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INDEPENDENT PRACTICE 3A: ARTICULATION RICHARD DE CAZALET

UNIT CODE: EGRD3014 STUDENT NUMBER: 0906519


screen captures of video VIEW ‘CUT OF YOUR JIB’ VIDEO HERE

‘CUT OF YOUR JIB’ The initial brief of the semester was essentially to create a presentation that illustrated who we are, and what we are about. Effectively, an introduction to our peers and tutors. I wrote a short poem and narrated it like a monologue as I wanted to leave it a little more cryptic and engimatic. I tried to use diction related to shape and colour so that it could be recreated effectively in the form of a kinetic typographical video. The piece talks briefly about some of my past, the way I think and hopes for the future.


I used Adobe After Effects to create the video. As I tend to sometimes neglect my digital know-how, I thought, as the first piece of the semester it would be a great opportunity to focus on revisiting this skill. Creating work like this, for me at least, is a very time consuming medium to work in. As a result it doesn’t feature in my work particularly often but through making videos such as this one, I have developed my abilities futhur in video editting software which will undoubtedbly be a useful and employable skill to have.


‘GROWTH - A DOGME 95 FILM’

As an extension from the previous piece of work, this dogme 95 film was inspired by the quote, “One day, I will escape into the countryside, And get away from all these bright lights, that are making my eyes square.” The film is personal to me but sought to represent a model lifestyle, depicting a cynicism towards city life in favour of a gentlier existance in the countryside. The title ‘Growth’ defines a phenomenon that we all experience in our lives, physically, mentally and emotionally. At some points we experience it greater than others, especially at major decisive moments. This growth suggests the transcendence to a path towards a brighter, better place than wherever, or whatever came before.


I used the iPhone’s camera to capture the footage for this film. Having slowed the film down in the editing process, due to the fewer frames per second and the quality of the camera used, it creates a overly smeared effect while distorting the image. This added quality created the dream-like aesthetic that provided narrative to the film, reflecting the protagonist’s ‘dream’ to sustain oneself financially and emotionally in the confines of nature. I aimed to create some ambiguity in the viewer’s mind; is the whole film a dream? Is he back in the city or did he manage to escape into the forest?

The idea of a man running into the forest and striping off his suit illustrates the literal deconstruction of his conformation to social obligations and responsibilities in a work place. Consequentially, I feel the image of him throwing his clothes away evokes two quite contradictory feelings; one being a sense of empowerment, and seizing the power of choice and free-will. On the other hand, it leaves the man vulnerable, without his clothes, there is nothing left but himself, moreover the manner in which they are disregarded is deemed quite permanent. But even so, he seems to accept and embrace this vulnerability.

During one sequence in the original cut, overlaid imagery of flashing shop signs and city lights float past the running man. After receiving feedback, I decided to remove the overlays. Although not breaking any single rule, It was not particularly in keeping with the dogme style. I was intending to make a conscious effort of applying all the rules, at least for the start, and make changes only if necessary. Additionally, having used an iPhone to capture the footage, giving the film it’s low-fi aesthetic, it only amplified the founding reasons dogme was put in place, in an attempt to do away with the uninspired Hollywood-style special effects.


screen captures of video VIEW GROWTH - A DOGME 95 VIDEO HERE

DOGME REVISITED This is the finished Dogme film that fits the brief, abides to the dogme rules and is exactly 3 minutes long. In this revised version, an intermittent clip of a speeding up train cuts in during the running sequence creating a tension that builds up to the climax, an explosion of sensory garishness (below) before retreating back to a calmer, almost exhausted ending. The dream-like feel to the film is added to by the flashes back and forth between the scenes of the city and the scenes in the forest, the intersection between the two realities’ boundaries. In the raw footage, natural sunlight flashes across the sequence in place of the overlays of signage used in the previous version. I feel it works in a much subtler and natural way (pictured left) Having experimented a lot with the video, I decided this was the best version for submission to the brief.


‘DOGME?’ screen captures of video VIEW REVISITED DOGME VIDEO HERE

After finishing the video for submission, meeting the criteria, I wanted to experiment with the film some more as I had tried it in as many ways as I could. The intention this time was to recognise the rules of dogme but effectively end up with a piece of film, inspired by dogme but not necessarily conforming to the rules. I wasn’t entirely happy with the ending of the final rendition. One piece of feedback I received was to experiment using a high quality camera for a different sequence in the film. I attempted to create a narrative through a very short introduction and ending that fitted together.

In the dream sequence, the echo of footsteps and busker music form the tube can be heard. This was more of a requirement working with the footage I had as it was filmed in multiple shots and not one continuous shot, so it was necessary to include some breaks in the sequence. I’m still not completely satisfied with it and feel it would benefit from the dream sequence being reshot as one continuous shot. Lastly, I added the quote to the film to give it some additional context.

What I learnt from the dogme project is you don’t necessarily need high-tech equipment to create successful pieces of film. I really enjoyed using very basic equipment and creating a narrative that unfolded as the project progressed. I feel the films really benefitted from having been revised numerous times before being finalised.


These are examples of what I would consider some of my most successful previous works. These are two series of illustrations entitled; ‘Coastal Chronicles’ (above) ‘Would you Rather?” (right) Both are drawn in pen and coloured on photoshop. I love using the combination between digital and traditional mediums. Illustration has always been my main focus and I feel it plays a large role in my works, even when working in another medium, my work tends to retain an illustrative quality to it.


REFLECTION ON PREVIOUS WORK

Here are a few examples of my photography. I predominately use film cameras; Minolta x300, Diana F+ and disposable as I enjoy both the process and the quality of the images. Typical subjects of my photography include landscapes and nature, people, anthropomorphism, surrealism and patterns.


REFLECTION ON PREVIOUS WORK #2

For this piece of work I made a 5ft x 6ft x 5ft I tiled and exposed series of A5 sheets of light pinhole camera, or ‘Camera Obscura’ (title) sensitive paper, along the back inside wall of the man-sized pinhole Camera. I felt it was a really successful experimentational piece of work, while furthering my interest and After developing in the dark room, the resulting knowledge in photography. effect produced an unusual set of somewhat distorted images which were pieced back together to create an interesting abstract image.


screen captures of documentation video

This was a piece of work exploring the notion of walking as a form of sculpture, creating a familiar and universal element, a common understanding of the necessity to negotiate imposing structures and figures; to either avoid it or destroy it. What I enjoyed most about this piece of work was its ambitiousness and hands-on approach, similar to ‘Camera Obscura.’ It was one of the first big sculptures that I made.

Its themes and construction demonstrate some of my main interests being; land art, nature, psychology, human interventions and social engagement.


ACTION RESEARCH PLAN The text opposite was written upon initial reflection of my previous works. I decided to write myself briefs, or proposals, and set myself deadlines in order to manage my time and set out my initial intentions to give me a starting point. In hindsight I discovered that it’s not as simple as writing the briefs and setting the deadlines unless I realised the time it took to create a certain piece of work I ended up abandoning the briefs I had written myself due to the workload I had taken on and just decided to focus on creating a range of work in a variety of mediums in which I already feel comfortable. However, I felt it was beneficial for me when I wrote the document, clarifying the forms and content I am interested in and indentifying a way forward.


ACTION RESEARCH PLAN REFLECTION: AN EVALUATION OF PREVIOUS WORK

FORMLATE: A WAYA FORWARD & PLAN & FORMULATE: WAY FORWARD OF PLAN ACTION OF ACTION

FORM : In my practice I enjoy using a wide variety of skills in a number of different mediums. In my Independent Practice, I consider my main focus to be illustration and printmaking, with photography and film being a comparatively recent addition. However, over the past few years, some of my most enjoyable projects have been tackled with a very ‘hands-on’ approach, with evidence of sculptural elements in the work.

BRIEF 1: FUSION (1 WEEK)

Additionally, I have a strong understanding of digital software, though favourably I prefer not to use it solely to create a piece of work, it still remains a skill which my work benefits from. CONTENT : There are a number common themes that are evidenced in my work, these themes stemming from my interests and inspirations. Nature, my surroundings and environment are a key inspiration for my work and is something that emerges in my work frequently. On a more experimental angle, I am interested in social interaction and engagement (or active disengagement) with artwork through the application of human intervention. One piece entitled ‘Wayfinding’ was particularly well received and I feel one of my strongest pieces of work so far. The notion of conceptual art is something that appeals to me greatly and is something I’m keen on persuing further.

INDENTIFY: AN ASPECT FOR INVESTIGATION As I have a multidisciplinary attitude to my work, I thought I would benefit from putting my range of skills to use. I plan to focus on using a variety of different materials, skills and platforms of working in order to demonstrate their applications and the relationships between them. In order to evaluate the strongest application of a crossplatform approach, I have indentified three ways in which varies mediums can be collaborated, these are: - Fusion

BRIEF 1: FUSION (1 WEEK)

By using of different mediums Usingthe bothcombination digital and ‘traditional’ mediums, I intend youtoshould piece. It create produce a piece of one workstand-alone that utilises the advantages of each form ofwithin practice. The finished piece should incorporate it a number of skills and may be finalised in either a digital, screen-format techniques, demonstrating an effective use of theor as printed work. fusion of different mediums. This should be resolved in one final medium, with the use of other mediums evidenced in the piece. For example, this could be an illustration, a book, BRIEF 2: SERIES (1 - 2 WEEKS) animation or film etc. Using the theme of ‘storytelling’ as a starting point, I will produce a series of pieces in a number of different mediums that explore a narrative. I aim to convey them in a unique way in light of the other BRIEF 2: SERIES (1 - 2 WEEKS) pieces in the set, using the assets of that medium tothe my theme advantage. Using of ‘storytelling’ as a starting point, you The mustindividual produce pieces a serieswill of pieces a number of follow in the same narrative however may not necessarily visual continuity. different mediums that explore retain a narrative. They I intend that eachinmedium work as a of piece should be conveyed a uniquewill way in light the in its own right though the narrative may be bolstered other pieces in the set, using the abilities of that by showing multiple pieces in series. medium to your advantage. The individual pieces should follow the same BRIEF 3: do CONJUNCTION (2to retain WEEKS) narrative however not necessarily need visual continuity. Each medium should work as a that I aim to produce an installation-like space piece in its own right though the narrative may exhibits the advantages of using multiple mediums in be bolstered bywith the each addition ofexploiting showing multiple conjunction other, each medium for in their most appropriate capabilities. pieces series. The space is to be made up of individual pieces of work but it should all work well as one conclusive piece. Each component of the space should be a part of the3: ‘bigger picure’ all workiing towards a collective BRIEF CONJUNCTION (2 WEEKS) idea and each medium contributing an important Investigating into ‘ thethe lay of theoutcome. land’ as a theme (e.g. feature towards final desire lines, nature, walking) you must produce a space that exhibits the advantages of using multiple mediums in conjunction with each other, exploiting each medium for their most appropriate capabilities.

- Series - Conjunction As I am aiming to focus upon the application of mediums, the themes in these experiments are going to be left open. I aim to use my main skill sets, which are illustration, photography, video, sculpture and digital software.

The space is to be made up of individual pieces of work but it should all work well as one conclusive piece. Each component of the space should be a part of the ‘bigger picture’ all working towards a collective idea and each medium contributing an important feature towards the final outcome.


Due to this, I sabotaged my own work and documented the demolition of the maticulously laid out sculpture.

EXPERIMENTATION WITH MATERIAL

I had evidence for the sculpture in an array of photographs however what exactly to do with the remains of the sculpture and these new photographs was leaving me unstuck. I started out my Action Research with some experimentation. As I mentioned, I have a great interest with nature and landscapes so I decided to try and bring the outdoors, indoors, using a material I’ve never used before. The work bares major similarities to Andy Goldsworthy’s work which I felt extremely uneasy about.

I attempted a vague illustration on one of the photographs however I felt the project was a bit of a lost cause and failure. I have the photographs as documentation and if something ever does arise that I could use them for they will be at my disposal. I learnt from this that experiments don’t always go as planned and that the skill involved in something like Andy Goldsworthy’s worth is remarkable


LINO AND SCREEN PRINTING

After a ‘failed’ experiment, I made an attempt to ease myself in by creating work in which I felt more comfortable. I decided to use Ai Wei Wei in a parody of the iconic Che Guevara image due to the recent events he was involved in that took place in China, making it a relevant current affair.

The print has been screen printed onto paper but I aim to eventually print on to T-shirts to take it to the next level.


I created these lino prints of a lemur and it was sold at Handmade & Bound. Upon doing these prints, I realised the confines of printmaking and it’s illustration heavy approach. As an emerging designer, I understand Illustration to be an extremely competative industry with many hugely

talented illustrators and would be more beneficial entering the industry as a designer, with illustration skills on the side as a bonus. I set out to put my illustration skills into practice but in a more designed and considered manner...


‘PLUMA’ TYPEFACE After being given the advice by various tutors that typography is a key skill illustrators need in in the industry, it gave me the incentive to design a typeface. Though this project is not specifically typography and rather an example of illustrated type, I thought it would give me a good opportunity to demonstrate a balance between illustration, with a more practical and purposeful function, and typography.

The idea was to create a typeface based on bird feathers. Each letter is comprised of illustrated feathers from a bird that start with that letter, for example, A is for albatross, B is for blackbird etc. The font, entitled ‘Pluma’ (Latin for ‘feather’) is made using both hand drawn illustrations and digital manipulation. Each feather was hand-drawn in pen and coloured with colouring pencils, scanned in and arranged in Adobe Photoshop to form characters.


In order to maintain a stronger visual continuity between the letters, as each of them are comprised of different feathers, I decided to design a framework in which the letters could sit. The design displays the name of the typeface, my name as the designer, the bird that the feathers come from, in addition to the scientific name for that bird.


I decided to output the Mostly people have been typeface back into a physical buying their names or names for their friends. Essentially this form. highlighted that the typeface is I printed them as individual still mainly decorative though A6 sized cards and submitted has more of an appeal and them to be sold at Handmade function than a stand alone & Bound. illustration. Unfortunately, nothing sold I have recieved suggestions at the fair, however I have since making the cards that sold over 80 cards since then they could also be presented through advertising them on in poster form, sold as boxed the internet and word of sets or as cards. With funds mouth. permitting it would definitely be an option to pursue the different applications for these cards based on the response I received.

THE APPLICATIONS OF ‘PLUMA’

Overall, I feel they were a highly successful piece and they received a lot of good feedback. In hindsight, I definitely oversaw the amount of labour involved in creating a piece of work like this; from the process of drawing each feather, to scanning it in, editting, designing, arranging, formatting, printing, and finalising. This resulted me in abandonning the briefs I had set due to being far behind my schedule


WEB DESIGN - HTML CSS & JAVASCRIPT In order to develop some more of my digital skills, I decided to teach myself how to make a website. As an emerging designer looking to enter the industry in the very near future, web design and development is an extremely employable and desirable skill, especially for freelance design. I created a website for my online portfolio as while building it I was consistantly furthering my knowledge and at the same time developing a beneficial outlet for my work to be seen by a wider audience.

visit my website at WWW.DECAZALET.COM


I feel making my website was an extremely challenging task but all the more beneficial. I started off using very basic HTML I picked up from the beginner’s HTML workshop and I developed my skills from there. I went on to discover and understand CSS (cascading styling sheets) to format the page’s aesthetic, and using HTML to create the various elements on the page, using online resources to further my knowledge.

My website reached the point at which I was visually pleased with the result, with over 370 lines of css code and more than 100 lines of html per page. However, I was looking for more ways to make the loading less clunky and more exciting. After finally getting to grips with HTML and discovering what CSS was, I then found myself tampering with Javascript to create fade ins and transitions.

Before I made my website I was completely unaware of either CSS or Javascript and their functions however now I feel confident using them in the creation of websites. There are a few minor tweaks that need to be made such as configuring my CSS so the web page fits all resolutions but I’m very happy with the result as it currently stands. (All my successful previous works and some newer works can be viewed on my website)


A COMISSION TO BUILD A WEBSITE After making my own website, I was Unfortunately, this website is not yet comissioned to make another online online as the client is lacking fundings portfolio for a recent art graduate. to purchase the hosting but it will soon be viewable at... Through the process of creating my website, I found making a second website much www.jameswilliammurray.com easier and completed it in about a sixth of the time it originally took me to do my own.


WIMBLEDON COMMON PHOTOGRAPHY

After reviewing my previous works and analysis in my Action Research Plan and summarising my interests, I went up to Wimbledon Common as I have recently moved to the area and had never been before. I was amazed at how large and diverse it is, with plains, bogs and forest covering over 1000 acres. I took a couple reels of photographs using my Minolta x300 camera and these are some examples of the imagery. I am hugely influenced and inspired by natural landscapes like this and decided it would be the perfect place for me to create a piece of design.


‘COMMON ENCOUNTERS’ Having looked back over the briefs that I set myself (brief 2 specifically) and the dogme 95 project, I decided that I would like to work with narrative some more as I found it really exciting and enjoyable. I had also already considered using my illustration to form imagery that was based upon a narrative. After stumbling across the magnificent common that’s right on my doorstep, I planned to turn my ideas in that direction. I planned ways in which I collaborate these two ideas and create a narrative with the common as a focal point. As previously stated in my Action Research Plan, I’m also interested in social engagement / interaction within my work in addition to working along side members of the public. Therefore I set my sights on planning ways in which I could asking the local residents their experiences of the common, whether they had any stories they could share or even photographs / objects as a means of intiating a narrative. At this point I am keeping my options open and am attempting to accumalate as much primary research as possible. Opposite is the text which currently features on my website, as it explains my intentions of the project. Additionally, it has been (and will be) attached in current and future mailing lists for emails.


“Having recently moved to Wimbledon, I have formed a huge fascination with Wimbledon Common. Through exploring the beautiful landscape, I have found a huge source of inspiration. From this, I intend to create a body of work in preparation for my degree show in June 2012, using the Common as a focus. I aim to collate as much research about the Common as possible to implement my ideas for the start of my final major project in January. The term ‘Psychogeography’ helps to illustrate my idea. It was defined by the French Marxist theorist, Guy Debord in 1955 as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals.” Using the history of Wimbledon Common and the various connections and relationships it has with the local residents, I aim to communicate what the Common means to the community. I intend to do this by combining various stories that are linked through a mutual factor, being Wimbledon Common itself. Additionally, investigating the notion of ‘place,’ studying the landscape’s social functions and what it offers as a part of the local environment.

If you are interested in helping me support Wimbledon Common as a beautiful oasis in the heart of a bustling city, then please get in contact with me, via email or phone (decazalet@gmail.com) I am looking for any stories, photographs, objects or anything that relates to the Common as a means of initiating narrative. Your participation in this project will be key to its success. Any information that you pass on to me will be handled professionally, moreover, anonymously if desired. I would be delighted to hear some of your memories and experiences you may have had on Wimbledon Common.”


WEB COMMUNICATIONS

I contacted the Community Engagement Manager for the Wimbledon and Merton Forum, where local residents come together to discuss current and relevent issues and affairs in the district. I saw on their website they had their quarter-annual meeting coming up on December 6th and as you can see in the screenshots of the emails (above) I asked to come along in an attempt to get some engagement out of the local residents.

I received a reply in which he stated rather than coming to the meeting which wasn’t quite the right place, he would send out a copy of the proposal to their mailing list upon receiving a reference. The email has now been sent out to the mailing list and hopefully some response will be coming in shortly.


My recently acquired web development skills came in very useful for this project. I created a page specifically for the project with all the information on it, requesting partcipants to contact me with the information they wish to share. You can view the webpage here: www.decazalet.com/common.html I also posted a link to the webpage on my facebook and my tumblr accounts to raise the traffic to my website. (see screenshots left and below)


FLYERS AND DISTRIBUTION PREPARATION FOR FINAL MAJOR PROJECT Exhibition, June 2012 www.rcazzles.tumblr.com decazalet@gmail.com (+44)7576 090227 University for the Creative Arts, Epsom Graphic Design BA (Hons) With the intention of creating an art/design project, I am conducting an investigation into the landscape/environment and social function of Wimbledon Common in order to communicate its purpose and the explore notion of ‘place’ By collating primary research, I hope to apply narrative and storytelling suggested by the local community towards the project’s actualisation. Anything, such a stories, photos, or generally anything related to the Common that you could email me, would be hugely appreciated. Upon open invite, the works will be shown at the University for the Creative Arts end of year show (details TBA)

PREPARATION FOR FINAL MAJOR PROJECT Exhibition, June 2012 www.rcazzles.tumblr.com decazalet@gmail.com (+44)7576 090227 University for the Creative Arts, Epsom Graphic Design BA (Hons) With the intention of creating an art/design project, I am conducting an investigation into the landscape/environment and social function of Wimbledon Common in order to communicate its purpose and the explore notion of ‘place’ By collating primary research, I hope to apply narrative and storytelling suggested by the local community towards the project’s actualisation. Anything, such a stories, photos, or generally anything related to


In addition to promoting my project online, I have made attempts at doing it in a physical form too. Originally my plan was to meet people on the common and hand out flyers personally in addition to hopefully doing some interviews. However, upon doing some research into this, when working with members of the public there are hundreds of ethical guidelines which one has to be aware of and comply to. I searched the University website for a so-called ‘ethics pack’ but with no luck. Afterwhich, I spoke to Diane at the library where she confirmed the University doesn’t, as yet, have a fully written up copy. Eventually Diane found me a copy online which she forwarded to me. This will be an investment for the future as the opportunity to engage personally with members of the public for research has not yet arised due to this set back. I have however, created the flyers and relished in the opportunity to distribute them for people to take away from establishments in Wimbledon Village, next to the common. The flyers contain a very condensed summary of my project with all the details on the front, and a link to my webpage on the back. Originally the flyer was an A4 sheet but I reduced them down to A5 in size, after some feedback - if I was to hand them out in person, I would benefit from the flyers being more discreet rather than walking around with an obvious stack of A4 paperwork, which the majority of people would most likely attempt to avoid.


Here are some photos documenting some of the establishments I managed to get my flyers in to. These are three examples of some of the types of establishments in Wimbledon Village. Starting far left, ‘Canvas Wimbledon’ is a local contemporary art gallery. They allowed me to leave my flyers by their seating area, they also offered to send a copy out to their mailing list. This is the perfect opportunity as it’s interacting with people who are interested in art, and the gallery itself is situated directly opposite the common. The Wimbledon Museum is pictured above. They displayed my flyers on their front desk. Hopefully it will reach people with an interest in the local area. Pictured left, is the local pub ‘Youngs,’ which is, again, facing out towards the common. The only place they were allowed to display leaflets and flyers was by the door (due to health and safety.) I figured the locals who frequent the pub would almost certainly have some interesting stories to tell or experiences to share in order to initiate narrative. For now, the act of distribution is done and is left in the hands of fate until I am ethically able to make my way up to the Common to interact with the public on a personal level. From what I have done so far I will be able to see whether people will engage with this project or if I will need to push them a bit harder.


‘THE COMMON PHOTOGRAPHER’ screen captures of video VIEW ‘THE COMMON PHOTOGRAPHER’ HERE


As I was waiting to hear back from the mail outs and flyers I decided on creating my own fictional narrative on the common.

As I feel this was a fairly successful test video with only a few minor mishaps, it has made me consider the possibility of making a documentary type film about the common in the next semester.

Inspired by dogme, I created a short film depicting a girl with an interest in photography exploring the Common.

My intention in this film was to include a sequence with an interview and a voiceover for the remainder of the film however due to high-winds that day, the sound quality was very poor, despite recording the audio on both the camera and a dictaphone.

I intended on creating a video that was somewhere between a documentary and a story as I feel the dogme style has some very documentational qualities to it.

Through filming this video and the dogme film, not only have my video editing skills improved but, importantly, it has highlighted to me some of the aspects that I will need to be aware about if I do decide to make a video for my final major project.


A STUDY OF PORTRAITURE In preparation for interviewing members of the public I have been practicing taking portraits, in various lighting conditions and environments as I intend on photographing some of the people I meet on the common. As it’s a film camera, it’s not as quick or ‘automatic’ as some digital cameras and requires some fiddling with the settings to achieve the result you require. However when working with the public, I believe you should be as adept and efficient with their time as possible and I certainly have no intention of messing around with camera settings infront of an impatient Wimbledonian. I have also taken similar photos using various apertures to judge what aesthetic I am attempting to achieve when taking the portraits on Wimbledon common.


ARTIST RESEARCH


Finnish designer Pietari Posti has a bold and distinctive style, characterized by his use of large flat planes of colour.

I admire the stylistic qualities of Posti’s work in the way that his work is instantly recognisable with visual continuity between the Working in both screen and various pieces. This is an print based mediums, Posti approach which I strive to has worked on a diverse achieve. range of projects for clients including: Omega, Nokia, Posti’s themes and subjects The New York Times, British seem to be very similar to Airways and The Guardian. my own, evidently taking inspiration from nature but also it’s relationship to an urban landscape, clearly demonstrated in the images shown (left)

PIETARI POSTI


London based designer, Lizzie Finn, utilises a variety of media to create her images, her forte being textiles.

What I like about her work is that she uses unorthodox techniques, like sewing, to create illustrations or animations, generating a The textiles that she uses gives completely unique and the work a very tactile and different type of imagery. quite homemade aesthetic which has a huge appeal in the I also admire, not only the current market, working for process but the technique to clients such as Clarks shoes, which it is applied and found Hodder & Stout, British a niche in the market; creating Vogue and Mothercare. dolls for imagery on an album cover (see above) or using textiles to produce a vibrant environment for the backdrop of an advertisement.

LIZZIE FINN


Legendary designer Vaughn Oliver has a hugely diverse and innovative practice. His impact on the postpunk music industry is still celebrated, as is his influence on a generation of designers exploring the possibilities of type and print. He uses sculpture, screen-printing and photography, which he layers with experimental type to create unique and abstract imagery.

I find Vaughan’s use of many mediums, images and textures used in layers, very appealing, in which he creates a grungy aesthetic. Combining imagery with geometric shapes and scrawled text is something he seems to accomplish with ease but through attempts of my own it has proven more difficult than initially thought so I have a huge respect for Vaughan Oliver’s work.

VAUGHAN OLIVER


London based artist, Anne Hardy, created elaborate installations, devoid of human presense. She fills the rooms with a clutter of various objects creating a visual explosion of colour and shapes. The objects in her work serve as a narrative, rather than the people, infact the absense of people is so prodominate in her work, that in itself adds it’s own elements to the narratives they portray. Hardy accomplishes telling stories through these installations very effectively with each installation in possession of it’s own theme. Though the objects are present, it’s upon the viewer’s discretion to draw the narrative from them, raising questions in the audiences’ mind; what have these objects been used for? Why are they here? Furthermore, though the work is created in an installation space, they are only exhibited as documentation in photographs. I find it interesting as it is suggesting to the viewer to judge these rooms, but in a subtler way. I find her work thoroughly engaging and visually appealing. It draws parallels to my Wimbledon Common project in which I am attempting to initiate a narrative from an object.

ANNE HARDY


Noam Toran’s work involves the creation of intricate narratives developed as a means to reflect upon the interrelations of cinema, history, mass culture, and individual and collective psychology. The works are most often exhibited as sculptures, films and installations.

In one project, Noam created ‘McGuffins’ (objects of desire) and wrote a brief 100 word synopsis of a plot summary, but only the initial information to incite a narrative. The rest is left up to the viewer’s discretion to decide the outcome of the narrative being told.

The works attempt to evoke memories and sensations related to cinema and cinema watching, and to examine the implications of cinema’s influence on the collective consciousness, be it as collective fantasy, myth or memory forming. This is realised through an original way of deconstructing and reconfiguring cinema’s codes, conventions and narrative structures, and repositioning them in the gallery space.

I really enjoy the idea that the audience can play a part in telling a narrative, or a narrative being told through a story. Again, this draws major parallels between this and my Wimbledon project.

What results are installations comprised of objects, films and texts which provide the viewer with a space for speculation and interpretation.

NOAM TORAN


EVALUATION Throughout this semester, my main focus has been on my skills base, as I have always been keen on working in a variety of mediums. From this I feel I have benefitted have learnt to utilise them in more effective ways for my work. I have improved my knowledge in more digital based works. After attending the html workshop for beginners and the Adobe Premiere intermediate workshop, it gave me a starting point and a great incentive to further these skills on my own accord. I hope this will give me a better chance when I graduate and enter the industry having armed myself with more employable skills. I feel this semester got off to a good start, I especially enjoyed the Dogme 95 project. It gave me the perfect opportunity to really experiment within film, a medium in which I have always been interested, but not always felt comfortable. I was pleased with the final outcomes, though still feel it would benefit from being reshot. However, I learnt a great deal about video editing, creating a narative and also gave me a good idea of how long the whole process would take if I were to make a longer film for my final major project. I also challenged my illustration, deciding it needs to be more functional or put towards a purpose, essentially less decorative and more useful. Moreover, I aim to enter the industry as a designer with illustration skills, not as an illustrator. I hit a few minor bumps along the way during the Action Research stage of this semester. Firstly, as I mentioned previously, I deemed my ‘experiments with materials’ a failure as it had no conclusive direction. Additionally, my time management was not always under control — the typeface project took between three and four weeks of consistant work to finished, opposed to the one to two weeks I had planned for it, though I feel it was worth the time put into it and it paid off. What I learnt from these blunders is understanding the importance of allowing myself sufficient time to complete work. Additionally, experiments don’t always work out, as they may have done in the past, and the fact they are simply experiments should be a reinforced idea, preparing to make evaluations at the end and most importantly to be able to anticipate failure and learn from it. I feel confident in knowing what direction I aim to take for my final major project, armed with the knowledge and understanding from work completed this semester.


FMP PROPOSAL Having recently moved to Wimbledon, I have formed a huge fascination with Wimbledon Common.

Through exploring the beautiful landscape, I have found a huge source of inspiration. From this, I intend to create a body of work in preparation for my degree show in June 2012, using the Common as a focus.

I aim to collate as much research about the Common as possible to implement my ideas for the start of my final major project in January. The term ‘Psychogeography’ helps to illustrate my idea. It was defined by the French Marxist theorist, Guy Debord in 1955 as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals.” Using the history of Wimbledon Common and the various connections and relationships it has with the local residents, I aim to communicate what the Common means to the community. I intend to do this by combining various stories that are linked through a mutual factor, being Wimbledon Common itself. Additionally, investigating the notion of ‘place,’ studying the landscape’s social functions and what it offers as a part of the local environment. I will be looking towards members of the local community in search of narratives, either through stories, photographs or objects.I am interested in the idea that multiple narratives could be connected through one object, whether that object is a physical thing or the actual Common itself. I intend on creating an installation space as a means of displaying my work. In which, I will show various works in different mediums ranging between illustration, photography, sculpture and video. Inspired by Dogme 95, one main feature I plan on creating is a documentary style video with deeper elements of narrative to it.


BOOKS Adamson, Glenn - “Thinking Through Craft” Arnheim, Rudolpf - “Visual Thinking” Plastow, Norman - “A History of Wimbledon & Putney Commons” Propp, Vladimir - “Morphology of the folktale” Pye, David - “The Nature and Art of Workmanship” Roberts, John - “The Intangibilities of Form” Snow, C. P. - “The Two Cultures” Spadling, Julian - “The Eclipse of Art, Tackling the Crisis in Art Today”

WEBSITES Adobe - http://www.adobe.com/devnet/dreamweaver/articles/ first _ website _ pt1.html Antas, Axel - www.axelantas.co.uk Creators Project - http://www.thecreatorsproject.com/en-uk/ Feather Atlas - www.lab.fws.gov Finn, Lizzie - www.lizziefinn.com Hardy, Anne - www.anne-hardy.co.uk Jean, James - www.jamesjean.com Jquery - http://api.jquery.com Oliver, Vaughan - www.vaughanoliver.co.uk Posti, Pietari - www.pposti.com Toran, Noam - www.noamtoran.com Wimbledon Community Forum - http://www.merton. gov.uk/community-living/communityforums/ wimbledoncommunityforum.htm

EXHIBITIONS & TALKS In The Labyrinth, Museu d’Art Contemporani de Barcelona, Barcelona Noam Toran, UCA Auditorium Museum of Parallel Narratives, Museu d’Art Contemporani de Barcelona, Barcelona Postmodernism: Style and Subversion 1970 - 1990, Victoria & Albert Museum, London The Power of Making, Victoria & Albert Museum, London Type Directors Club, JWT, London

FILMS “Falling Down” - directed by Joel Schumacher “The Story of Film: An Odyssey” - directed by Mark Cousins

BIBLIOGRAPHY

Independent Practice 3A: Articulation  

Graphic Design Portfolio, Year 3 Semester 5

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