Creating a Gif in photoshop

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When creating a GIF on Photoshop I decided to change the background colours because the still life object itself was very hard to manipulate in colour. Firstly I had to crop my original still life object image then place the cropped image onto a blank photoshop page. Then I started to change the colour of the background. I wanted to use pastel colours for my background as the Polly Pocket box is already quite pastel. When doing this I had to duplicate the image 3 more times and change the background on each. Then I put my layers into frames and dragged them into my timeline creating a small GIF. I liked creating the GIF but I didn’t like the one I created because the box didn’t really work around the background and I think I would have created something to do with box instead if I had more time.

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Evaluation

Time Based (IT/Photography):

The Figure –

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.  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. I looked mainly at Tom J Manning who created beautiful comic strips which inspired my narrative piece because of how I had cut each of the images and layout of it. Although the colour didn’t connect with Tom’s work as he used a black and white theme whereas I exaggerated colour.

I learnt many practical skills over this narrative piece mainly in Photoshop, I know how to use it really well and how to manipulate all the images for my narrative piece using a range of tools such as filters, modes, joiners and layer effects. I think the layouts went really well and the photographs themselves. Telling a story through images can sometimes be a hard task but I really liked the challenge of speaking with images and I think without these amazing photographs my narrative wouldn’t be executed so well. If I could improve my narrative piece I would have liked to work with more effects and tools to create a more dynamic narrative in photography.

Still life –

My short animation was creating a GIF in photography, This piece was an extension of my illustrated work. I didn’t do much with it because my still life object is really difficult to manipulate although I did manage to create a GIF surrounding the colours of the background where it would change. This process was definitely a good skill to know how to do, I wish that I got to have more time to create a range of different GIF’s and know how to create one well as it was very difficult to work with. My illustrations however went well as I learnt many tools to create a beautiful illustration of my Polly pocket box. I learnt many skills in illustration, mainly how to work adobe illustrator and how to create a digital image.

I looked at a range of illustrators from Aleksandra Kingo and Corey Bartle Sanderson who are very creative with such ordinary objects and I just love their work. It inspire my Polly Pocket illustration a lot because I wanted to exaggerate the colours and make the box very bold just as Kingo does. I think overall the illustration I had created worked really well I made it very precise and made sure I got all the details from the Polly pocket box. To improve I think I would have spent more time on filling it with colour and working into it to create more of a three-dimensional look to it, working with depth and tones.

3D:

Figure –

I explored 3D in plaster and clay work with lino prints of my face. I looked at different artists involved with lino prints such as Horace Brodzky and Valenti Angelo. They informed my work in their techniques and how they create such beautiful lino’s creating texture and different tones. I included this into my artwork for the figure by cutting a lino print and using it with plaster cast,  I learnt a lot of different skills with the figure introducing me on using plaster cast and clay fully. Learning the process of how to make a plaster cast and how to use the mould of the plaster cast onto the clay and using the clay moulded pieces into my own vase.

The figure made me explore in-depth about 3D and what I could create within the figure to connect throughout my art work in this project which is what worked really well. Creating the lino print of my face and printing with it then using the lino with plaster cast and using the plaster cast mould for the clay was executed beautifully. If I could go back and improve it I would have probably took more time creating my lino print and using my texture and tones to it as it was a very simple lino cut and it was involved in every 3D creation so it was very important for it to be as good as the piece.

Still life –

In still life I explored 3D mainly with clay and with my Pin and thread piece. My clay piece was very thought out and I tried to portray my still life object into the clay piece as much as possible, adding every detail that connected to the Polly Pocket box so then when you would see the finished product you could tell what it was just from the little detailing. I looked at a range of different ceramic artists but one inspired the box the most as she had created similar box’s  who was Maria Kristofersson. Her work informed my clay piece because of the detailing she had exaggerated in her pieces.

Even though I had already experienced using clay in my last project, I had learnt more skills with adding details on top of clay using moulds. Also I had learnt more about how important timing is with clay and that the clay should all be at similar stages to be fired. I think this clay piece went really well and I really like how much bigger it is from the actually Polly pocket box and with that I have exaggerated the qualities of the box onto my piece. If I could improve it I would have worked more into getting it more precise and clean so it has more of a professional finish once its been fired.

The pin and thread piece was quite simplistic, I just wanted a clear bold example of my still life object and try not to put much detail with it which was inspired by Debbie Smyth as she is a textiles artist who used a lot of thread to create bold lines. I learnt how to work with pin and thread in a drawing aspect, it was hard to work at first and frustrating but I liked to learn something so new to me and I really liked the way the thread looked. The whole three-dimensional of the piece went really well and the thread represented my still life object perfectly. If I could improve it I would have taken more time with detail and maybe adding more key qualities of the Polly pocket Box with the pin and thread.

2D:

Figure –

In the figure I explore 2D very well using a range of different media with my self portraits, life drawings, lino prints and in textiles.In my self portraits I incorporated a lot of different artists into each portrait so they were all different using water-colour, acrylic, byro and pencil. My life drawings had versatility too, using pastels and ones with or without tones, and my lino prints had a range of colour and experiments with different backgrounds. In textiles I used different techniques with wax, thread and different fabrics.

I learn a lot of different skills in the figure mainly with different media, learning a range of techniques and what works and what doesn’t within colour, textures and compositions. I think what I really enjoyed and thought went well was the self portraits and life drawings, I got to work with whatever I wanted and explore different qualities of mixed media. I would improve the lino prints and my work in textiles because they didn’t turn out how I would have wanted and If I had more time to work with them I would have put more detail with my lino print and use more backgrounds instead of just plain white paper. In textiles I would have worked more with fabrics and using embellishment instead of just focusing on wax which would have worked well with my self-portrait.

Still life –

In still life I explored 2D in more depth by using and learning different ways to express my still life object. I had been inspired in my painting by Michael Craig Martin and Catherine Abel who had used a lot of colour in their pieces which I had exaggerated in my painting. In my dry point I had focused on Jake Muirhead who creates beautiful dry points and it inspired my dry points because I had worked in showing the scratches in detail as Jake does. In textiles I had researched Priscilla Jones who  had connected with my work very well as I had worked with very feminine fabrics to exaggerate my Polly Pocket box that has very feminine colours.

I learnt  a lot about dry point and how well it works and how different it is to lino printing, scratching plastic really brings out textures and tone to a print and it works really well with ink and I had explored different tools and how they had worked with dry point. In textiles I had learnt more about inking with wax and how you can dilute the ink and create beautiful shades with your wax piece which I had explored on paper and fabric. I  think the dry point worked really well on brown paper and that using more ink made the textures and detail come out more. My painting I tried not to add too much detail and focus on the colours which worked well within my artist research and with textiles I think the wax prints related to my still life object really well. If I could improve any of the projects I would have improved in textiles and had used more stitching into my work and incorporate the qualities of the Polly pocket box into my textiles piece.

 

 

Finished Ceramic Box Piece

I had started to talk about this piece in my sketchbook but hadn’t told you the whole process and what the finished product had looked like. After creating the shape of the Polly pocket box I had to cut the top half off so it was easier to fire in the kiln. After cutting the top off I had to smooth the edges and create a bit of room so that the top could move a little from the bottom. Using a stencil of a rope I had created strips to represent the balls of the Polly pocket box, I also used this rope to cover the cut between the top and bottom . Using the cross stitch method I glued the top half of the box to the rope but not the bottom so it could come off.

Then adding little details to the box using the cross stitch and water method and recreating some of the designs of the Polly pocket box as my own representation. When doing this I had to make sure the clay box itself wouldn’t go too hard so I had to spray it with water very often. Once all of the details that I wanted to put on had set I started creating the legs. I had a picture in my head that I would execute the legs that are similar to the Polly Pocket box but in reality they wouldn’t have held the box up well. I just decided to create small balls adding a hole with a screw tool just so they didn’t explode in the kiln. Using cross stitch and water to connect all four balls, my ceramic piece was finally complete. Overall, It took a long time to create but I think the ending result looks really beautiful and really represents my still life object really well. Even though this piece in particular took most of my time to create other things I’m glad at how it turned out and will hopefully paint it once it’s out of the kiln to match the beauty of the Polly pocket box which radiates colour.

 

Debbie Smyth : Pin & Thread Artist

Debbie Smyth is a textiles artist who is popular for her statement thread drawings; these playful yet sophisticated contemporary artworks  are created by stretching a network of threads between accurately plotted pins. Her work beautifully blurs the boundaries between fine art drawings and textile art, flat and 3D work, illustration and embroidery, literally lifting the drawn line off the page in a series of “pin and thread” drawings.

Debbie plays with scale well; creating both gallery installations and works for domestic interiors. Her unique style  lends itself to suit corporate environments, public spaces, window display, set design, graphic design and illustration. By collaborating with interior designers, architects and other creative practitioners, Debbie pushes the expected scope of her work even further.

Debbie’s thread artwork is just like a pencil drawing with the harsh bold lines and detail. I love the way she has bits of thread dangling from the image she is portraying, Debbie’s work speaks for itself as it is thoroughly thought out with its scale and the thread work itself which is similar to the work in our class on the walls where some students represented their still life object on the wall as Debbie does. Her work inspired my pin and thread in the bold harsh lines that I try to exaggerate in my pin and thread art work as Debbie does.

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Maria Kristofersson : ceramic artist

Maria Kristofersson is a contemporary ceramic artist. Maria focuses on proximity, distance lines, surfaces which is important to her work. She sees them as tools to find her expression and stories. The clay provides both guidance and resistance. Maria Kristofersson’s  perspective is a drawer’s and a painter’s. Her works can be described as three-dimensional drawings, in which the surface texture, lines and shadows are crucial. Her work has a restrained colour palette including white, black and terracotta. Delicate and fragile, still rustic and clear. Well-known shapes, such as boxes and cylinders, are the baseline for her sensitive surfaces, where function is a completely subordinated term.

Maria inspires my ceramic Polly Pocket box because even though it’s a vast majority she has created some beautiful pieces that are similar to my box such as the detail and the opening and closing of the box itself. I really like Maria’s work because she really thinks through her contemporary ceramic process and creates such unique pieces that all have a similar theme. Maria mainly creates pots, plates cups and rectangular shape ceramics which look quite vintage.

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Richard Diebenkorn Dry Point Artist

Richard Diebenkorn pursued his own interest in artistic style regardless of what the market dictated or fashion expected of him as an artist. At various times in his career he worked with either landscape or figuration’s. Sometimes he did both simultaneously with very subtle differences.

Diebenkorn learned to be a good print maker. His pursuit of techniques and imagery that could best express his vision led him to a distinguished position among the printmaking painters of his generation. He worked with some of the most highly regarded print publishing studios such as Gemini GEL in Los Angeles, and Crown Point Press in San Francisco. Working with these master printers and technicians, Diebenkorn learned about technical aspects of printmaking, but also, taught a few lessons himself. In his lifetime, Diebenkorn produced very few more than 100 prints.

Diebenkorn’s dry point prints especially are quite vague and simple in colour and the layout of objects but have a lot of detail within the dry point. I really like the different tones of black that are used in each piece which really creates a beautiful display and the scratches are very detailed with the wood of the table to the sharp lines of the rectangular shaped still life objects.

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Creating patterns in illustrator

When creating patterns in illustrator I had to figure out what I could take from my still life object which is the Polly pocket box. I chose to use the crystal tear drop design on the front and back of the Polly pocket box which I really love about the object because it makes it look like royalty and girly which really makes up the box.

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Firstly, I drew out the tear drop shape and then I filled it with the similar colour of the Polly pocket jewel. Then I added a little cube like shape to make it look more 3D as it mimicked a tear drop with the light reflecting off it. Then used an opacity on the cube to make sure it still has the colour only lighter. Taking off the pencil lines also and just using fill so it looked more realistic than using the duplicate tool I recreated 3 more different coloured teardrop jewel shapes.

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Wrapping all of the shapes together as one shape I then used the object, pattern tool which duplicated the overall shape as a pattern.

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Creating a dress to see what the pattern would look like was easy, I used the drawing tool  without fill and then with the fill tool I choose the pattern I made and filled the dress I made with it. I really like the tear drop jewel pattern and I think it would look good on any sort of clothing and creating these patterns was my favourite thing to do rather than tracing the whole Polly Pocket box.

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