Collection: Part 3

project - 01

Social media accounts

commune

blind date

blind date

addendum

briefs & weekly plans

briefs & weekly plans

evaluation & statement

evaluation & statement

bibliography

bibliography

Part 3

project - 01

project - 02

project - 02

project - 03

project - 03

project - 04

project - 04

 UNREAD IT 

Project 01 – week 01 & Scale

 RESEARCH 

http://www.glennligonstudio.com/

GLENN LIGON

  • Stranger Series of paintings, 2002-2014
  • Door, Series of paintings, 1990-2011
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Glenn Ligon

NOTE:

I love the monochrome aspect of his works, it also invites the viewer to appreciate the texture put into it and you sort of want to touch it. 

You do see that there is something written but you can't read it. In a way the artist is the only one who can, it makes the work even more personal.

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 http://www.kurimanzutto.com/artists/carlos-amorales

CARLOS AMORALES

  • "Life in the Folds", Venice 2017
  • Work Documentation 1996-2015 

Carlos Amorales

NOTE:

As explained in the video, he started from shapes of paper (Geometric Splendor) and made his project evolve to creating typography then translated in the creation of Ocarinas and each one of them has a specific sound to it and so he created his language.

What I like about this project, other than the overall aesthetic of it, is the evolution. He started from these abstract paper shapes and then all the project evolved until the creation of something more figurative - characters. I also enjoyed the range of techniques and materials used - from print to 3d, music and video, etc.

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London College of Communication Library

SKETCHBOOKS:

THE HIDDEN ART OF DESIGNERS, ILLUSTRATORS & CREATIVES

RICHARD BRERETON

  • Henrik Delehag, page 66
  • Brian Grimwood, page 130
  • Johnny Hardstaff, page 136

 

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SKETCHBOOKS

NOTE:

I feel that in the exploration of a personal language and the relation between content and the media used, sketchbooks are a good example. Because it is such a personal tool, the content may only appear clear and readable for the person who owns it. I choose these particular examples not because they were unreadable for me but because there was a certain aesthetic put into it and because the overall shapes and contrast, I found very interesting and they could be a starting point in the development of a language.

It could also be a way to introduce a part of commune into my work.

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SEE:

  • Screenplay for Amsterdam, 2013 (page 15)
  • Vagabond in France & Belgium, 2011 (page 24)
  • Throwing the studio out of the window, 2010 (page 26)
  • Drifting star, 2010 (page 32)

http://annievought.com/

ANNIE VOUGHT

  • Field Texts, 2017
  • Can you say the name thing using different words?, 2017
  • The last word on the word, 2016
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Annie Vought

NOTE:

What I really find appealing and interesting and super impressive with her work is how delicate and yet strong it is. Using only paper cutting to write words was a surprising technique. I also like how she works; on her blog/portfolio you can follow the work in progress and her techniques used.

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http://jaumeplensa.com/

JAUME PLENSA

  • Son-W, 2001
  • Belzebub, 2001
  • Continents XV, 2004
  • Anònim VII, 2003
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Jaume Plensa

NOTE: 

I really like the way he mixes type and image, but also the use of different materials. I think the use of these two elements helps his images to be even more powerful and transmit not only an information but also a feeling, an atmosphere.

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London College of Communication Library

THE PROCESS:

A NEW FOUNDATION IN ART AND DESIGN

JUDITH & RICHARD WILDE // LAURENCE KING PUBLISHING

  • Zen Solutions, page 46-47
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THE PROCESS

NOTE:

  " [...] Although each image has its own distinct character, it is the pattern that they create that functions as a single identity." 

This is an interesting approach what sort of pattern my marks could create?

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London College of Communication Library

THE POSTER

1,000 POSTERS FROM TOULOUSE-LAUTREC TO SAGMEISTER

ABRAMS, NY

The Poster As a Personal Artistic Expression – page 492

  • PAULA SCHER, Fucking A (theatre poster), no. 0886
  • CATHERINE ZASK, Alcibiade au Téléphone, no.0902
  • MARTIN WOODTLI, Sport Design (exhibition poster), no.0907
  • SHINNOSKE SUGISAKI, Poster for the Mana Screen silkscreen company, no.0913
  • REZA ABEDINI, Iranian Imagination (exhibition poster), no.0965
  • SHINNOSKE SUGISAKI, To Kyo to (poster for an AGI Congress), no.0969
  • FONS HICKMANN, Clothing Collection (poster for a conference center on social issues), no.0997
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POSTERS

NOTE:

  " [...] poster designers have more room to experiment and take risks, providing a unique venue for the artist personal artistic expression." 

Here is a selection of posters that I thought were against the "This is what a poster should look like" convention. I Thought that these posters worked with information but in some of these examples the information is not readable. Without the caption, it would be impossible to know what the poster is about.

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 REFLECTION 

 OUTCOMES 

& visual experiments

08/03

Crit

I had a difficult time explaining my concept; I think I was mostly tired and ended up losing them and also getting lost in my idea. Overall their comments gravitated around the empathy and language barrier and how this work reminded them of how they mostly don't have to face this type of wall to communicate - I'd say that at least I was able to touch them and make them react in a way to my work. 

They didn't give me much of a way of thinking my work they were mostly just saying out loud what they were looking at and how it made them feel.

What it learned from this brief is mostly that this work needs to be more explicit. I need to focus my ideas and agree on who am I talking to - is the blind or people that can see?

 

06/03

Day 02 - Scale

I came in with a very ambitious idea in mind – How could I emboss fabric. The idea was to think of this outcome as part and continuity of the posters visual language. So since yesterday, I explored the hand marks I wanted to find a way to work with the embossed letters I had printed on the posters. It turns out that I took too long to plan "how to" that at the end of the day I could finish it. 

I learned that ambition is essential but so are deadlines. I'm still happy that I managed to make a sample of what I wanted to present it on Thursday. I think it is something I want to do and so I would not say that today was a waste of time. I also had the opportunity to try what I wanted yesterday - print with white acrylic - so we'll see on Thursday how my sample was a success or not.

NOTES FOR NEXT TIME:

  • use baking paper instead of the paper I bought at the art shop...
  • create two cardboard plates - one with the inside shape and one without the inside (it should make the embossing faster and more successfull)
  • let the PVA glue dry a little bit before attempting to shape the fabic

 

05/03

Exploring Scale

I felt a bit trapped since after the morning crit I was indeed thinking about experimenting with scale but in the other way. Since I went "big" for my first outcome I wanted to see how my project would evolve if I used a smaller format. 1m is very big, and I didn't know how to make it work. So I decided to go simple and since I already created a sort of visual language based on the sign alphabet I thought it would be faster and easier to keep going in that way. I decided to stick to the process I already created - printing sign language- and apply it to a 1m2 piece of fabric. Create a sort of flag that would say something that only I (or people that cracked the code or speak sign language) could understand. Using fabric was also a way of experimenting with another type of materials. 

My thoughts now are that I probably went to simple. I liked that even when I printed on fabric people wanted to touch it - I'd say the fact that people see hand marks incite them to want to touch it.- So that was successful. I still think that I could come with a way of printing my hands maybe bigger or with white acrylic instead of black- to keep the monochromatic aspect that I had with the posters.

05/03

Group Crit

WHAT IS THE FIRST THING THAT COMES TO YOUR MIND WHEN YOU LOOK AT THE POSTERS?

  • Murder scene
  • Secrecy - you have to look at it in the right light
  • Intimacy
  • Interactive - opposite to what you usually want for an Illustration

I'm glad to see and understand the different feelings and atmospheres my posters convey. I was surprised by the general answers such as the murder scene one; I also asked more questions to understand more deeply what made them think of that. I liked that the interactive aspect was noticed and took their advice to make my concept evolve and make sure that my intentions are readable and that the audience understands them.

 

DO YOU THINK THE FORMAT IS ADEQUATE / APPROPRIATE? - IF NOT WHY WOULD YOU PREFER ANOTHER FORMAT?

  • Poster format - is really powerful, but maybe try a publication (more accessible) or a collection of postcards
  • Publication - creates awareness on how to use sign language
  • Embossed on both sides of the paper - postcards might work better so you can feel both sides.

It was while opening the conversation about the format that a lot of different uses and ideas popped into my head. They said the interactive aspect of the poster was a bit lost because of the A2 format and so it was maybe more difficult to manipulate to feel the embossing and difference of texture. I really liked the idea of a collection of postcards - it will demand me to experiment with different formats and eventually surfaces to accentuate the interactive aspect of my project.

 

WHAT WAS THE BEST PART OF THE MATERIALS OR TECHNIQUES THAT YOU'VE FIND INTERESTING AND WHY?

  • Color - looks likes you have taken the glass layer off
  • Weird scientific materials?
What I was trying to understand is if the use of different technics and processes was increasing the interactivity or was just drowning the poster under the aesthetic. Their answers were appealing and resonated with me; they wanted to know how I achieved this texture and indeed were interested in the process. My negative point is that I feel like the concept was "less interesting" than the process itself. I should find a balance and maybe go a little bit less with the transformation to make the idea readable.

01/03

Outcome

Because the experiments of yesterday were successful I was able to move fast to the outcome I wanted. I'd say that I'm not a 100% satisfied with the message that is transmitted and still not convinced by the text I decided to display. But the process and the visual of the posters are really promising; I can't wait to see how it evolves.

For the future, I will think more deeply about the actual content, because so far my attention was mostly focused on the media transmission and how the information is lost because of it. I still have to think about what this information is. For the projects to come, I will maybe do the process backwards and consider the content before the media.  

27/02

Project in a day

For the project in a day, I decided to do my printing experiments and come out with a technique and let the intention and message of my work come to me while I wasn't restraining me with these thoughts. My goal for the day was to come out with a technique and a process that made sense and corresponded to the monochrome and minimalistic aesthetic that I wanted to explore.

Overall I'd say that I was able to reach that goal and I was pleased with the results. I think that the contrast between the glossy paper and the matt of the ink is visually appealing. 

But I'm still stuck with the meaning; I had different ideas that I like but nothing that makes actual sense to me and no opinion on the type of audience I'm looking to reach.

26/02

Content & Media

I find today's strategy to create a brief, very similar to the one we did before Commune. The only difference is that some of us based today on their experience on the commune week and I decided to base it on the research I'd made and the ideas I had on the week before commune. 

The more I was getting in the day and the stress of having a brief written by the end of the day helped me focus on what was important for now and annotating the problematics I was facing and leaving them for a later throughout thinking.  The main problem I have is that I'm not sure of the overall message I want to transmit. I also have to set an audience, who am I talking to? What is the goal and purpose of my outcome? What emotions/reactions do I want to provoke? Those are the questions I'm still asking myself. Umberto said that I overthink. But I don't want my work to be meaningless, and telling myself that the audience can come out with the meaning is not helping because for me this means that I wasn't able to control my work. 

I'll think this through tomorrow with the tests and experiements.

01/02

Ex. 01 - Come with ideas based on the previous briefs

Today was a draining day. We had to come out with ideas for our Unit 7 in groups, based on our experiences and analysing the previous briefs we had. Based on three criteria: Concept / Aim / Process. Based on these we had to identify what we were interested in and create different ideas to develop.

I found this way of doing efficient, and it gave some results for me. I thought that by identifying an overall concept and then focusing on the intention and finally the process was objective and gave me a way of working that spoke to me. It avoided my thinking from going all over the place.

 The fact of starting by doing it in groups was also useful, despite the lack of understanding on if this was the starting point for Commune or Unit 7.

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Process

  1. Use your hands and acrylic paint to "write" using sign language on transfer paper.
  2. Create a screen printing positive using the calc you just created.
  3. Print on the surface of your choice.
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