Collect, analyse & (re)assemble: Development in plan and experiments.

Going over this very quickly, I’ll highlight what my plans are and what exactly it is, that I’m doing for this current project because I don’t think I’ve classified it clearly. While my subject is called ‘Starting point’, it’s a collection of pencils. I would like to think that actually, there’s more than just one collection from simply looking at this one. It’s pretty much a collection with in a collection, with in a collection with in a collection. I thought this collection was going to be very basic, simple, but it turns out it isn’t.

The pencil collection has more to it, than it meets the eye. How it’s collected, the size, the number of bumps, scratches, marks and teeth marks it has, the patterns, its colour, its thickness, its type. I constantly think about how I’m going to portray these traits with in this project to help define what the collection is, or at least summarise it. So, my main focus with it has been it’s use and how they can be catagorised, sorted. When looking back at the term ‘Stating point’, a pencil is always there to take an idea from your mind and link it to paper. You take a concept and put it down, develop and create something new.

I could rant on more about this, but basically, I want to show the start and finish of how a pencil can be used as a collection.

Last time, I put forward my marks research, I was thrilled, but it led me to some new ideas on how I could take it further; in my sketchbook, I simply started to draw down energetic lines with a group of pencils held together. Moving them across the paper, then trying to recreate the patterns I saw from the research.

     

For the teeth marks, logos and any indents on the pencils, I had to experiment with how I was going to make that in to an image. I did start to brood over this idea quite a bit and I wasn’t getting anywhere; they could’ve been photographed and placed together? they could’ve been drawn out? I could’ve even photographed the marks and logos, edited them on Photoshop and then made them in to a screenprint? but my time was running out, I was also at home at the time, so the only thing I tried out was printing them by hand with block printing ink.

The print on the left hand side was one of my favourites, I liked the diamond shaped marks that came out of it. Those marks were made from one of the mechanical pencils I had– the ones with the rubber grips.  Each set’s unique in its own way, there’s a range of different marks, patterns and even when I was rolling one pencil across, they would make this nice, smooth, smudgey mark on the paper.

After, I decided to see how I can try out a 3D aspect, but then again, it would’ve come out 2D once presented on paper, anyhow, I did some testing of this before, but in the library:

If you have noticed, when changing the order of something; it becomes an entirely different thing to look at. The collection itself was organised in to seperate different colours, then changed once again. Then again. From doing this, I learnt that I could take advantage of this and then sepereate  every single pencil and organise them in to categories(As shown in the first photograph).

I continued this experiment at home, but changed it. I tried to build a model, that would involve the collection as a whole:

 

After speaking to Matthew about my ideas and how I’m putting my book together, I did at one point over the holiday felt that I was taking far too much time with the content and development, than the outcome of the book. However, from the book binding session from the last week of term, it allowed me to experiment with how I can lay out each image with in the book and what bind I can use. I have a vague idea of how I want it, but i’m not sure of what the bind would be called, if I combined two methods of patching the pages together. THIS is what I need to look in to, I also need to remind myself, that if I leave something to the last moment, I’ll end up with a rushed outcome and that’s not good. It’s no good at all.

 

 

Advertisements

Collect, analyse & (re)assemble- Artists and designers looked at.

Trying to find artists and/or designers who work with pencils in a more creative, or conceptual way is tough. Even from typing up the words ‘artists who work in pencil’, it brings up pages of life drawings. Not that, that’s such an awful thing. Narrowing my search to ‘mark making artists’, I came across some unusual outcomes, which I didn’t think about before. That just goes to show that there’s always someone who thinks of this object in a different way, or uses them.

 

Abbey Withington was one of my first finds, while looking for different mark makers. She creates these interesting, colourful patterns made via screenprint. They almost look as if they could of been hand drawn, just from looking at the textured markings. While these appear to be refreshing to look at; how each shape is spaced out appear to have been put in to consideration. Each colour, pattern and shape do not seem to be too repetitive and they seem to work together well. As an illustrator, I may need to bare in mind of this method; making careful decisions on what pattern, mark or how something will look on the pages of the book.

Other than that, observing closer at the marks, the patterns and textured strokes seem to stand out among all of the white space.

Reedy’s Legend of Zelda wood-block prints are what caught my eye. They’re captivating, bold and very detailed. They’re able to capture character among the characters in such a simple way.

I adore the use of thick lines he uses, and the amount of detail that goes in to each print’s astonishing. In terms of this method of production, I plan to use some printing in my tests for the collection as a form of presenting the object. What I mean to state is, the teeth and name etchings and the patterns on the pencils for instance could be printed multiples amounts of times, or could be used to create another piece of imagery with in the book to make it look appealing to those who look at it.

Honestly,  I didn’t ever think you could obtain something like this from just colouring pencils.  Though, this one is most likely not all in pencil, but it’s another nice example of an illustration that uses pencils. This piece was created by Rebecca Green; an American Illustrator, who works with gouache, acrylic, colored pencil, and ink. What I liked about this was how simple and traditional it was.

 By using groups of objects, Federico Uribe gathers them all together and creates sculptures from them; to me, it looks complicated. It may be, if I were to try something similar to this, I might try building the sculpture out on its side instead.

Collect, analyse & (re)assemble- Part 1

How we organise or do something always has a system to it or we always have a way of doing something, which we don’t pay any heed to. Looking back on this particular subject, I feel quite ecstatic about it, as it can go in many different ways. I can start to put in to consideration of how I’m going to present my collection. I haven’t quite clarified that here, yet, but I shall do so now.

From going over the series of ideas that I mapped out on a brainstorm, I’ve come to the decision of collecting pencils. You can do so much with them, that you don’t even realise. Some may state that they’re only for the use of drawing, but I can tell you that there’s a whole lot more to them than simply that; you can draw, doodle, make many types of marks, model from them, use them to draft, arrange them, catagorise them, build sculptures, use the sharpenings for art and even print the little teeth and scratch marks on to paper. I want to continue with this idea in mind, and focus the subject of pencils on the two words I used in our discussion with Adrian about ideas: ‘Starting point’.  

So, the term ‘starting point’, it could be that I start off with how we started off with pencils as a kid, or the typical functions that we often use them for.  I may present this in a series of different mark making techniques, but I did originally consider this idea and from that, I began collecting many different marks, patterns and textures as references, to help give me an idea of how I can put the pencils to use.

IMG_20160314_152452 IMG_20160314_152348 IMG_20160314_152345 IMG_20160314_152400IMG_20160314_152450  IMG_20160314_152357 IMG_20160314_152340

 

 

 

 

 

 

 

Simply to give you a quick grasp of what I’ve been working on for the last couple of days, here are some examples of leave rubbings I’ve done with a few of the pencils:

IMG_20160314_152526

Something I found particularly fascinating about these tests were the different variations of marks, lines and depth you can obtain, depending on the way you move the pencil,  change the pencil or even the technique in how you press the pencil to the page. I chose to experiment with the leaf rubbings first, as it was a starting point that I remember doing in art classes when I was in year 1 or 2 of Primary school. It was one of the first things we would  do with that tool of trade.

While playing around with these; previously, I went ahead and started to draw anything that came to my mind when it came to pencils. It left me with some new ideas, in how we develop our skills with the medium. We can start off drawing a doodle —> then to a sketch —> and later on a detailed drawing.

Some things I may need to keep in mind:

  • What’s going to be presented in the book?
  • How is the book going to be presented?
  • How will the pencil collection be presented?
  • Photos? drawings?

 

 

The soundtrack of our lives: Poster talk with Bill.

Another useful talk about how we can present our poster, and how we must always think about the ways in which we present and reflect our ideas. I briefly mentioned before that I’ve started to play around with those ideas and yet, I’m not so satisfied with what I have at the moment.

Not only did he talk about this, he mentioned that the poster needs to communicate what we want it to and he gave some rather interesting hints in how we can do this. It could be done through the use of words? it could also be done in the use of shapes as well. Shapes and colours are quite good examples when I think about it; just by squashing a square together, it could resemble pressure? gluttony? tightness? anger, maybe?

Continuing with the talk, he gave us some examples of posters that stood out to him, or had influenced others. There was this particular one that had struck my attention when it popped up; I was later able to find it in a book I found at the library and it was about Japanese poster designs.

scanner@londonmet.ac.uk_20160226_145257_001

The palm of the hand is so detailed; it’s incredible. It must of taken a lot of patience and time to be able to create something so delicate. I also adore how subtle the poster is, it’s not flashy or too complicated.

When the talk was finished, we arrived back in our studio to continue working on the poster designs. I had a little one to one talk with Bill, and he suggested about making the text bigger, as the songs are quite bold and they’re different in terms of style. The names of them speak for themselves, but  I took this in to consideration.

I started off with a base template, it was just to draft out a vague idea of what the style of the font could look like. I wanted something scratchy, messy and not so neat and yet, this didn’t exactly resemble that at all.

Tried again. It was better this time; I wanted the text to be bold, big and striking. Though, I need to remind myself of what I stated previously about having the title being a bit quieter, as the names of the songs are prominent. The textured tones that marker creates are pretty fascinating, so I continued to use them, but instead of using one colour, I mixed up two colours that were dominant with in all three of the posters.

I was keen to the result of this outcome, as it was nicely blended in and I’m fond of how the colours smudge in. It would’ve been a better outcome, if I had a bit more practice with this technique previously, but as I needed to get these all done in time for the printers, this was what I ended up with. Nonetheless, this isn’t a totally bad finish over all. I was happy with it, just I could of played around with it a bit more.

Looking in to abstract and contemporary artists.

I wanted to strengthen my research in to other artists for ‘The soundtrack of our lives.’. Thanks to a book called ‘The best of British contemporary illustration 2008’, I was able to obtain a few that has helped to broaden my ideas for the future, if I ever plan on coming back to this project (which is most likely going to happen).

I had several more that I looked at as well, but I only found them before I found this book and started looking in to contemporary and abstract art.

Jill Calder:

Jill Calder’s been working as an illustrated since 1993; she also deals with digital art and she lectures with the love of drawing, ideas, colour and ink.
She’s worked with numerous amount of clients globally.

There’s many reasons as to why I have chosen to talk about this illustrator; there’s something so vivid, colourful and original about her drawings that she’s produced so far. I was really admiring the bright tones she uses in specific illustrations, they create a gentle touch of emotion to the image that can be seen clearly; the lines used as well help convey that.

Observing closer, I would like us all to focus on the image with the cliff and the rabbit for a second. They’re quite blocked? as in the colours are solid ,but each shade is sharply built in to the picture to create curves, or to help highlight other aspects.

When regarding the progress I’ve made so far,  particularly on the poster tests with the mediums, I start to think of this illustrator, in terms of the lines that she’s used or how the edges of some of the objects in the image have this textured look to it.  I’m starting to believe that depending on the brush strokes used, they can assist the poster with depicting the emotion, for example, fast brush strokes could portray a sharp and edgy sensation?

Becca Thorne: While being another illustrator and also a print maker, Thorne’s illustrations are both bold and graphic.

Some examples of her work can be seen at: http://www.beccathorne.co.uk/Illustration.html

I have thought about using lino as a print method for the making of the poster, but it’s time consuming.

Back to the subject,  I adore the fuzzy lines that are an outcome of this printing method, they appear to be very unsettled.  I must admit that for the same reasons I’ve selected Calder to look at, is the same reason as for why I chose Thorne. She’s able to use colour and make it work well with lines and shape.

Takashi Murakami: Thinking back on Mr. Blue sky and Year 3000, he was the first artist that popped in to mind at the time. He’s a contemporary artist.  During the time I was re listening to these songs specifically, they create these mind-blowing visuals of colour and elongated shapes that emphasise this futuristic vision. I strongly think that Murakami does just this i n his arm work by using a varied use of bold, bright and contrasting colour.

All right. This is the last one, I promise.

Francoise Nielly: An abstract artist this time, and I didn’t find her in the book, but I went out and made a search of ‘Abstract art’, then found her work to which reminded me of another artist who did similar, though I cannot remember their name sadly.

big_cbaa46cc0b750217998579ac87a15eea index

It’s quite interesting to see how just a few mix of blocked in colours is able to bring out so much with in an image. Not only that, but the colours used are able to change the mood of a picture, as well as the brush strokes used.

I may have to consider this further with in my planning. I want to start testing out the kinds of colours I can use to link my emotions to them ( I’m going to use Photoshop for this after the first poster drafts are created), this will allow me to further my practice.

 

 

 

Update 1: Mark Making

Hey everyone. It’s taken me while to get this blog updated, but I shall be honest with every single one of you. Once you’re given something like a video game, or several really good manga volumes for a series you’ve been following for a while, you get distracted. I also had no electricity in my home for a while; that was pretty fun, but any case, I’ve got some updates: I wanted to continue my mark making and thought I would make the main focus for my mark making to be distortion– I had considered trying this out with ink and dabbing a wet paint brush over in specific points to create this contorted impression.  Attempting to follow on this method, I decided that I would draw out some tests of the same skyline view I focused on during that rotation; I also used this task as an excuse to make some small books out of an A1 sheet of paper. It successfully worked (The book that is), but I ended up clumsily tearing some of the corners. This, of course was an accident… However, it’ll do for now to test out these methods.

To the left, I started to draw the buildings out, I wanted to make the drawing detailed and try to make them appear realistic. I didn’t like the outcome I had so far, so I gave up ever finishing it off.

The realistic approach isn’t what I’m use to doing, so I thought about continuing this, but using a different medium and try not to care so much about what the end finish may turn out like.

 

To the right, is the continued practice test of the buildings. NOW, this is exactly what I was looking for. I wanted to obtain a transcription that would reflect

on what I’m seeing and yet, wouldn’t contain all of the details.I’m quite pleased with the scrawled in, scribbled lines that didn’t take much effort to do. It’s as if, it’s been recklessly done with not a lot of thought put in to it. I had to consider the positioning and composition of where everything was in order for the image to come together.  If I hadn’t, it wouldn’t of turned out the way it did.

Taking this process forward, I recalled another method that made the image stand out in my previous drawings for our project with life drawing– the blocking out of shades to give the object in the picture more focus.

Instead of using blocked colour, I followed along with what I did with the shading on the side of the buildings with a blue marker.

I believe that even though this was a pretty good technique, it wasn’t a good turn out with the blue merging in to the black lines that were used to define the building…

… Trying the same as last time, I avoided blocking out the outsides and used the water to gently wash over some of the lines in the drawing. As much as I enjoyed doing these, I was a little upset with the final outcomes I’ve got here. I have a inkling, that this may have to be taken further, but with maybe a different medium? or perhaps, I could consider taking this into Photoshop? I’ll give one positive comment towards this final image; I’m quite pleased with the method I tried out and that it works with the types of pens I used on it.

Also, not to leave anything else out, I tried similar methods with my life drawings.