Clay vase process

I had researched a few artists that created a range of different ceramic pieces such as Frank Boyden and Karin Bablok which inspired my final piece where I combined the two ceramic artists work with my own piece. I used Karin’s imaginative vase shape and Frank’s bold detail that comes out of the ceramic piece. The process of creating this clay piece was quite difficult. Firstly, created a paper model which I practised with to see how I wanted the ceramic piece to look. I used my plasti-cast by pushing the details into clay and then cutting them into 4 pieces with the clay and cut them into different shapes to get the final look. I used an extra piece of clay and cut out the bottom of the vase and started sticking the pieces together.

When sticking each clay piece together I used a knife tool to cross stitch cut the area where I will stick to another piece and used a brush with water so then the water will go in between each cross stitch so that they can stick together. When holding the pieces together using softer clay placing it inside the two pieces and moulding it creating a smooth surface so it holds better. I repeat this for every piece including the bottom piece. Lastly I  used a range of tools just to redefine the details  that were already printed on the clay from my plasti-cast and added a few other details of my own too and smoothed the edges of the piece. Overall, I really like how the vase came out and even though the process took a while to do it was fun creating the ceramic piece.

Narrative evaluation

My narrative work that I have produced has allowed me to explore many different aspects of photography, I really enjoyed taking the photos and thought it was a great strength of mine and using the range of different techniques such as shutter speed and depth of field. I liked being able to have the freedom to take my own photos for whatever story I wanted to do. Getting to the creative process  using Photoshop was also fun, putting it together and using a range of effects and tools making the photos I have taken look better and connect to my narrative story.

It was quite a struggle figuring out what I would do with the images and only picking 7 photos to explain a full story was quite difficult as well. But putting it together was quite easy because I had used the short photo story technique which is to incorporate 4 shots that established the scene, a portrait shot of the person involved in the story, an action shot and some detail shots. This technique was achieved and I had created 3 layouts that look totally different from each other which would make it easier to decide which one I  would use in the end as my narrative. I really liked using different tools in the transform section to manipulate the images and get creative with my layouts.

I tried to keep the theme of it looking a lot like a storyboard or comic strip because that is how I wanted it to look with whichever layout I would use. There aren’t many changes I would make only perhaps take more time manipulating the images separately and took more time with my layouts to make them look more professional and look manipulated because I think not much was used with them which defeated the purpose of using Photoshop. I did like creating a narrative story even though my narrative is quite simple yet the story looks complicated and dramatic from the creating process and using effects not just on photoshop but on the camera.

Textiles Batik artist: Wendy Evans

Wendy’s contemporary paintings are created on cloth or paper using hot liquid wax-resist and Procyon fibre-reactive dyes. She first started working in batik in the 1970’s. Through years of practice, experimentation and personal enquiry she has directed the process to produce pieces of art that are individual in style. Even though Wendy doesn’t explore the figure her art reflects my batik work.

Wendy uses a blend of traditional tools and processes along with experimental methods in the creation of her pieces. She works mainly in the method of direct application on cotton lawn or cotton poplin stretched on a frame.

While she respects the processes, materials and traditions of batik, Her aim is to produce work that is innovative and find that batik offers a unique medium of self-expression.

I really like the vibrant colours in her art and I think my Batik pieces can relate to the vibrant colours. Even though mine isn’t as developed and detailed as hers, I really like this artist which is why I had chosen her because of how she takes such a simple image and turns it into something beautiful and unique using batik and a range of different materials. Even though she doesn’t do any figure artwork It still inspires me to use a range of different materials within batik and fabrics to create a beautiful piece.

Lino print artist: Horace Brodzky

Horace Brodzky was an Australian artist of Jewish ancestry who produced some of his best work in America and lived most of his life in London. In the medium of the lino cut he made dazzling play with positive and negative shapes, at one moment registering as a flat pattern, at the next reasserting its representational content. The curves and light and dark play is very convincing in his pieces, They look more like a painting then a lino cut.

Brodzky is well-known as the man who documented the lives and work of others, but he is also in his own right an artist of considerable stature. He continued working within a modernist tradition at a time when the tide was against him, marrying a formalist approach with representational interest that result in a pictorial unconventionality. Many of his late works are surprisingly contemporary in feeling, combined with his gift for simplicity, makes him a figure of lasting importance I really like the how different and unique Horace is and the way he captures the emotion and atmosphere of the pieces which is what I aspired to do in my lino prints.

Lino print artist: Valenti Angelo

Valenti Angelo was an Italian-born U.S. artist active as an illustrator and  print maker. Some of Angelo’s illustrations are the epitome of mid-century modern style, with simple lines, flat shapes, and stylised figures, but he had a long career with plenty of work both before and after the mid century, so no style defines him. This first block print is similar to a few others I found by Angelo, in his choice of subject, in the high proportion of black, in the small people who are part of the cityscape without being its focus.

 

I include this cat because it represents an extreme of black with only the thinnest of carved white lines.  It’s an interesting choice, but apparently Angelo was known for his night scenes, so he must have enjoyed experimenting with this style.  It isn’t that he hasn’t carved much – the roundness of the cat’s body is defined by thousands of tiny gouges – it’s just that each carved line takes away so little of the black. I really like this lino print as it doesn’t look so much like a lino print.

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Layouts for my Narrative

first-layout

My first layout consisted of the transform tools on each image, I used the skew, distort, perspective and warp tools which evolved my layout.  The skew and warp were similar because you could drag a part of the image and make it look a weird shape. The perspective just faded the image which was similar to distort and the skew made the rectangular shape  have more rounded edges.  I really like the way this looks because it has an expressive look to it and the images don’t look clear and straight to the point which I like about it.

layout-number-2My second layout is a simple layout where I have used the scale tool in the transform section. I made each image a different size creating a zig zag pattern, I really like the white space between them because it looks more like a comic strip and its gives the images a better effect overall. I didn’t need to edit any of the images because they already had an edit theme throughout each image so it made it look as one. I have added all the right elements  which are the establishing the scene, portrait, movement and detail but I haven’t put the story in order because I don’t want it to be obvious to the viewer even though the story is I tried to make it harder as much  as possible. I really like the outcome of this layout and it is my favourite layout because it looks professional and clear and has an edgy look to it because of the theme throughout the images.

layout-3

My third layout is very joined and storyboard look, I tried something more different from the other layout but still having the goal to make it look like a story. I used the transform section scale tool and used the joiner in the middle and have the little detailed shots to be in the middle and the more obvious on the outskirts of the layout. I think this layout is quite simple but it shows all the good elements about it such as the theme, the story and that it isn’t in order yet you can make it out what it’s about. I would rather have the white space between them like layout two but I wanted to see what it could look like without it. I really like the joiner being in the middle because it exaggerates the establishment of the scene.

The figure: Historical perspective:

Prehistoric 40,000 BC – 2000 BC):

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  • striving to communicate without using language
  • Stick line drawings of figures
  • Told stories of celebrations,war, religious events
  • They didn’t draw much of themselves because humans weren’t the centre of the universe at that time
  • More concerned of their fight for survival

3D Figures: 

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  • They were more advanced creating 3D figures rather than 2D figures
  • The three-dimensional figures mostly presented gods or exaggerated figures of women
  • Venus figurine portraying a woman in any palaeolithic figure

Egyptian (3000 BC):

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  • The Egyptians created rules of how the figure should be drawn
  • Important figures were shown larger than others
  • The less important figures were shown in action
  • In this decade the figure was not shown for religious beliefs for the first time

Ancient Greek and Roman Art (750 – 31 BC:

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  • Painting of the figures on the vases had correct proportion, volume, shape of body under clothing
  • Light playing over the surface of a form creating light and shadow
  • Foreshortening, realism and posing was introduced at this time
  • Ancient Greek sculptures consisted of athletic, heroic figures who were idealised in a relaxed or strong stance
  • Their work of the figure had more of an expressive quality

Byzantine (Medieval Period  AD 330 – AD 1453):

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  • In this era the figure is shown as heavenly, stylised, symmetrical, halos, gold background, symbolic representation , frontal poses, weightless bodies, emphasised drapery
  • The Byzantine period avoided nudity
  • They removed the figure from reality and mostly did mosaic figures

Renaissance (AD 1500 – 1688):

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  • They used painting and sculpture in an idealised figure
  • In this era it was a new standard of painting with balanced composition, linear perspective and a more realistic form
  • It was the return of the religious figures but in the realistic context
  • In the renaissance period artists where interested in the natural realm and realism and finding spirituality in the beauty of nature, human body
  • It was the rebirth of Greek and Roman culture in  the most naturalistic tradition exploring the figure in a realistic way.

18th century (1700’s) Romanticism (1800 – 1850):

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  • This was the time of the artistic,literary, musical, intellectual movement.
  • They emphasised emotion and individualism and it was partly a reaction to the Industrial Revolution, the aristocracy, social and political environment of the age of enlightenment and the scientific rationalisation of nature.
  • It impacted most strongly in the visual arts, music a literature
  • The art work was more poetic than religious and often consisted isolated figures.

Realism and Impressionism (late 1800’s):

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  • The invention of the camera in this era
  • It captured reality in painting and sculpture of the figure
  • It changed from realistic to more impressionistic styles

Realism (1850 – 1870):

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  • The art captured was ordinary life instead of romanced or religious life
  • The representation of the figure in art changes as human needs and artistic expressions are more evolved.

Impressionism (1870 – 1900):

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  • Impressionism emphasised the artist representation of colour and tone of the scene.

Expressionism (1900 – 1940):

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  • Expressionism’s typical trait was to present the word from a personal perspective
  • It wasn’t the purpose to  make art that was physically appealing but to use raw emotions instead.
  • simple colours and shapes to create emotions
  • Expressionism influenced expressionist art

Cubism (1907 – 1914):

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  • most influential art movement
  • It explored different view points of the figure from multiple perspectives on 2D paintings
  • Experimental, new sense of volume and shape

Abstract Expressionism (1940- 1960s):

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  • Paintings without thought, releasing instinctive thoughts instead of our rational thoughts was what abstract expressionism was about.