Tag: target setting

evaluation, portfolio, SWOT/Target Setting

Cheltenham Awards Final Piece Production

Chalon Joy

It’s been a busy week indeed!

In between running around like a headless chicken and trying to maintain a ‘healthy’ work/job/life balance, I’ve finally finished up my final project of the year ♥

It was quite an arduous process, but I think I actually really benefited from the super short time frame I’d been left with- not only was I working towards my deadline, I was also racing to get my art book submitted for publishing in time! I wanted this piece to be included, so that was another self imposed time limitation.

I created the piece on Procreate, using a variety of my own photos from my 2018 China trip to inform the architecture and layout. I clocked in just over 30 hours across 4 days according to the app, so here’s a wee time lapse video of my process to make a very long story short! (This is the 30 second quick cut- the longer time lapse video is about 12 mins long, and unfortunately I couldn’t quite get it to load up on Vimeo!)

 

So it was quite a linear, reassured workflow, but also had some new techniques being used since Procreate is a completely new tool to me since my last Cheltenham project in 2017. I’m really pleased with how far I’ve come, as my line art, layers and detailing/texture management has come leaps and bounds. While I still appreciate the flat, pastel-y appeal of my old Cheltenham piece, this newer one boasts a lot more depth, as well as a more experimental colour palette that really is quite ‘far out’ for me as an artist- up until now I really have been stuck in my ways with pastels and monotone, but the subject matter fully supported a warm, deep toned palette and I think it ties in quite well.

Here’s the finished piece- there’s loads wrong with it of course, but I’m content for now ♥

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Modernisation (Collingwood, 2019)

 

Although I feel I’ve had a lot of success with this project, there were still some weak areas here and there- artwork wise, I think there’s still something amiss with the anatomy… but I have the time to fix this before final show, where I’ll hopefully be exhibiting this art as a centrepiece. If I’d have an ample amount of time prior to hand in this could have been fixed, but my workflow left me with a bit of a difficult situation- the way in which I’d blended the layers and applied tone and shading meant the line art and skin tones were across multiple layers, so it won’t be an easy task to correct this.

Working on this Cheltenham project has opened up lots more opportunities for me- I’m considering making a series of similar pieces based on my travels around the world. Also, when I submit this piece to the Awards I could potentially be featured in a catalogue showcasing selected entries from the year. Very exciting~

 

And with that, this wraps up my project work for Semester 2! Left to do is to finish off this blog, as well as some promo type stuff, like business cards, a creative CV and other artist-specific things like potential merchandise for final show. So, targets for the following week include tying up all the loose ends and making sure everything is ready and prepped for hand in, and also starting to think about final show- what I want to exhibit, sources for merchandise, and technicalities like layouts, exhibit space organisation, and marketing.

References

Collingwood, C. (2019). Modernisation [digital].

Collingwood, C. (2019). Modernisation Time Lapse .

portfolio, research, SWOT/Target Setting

Cheltenham Illustration Awards Progress

Chalon Joy

Its been a little while, but I’ve made some good progress since last checking in!

This week, I’ve been working constantly on concepts for my Cheltenham Awards piece- I want this to be culmination of my progression throughout my degree, so I want to make sure it’s suited to the brief, artistically and technically sound, and also something I’m proud of and can connect with.

When mapping out ideas for ‘Unity’ (the theme of the Awards this year), I thought back to my trip to China last year. The contrast between old and new Shanghai architecture, as well as the exceedingly blurred divide was reflected in the community around the city. It was a wild and dizzying blend of temples and traditional teahouses that were hundreds of years old, stood literally metres away from futuristic skyscrapers and the latest architectural marvels. It was so stunning, and unlike anything I’d ever seen! This really felt like the perfect thing to base my ideas on, so I set out making some concepts:

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‘Modernisation’ Concept 1 (Collingwood, 2019)
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‘Modernisation’ Concept 2 (Collingwood, 2019)
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‘Modernisation’ Concept 3 (Collingwood, 2019)

 

I’ve experimented with different background layouts, figural poses and blends of traditional and modern imagery. I chose the Pudong skyline as the background (very recognisable and iconic), with a selection of traditional architectural motifs based on the places I visited for the foreground surrounding the figure~

The idea fell into place quite quickly, as I was able to envision a rough layout after looking into my initial artist research, particularly the work of Sarah Joncas, as well as taking inspiration from my own past work:

Screen Shot 2019-05-19 at 21.37.16
Left: Night Life (Joncas, n.d.). Right Haru ‘Springtime’ (Collingwood, 2017)

The combination of figural elements and landscapes is something I’m already familiar with, and I was eager to work on something that is both beautiful and detailed, with architectural elements that were new territory to me.

I think I’ll be able to realise this piece fairly ‘easily’ compared to my other projects, where half of the battle was technique and workflow. I’m confident in my ability to produce this piece on Procreate, even thought that in itself will be a slight learning curve. However, that just means this is a good opportunity to fully immerse myself in the software- I plan to do final tidy up and processing on Photoshop, but Procreate boasts most of the same functions, so I want to make sure I’m widening my skills as much as possible.

I’ll have to keep a close eye on my time restraints and other projects (e.g. this blog!), as not keeping up with any one of these will negatively impact my progress. This has been a major weakness throughout my degree, and it’s never been so critically important to keep this in check!

Targets for the next few days include working on this piece (probably constantly), while also finding time to start collating my portfolio work and prepping for hand-in~

 

References

Collingwood, C. (2019). Haru ‘Springtime’ [mixed media].

Collingwood, C. (2019). Modernisation Concept 1 [digital].

Collingwood, C. (2019). Modernisation Concept 2 [digital].

Collingwood, C. (2019). Modernisation Concept 3 [digital].

Joncas, S. (n.d.) Night Life [oil, acrylic].

portfolio, research, SWOT/Target Setting

Risograph Realisation – Idea Finalisation

Chalon Joy

It’s been a bit of a weird week- I haven’t made as much progress as I’d hoped with this riso project but any progress is better than none at all! ♥

I’ve been looking at finalising my riso ideas, and while these are still fairly rough drafts I find it much easier to visualise a final concept in a neater, tidier visual style (e.g. I’ll be really finishing up the layout in the actual final piece process, which is much easier thanks to the flexibility of Procreate).

So far, I’ve got 4 potential ‘final’ layouts, each with differences that affect the way in which the artwork fills out the frame of the piece- since these will be A3, the actual image will be slightly smaller on each side (~2.5cm) due to the riso printing limitation. I’ve also begun to visualise how I can embellish these pieces (see the light gold coloured overlay on each piece for ideas on which areas I might work into- this is all TBC!).

China Risograph Print Final Concepts (Collingwood, 2019)

 

Japan Risograph Print Final Concepts (Collingwood, 2019)

 

One technique I thought would work especially well on the Japanese/Koi Fish print was kintsugi inspired embellishment (which I’ve begun to visualise in the final concept sketches). I came across this art form during my visit to the Durham University Oriental Museum, where there were examples of ceramics displayed utilising this technique. The result was beautiful, and the idea behind the process even more so.

Kintsugi is based around the idea that the imperfect is beautiful- while some of us in the Western world prefer things to be new, Japanese people relish repairing broken items and seeing beauty in imperfection. This also links to the wabi-sabi philosophy, which centres around the idea that imperfection and the transience and fragility of perfection is accepted- far different to the obsession with perfection we have in the West.

I’d love to incorporate this into my work, as I too have a fascination with perfect things- I think it’d add some nice little imperfections into my pieces. The fact that I’ll be embellishing these by hand will mimic the original technique; the rest of the imagery will be digitally produced and collated, printing using the risograph which is very ‘perfect’ despite some natural variance in the process.

Hero
Kintsugi – Japanese Ceramic Gold Repair (Sydney Community College, n.d.)

 

I’ve also started to look at colour palettes and application for the final riso prints- since my palette is somewhat limited, I need to use my trusty Risotto colour swatch pack to look at alternative palettes that would work well. Since my artwork is mostly line-art based, I can use quite dark shades of the inks to intensify the line work while employing lighter, more subtle shades to add interest and shading.

This will be a target for the coming weeks after I’ve finished the base artwork- I’ll use Photoshop to manipulate the grayscale layers to view different colour palettes, which I’ll write about in my sketchbook.

I can’t wait to start properly visualising these finals… I’ll be using Procreate to render and layer my files ready for printmaking~

Blog post on this process coming soon! ❀

References

Carnazzi, S. (n.d.). Kintsugi: the art of precious scars [online]. Available at: https://www.lifegate.com/people/lifestyle/kintsugi  [Accessed 21 Mar 2019].

Collingwood, C. (2019). China Risograph Print Final Concepts [digital].

Collingwood, C. (2019). Japan Risograph Print Final Concepts [digital].

Richardson, J. (2016). WABI-SABI and UNDERSTANDING JAPAN | A PHILOSOPHY AND AESTHETIC AS WORLDVIEW [online]. Available at: https://www.tofugu.com/japan/wabi-sabi/ %5BAccessed 21 Mar 2019]. 

Sydney Community College. (n.d.). Kintsugi – Japanese Ceramic Gold Repair [photograph]. Available at: https://www.sydneycommunitycollege.edu.au/course/kintsugi.gold.repair  [Accessed 21 Mar 2019].

research, SWOT/Target Setting

Semester 2 – Cheltenham Illustration Awards 2019

Chalon Joy

While I’m still working on finalising my risograph prints for Commercial Project 2 (hoping to have these printed in the next week or so), I’m going to start looking into the brief for the Cheltenham Illustration Awards (CIA) which was recently announced at the beginning of the month.

CIa 2019 Poster v2 900 web banner 2
Cheltenham Illustration Awards: Call for Entries 2019 (University of Gloucestershire, Sanfellipo, 2019)

 

In previous years the theme has been ‘Tangled Tales’ and ‘Tales Through Other’s Eyes’, so this year’s theme of ‘All Together Now: Tales of Unity’ is quite different. My first thoughts are that this theme is a bit less varied and not open to interpretation as much as the previous themes of 2017 and 2018. I worked on a piece for the competition in 2017 and was admittedly able to shoehorn it into the theme (‘Tales Through Other’s Eyes’) without too much bother; my design was only loosely based on the given brief.

This year, I plan to work much more closely with the given theme to produce something that is tailored to this concept, rather than trying to twist an existing idea into meeting the needs of the brief. Based on a mind map by my entire class that I photographed (Collingwood, 2019), I’ve taken some of the most appealing ideas and made my own mind map that expands upon these concepts:

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Cheltenham Illustration Awards Mind Map: ‘Unity’ (BA Hons Illustration) (Collingwood, 2019)

 

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Cheltenham Illustration Awards Mind Map: ‘Unity’ (Collingwood, 2019)

 

My piece from 2017 was done digitally, and I daresay this is the best way of creating artwork intended for online entry/print- I will most likely adapt a similar workflow of digitally collaging both traditional and digital motifs/imagery to create a piece that successfully showcases my skillset.

The competition is open to student, emerging and established illustrators, with a deadline of 1st June 2019 (a bit over two months away at the time of writing this post), so I’ll have right up until our degree deadline of the 13th May to create something really special.

 

On another note, there’s been another recently announced competition that is new for this year and based in the North East. Northern School of Art (formerly CCAD) is running The Northern Illustration Prize in association with AOI, with this year’s theme being Monkey, based on the bizarre legend of the Hartlepool Monkey.

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Northern Illustration Prize 2019 Banner (Northern School of Art, 2019)

 

I can’t say that theme has massively grabbed my attention, but with it being a new competition based in the North East it would be nice to enter. Since our degree course is brand new for this year, as a class we’re hoping to pull together some really good entries to put us on the map.

Like the Cheltenham Illustration Awards, it’s open to both emerging and established illustrators, with the prize being a fully funded studio in Hartlepool for one year. The prize is to mark the start of the Northern Festival of Illustration, a biennial event held in Hartlepool.

 

During these coming months I’ll have to be aware of my SWOT (strengths, weaknesses, opportunities and threats) more than ever, since I don’t want to let my grades slip at this crucial time. These are more of the same according to past projects- I’m good at realisation and research, but poor at timekeeping. This is both a weakness and a threat, but as this is the last project I’ll have to be acutely aware of how long is left before hand in- there’s no room for error here! Opportunity wise, I’m looking forward to be able to realise something and have full control over the outcome- most of my other projects have had a certain element of serendipity to them, where I’ve had to battle other elements in order to produce something I’m happy with.

 

My main target for the coming weeks will be to finish off the bulk of the work for the riso project- Once I get the images printed I can embellish the resulting prints at my leisure… or more likely, as an escape from what is most likely going to be hardcore planning and execution of this CIA 2019 project for the next few weeks!

References

Association of Illustrators (2019). The Northern Illustration Prize 2019 [online]. Available at: https://theaoi.com/northern-illustration-prize-2019/?fbclid=IwAR0SpwQXMjmh9nyb018JgubtDWu4bPB4FTi_RsSzLtgr2-e24vFmcGEoEz4   [Accessed 18 Mar 2019].

Collingwood, C. (2019). Cheltenham Illustration Awards Mind Map: ‘Unity’ [photograph].

Collingwood, C. (2019). Cheltenham Illustration Awards Mind Map: ‘Unity’ (BA Hons Illustration) [photograph].

Northern School of Art (2019). Northern Illustration Prize 2019 Terms [online]. Available at: https://theaoi.com/wp-content/uploads/2019/02/northern-illustration-prize-t-and-cs.pdf  [Accessed 18 Mar 2019].

Sanfellipo, A. (2019). Cheltenham Illustration Awards 2019 – Call For Entries: All Together Now! Tales of Unity [online]. Available at:  http://www.cheltenham-illustration-awards.com/p/about.html [Accessed 8 Mar 2019]

Smith, R. (2019). ‘The Northern School of Art launches major international art prize ‘The Northern Illustration Prize’ [online]. NorthernArt.ac.uk. Available at:  https://northernart.ac.uk/the-northern-school-of-art-launches-major-international-art-prize-the-northern-illustration-prize/ [Accessed 18 Mar 2019].

 

evaluation, SWOT/Target Setting

March 2019 – Progress and Reflection

Chalon Joy

It’s been a week or so since my visit to the museum, and I feel that despite always feeling that I’ve never done enough work (this is probably part *actual* truth and part self belief issues haha), I’m happy that I’ve managed to nail down my final concept after a series of initial and developed designs.

I think this riso project dragged a bit for the first couple of weeks- I suspect this is due to the fact that I spent a lot of time researching into the imagery that I wanted to use. I’m very aware of this subject matter potentially walking a fine line between appreciation and appropriation, so I wanted to take the extra steps to ensure I was representing each culture accurately. I also made use of my current knowledge as I do have a strong general interest in this topic, but I’ve learned so much more through thorough research. It’s always better to be safe than sorry, and I’m pleased that I was also able to expand my research file with this~

Drawing out the initials is really tedious for me- I much prefer sketching out the development, since this is building on an idea I really want to do (rather than drawing out ‘filler’ ideas). I fully admit I usually have a somewhat fully formed initial idea in my head when I start a project, so it can be hard to stray from this or try to show enthusiasm for the other initial ideas ^^”

Another thing I really wished I’d done was to do all of my initials and development digitally- as well as aiding in the general layout, working digitally is much neater and less messy than scribbly pencil drawings (which my sketchbooks are notorious for). I tried to remedy this by doing a few little ‘key icons’ research pages in watercolour in my sketchbook- the phrase “you can’t polish a turd” comes to mind, but I had fun doing them anyway!

japaniconsheet
Japan Icon Sheet (Collingwood, 2019)

 

chinaiconsheet
China Icon Sheet (Collingwood, 2019)

 

It was really strange drawing and colouring something refined traditionally- I never thought it would come to this but I actually really prefer digital now! Especially since I’ve started working on Procreate with my iPad, since the technicality and effects both mimic tradition workflows very well. Throwback to the iPad review I wrote- read it here ♥

Targets for the coming weeks include finishing off my digitised concepts, taking these into the final design stages, and looking further into colour choices with the riso.

I’ll have to be mindful of any threats to my progress such as time restraints and poor planning, as these things have hindered me in the past- however, I’m determined to keep better time this semester, as one of my targets from a few weeks ago was to manage time better.

More to come soon!

References 

Collingwood, C. (2019). China Icon Sheet [ink, watercolour].

Collingwood, C. (2019). Japan Icon Sheet [ink, watercolour].

portfolio, SWOT/Target Setting

Concept Development – Character Designs

Chalon Joy

I have some new character designs to share! c: I’ve been working constantly on these since my last update- I feel I’ve made good progress even though there’s still so much to do!

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Young Female Character: Initial Concepts (Collingwood, 2019). 
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Young Female Character: Face Revisals/Development (Collingwood, 2019). 
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Young Female Character: Palette/Colour Application Experimentation (Collingwood, 2019). 

 

Meet our heroine of the story- she doesn’t have a name on purpose, because I want the audience to be able to relate to her and put themselves in her shoes. Since she’s youthful, naïve and curious, I wanted these traits to shine through in her character design. I went through loads of concepts (some of which were really awful, haha) but settled on a final design for her that best described her personality to the viewer. I’m sure it shows, but I was really inspired by the ‘chibi’ characters of Studio Ghibli, as well as the loose, simplistic art style of Heikala (info on both of these here from my artist research for this project).

I’m pleased with her design- she went through quite a few refinements as I progressed through my workflow! Final character board below:

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Young Female Character: Final Character Board (Collingwood, 2019). 

 

To be honest my favourite aspect of her is her ‘paper bag’ trousers- I didn’t want to put her in a skirt lest that undermine her childish adventurous nature, so I decided to go with these oversized paper bag pantaloons (which also matched her boots and cape much better… too many ‘loose hems’ otherwise!)

I really love them ^^”

 

Next up, we have our anthropomorphic deer character:

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Anthropomorphic Deer: Initial Head Concepts (Collingwood, 2019). 
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Anthropomorphic Deer: Anatomy/Front View Development (Collingwood, 2019). 
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Anthropomorphic Deer: Palette/Colour Application Experimentation (Collingwood, 2019). 

 

I designed him to both contrast and complement the young girl character, since the contrast of their environments and designs is central to the narrative journey. The palette is still natural while being different to the bright, fresh toned greens I used on the female character’s designs.

He’s very scholarly and loves a good cup of tea, I hope you can tell~

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Anthropomorphic Deer: Final Character Board (Collingwood, 2019). 

 

It was a real challenge to simplify the characters enough so that there wouldn’t be any issues when drawing them repeatedly for the animation- I think I’ve nailed this down enough, but as always there’s always the chance I’ll refine these some more in the follow-up Semester 2 project.

I’m pleased with the outcomes- targets for the next few weeks include finalising and collating all of my projects for hand in, and starting to think about the beginning of Semester 2 and how I’m going to tackle the next few months. Using my previous SWOT analysis’ will help me circumvent any problems I anticipate I’ll have, while also playing towards my strengths to produce a strong semester of portfolio work.

 

References

Collingwood, C. (2019). Anthropomorphic Deer: Anatomy/Front View Development [Digital].

Collingwood, C. (2019). Anthropomorphic Deer: Final Character Board [Digital].

Collingwood, C. (2019). Anthropomorphic Deer: Initial Head Concepts [Digital].

Collingwood, C. (2019). Anthropomorphic Deer: Palette/Colour Application Experimentation [Digital].

Collingwood, C. (2019). Young Female Character: Face Revisals/Development [Digital].

Collingwood, C. (2019). Young Female Character: Final Character Board [Digital].

Collingwood, C. (2019). Young Female Character: Initial Concepts [Digital].

Collingwood, C. (2019). Young Female Character: Palette/Colour Application Experimentation [Digital].

Heikala (n.d.). Instagram – @heikala (online). Available at: https://www.instagram.com/heikala/?hl=en [Accessed 2 Jan 2019].

 

inspiration, research, SWOT/Target Setting

Concept Development – Project Beginnings

Chalon Joy

This new week means the start of a new project- quite the relief! As much as I enjoyed the riso project, it was very overwhelming learning literally an ENTIRELY new process, from the design basics to the niggly little details surrounding printing and technical issues. I’m not completely done with riso printing, however- I still hope to use it more actively in the new year, especially for print editions to sell at final show.

Onto the new project- Character and Narrative Development! As much as this represents its own set of experimental challenges, I’m hoping it’ll be a little more of a gradual learning curve, rather than the ‘throw myself in the deep end’ approach of the riso printing process ^^”

Thus far, I’m deep into the research portion of my workflow- since this project has been on my mind for a very long time (read: years), I already had quite a good vision of what the aesthetics of the environments and characters will look like. As such, my list of existing artist inspiration is long! To name a few, Nicole Gustafsson, Taryn Knight and Heikala are some of the most influential people I’ve looked at (examples of their work below.)

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Left to right: Heikala, 2018. Gustafsson, 2018. Knight, 2018.

More on this in my artist research file, but I especially love Gustafsson’s work with anthropomorphic characters- this will be a big source of inspiration for my deer-man character. A similar simplified art style like Heikala’s work would work well for the animation, as I must always be mindful of the level of detail in the imagery- while I’ve timetabled quite a few weeks to realise the project, I don’t want to overwhelm myself with detail in the work.

I want the piece to have a warm, familiar feel with a woodsy colour palette for the most part- with warmer, organic tones for the deer-man and more youthful, fresh colours for the centric female character. More details on character, aesthetic and the more technical side of my project are documented in my initial mind map:

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My initial mood board for the project- gathers all my thinkings into one place! (Collingwood, 2018).

For the rest of the week, I’m aiming to make some mood boards that can portray my intentions for aesthetic, colour and character design in a very strong way- I often struggle to find faith in my initial ideas, especially when pitching them to other people, so I’m hoping a few mood boards that are well put together will aid me from the outset. (…did I also mention that mood boards are an excellent prop to hide behind during formal presentations…?)

In addition, I often like to fully flesh out my characters with MBTI personalities and trait lists… all part of my process to feel more connected to my characters. This will be the main focus of next week.

More soon ♥

 

References

Collingwood, C. (2018). Personal Project 2: Initial Mind Map.

Gustafsson, N. (2018). Shiba Spellcaster [Acrylic].

Heikkala, L. (2018). Astrochemist [Ink].

Knight, T. (2018). Untitled [Watercolour].

evaluation, portfolio, SWOT/Target Setting

Printing Session and Week Reflection 19.10.18

Chalon Joy

Over the past week, I’ve worked on a simple design that can translate into a screen print. Basing my concept on the idea of planets and digital fills (as inspired by the tutorial Dave showed us on Friday), I worked in Procreate to design both a gold layer, and a black and white screenprinted layer. Final designs below (left to right: Base/screenprinted layer, gold leaf layer, mock up of ‘final’ image with both layers):

Screen Shot 2018-10-22 at 10.44.51
Left to right: Figure 1, Figure 2, Figure 3

Using Procreate is a whole new learning curve for me, as up until now I’ve worked mostly in Photoshop. My previous digital work has been done using a Wacom Intuos tablet, which I often found a bit hard to use (e.g. not being able to rotate it to draw, having to reference back to the screen when drawing, small size and lagging software).

Overall I was happy with my workflow, but earlier this year I invested in an iPad Pro as an additional tool. Ultimately I’ll still finalise my work in Photoshop as Procreate isn’t as extensive, but it’s invaluable having a drawing device with a screen- it feels much more natural, and it’s easier to draft out artwork compared to using a conventional drawing tablet.

One of the most useful tools I discovered actually came from a calligraphy brush kit- a variable line brush that smooths jagged edges and creates nicely curved lines (almost in a similar style to Illustrator, but without all the fiddling). There’s a plethora of times that I could have used this brush in the past, so I’ll definitely keep this in mind for the future!

Come Friday morning, it became quite clear that I was a bit ambitious with the black layer- Dave suggested that I instead print the gold layer as a complete image, so I decided to go with this (possibly going back and editing the black layer to be more screen print friendly at a later date). I’m glad I discovered this early on in the year, as it’ll inform any future imagery that I produce for screen printing.

I experienced some issues with the screen machine- my design wasn’t burned to the screen properly; the black background border was fuzzy on one corner. I’m putting this down to a technical issue that will hopefully be fixed in the future, as I think having a border on a screen print sets it off nicely, especially for trimming and framing. I’ll probably mask the corner border off and correct this by painting on the acrylic in ‘post-production’.

In the afternoon we were shown a quick recap of how to gold foil using the heat press- this was really useful because although I’ve worked with this process before, it was quite a few years ago now and I definitely benefitted from the refresh. There’s a much wider variety of foils now (e.g. iridescent foil, clear foil, and an array of different coloured metallic foils), all of which will be nice to experiment with ♥

Friday was full of trial and error- in addition to the corner not being complete on any of my prints (which was expected), I had lots of issues with the amount of ink I was using (usually not enough ink). My 6th print (out of 8 total) was the most successful- I was surprised how well the fine lines came out, despite the pre-emptive warning that 12px was the finest line weight that would translate optimally. Below is my most successful print (I could have used slightly less ink):

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Figure 4

I really love the process of screenprinting, so I’ll definitely be revisiting this in the future, hopefully with better results.

In the next week, I plan to finally start on my riso project- I’m a bit stressed out about this as I haven’t stuck to my timetable thus far (which is an awful start to the year). However, the past week hasn’t gone to waste as the development for this screen print can be linked into my Printmaking project as development and technique exploration, which is the purpose of the first Semester anyway~

 

References

Figure 1: Collingwood, C. (2018). Planets (Base Layer) [Digital].

Figure 2: Collingwood, C. (2018). Planets (Gold Layer) [Digital].

Figure 3: Collingwood, C. (2018). Planets [Digital].

Figure 4: Collingwood, C. (2018). Planets Test #6 [Ink].