Project report 603

In my initial proposal for this module I had an idea, that I would explore printed textiles with the Ohh Deer brief as a starting point. The idea was that the textiles would have different narratives flowing through them. I tried to find ideas that could work with fabric, they didn’t have much depth and I found that I was naturally thinking and drawing in a way which would work well for a stand-alone image and still drawn to subjects that have a darker context. Still making images that had sequential narratives but would work better as a piece of editorial or book illustration. The project when this became clearest to me was the Sherlock Holmes illustration that I did using the folio society’s brief as a basis. This was the first project in a while where I could enjoy immersing myself in the story, and is the only project where I am happy with the all three outcomes. I went back to lino having not used it for a while, and found enjoyment in it again, but also that my understanding in key elements such as composition and colour had improved. One improvement however, due to the scale restriction and that I screen printed the final outcomes, was that some of the detail is lost or hard to see, especially in the people. And this was a reoccurrence in a few images after this series. Another part of this project that I took value from was relating image to text and developing that idea through roughing. Texts gives you a good foundation in which to build on, and roughing has now become a necessity of my practise. It is clear looking back through developments that there is a stronger correlation between the roughs and outcome. The way I rough could still be improved, for example I do tend to draw on image the same, reputedly for a few pages, for example the roughs for the first Wuthering Heights print. For a brief with fast turnaround, I wouldn’t have time for that. Roughing looser and fast may help with this.

The short Wuthering Heights series, much like the previous project was one that I got into both research and images. The first print was the most successful. It acts as a good summary image of the story and has a strong aesthetic appeal. In the making process, I still used lino as a base but tried to speed it up by painting detailed features in ink and scanning them in. It did help slightly but if this was an editorial it would still be too slow. Moving on from this I decided to focus on speed up the making process and keep pushing ideas forward. This first happen was with the next image for the story about the ‘Twelve Sons’, the image of the ravens flying out of the window. The image related to the text, still had a match to the previous aesthetic but was made using quicker techniques. Black paper and gouache were used to create the base and along with different elements scanned in, then digitally edited into the final image. It sped the time up and this image also pushed me on the be more dynamic with composition and lighting. It is hard to get an image that is prominently digital to appear analogue and the second image in the series (the one with the dogs in the smoke) is an example of this. To resolve this issue, I have built a library of screen print textures to evenly overlay images with. I have tried to push composition in the module as it is something I have always struggled with, but now I believe I am getting to grips with it. A strong composition helps the communication of the image. Especially with book illustration. But in my editorial work sequential illustration is method I am using a bit now and I find it helps get the message across, whilst still incorporating all my ideas.

Overall this module has pushed me more than previous. I have produce a large amount of work, that challenges narrative and composition but also my whole practise. Moving away from more traditional print processes to adapt to fit with the realistic time scales I would have to complete work within industry. One problem I’m still finding and getting better at is having confidence in my work. I see not liking my own work as a good thing at times because, it pushes me but at others it has become a hindrance. Moving on I need to keep working and pushing myself, but also know when to take breaks so I don’t get burnt out and lose confidence.

Revised statement of intent.

603 design boards

Interim evaluation 4

Deciding to change course and work solely on narrative was a really good choice. I think I did need that time away from working with publishing and editorial illustration to gain a full understanding that this is what I want to do. Part of the reason for my blip could be down to that I am scared and worried about the prospect of freelancing. But working with narratives and telling stories is something that I relate to strongly and ultimately where I naturally sit and have a passion for. Now that I have made this decision I have a stronger sense of direction and aim. One thing that has been a problem for a while now is the length of time it takes me to make images. For example with the 1^st Bronte print as a summary of  Wuthering Heights ,which is a strong image. That took me a few days to make. And if it was sitting in the context of editorial, the time frame would be much shorter. My core aim now is to continue the development of speeding up my process. A successful attempt in doing this was the first image for the story of ‘ The Twelve Brothers.’ I made this image during the Easter holidays so I was forced to work with no print room.  So I used black paper and gouache as a substitute for lino and this worked surprisingly well. It doesn’t have the exact quality which is a shame, it works in a very similar way. Once this was done I was able to build up the layers using print textures and different colours. ( see post dated 12^th april) When finished it there where strong similarities between the image and screen print. But printed out digitally the textures are not even and this is something I need to work on. Using other print textures other than mono print could work? Mono tends to have quite a noisy texture so can easily make images very grainy, a smoother more even texture would be better, then this can be applied across the whole image evenly. Within the brief too I’m trying not to screen print the final image, as when I graduate I won’t have easy access to a print room. There are advantages to printing digitally. You don’t lose as much detail on the finer elements of an image and it is overall clearer and sharper. But screen print has that bespoke and more personal rawness to it, which is appealing. Moving forward I am going to continue for now printing and creating images using prominently digital techniques but I need to start making some more up to date editorials as this need to be in my portfolio and with many papers moving to digital platfrom and not in print , this is somthing I need to bare in mind. 

Interim evaluation 3

After trying to think and work with themes that I could apply to textiles I found that I missed having a deeper context to my work. Also I tried to develop patterns, but I naturally found that I was creating stand-alone narrative images and preferred them. So, I don’t think textile is a route that wouldn’t be suitable for my current practice. I seem to naturally fall into creating image with narratives and I think that this is what I need to focus on. This means that I can investigate making work for publishing and editorial illustration at greater depth and home in my practice. I won’t be trying to spread my practice over too many different areas and will be able to aim at one. I can still work with lighter subjects, particularly in publishing but also after having had a break from working with social/ political issues I’m finding an interest in them again. So , starting to think more about my portfolio, I am lacking in editorial illustration. It would be good to do some that where like a few pieces I did last year that was sequential. Working with sequence of images in one image is something that would be worth investigating further, it an interesting and clear method of communication if done well. 

I have started to drop live/competition briefs because for the work I want to do the briefs are not relevant and don’t appeal to me , some of the deadlines have already gone and there are not many left. So moving on from here I will be developing a lot more shorter self- led briefs, making work prominently for my portfolio but also taking the time to push my practice. My method of working must speed up, so by doing editorials and setting myself short deadline for these I hope this will force me to find new methods to speed up my process. 

By working with narrative images, I can also see a more exciting and clearer way to develop my ideas and practice further. I have been wanting to produce large screen prints for years now and the time left gives me perfect opportunity to do this. If I get a strong image, printing that A2/A1 would look amazing. It will also help develop my skills as a print maker.  As much as I enjoy having a physical printed final outcome , this would be difficult to do once I have graduated so like I mentioned in the previous statement , I need to find methods of working without much print involvement that give me the same quality of my slower method of image making. By working on this too I will have built up a sustainable practice so once I leave I can still make high quality images but at faster rates.

Interim evaluation 2

The feedback in the mega crit was really positive but would have good to get more critical feedback as I feel like I’m not make that much progress. It was good however that people recognised a string progression in my image making. Key points where that I should carry on capitalising on print and telling narratives through this. Also that the delicate and refined aesthetic the images have is something people find appealing.

However, there are still areas that need development. for example, moving the people into full figures with features rather than just silhouettes. Also, I want to print big. Potentially A1? But so far the I have made image up to A3 so pushing this further would be good. Now with regards to the project proposal plan, I have gone off on a tangent but it seems like a natural progression. I am making more prints and images, challenging aspects such as composition and ideas. Still following the concept of narrative but I haven't started developing that onto fabric. However the more I am developing images the more ideas I am getting about how I could do this. It might be that I produce a series of images based on stories and from the images made, take certain motifs and add these onto fabric. I worry too much about creating the product still, rather than the image. If I keep but making loads of images  I think the different image/pattern ideas for the fabric will come into place. Pushing how print can be used rather than trying to just make one thing.

But one problem is still bothering me in that I am really struggling to think of the of the image in a fabric or product context. I have I good sense of how I can improve and develop them as images for say a publication or editorial but can’t see them as a pattern. I am still tackling dark subjects or stories and I enjoy this more than the trying to find something more light-hearted for a theme. I am starting to consider weather not to carry on the idea of making silk slaves with narrative in them. I know I need to focus less on the product and much more on the images. And if this is the case then am I better just focusing on the illustrations and let them take the natural course as see if they fit better in another context?  I did enjoy making the Sherlock images a lot more than designing the pillow covers for ohh deer. They were of a higher quality and I felt that more passionate about the series. Also, I would know how to move the images further and be more ambitious with them.

Interim evaluation 1

After trying to tackle a hard social issues by undertaking a deep level of research and working out how best to visually communicate this within context of practise. I have found that I get burnt out quickly and struggle to get the work up to a high standard that im happy with. So I want to create work on much lighter subjects, focusing more on narrative and the idea, whilst mastering the techniques I use to make the images. One of my aims is by the end of this module is to have designed a collection of silk scarves. Incorporating image and narrative onto textiles is something that I am trying to grapple with and am going to continue to do. The reason behind wanting to design silk scarves is it a simple way of applying narrative illustration onto commercial products and once it is on fabric it is easier to visualise being applied to other fashion based products. Scarves also have a simple format, they are just a square. This means that I will be able to create multiple designs that can be applied to other ideas, such as wrapping and wall paper , product packaging. This all however need to be research. I need to find a target audience, an appropriate theme and investigate how the images could work on different products. Currently it appears that the overall project will be extensive but split up into shorter briefs. From working on the ohh deer brief I am starting to develop an idea of how the scarves could be and work like. Even though the patterns used in the development don’t have any narrative, they still help with understanding how the composition could work. More importantly at this stage is how the silk acts once it has been printed on. I have found that it is better with some binders than others. Printing with too thick a binder means that the fabrics flow is hindered, but also with the ink being think and bold it doesn’t have that natural transparency that occurs within the material. Playing with the fabrics has also allowed me to see one dyed how the different colours work together. Natural dyes have a nice subtle tone to them, but depending on the narrative I find to work with , a bolder more colour using direct dyes would be better. You also get more verity with this form of dyeing. Having this time to experiment I think it vital to my practice. Your still producing work but with a less intensive subject and theme, and by doing this I am start ot really gain an understanding in the values of take that time out to explore, play and have a break from  working with the hard hitting projects.