Presentation Boards and Summative Project Report

BICebe SHORTLISTING!

I was recently informed that my animation/GIF for international women's day was shortlisted by BICebe poster call. A really proud moment for me!

My poster has been shortlisted as one of the 340 posters (down from over 10000) and it's given me a boost of confidence for my future practice.

Front/Back cover of Publication

I have recently been working on the design of the front and back cover for the Frankenstein publication. Due to the main content of the book taking longer than planned, I have only had time to make a couple of mockups for the covers. 

The book will be properly put together in time for the exhibition as I plan on screen printing onto buckram for the front and back cover. As well as this I have considered the aesthetic of Frankenstein and thought about making the publication look 'put together' like the monster himself. I am going to do this using a stitching method that gives a messy, fleshy type of effect.

FRANKENSTEIN GIF TEST

Ceramics

This year I decided to book a ceramics induction as I thought it would be useful to learn and develop my practice. Also I had ideas for the halloween characters I made earlier in the year. 

During the inductions I wasn't sure if my practice would suit ceramics. However, the final outcome ended up being a really strong piece and I am considering making more similar pieces for the end of year show. 

Folio Society - Frankenstein

Looking through my saved stuff on my art instagram helped me find this forgotten gem! 

https://twitter.com/foliosociety/status/947814874687725568

Sadly, no longer on the Folio Society website because it's no longer stocked (annoying because I still want to look at the imagery). 

Harry Brockway's use of wood cutting has really dramatised the gothic scenes from Frankenstein. Although, my own work is a lot different to this I still hope to be able to capture the changing innocence of the monster throughout the book. 7 might be a bit much though??? Depending on where the brief is headed. At the minute I'm not sure whether to stick with Frankenstein or move further into more books and focus on why we sympathise with bad characters.

BRIEF CHANGE AGAIN

When reflecting on my new brief idea and having another look at my 'fave books' list, I decided it might be too much to take on. I would rather focus closely on Frankenstein for the remainder of the module. 

I plan on focusing solely on the monster and how he is portrayed throughout the book. As well as looking at how his personality alters as he becomes more isolated and neglected. I hope to be able to portray this visually through use of colour, tone and the expressions of the monster. ALTHOUGH, I would like to have a hint of innocence seen in the monster throughout. 

The prints will be put together in a publication alongside quotes from the book. The chosen quotes will show the audience how the monster is portrayed negatively throughout the book. The prints on the next/opposite page will show how unnecessarily cruel Victor Frankenstein is. There will be a few moments in the publication that show the monster's vulnerability to emphasise this more. 

Frankenstein has been visualised many times in the past and I look forward to have my own take on it.   

Mass Art Collaboration

I honestly didn't think I'd enjoy this brief at first or that the people I worked with wouldn't like my work. But reflecting on the week I have realised how much this brief has helped me develop confidence when working with others (especially when they've never seen your work before). It has helped me gain experience when working with designers from a different course (and country). This opportunity has allowed me to use my work and express my ideas in a new environment with completely different style of work. 

Working to such a fast deadline with a group forced me to work as efficiently as I could to meet the deadline. This is something I need to do more with my own projects except the team is me. The problems we overcame were the different appearance that both illustrators had, one being more detailed and me being more naive. However, the idea of the Otley Run Board Game allowed us to work with a drunk and sober narrative. 

I also produced some of the illustrations for the cards which involved pros (move forward spaces), cons (move back spaces) and neutrals (stay in place) to go alongside the text done by the graphic designers of the group. 

Mock up of presentation - still need to gain access to the final 

Brief/Proposal Update

Why do we sympathise with bad characters?

Reflecting back on where my brief based on my favourite books is headed (so far American Psycho and Frankenstein) makes me consider how the books relate to one another. One thing I've noticed is how we generally feel sympathetic towards these bad characters. For example Frankenstein. 

The monster in Frankenstein has been created and instantly neglected by the human race because of his appearance. Although, the monster starts and soft and upset at the fact he cannot make acquaintance with people. This eventually turns into rage when his creator aborts the making of the monster's female companion. The monster kills three people close to his creator so that he can feel the same way as him. But is this right? We feel bad for the monster because of his initial innocence and childlike nature. Similarly with serial killers. They receive sympathy because they were abused as a child etc. 

Similarly, with American Psycho. Although it doesn't give a background story to his life, it is clear he has anxieties about not being noticed or of importance to anyone. His life seems like a constant battle with who can be the seen as the most successful man (which results in him killing Paul Owen who everyone idolises). As well as his girlfriend cheating on him with a more charismatic man. Patrick Bateman seems entirely robotic throughout the book but occasionally shows glimpses of vulnerability. Less sympathetic than Frankenstein, but still sympathetic nevertheless. 

This is also the case with other books that I have written on my 'fave books' list, such as The Great Gatsby, Catcher in the Rye and The Clockwork Orange. I plan on covering at least 3 of these over the remainder of the module.

https://www.jstor.org/stable/pdf/40206392.pdf?refreqid=excelsior%3A96495dec097e2dc65198139ccd45d9a9

Changing how I work with POSCA pens

I've recently changed how I draw pieces with posca to look more textured. Basically it's just 'bad' colouring in but I've noticed my work can look a little flat sometimes. 

I want to be able to transfer this digitally to clean it up slightly which I plan on doing next week (or the week after because of Mass Art). 

ALSO in my tutorial it was mentioned that maybe I go back to my old screen printing ways and create the layers using kodatrace instead of doing it digitally. To speed it up slightly, I'm going to colour a big block of acetate with chinagraph and print it to create the texture that I could transfer on photoshop to give it that 'screen print' aesthetic. 

I'm going to use chinagraph layers to create this piece (either as a physical screenprint or a digital design).

Reflection and Fourth Self Portrait

At the moment my practice feels quite settled. I am proud of the work that I’m currently achieving and have a strong idea of where it will be heading. This final small crit has allowed me to reflect on what I am currently producing and how this will come together for the degree show (stress).

Overall, my work has developed when considering the strength of my screen prints. Even in the past few months I’ve noticed positive changes in the speed of production and the cleanliness of the print. My digital work always seems to be an ongoing improvement. Some designs look stronger than others depending on their complexity. I’ve noticed that the more complex hand drawn pieces don’t look strong when I alter them on photoshop. However, I plan on continuously working on this as it’s way more efficient than screen printing all the time. I have considered looking back at American Psycho slightly since starting Frankenstein and making more scenic responses to the book. This is all depends on the time I have and my own motivation.

My current portfolio represents the type of work I want to be commissioned for. Although, I think once I place my pumpkin (or devil) character into a small comic like sequence, this might redirect where I’m heading. I just see this as opening more doors for myself as I want to be freelance.

It has been suggested that I possibly look into making ceramic versions of the characters I’ve currently made (although it seems impossible to get an induction). As well as possibly making the horror characters into a colouring book which I may consider in later development.

Frankenstein Analysis/Research

https://www.sparknotes.com/lit/frankenstein/summary/

 “His yellow skin scarcely covered the work of muscles and arteries beneath: his hair          was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips.”

• 8 foot tall 
• Made from different body parts
• Supernatural strength 
• Mind of a child - almost like a baby fresh into the world with no knowledge (throughout the book he learns how to speak etc)

Victor Frankenstein (the creator of the monster)

• Won't admit to the creation because of pure guilt and embarrassment. 
• Learns from outdated scientists/alchemists etc (which his university isn't a fan of).

Some points I've noticed/taken interest in:

• The monster's diet
• Blind old peasant man (I haven't finished the book yet but could he meet the monster and realise that he's a gentle character)

Quotes etc:

• Chapter 5 - Victor Frankenstein finishes his creation but is horrified by its appearance. He goes to sleep and wakes to the monster luring over him smiling (SIGNIFICANT - DRAW IT). Victor leaves the house and finds his friend Henry and makes him go back to the apartment. He soon realises the monster is no longer there and becomes ill.
• "This account rather alarmed us...About five in the morning I discovered my lovely boy, whom the night before I had seen blooming and active in health, stretched on the grass livid and motionless; the print of the murderer's finger was on his neck." - Page 69 (chapter 7).
• "As I said these words, I perceived in the gloom of a figure which stole from behind a clump of trees near me; I stood fixed, gazing intently....A flash of lightening illuminated the object, and discovered its shape plainly to me; its gigantic stature, the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy demon, to whom I had given life." - Page 73 (chapter 7)
• "We entered the gloomy prison-chamber, and beheld Justine sitting on some straw at the farther end; her hands were manacled, and her head rested on her knees." - page 85 (chapter 8)
• Chapter 11 (onwards) - the monster begins his tale of how he ventured into world and discovered light, dark, cold, hunger etc. He discovers that fire needs wood to burn and that it creates light. However, when it is touched, it burns. He makes a home in a small dwelling across from a cottage. The crack in the wall allows him to see a young man, a young woman and an old blind man. He continues to watch their lives and learns feels emotions during events that they participate in. He helps them out by chopping wood for their fire in the middle of the night. However, he is too afraid to confront the family and become friends with them because of the reactions he has received from other people. 
• "I beheld a young creature, with a pail on her head, passing before my hovel. The girl was young and of gentle demeanour, unlike what I have found cottagers and farm-house servants to be. Yet she was meanly dressed, a coarse blue petticoat and a linen jacket being her only garb; her fair hair was plaited, but not adorned: she looked patient yet sad." - page 110 (chapter 12)
• "I had admired the perfect forms of my cottagers - their grace, beauty and delicate complexions: but how was I terrified when I viewed myself in a transparent pool! " - page 117 (chapter 12)
• "It was a lady on horseback, accompanied by a countryman as a guide. The lady was dressed in a dark suit, and covered with a thick black veil... Her hair was shining raven black, and curiously braided; her eyes were dark, but gentle, although animated; her features of a regular proportion, and her complexion wondrously fair, each cheek tinged with a lovely pink."

NEED TO CONTINUE READING BOOK  

BICebe Poster Call GIF

Finally plucked up the courage to make a 15 second GIF for the BICebe Poster Call brief about women's empowerment. During the making process I realised that once you get a grasp of the basics on After Effects its simple to use and a decent animation can be produced. 

Overall, I'm fairly happy with the final piece. My After Effects knowledge could be developed but with little time and 4000 other briefs to get on with I'm pleased with the outcome.

Artist Research

Katie (tutor) recommended some artists and such for me to look at as an influence to my work. Especially, my character design such as the pumpkin guy.

I've recently been thinking about my characters possibly being put into a short sequence. However, the fact I've never really done anything like that before has held me back slightly. Thankfully, the tutorial gave me that push to just go ahead and do it. Katie has kindly suggested some artists etc to look at to influence these ideas.



Sofia Drescher

http://www.sofiadrescher.com/

•  Agatha's Men is a fictional short story about sexual taboos and subjection of women. 
• 
  
• Although different in appearance to my own work the political/feminist message behind the humorous imagery relates to my own work. 
• Especially, the current brief I am working on where I plan on responding to my favourite books and their views on society.

•  For example American Psycho and how the book is about the treatment of women and how rich white men can easily get away with murder.
• 
  
• The painting by Sofia below is less related to my book brief. However, I enjoyed the naivety of the painting and it's made me consider trying it myself (I haven't painted in about 3 years).

Donya Todd

https://donyatodd.com/

•  Feminist comic artist/illustrator. 
• A lot of her work has a strong female character throughout each strip or just individual character design for more applied illustration. 
• Each scene she creates seems to have a lot going on. Although, minimal use of colour is still used which could be useful to practice myself.
• Again, like Sofia Drescher the characters are made up similar to my own pumpkin and devil guys. 
• The format and layout of the comics she creates vary throughout each design. However, I am most interested in the small, one page strips that tell a quick story. This is something I am considering for my pumpkin guy as he cuts his own face out.

Chris Ware 

https://www.nybooks.com/daily/2018/01/03/being-chris-ware/ (unable to find his own website)

• Clearly experiments with layout and scale with his books/page spreads etc.
• Some of his work seems quite existential/nihilistic.

Samuel Beckett 'Not I'

https://www.youtube.com/watch?v=M4LDwfKxr-M

• More closely related to the New Statesman 'The year women said: Me Too' article that I recently responded to and the BICebe poster call brief where I plan on extending the idea into an animation/GIF. 
• The connotations around a woman's mouth are often sexual and to use a zip to close the mouth may be seen as a representation of how society often see women as a sexual object rather than a person with a voice and opinion. 
• 'Not I' when shown in the theatre had no lights at all (including lights on the fire exits where the bulbs were removed) except on the mouth of the woman speaking.  

February Action Plan

603 Action Plan – February

Brief	What do you need to do?	Deadline
Personal literature reflections on society brief	·      Move onto Frankenstein (start development)	End of Feb/first week of March – minimum 2 screen prints
BICeBe – Women’s Empowerment	·      Start making more finalised pieces of development (paper cut/bitmap etc)	8th March ACTUAL BRIEF DEADLINE Finalise idea by end of Feb
Penguin	·      Have a look at the brief (will I have time to squeeze it in?)	5th Feb to look at brief for ‘The Establishment’ – Owen Jones (might not have time because I’ve not even read the book).
New Statesman	·      Me too article and possibly other article ·      Start development	Me too article – 13th Feb Other article – 15th Feb
You OK Hun zine	·      Develop bathtub girl piece (digital?) ·      Sat on toilet with anxiety piece	End of Feb