TRACE ELEMENTS PROJECT

For this project I explored many ideas and whittled it down to following the idea of journeys, and capturing traces of them in my work. Taking into account the 'you are what you eat' project, I decided I wanted to carry on in a similar style of working - particularly following the idea of print. 

 I began with some simple mono-prints which I believe were a good starting point. The print on the left is a panoramic drawing, giving the idea of taking a journey with your eyes - which is enhanced by the two point perspective, that allows your eyes to travel along the piece. The depth could potentially be enhanced by a subtle addition of colouring the background. The print on the right does contain colour, however the line-work is not panoramic meaning the depth is not as pronounced. The green strip of colour takes the role of focal point in this piece. These mono-prints led me on to the idea of experimental continuous line drawings, where I decided to document my journey to college, and draw whilst walking.

Although the drawings were simple to create, the outcome is really successful and contains plenty of potential to develop. By being presented across a double page spread it gives the feel of the drawings being panoramic which instantly adds the element of depth. Plus, where in places the single line has overlapped on itself it has created a further sense of depth by drawing you into the background. The line drawings work well as a single black line as they stand out into the foreground as a focal point, however I could develop these into prints onto a coloured background as this would further enhance the overall composition. Instead I chose to take shapes from them in order to create a background print. These samples can be seen in the pictures below. 

The two prints above really begin to document my journey in further detail. The collaging in the background initiates further depth and pushes the blue print into the middle ground therefore allowing the letterpress to stand out into the foreground. The sample on the left stands quite strong in catching your immediate attention, and the shapes created by the negative space are prominent. On the other hand, the print on right contains plenty more texture as the blue ink had been reduced, this allows for the collaging to come through, adding yet another layer to the print. Although both these prints have their strong points, I felt I could develop the idea further into creating a series of smaller prints based on my journey to college. 

A few of the samples I created can be viewed above, they demonstrate some of the different  techniques I used to approach the final outcomes. The colour palette was taken from a part of the journey, and the clashing colours really create an impact which is highlighted by the negative space that allows the composition from being overcrowded. The surface area is very tactile due to the addition of stitch and collage. This gives an interesting texture both visually and to the touch which therefore adds further depth to the samples. 

YOU ARE WHAT YOU EAT PROJECT

This was a short independent project, set to see how we begin to work independently, and to help us in our chosen specialism. 

Initially I began with some experimental drawings, however I soon realised these weren't working so I trialled printing.

As you can see from the 8 samples above I found a simple method that was working really well. It is a straightforward combination of collage and coloured ink,whereby I began slicing found berries and apples and then printed their surface pattern onto the collage. By watering down the ink in places it has created a fluid feel to the samples, and blends together the red and quink ink. I think the most successful element of the above samples is the unpredictable  shapes created by the berries. By having different forms rather than one repetitive shape it enhances the depth, and heightens the sense of that natural elements. The idea of 'You are what you eat' comes into account by the use of apples - a common fruit seen daily - against the wild berries. The apples symbolise the idea of comfort zones, and how we often stick to what we know and are afraid to try new things but the berries represent temptation and the idea of something new - i.e you are what you eat.

During this process I learnt to trust in myself, and that its okay when an idea doesn't end how I would have liked, and to just work with it to create a better and more exciting method. This helped me to look at these prints and think in advance as to how they can be developed onwards. 

Because I am interested in Textile Design, I chose to move my work into the digital side, and began creating surface patterns.

As you can see I started using Photoshop to group together my samples, which resulted in the above and below outcomes. Once I began sampling I really got into a flow, which was really successful in helping my own personal development. It has helped me to advance in believing in a good idea and enabled me to produce strong digital samples. The above sample on the left was the first I produced, and also where I discovered the use of the overlaying tool. The composition is strong, and the vertical layout has produced leading lines that ensure your eyes cover the whole of the piece. The overlay is effective as it creates many layers in the sample, producing a vast depth. There are hints of text across the background which adds a strong texture to the piece. It also gives a sense of mystery, by making them less visible it enhances the idea of the berries being a temptation. You lean into the background in order to see what they are.

The same could be said for the sample on the right, however the depth is intensified by the addition of the collaging in the background. The colours begin to become darker and more vibrant in this sample, intensified by the negative space, which gives the impression of the fruit being richer. 

The two samples above have less of a 'pattern like' feel to them, and there is much more going on in the overall composition. With the piece on the left the depth is grand, and all the different layers really capture the attention of the viewer. The bold colours push out into the foreground, contrasting greatly with the faded background, which really enhances the depth of the piece. Whereas the piece on the right, although still containing many textures and layers, has a clear white background where the negative space pushes all the details into the foreground. 

Overall in this project I feel I really began to blossom in what I was creating, and although it was difficult working independently, it is clear within my work that I am along the right route to becoming a textile designer. 

TATE MODERN REVIEW 29/9/15

Our newest project lasts 3 weeks and is entitled 'Trace Elements' and to help push start ideas we took a trip to the Tate Modern in London to view the exhibitions on show - one of them being 'Making Traces'. To me the most significant room that stood out most to me was called 'Painting After Technology' which consisted of a brilliant collection of mixed media paintings. 

Loa, 2007, Acrylic paint, oil paint, collage, ink on canvas

The most prominent piece I found was by Albert Oehlen, which can be seen above. There piece contains traces of imagery, text and collage from many different places, including quotes and song lyrics, which produces a relaxed atmosphere, allowing the viewer to relate comfortably to the piece. The piece reminds me of an advertising billboard - due to the large title and the bar-code that is visible beneath a translucent layer of paint. The multitude of layers is pertinent to my own work and a method I am definitely going to carry out within my own pieces. The main focal point of the piece is the text, however there is also evidence of other shapes - predominantly the spherical forms. Taking position in the bottom left corner, the tones of blue emphasize the spherical element which therefore adds depth to the painting overall. They also create a fluid feel to the piece as the edges create leading lines diagonally into the center, therefore enhancing the center focal point.

Walls Paper, 1972, Offset lithographs on newsprint paper

This piece by Gordon Matta-Clark grabbed my attention straight away, mainly due to the sheer vastness of it. Floor to ceiling covered with lithographs. But the beauty of it was how they were all pinned up individually, rather than being printed on a roll of wallpaper. This rawness stood out and has definitely helped to inspire my Trace Elements project. The subject matter consists of architectural elements from photographs - predominantly the interiors of torn down houses. The angular shapes that are created are instantly softened by the textures of the inks within the print. The colours are neutral a part from the highlights of bright yellow, blue and green -  which instantly creates a multitude of focal points across the wall. The composition is strong due to the placements of the focal prints, it ensures your eyes are drawn all the way across. However, when you walk away then go and re-look at the piece, you begin to notice elements that were missed upon the first viewing, but this only enhances the size of the piece.