This. workshop asks me to create an image of my Independent Project process. Through exploration of the mind-maps I created an image that shows my process of thinking and working during this project:
I discovered that mind-maps can be great summary for the project as well as amazing tool for taking condensed notes. It can be good help when working on a bigger project to keep all the information in one place. I will definitely use it more often form now on.
This workshop is one that is very closely linked with my Individual Project. It gives a chance to express my feelings towards coronavirus.
The outcome should be an A2 sized placard made through stencilling.
I did some experimentation with at-home-screen-printing and cutting out stencils to block out the paint.
The rainbow in the middle was printed using oil pastes and the screen printing medium.
I also used the made a illustration using stencilling, as a background I used one of my screen printed mono prints:
The lockdown is for me a reflection time. There is so much, even too much time to think. I took it as an opportunity to re-prioritise values and that I was living my life by. It was not easy to face my own mind, but I bellieve it made me a stronger person with more focus goal.
This worksop is to help me question and interrogate what is that takes my interest. That knowledge should be used to inform my Independent Project.
This workshops is based on photographs that we constantly snap with our phones. Thy are quick notes of places, people, objects and other that make it onto the camera roll.
We are asked to choose 5 pictures form history of the camera roll from our phones; ones that we forgotten about. These will the subconscious ‘notes’. Then we are going to notice connections between them: colour, texture, theme.
The connection would definitely be the pastel colours, repetitive pattern and the theme – nature and architecture. – This is interesting, as some of them appear in my artworks, but not all of them factores are viseable in my work.
Gathering that information I was to create a final peace using these photos:
When scrolling through my pictures I noticed that my interests are in nature, architecture and people, which reflects in my artwork. Interesting is that colours that I am using in when working on my illustrations are often much braver and bolder than these in the pictures.
One of my Coronavirus Updates illustration is being currently exhibitet in Bristol’s ‘ThatArtGallery’ in form of a Polaroid picture print. It is also featured on their website and when lock down lifted is going to be sold as a print and 50% of profit is going to be donated to Coronavirus charity.
Same illustration is also going to be featured in ‘MyBestZine’ that launches on 31st of May:
Boris Johnson announced lockdown measures to be implemented in the United Kingdom on March 23rd. The whole nation has found themselves in unprecedented situation of a global pandemic. The lockdown means that everyone is strongly advised to stay at home and leave only for essential reasons like food or medicine. Social distancing of 2 meters apart between people from different household must be respected and no visits, even from family should be made during this period.
Everyone has different ways of dealing with the new reality that is already lasting months.
This project is an opportunity to express my feelings in a creative way towards the lock down and COVID-19 pandemic. Using art as an outlet to vent the personal reflection on the current situation is a great tool in hands of creatives and should be used to document these almost unrealistic times.
Throughout this brief I should enable myself to develop individual visual language with contemporary methods of image making in pair with a rigorous research.
Target audience is everyone who is dealing with similar feelings due to the lockdown and can resonate with the illustrations.
The outcome is a series of illustrations strongly related to the Novel Coronavirus global pandemic. The illustrations should be presented in a form of a printed or online available zine.
Look at your answer to the ‘Independent project modes of enquiry’ questions. Answers for questions 4-6 specifically will help you with this workshop.
Which areas of art & design practice do you have ambitions of working within and why? (Pattern design, Magazine illustration, Retouching) – Where to search for opportunities for vacancies
During you time studying IVM design, what most pleasantly suppressed you about the subject? (The spectrum of media that could be used to produce illustrations.) – This will help you to identify your own practice and direction, but also to perhaps think about seeing your work in a new context: e.g. as jewellery, mural, online service etc.
If you had to make a choice, which stage of your practice do you prefer: Research or Production? (Production. I found research really helpful, yet I love to get busy and make. This is also one of my weaknesses; I lose myself in making process forgetting how important research is.) This will help you remember and reflect on all that you have achieved so far and how this knowledge and skill should be redirected into where you want to go next. You may refer to your personal manifesto.
The project brief asks you to consider the following:
How will the project communicate your critical/industrial intent or direction?
By creating a zine I will learn how to put together image and text and that will enhance my skillset I could use in ‘magazine illustration’ and ‘retouching’.
What is the problem you are aiming to solve or communicate?
I am currently working on producing a Zine which would be a ‘Lockdown Diary’ where any creatives can express themsleves.
What do you hope to achieve by the end of this project?
I am hoping to have a phisical and online outcome that could be part of my porfolio.
I have signed up to Careers and Employability through UAL last year and I am signed up to the newsletter.
Companies I have send my CV together with my statement and porfolio:
Questions to help you create your Independent Project:
Create a list of words related to illustration and visual media that are personally important to you.
Communication, catching moment, humour, witty, make others feel something, though out, personal.
Can you identify clearly any recurrent themes or interests in your work to date?
Architecture, portraits = people and places; experiences, emotions = relatable.
What are your strengths and weaknesses within your practice?
Weaknesses – research and conceptualising my work is not always deep enough. Experimenting with human form when sketching – always drawing portraits, scared of proportions. Being too eager and inpatient, therefore my work isn’t always developed to its best. Typography, especially mixing different types together.
Strengths – print making (Screen Prints), line work, some ideas, colours
Which books, magazines, text, artists/designers, recourses etc. have you regularly referred to during your time studying at LCC?
Yaoui Kusama, Tracey Emin, People of Print, Frieze, don’t look for a job, make it,
Which areas of art & design practice do you have ambitions of working within and why?
Pattern design – thinking of my art as something more useable and perhaps even wearable makes me really excited. Designing fabric print or wallpaper patterns might be the way forward. (I shall explore it during my DPS year)
Magazine illustration – I have been creating illustrations for some online magazines and I enjoy doing it.
Retouching, shoots, photography – having a bigger plethora of skillset to offer is crucial to become more employable. Employers are often looking for an illustration with graphic design skills and other creative attributes. Exploring photography could be interesting expierence.
During you time studying IVM design, what most pleasantly suppressed you about the subject?
The spectrum of media that could be used to produce illustrations.
If you had to make a choice, which stage of your practice do you prefer: Research or Production?
Production. I found research really helpful, yet I love to get busy and make. This is also one of my weaknesses; I lose myself in making process forgetting how important research is.
Self isolation gave me some time to revisit some image creating techniques I haven’t been using for years. I taught myself to create sketches and illustrations quickly and effectively using techniques that nature doesn’t require a lot time while creating. I went through my shelves filled with forgotten art supplies and decided just to create. Not for any project, not for any freelance, without any restrictions or rules; simply do something for myself to keep myself sane during this MAD time.
Here are some pastels and oils I did in last two weeks:
I can really observe change in my behaviour during self isolation period. Being only at home is not healthy for the body or the soul; I realised how important it is to keep myself busy and have my mind occupied. Obviously, this is not easy to achieve during GLOBAL PANDEMIC where many people are dying and each day is a life in stress and constant fear of finding out that one of loved ones has been infected, or even passed away. The uncertainty of current situation and helplessness makes me feel depressed and unmotivated, yet reminding myself that THIS IS NOT FOREVER and THERE’S BRIGHTER FUTURE ahead of us keep me sane.
All of above and more inspired me to create some sketches:
Outcome of Situated Studio Practices should be a limited edition of prints inspired by a movie form a list provided.
Film of my choice is Alita the Battle Angel. One of the scenes I was inspired by was when Alita takes her hearth out and offers it to Hugo – her boyfriend.
I considered few diferent techniques of printing this illustration. I thought of screen printing it with halftone bitmap, yet it didn’t seem like the most suitable solution. Having done the induction on Photopolymer Etching last year I remembered that when prepared with care this can be a perfect option for printing photos, but also illustration with great halftone.
I went to printmaking studio and book a session with one of the technicians. Photopolymer Etching is a highly time consuming process, from preparing the plate throughout printing itself. Preparation of the plate is a key part and it has to be done with extra focus, the photopolymer layer is highly sensitive, therefore any contamination (even small amount of dust or/and water) can ruin the print. Even when inking the plate up, in this case took about 25 min for each, being careful and delicate is necessary, otherwise is very easy to dent, or destroy the plate. Once the plate has got any imperfections they will be visible on the prints.
Before developing plate for final print I did a test print using two different contrast settings to see which would look better when printed. I decided that the bottom version has got more details, therefore it looks better.