WHAT IS MY CONCEPT!

I think along the way of this unit I have got caught up in a lot of ideas. I want to specify what my concept is and narrow it to allow my development to be from that and not to carry on developing ideas I have already looked into.

First what am i trying to achieve

A high market on trend collection
Not all is as it seems
Began looking at trauma - using imagery that is maybe slightly uncomforting but finding the beauty in
it, using it as a tool to remember


UNCOMFORTABLE MADE "NICE"...basically

MARY KATRANTZOU

At first glimpse this suit and trousers look they are shimmering in the light. But this affect has actually be produced by using a slightly lighter colour in the pattern design. How could this contribute to my own work? by allowing only a glimpse of the image and using placement to my advantage to manipulate what you think you see?

RHIANNA PRESENTATION

Believes I have done enough when it comes to contents. I need to find a style of presentation that makes my work look of a professional standard and helps to tell the story of my work.
I have been looking at websites to help this along.
She particularly liked the look of the line drawn lips repeated to look like paisley and whether I would be able to create a similar pattern to the this with the fish. This helps to move my work along because I can adapt work already created and develop to further my design with a method that I think captures my concept.

22.11.12 TUTORIAL REMEMBER CONCEPT

This week I have spent drawing anything that comes to my mind. From the last tutorial I think I could develop my ideas well by looking wider.

TUTORIAL NOTES

Have I got a little lost along the way? I need to remember the concept!
Story behind the drawings to reveal concept.

"You'll be sleeping with the fishes" The Godfather

I need to keep drawing but narrow my ideas of what I need to draw.. keep the concept!
How have other designers achieved this?


Dan Funderburgh

MULTI HEAD EMBROIDERY

Experimenting with different methods to create pattern.
The multi head is a piece of equipment i have not used yet. At this stage I am only trying the equipment to help progress my ideas for the next unit, I did it to see if I would be able to develop other methods to create pattern design through 3 dimensional stitch which you would expect to see but appears as something else once touched, possible that it has been digitally printed on the laser cutter.

The process of threading up the machine was relatively simple. However I made a mistake of not generating the stitches again once I had made my stitching pattern and resized it. This meant that rather than being an area of fill stitch that should be a block of stitch there were small gaps. I actually quite like the look of this, it was wrong but maybe a happy accident...
From doing this I have now got another skill for the next unit and it has given me another view of how I could recreate recognisable pattern but flip it on it's head eg. creating lace through the multihead

15.11.12 TUTORIAL

Spent this week bringing colour into my project. I have been working very two dimensional and want to bring my components into my work.

I had an induction onto the muilt head embroiderer and spent Wednesday morning putting together my design to stitch up on Thursday I feel I understood the method well and it could work with my idea to remake old ideas and give them a new life by adapting the multi head embroider to look like lace.

TUTORIAL REVIEW 

I have rethought my ideas for presentation and decided to do a simpler photoshoot that does not require such thought into location and styling. I will shoot the model in white garments and use the displace method on photoshop to create the printed garments.

After listening to my course mates process in their projects and Alex’s feedback I realised I need to look back at my initial research and experiment with everything I have. I have got stuck on using my imagery of mouths and recreating that. My project has the potential to be very strong but I have stayed working around one idea and got bored of it and am struggling to progress further.

I need more visual context to work from, I have been able to think about processes and technic but I need to spend longer fine tuning it truly show the emotion in each drawing. I am going to spend a day looking at objects that could work within this., either finding context that from a distance looks like one thing and then reveals another

Eg. illustrator lips into paisley design.

Terrious beasties – looks like 18^th century French textile.

Or adapting something ugly into beauty. Methods to do this could be by taking a flower and photographing it at each stage to see the beauty die out of it and using this to draw from. Taking something that when it is in it’s first cut but finding beauty once control is taken away.

Development that is not in your control.

Running dye down fabric

Hiding unsettling imagery in textiles we recognise.

Cauliflower ear

Twin tower – not know what it is then informed and more shocking.

Burning objects that we recognise.

Dan funderberg – looks like traditional textiles but with venus fly traps

Objects to bury the print. Half pattern half imagery you don’t know is there.

Israely designer – all images are of people having surgery

Things to draw

Boy burying his head in his hands

People shopping with bags

Lamp posts

Scorpion from dads photos

Lizard in sri lanka

Dead carcass in sri lanka

Twin towns falling

Someone sat on the train

Someone asleep on a bench

Someone walking there dog

People fighting

Child crying – iconic image of girl crying

Iphone with violent sceen on screen

Gun

Policeman

Handcuffs

Get imagery of tradition textiles and on tracing paper adapt to mine.

                                                     

JENNY SAVILLE

I want to develop my own way of working that captures the emotion in each pattern I produce. 
I have been looking at different artists to see how they have developed there own methods. Jenny Saville paints extremely beautiful/disturbing imagery. Her paintings are usually much larger than life size. They are strongly pigmented and give a highly sensual impression of the surface of the skin as well as the mass of the body.  

The paintings seem effortless, as if they have been done in a rush but every brush stroke has been thought through thoroughly. 
Depending on the imagery she uses also triggers what colours she brings into the painting. Those where the model seems pained and tired she uses much deeper colours. Whereas when the model looks vulnerable and unable to control what is going on around them she uses much more neutral tones (above)

Her work reminds me of Lucian Freud, who is known for his thickly impastoed portrait and figure paintings. His works are noted for their psychological penetration, and for their often discomforting examination of the relationship between artist and model.