Often pieces which appear to be very simple are in fact quite complex. I produced my final piece by cutting by hand and I don’t think I would have enjoyed it as much if the image was cut using a machine. However, I realise that to be successful commercially, cutting using a machine would be essential when producing multiple versions.
Papercutting granted can be complex and time consuming, I found it engaging and enjoyable. Similar to linoprinting if you make a mistake it is difficult to correct, however, the images created focus on shape/outline and produce some very dynamic and beautiful pieces. Essentially papercutting is drawing but it doesn’t feel like that to me which helped with my confidence.
Often pieces which appear to be very simple are in fact quite complex. I produced my final piece by cutting by hand and I don’t think I would have enjoyed it as much if the image was cut using a machine. However, I realise that to be successful commercially, cutting using a machine would be essential when producing multiple versions.
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The brief for this workshop was to produce a piece of work which uses papercutting and incorporates a phrase, poem or words. I took inspiration for the intricate work of Kris Trappeniers and the fluidity and creative flow produced in 'My Lovely Lady' featured on Etsy.
Anonymous on Etsy - My Lovely Lady There is limited information regarding this piece however it appears to be a mounted black papercut image on a white background with black frame. The mounting of the image is such that it creates a 3D effect and subsequently creates shadows on the background. What I like about this image is that the papercutting technique has been used to produce the end product.
The artist has used curving and twisting lines of a various weight to create an interesting and dynamic image of flowers and leaves. The figure which is positioned to the right of the frame could have disappeared however because the artist has 'blocked' the figure it is still a focal point. This technique differs from Kris Trappeniers silhouette but I feel works effectively. Yuken Teruya - Paper Bag Tree
This piece of work appealed to me not only because of the intricate and delicate detail in the production of the tree but also because it was produced from something that would have been trashed. From potential rubbish Yuken has created a beautiful, autumnal tree hidden but also represented in the bag (the bag being made from paper and paper originating from a tree). Kris Trappeniers Kris Trappeniers - Untitled
Belgium-based Kris Trappensiers describes himself as a 'paper-sculptor'. Trappensiers starts with fine ball point drawings and hand cuts them from one sheet of paper creating intricate stencils he later uses on vinyl, canvas, cardboard, wood or walls. He uses his stencils once to create layered and interesting final pieces. I really like the intricacy and delicacy he creates in this image. I feel the twisting and curving line work gives the impression of fine features and youthfulness. Trappeniers use of various line weights and a mixture of positive and negative space creates really complex and dynamic images. I initially thought this technique would have been quite easy to do and when using linear lines it was, however, I soon realised the practice and skill required to produce an image with varied lines, shapes and tones.
I really admire the skill and dexterity of artists who create images using lino/woodcarving print. I can see the benefits of printing allowing for multiple copies to be created however if you make a mistake while creating your template you can’t go over it. While doing this workshop I enjoyed manipulating the templates during printing to create different effects e.g. overlaying the image or rotating it I felt created interest. I have gone on to try the carving/scraping technique with a scraper board and will continue to do so as I like the final result and it focuses me on the lines and tones of an image. Mariann Johansen-Ellis - Birds In A Tree (75 x 75 Linoleum Overlay)
Mariann Johansen-Ellis born in 1962 printmaker and painter. She lives on Mon, an island in the South of Denmark. Having spent her childhood surrounded by animals and nature on her grandparents farm these influences are evident in her work today. As was her grandfathers work with woodcarvings and her mothers involvement in various craft practices. This particular image was printed from 3 different plates and I like the contrast between the colour of the background and the black of the tree and birds. It is a very eye catching piece with the muted curves of flowers overlayed by the sharp linear etchings of the tree. I would use this contrasting technique with my future work. Tai-Shan Schierenberg Linocut - Untitled. Tai-Shan Schierenberg - Linoprint (untitled) 418 x 440
Born in 1962 in England Tai-Shan Schiereberg lives and works in London. For the last 20 years Schierenberg has been known for his painting of portraits. He has painted other things e.g. landscapes but it is the human figure that is his principal preoccupation. This Linoprint has been based upon a previous painting that Schierenberg painted titled Seated Nude 2000, Oil on Canvas, 30.5 x 30.5cm. He did a similar thing with some of his other paintings. I think the muscle definition; delicacy of e.g. the finger bones and nails have been impressively portrayed in this print. It is an excellent example of the difficulty in producing images using this technique and its emphasis on the direction of cut rather than tone in order to create this image. I would like to practice this technique and incorporate it into my work. Paul Catherall Linocut - Gas Black 2008 25cm x 18cm; sketched in pencil, linoleum hand-cut then printed.
London based print maker and illustrator renowned for his clean, sharp linocuts of architectural landmarks as well as his illustrations for high profile clients. Catherall combines an expert eye for composition and colour to create striking iconic images. Catherall uses oilbased inks and acid-free paper creating initial designs by hand. I can see similarities in the images that I produced using Linoprinting but unlike Catherall I took the image and copied it onto a lino to then carve out. The purpose of this workshop was to use linoprinting to produce experimental work based upon architectural elements.
I started by photographing and adjusting an image using photoshop. I then traced the image onto Vinyl and using a cutting tool to create the final lino plate. Using a roller,ink, acrylic sheets and printing press. I enjoyed this workshop in particular cutting out the templates and experimenting with layering and positioning the images. Experimenting with light was a workshop that I really enjoyed. Having never worked in this area I learned a lot; how to manipulate light, colour, contrast and objects to produce such varied images of the same objects.
I can now see the benefits in using Photoshop to easily manipulate and overlay images. I feel I have a way to go regarding my skills, knowledge and understand of the use of light; objects and photoshop but feel I have made a good start. My final images demonstrate a range of texture, colour and focus using the above. I would like to combine this technique with ‘distorted images’ for future projects. Brendan Neiland: Excelsior 2006, Acrylic on Canvas 184.7 x 123.9 cm.
Brendan Neiland (born 23 October 1941 in Lichfield, Staffordshire) is an English artist best known for his paintings of reflections in modern city buildings. In 1992 he was elected into the Royal Academy (RA). Professor Neiland's interpretations of city life have gained him a reputation as one of Britain's foremost painters and printmakers. His use of light and pictorial structure, using a spray-gun technique developed at the Royal College of Art, has seen Neiland likened to Georges Braque and Johannes Vermeer. His work is widely exhibited in major museums and galleries worldwide including, in Britain, The Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. When I first looked at this picture I thought it was a photograph. Neiland's use of distortion creates interest and depth in what potentially is a very uniformed building. It also gives place and time to the building and I like the combination of old and new in the reflection of the gothic building in the glass. There is also a degree of dynamism in the picture as I can imagine the reflection undulating in the sun not dissimilar to a reflection in water. I think this technique is a really effective way of portraying the everyday beauty and art that surrounds us and often goes unnoticed. I selected one of the photographs that I had taken and through photoshop I changed it to Black & White to enhance the contrast and brightness. I then produced an A1 distorted portrait using pastels.
Kazue Taguchi - Installation 2009
There is little information about this installation however this is a cropped image of a much larger piece which is pictured on her website (kazuetaguchi.com). Taguchi's installations often fill the whole room from floor to ceiling and this photograph has been taken of a section of the original installation. Kazue is a Japanese artist who lives and works in New York. She makes her work by using reflective material and light and has stated that the relationship between her work and her interests are the most exciting part of her creative research. Her interest in creating works with light is in experiencing the visual qualities as well as the creation of a 'relaxing and sublime place'. I like the way the use of light creates pools of interest as it reflects on the surface of other objects. It inspires me to experiment with different objects and surfaces in my own work. Hannah Gottschalk - Projection Serie; Faces on Behance 2012. A series of photographs done with projections of people onto themselves; creating an eerie sense of self reflection and distorted imagery. Shot on 400iso bwfilm.
Hannah Gottschalk is a Swedish photography student studying at Prall Institute in Brooklyn, New York. The use of light and imagery produces what could be argued as a grotesque and unsettling image. On the other hand it could also illustrate the many facets of an individual's persona and personality. I think the use of Black and White adds to the atmosphere and focuses on the image rather than background. Using multiple views of the same person works well in creating multi-layered depth without loosing the main subject; the person being photographed. This artists work links well with the distortion work I have been doing and gave me more ideas i.e. rather than 'morphing' the image I could layer it and include different camera angles of the same image. Helen Maurer - 'Cave Painting' Glass installation using overhead projector; Date 2003; Material: glass, OHP, plastic, wood; Model Size: 33cm x 3cm and Project size: 3 Metres Square. The installation was photographed by Angela Moore.
'Cave Paining' was made for the Jerwood Glass Prize in 2003. It was a miniature glass model which is placed on an over head projector with light passing through the objects to create a life-size projected image of the scene on the wall. There is a discrepency between what the viewer sees in the model and the image. The glass objects are washed up, the boat is wrecked, yet in the projected image these things are all in tact. There are no people in the image to enable the viewer to occupy it. If the audience cross the projector then their shadow becomes part of the scene. I think the artist's clever use of light and materials is the next stage in my own work where I used the overhead projector to create mark making and effects rather than images or scenes. I also think the contrasting representations i.e. the model is different from the projection, engages the viewer and captures their interests. I would like to try this technique in my future projects. After manipulation using photoshop; experimenting with e.g. colours; contrast; brightness and double exposure these were my final pieces that I printed and mounted.
For the purpose of this workshop I used a variety of objects and lights to create different visual effects which I then manipulated with photoshop. I particularly like the contrast of black and white with colour and the translucency of the bottles, shapes and mesh and the effect of changing the contrast, brightness and colours.
My favourite part of this workshop was ‘Double Exposure’. Initially it looks quite complex however once you master the technique on Photoshop it is quite easy to manipulate and merge two or more images together creating some really interesting pieces.
It amazes me the variety of statements that can be produced just by laying the same image ontop of itself and the depth created by overlaying different images. I have found that I am really interested in the ‘story’ that double exposure enables the artist to tell and how this technique draws the observer in. Distortion in all it’s varieties I feel challenges how we view things with the resulting images often being grotesque, disturbing, comical and/or shocking. Its a technique that I feel gives real impact whether obvious or subtle. I will definitely use the ‘double exposure’ technique in my own work as it fits well with my current interest in the hidden inner-self. Experimenting with distortion via taking photographs. I tried layering bands on the face; pressing the face against a window and using a longer exposure on the camera. I particularly liked the longer exposure effect and the distorted result this produces.
( CD Commercial Illustrated Cover) - Charlie Simpson; Long Road Home.
This example is of Charlie Simpson's Album Cover; it is copyright to him and measures 316 x 315 pixels. He is illustrated looking into the distance with his face and hair clear and the double exposure has been used to represent the journey he has traveled. The images used are possibly meaningful to him but also give the impression to the viewer of the distance from where he began to where he is now both musically and personally. For example the cars are travelling towards the viewer and colour has been used to illustrate a sunset; an ending. I like how the illustrator has used double exposure to tell a story. The composition of the album title creates interest; its block capitals and not spacing catches your attention and is a good advertising technique as it encourages to pay attention to what is written as such you are more likely to remember the title. The overall effect of the cover is reflective and almost romantic with the castle and gothic building in the background. It has made me think about how I could use text differently to create purpose and effect. Imogen Cunningham - Martha Graham 19, 1931 (576 x 427)
This photograph was taken by Imogen Cunningham; born in 1883 and died 1976 at age 93 years. It is a photograph of dancer Martha Graham whom Imogen met and photographed for the December issue of Vanity Fair in 1931. This led to Imogen being asked to photograph Hollywood personalities. Imogen first used double exposure in a photograph she took of her mother with a crown of spoons. I like the sensuality of this photograph and the layering of two completely different positions adds interest, depth and movement. The use of black and white also adds atmosphere. It is very different from other double exposure that I have been looking at whereby the silhouette is clear and the other image is evident in its body. I will definitely try this method in my work. Sarah K Byrne - Double Exposure by the Portland-based photographer.
Sarah K Byrne has created some really interesting examples of double exposure portraits using the in camera double exposure feature of the Canon 5D Mark III. She combines portraits/silhouettes with nature which I feel enhances the colour, pattern, texture and interest in the images. The images she has created using this technique I feel look with longing and reflection. I like the use of colour, texture and tone that the double exposure creates. I was attracted to this image as one of my favourite trees is the Cherry Blossom. The various tones and textures of the tree creates depth, interest and re-enforcing the facial contours. The use of this tree which blooms in Spring I feel also gives the impression of youth and the movement of the branches creates dynamism; I can almost feel the persons hair moving in the breeze. With regards to my own work this technique highlights the importance of experimenting and trying different techniques. Exploration with Double Exposure - The task of this workshop was to manipulate photographs that I have taken of the surfaces and backgrounds I previously created (photo 1); experimentation with light (photo's 2 & 3); trees,leaves & Ivy (photo's 4 & 6) and a picture of New York Street Scene (Photo's 5 & 6). I really enjoyed this workshop as I like the end result and range of options in producing thought provoking and statement pieces. A very popular technique at the moment; particularly with CD designers. In photograph 6 I have used Triple Exposure to combine 3 images. I did this to explore the effect of multi layering and I like the depth and interest it creates. I particularly chose an urban image and natural image of trees to show the conflict between commercialism and green space; using distortion to make a statement. I think the distortion and combining of images can create very powerful statements. I am going to explore this concept further in different aspects of my work.
Mark making for me has been about becoming more open to the unexpected in my work and being willing to have less control over the outcome which inturn offers the opportunity to develop, learn and create interesting effects.
It has also impacted on how I look at other artists' work concluding that fundamentally making marks is the basis for communication and expression. I find it interesting how different artists use different media and techniques to create expressions of work. I can see myself continuing to develop, experiment and use mark making in my future work and in doing this the process will gain greater value and enrich the end result. |
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