circled around the concept of softness and horror. the juxtaposition of the two is something that resonated a lot with my practice at the beginning of the unit. upon tutorials, i researched queer horror.

these ideas developed into what would be the focus of the project being queer bodies and the feelings associated with this. the coexisting fetishisation and dehumanisation surrounding them and their relationships. the horror aspect resonates with this theming and the ideas of disgust and repulsion run parallel with the existence of queer bodies.

in my experiences of presenting fem, i feel on edge majority of the time regarding my appearance, being fetishised and objectified as a result of the way i present myself.

i feel as if my feminity has always been sexualised by others without my choice. i feel uncomfortable in my skin, not because i'm uncertain of my identity as i am solid in who i am. but as my presentation is taken to be a fetish. i've felt this first hand by men in relationships who in daylight would spew vile homophobia and then when no one else was around saw me as an object for them.

through my practice i have displayed this through softness and horror, developing into dissected creatures and monsters.

the oddness of creatures resonates with the isolation a lot of queer people experience.

the sea angel are a group of sea slugs found mostly in artic waters.

as their name suggests they possess an angel-like appearance. however, they also have sprawling tentacles used to hunt sea butterflies, their prey.

i felt like this serves as a really good symbol for the project.

the amorphous form of the creature resonates with the view of queer people existing outside of a cishet binary.

their translucent bodies reveal their organs inside of there ethereal white yellow and blue skin.

they could be viewed as both grotesque or beautiful depending on the viewer, much like queerness!

learning from unit 9, i did not want to overdevelop symbolism for it to be lost in the final realisation of the project.

i was very wary of focusing heavily on symbolism again as i felt it hindered me last project. this time i developed the ideas of the sea angel to a point while also focusing on the realisation of my final outcome, the book

therefore, it is vital that throughout unit 10 i develop my skills adequately to a more professional standard.

i feel as if i have been moderately successful in this. i can definitely see a major improvement in my skill level in the software, particularly 3D modelling and texturing.

however, there is still a ways to go before my skills are industry-ready, improvement in topology, using software such as substance painter or after effects is still new to me as well as mastering UVs and procedural nodes.

my initial 3D models which i cut from my unit 10 final outcomes still remain valuable in a separate context. while upon reflection they didn't fit with my unit 10, i saw potential to further develop them outside in this AR open call, exploring celtic mythology in a 3D digital environment

it was a process of trial and error trying to get the exposure times correct, but with the UV light they need no longer than 5 mins or they will become overexposed. this contrasts with the natural sunlight method which can sometimes take hours per print

this time in unit 10, i gave myself more than enough time to experiment again and evaluate their successfulness.

i began with a 3D print of a simple sea angel model. using the silicone i made a cast of this and was able to make several resin angels to varied degrees of success.

i only had the budget to make one mold as silicone is quite expensive and didn't want to waste extra money and time on experiments that were not going to succeed, as i had done in unit 9.

overall, i made copies of the sea angel, as well as resin covers for the book.

i framed them with airdry clay and then painted and glazed them. i feel like this made it look much more realised and the spikes and spirals all tie in with the imagery of the book

i chose to use cyanotype as i had experimented with the blue tint in my film testings to great effect. the simple colours evoke a soothing yet ethereal quality. in some way they feel royal, but also like lost memories slightly faded

artists such as madonna has used similar palette for heavily sexual works such as erotica, so i felt there were multiple benefits and links to using cyanotype over etching or screen printing.

cyanotype being a natural process fits with the nature of the process. although i work in digital a lot, ultimately i feel its important to practice natural art forms and cyanotype is one of the most. having 3D modelled works come to life in print through botanical products is quite remarkable and adds some soul to the work in a way.

i plan on developing my own work further as this year i have really come to value and appreciate what i have created, even if its not in a professional context. i set out to do more freelance work with VFX and 3D modelling. i do still believe it important to practice traditional art skills however. with the rise of AI no one can predict how this will affect the art and design world in the next 5 years. therefore its important to keep practising in non-digital formats aswell. i do not rule out the possibility of a masters or postgraduate study. i truly enjoy the academic part the course and conducting my own studies has been something i have been thinking about, however i don't plan on returning to studies for at least a year. i would like to get my foot out the door for a year and evaluate again the same time in 2025.

neither coates or pierce set out to make the work centering trans experience, as neither as transgender. however, the removal of signe face cause the public to masculinise, demonise and perverse pierce, due to the assumption of her gender.

although not an easy watch, its important for discussion on gender perception and how mob mentality fuels hate and disgust for the things we don't yet understand