Friday, 28 May 2010
Thursday, 27 May 2010
Best bet now is to hope that the digital media room is open very early (in a few hours) and print the colour pictures. There are no available options in terms of submitting the loop in time for examination. HOWEVER. It is not the exhibition yet, and I have two weeks to use the college library computors with flash on to make a new one. Although this won't be assessed, it means I can still exhibit the piece how I wanted to.
One positive thing came out of tonights work...I managed to burn my interview with my nanny on to disk. Tra la la.
This whole experience has really infuriated me, as I have had many problems with using technology in my work in the past, but this time I was really excited about using the new mediums in the piece. But once more, it was being reliant on the technology to produce an end result that has been the failure.
I am still fairly happy with handing in my 12 drawings as my final work for examination, as they are the work, the loop just is a way of bringing the ideas to life. This doesn't mean to say i'm not really pissed off. I just hope I pass. I should have factored in technology failure and errors to my time plan, but didn't. I know that this mess is my fault, but I can't help feeling if i'd just stuck to good old traditional methods I would have a complete body of work at this point, not a mess.
I know this seems like late on to be finishing off, but I've been pretty packed in for time. I had all the colour ready and done, allt he drawings ready and done, and thought it would take about an hour to loop them and burn to disk.
I've rented a MAC from the Central Loan Store. Once again they fail me...I don't know exactly what's wrong with it but it keeps saying there's not enough space to upload images into flash or imovie. I don't really understand this as there is a WHOLE COMPUTOR empty here. In addition, the charger is broken and keeps shutting the computor down. THEN, for the show reel you have to save your file as .mov, it says there are instructions on blackboard but I can't find them anywhere.
SO the long and short is. Hours of work on photoshop colouring my pictures, only to find I can't animate them, or even upload them to my blog. I also can't print them, because the library's colour printers are broken. So I don't know how to hand in the main body of my work. Not only that, but I can't produce a film to submit, another large and vital part of my work. Obviously, if I'd been more organised I could have got help with all of this and had it sorted out. Unfortunately that is not the case. As late as I am though, I still had a time plan. It just didn't take into account that the CLS laptops wouldn't work and the camberwell printers wouldnt work.
Four in the morning is not a good time to think on the spot.
Wednesday, 26 May 2010
Also, went to the 1st year shows at camberwell last night, made me both worried and less worried. There was a lot of work where it was clear not much thought had gone into the presentation, or in fact the work, which was worrying. There was also some good work, like in painting 'Tom's curiosity', a sort of brick that was hot when you put your fingers in it. But all in all the standard seemed to be pretty mixed. I suppose though that this is a good thing, it shows that if you work hard and present your work thoughtfully and well, it will stand out positively. It is also worrying in terms of our exhibition though, as I have never prepared for an exhibition before, and I feel distinctly un-ready.
Tuesday, 25 May 2010
It was also interesting that just seeing the drawings put through the process of scanning and then into moving image made me realise a lot more about audience and what message I am going to be communicating. I am glad I'm putting the images on a loop, I think it will be an effective way to reflect the ideas behind the peice and show how the faces change from drawing to drawing. It would have been good to have more work to loop, to see how this changed.
Looking through the criteria, I think I have been following them, but the lack of organisation means that I just need to find a way to show more clearly what I have been looking at etc. I think this blog shows a lot of my process through the project, so with sketchbooks and research that should be ok. I think what isn't so clear is the transition from when I changed my source material from my great-grandad's magic act to the photo of my dad. I've realised that people can't see what i'm thinking in my head, and it's essential to always write it down or illustrate it in some way. The other major error was that I didn't make a new timetable for myself, basically just went off the FMP rails. I have been constantly working, researching and thinking about the project, just because I didn't make a plan I think this may be hard to reflect in the work I hand in. I am quite stressed and worried.
I've decided to drastically cut down the number of drawings- again because of lack of plan I was just drawing as many as came out over the weeks, and focus on completing my evaluation and making sure I have an aqequate final peice. In the time I have left, I could get the number of drawings I need done, but it would leave me no time to prepare everything else I have to hand in. I also need to scan the rest of the drawings in and add colour to them all, and compile them in flash.
I have at least learnt a great deal from this project, I know that I am never going to be this unorganised again.
Monday, 24 May 2010
This is what I meant to do with the projector a few weeks ago, except the projector I hired didn't work. I think with a projector it would have been more helpful, as my main problem with this was the scale and proportions were really hard to get right, from looking at a small photograph to converting to an A1 size.
What the larger scale drawing did help me with though was exploring the facial expression in the photo. When i'm drawing on A4 I find it hard to capture the expression on my dad's face, as the light in the photograph causes blocks of shade around the contours of the face. I found that drawing it on a larger scale allowed it to open up and find the facial expression a bit more. This then really helped when I went back to continuing my A4 series, the last few I have drawn have been closer to the origional photograph than my previous efforts.
This really worked in a similar way to my exercises in drawing from memory, different mediums, etc- just getting more familiar with the image and seeing how this effects the pattern. Each time I draw the image I have to question whether I'm drawing from the image or from what I remember drawing about the image. More often than not, it's a mixture of both, but with the memory of how to draw the image as much more of an influence.
Friday, 21 May 2010
This came a lot from what I was thinking about Death of the Author, when my drawings came up as different family member's faces rather than my dad's. As I've been drawing I have noticed definate changes from image to image, even though each one is drawn in the same conditions. Often, they look like my face as a child.
In exhibition, my piece will visually look quite a lot like Dryden Goodwin's Sustained Endeavour, something I am quite concerned about, as the ideas behind my piece are very different. Although this is a concern, I still think that a loop of the drawings coupled with the origional drawings themselves is the best and most effective way to present my work in exhibition, so that comes over a concern that it is not a totally origional presentation. Dryden Goodwin's piece is about the endeavour of drawing matched with the endeavour of rowing, whereas mine is about the physcological triggers in memory that effect the end result of each drawing I create, when the media taken in is the same each time.
One thing I've found interesting about this project, and that I think has taught me alot about my own change in attitude to my work and how I work, is that I am less precious about drawing. Whereas before I would take days on one piece, I am now turning out several in a day. I don't know whether this is a good thing or not. I think in the context of the piece it is good, but I don't know if afterwards I will have permenantly changed my approach. Since studying illustration I have definately opened up to a 'looser', quicker, drawing style, but I have also carried on creating sustained drawings. I think that in this piece I'm not always happy with the quality of each drawing, although they produce the result I need, in a similary context of drawing from photographs I would usually spend a lot longer, and also be working in ink rather than pencil. I think it's been really important going through this process to realise this isn't always the best way to communicate what I am trying to illustrate.
Thursday, 20 May 2010
Wednesday, 19 May 2010
I think experimenting in approached to drawing the image is really helping me understand drawing processes more. I'd still like to try projecting the image to draw from from, it's just unfortunate that the CLS one didn't work.*
I will try just larger scale drawing though, drawing upside down, eyes closed, different mediums, colour memory etc...
The more I draw and observe the image, the less it becomes a 2D person made from shapes and lines, the more it becomesa captured moment of a real person.
*Last week I hired a data projector from the CLS to project my image onto A1 paper and experiment with repeatedly drawing it using the projection as an outline pattern. However, the projector didn't work with 2 different computors. I think it is now too late on to try this again, but I can do similar experiments without the projector.
Monday, 17 May 2010
I found I could remember the whole photo- colours, expression, shapes, but a lot of the connection between mental image and communicating on paper didn't really match. Often I would be drawing a line and know it was wrong. Everything seemed a lot flatter and heavier.
The smaller head here was my second attempt at drawing the photofraph from memory. I ended up just getting frustrated that the lines I was trying didn't match the image I could see in my mind- both drawings were a lot flatter and heavier.
The larger head was me trying to draw the face on a larger scale, as in the photo it is quite small and dark. I found that giving it space really helped in illustrating the expression on his face, the whole thing became more animated.
I found that the drawings 2,3 and 4 all looked much more alike than the first one. This could be because I drew the first one really concentrating on the photograph, using a lightbox under the layout paper. The drawings 2,3 and 4 I probably didn't concentrate as much, because there is a difference in drawing once you know you can draw an image- it becomes quicker and more relaxed. I think I need to start again and put the same concentration into all of them as the first one, almost making myself forget what it was like to draw it? I don't know. Let's keep trying.
Sunday, 16 May 2010
I'm going to try doing a full image this evening, so far have just been trying different effects and colours. I've found it works quite well using blocks of opaque colour over the top of the drawing, rather than close up detail. This will also work well hopefully if the drawings are playing through flash on a loop.
Hopefully tomorrow I will have some pictures to put on here.
Friday, 14 May 2010
I particularly liked the work of Natsko Seki, a Japanese Artist who lives and works in London. She uses mixed media very effectively to make these beautiful, vibrant peices. I just can't work out how she does the layers! It also looks as though she uses found photography to collage with, another interesting translation of the medium.
I was particularly struck by this entry.
Thursday, 13 May 2010
This means I have to either create an environment in which I can project it within our studio, or find another way. I have contacted a friend who has a spare plain television I could use, so if I get that tested that could be a possibility. The other problem is that the CLS run a lucky-draw system for people who've applied for projectors, tvs and dvd players for the exhibition. I've applied for a tv or projector, but If I am unsuccessful in the draw need back up. Fortunately, I think my mum has a projector I could use and have tested. Hopefully.
I decided to adapt mine into a zoetrope- a simple mechanical device to create a moving image- as in the time frame it wouldn't have been possible to use flash or scan in images etc. I photocopied and reduced my drawing by 25%, 5 times, then to create movement changes the colour placement in each picture to create a flickering effect in the final moving image. Because we only had one hour, I just had to use what was to hand- so I used Letraset markers to colour the image. They worked quite well as they have a quite translucent quality to them.
My finished zoetrope- made from black card and a spinning stick- wasn't a particularly polished final result, but it served a purpose. What was clear in this is that although you can produce some sort of result in a short space of time, if you have an ambitious and exhibitable idea it is fair to say it is going to take a lot longer. Back up work of planning isn't enough. Especially for my peice, hours and hours of work put into drawing and developing is essential. If I don't keep to time then I won't have a peice.
I found the project really useful as it confirmed that my ideas from the research i've been doing really need to be developed into a solution by now. Although I have been pretty clear on my idea, I have tended to get carried away with research and neglect the physical side of actually drawing my peice.
Since Monday I have been trying to gather all my research into a cohesive block or summary. i think it could be really useful to write some sort of summary or essay on what I have been researching and thinking about, something more accessable to accompany my exhibited peice, even just in research.
Scans of one hour result to follow.
I thought this peice was interesting. The heads are all cut out from an old school photograph, and then paired with broken china bodies. When I spoke to the lady she said it was about how looking at a school photo the faces are all you see, but those faces can be attached to all sorts of lives.
I liked the translation from set, traditional photo to the presentation in the wooden box paired with the doll bodies. Although the message is simple, it was an effective way to present it and I thought the peice worked really well and interestingly.
The art group are called Still Remains, but I can't find anything on the internet, or remember this lady's full name. However, she said her daughter is starting illustration at Camberwell next year...
Next thursday I can try and find her in the market again though.
Tuesday, 4 May 2010
I then tried ink pen and letrasets, and just 5B pencil, both done in about 10 minutes. I think for what i'm trying to achieve the first drawing will be most effective, but I still need to work out how to add colour to achieve the texture and tone that I want.
Pencil on Paper
Monday, 3 May 2010
Dryden Goodwin's Sustained Endeavour is a piece I have been bearing in mind for some time. I first saw it at the Tate a few years ago, but couldn't remember who had done it. In a past tutorial with Amanda she told me who the artist was. I came to remember this piece as the ideas I was forming about the actual process of drawing and looking at Roland Barthes theories had a lot to do with the practise of sustained drawing.
The piece is 25 drawings, all of the same photograph of Steve Redgrave. Goodwin exhibited the piece as the drawings framed in rows, and a television screen showing a loop of the photographs- a flickering image, showing the defects varying from drawing to drawing.
Visually, this piece is really similar in concept to how I wanted to present my piece, but in ideas it differs. I was aiming to look at how my own visual and emotional memory effect the image I draw when I am drawing repeatedly.
Kutlug Ataman, fff, Whitechapel Gallery
The very nice lady working there let me take this rather shoddy photograph with my phone camera. But luckily there are some better images available online courtesy of the Thomas Dane Gallery..
What the peice is is a collection of old Super 8 footage of family films, re-edited and selected by Ataman, and paired with a comissioned 'blind' score by Michael Nyman (Nyman wasn't allowed to see the footage he was composing an accompaniment for until after he had written it). The result is a sort of disjointed cycle of music-box-esque piano score, coupled with a selection of films. I couldn't tell whether the films were being played on televisions or being projected though? One review said they were projected, but the surface of the film had a lightbox quality to it.
This editing of old imagery, and playing with memory in the form of installation is very similar to the ideas I have been having about my work. The description of the piece given by the Whitechapel Gallery stated "the result (of Ataman's fff) is an aural equivelant of the fragility of memory- fragmented and rewriting itself anew." The aim of my project was to create a translation of a way of recording memory- and although Ataman is using film not animation, he has done much the same thing.
My piece is greatly to do with being an outside party on the footage and imagery used to reach a final result, and bringing it to life in a new way, looking at what moving image evokes in the human mind, the associations with old photography (both mine and Ataman's imagery come form the 1950s), the family nostalgia and connections, can you have these same feelings evoked in an exhibition context by an image that didn't come from anywhere personal to you?-- purely through colour, texture of movement, subject matter clichés, can the artist create nostalgia in the mind of the viewer?
I have a lot to do and write, so will have to update this with more research to follow. I sometimes think it would be useful to write a concise essay each time I find a new artist's work to look at.