Roundabouts - Photography - Light Painting

This afternoon the group were given the task to create a selection of photography images expiring the technique of painting with light. 

After the group session the photos were sadly lost. 

However, last year I completed the UAL Diploma in Photography as a night course where were experimented with this technique so I am able to show past work I have produced. 

For the first image I experimented with the a static light and a moving model to create an abstract laying effect that gave the image a eerie, sinister aesthetic. 




In the second image I have use a traditional technique where the light source moves rather the the model. However I used a additional light source to cast a shadow on the face to add to the atheistic. 

Roundabouts - Media - Scratch Film

This morning we started the roundabouts where we try each examples of work that can be made in each different pathway.

This morning we began with the Media pathway, where we created a scratch film.

The group were shown examples of scratch films from the early to mid 20th century such as:

Stan Brakhage's Mothlight 

Len Lye's Kaleidoscope 

After viewing the films we were tasked with making our own version. Each person in the group were given four seconds worth of 16mm film.

For my four seconds I worked straight onto the film using permanent markers in a imprecise manner to give a contrast to the more structured seconds that my piers created. 

Dolphinholme Residential - Photographs

These are a few of the images I took while at Dolphinholme from the samples of the nature around the yurts and stored them in tiny bottles. 

Using a mirco-lense I took close ups of the tiny bottles, changing the aperture, shutter speed, ISO and light settings to change the aesthetic of the images. 

https://www.flickr.com/photos/114409114@N07/

Dolphinholme Residential - Drawings

This week we were given the opportunity to go on a residential to Dolphineholme House Farm in Lancaster. The farm is set on the edge of the Forest of Bowland and is a fully functioning dairy farm in a designated Area of Outstanding Natural Beauty. 

The overnight accommodation consisted of yurts surrounded by the natural wildlife without modern conveniences like gas and electricity. 

Just outside the yurts is the home to many plants and fungi. While a lot of the group decided to take inspiration from around the farm and river, I took inspiration from what was on my 'doorstep'.

After collecting samples of the nature that bordered the yurts I started to draw the mushrooms using pen, pencil, watercolour and stitch. 

When sketching I tried to simplify the mushrooms by drawing just the outline of the shape and the shadows cast without trying to recreate the textures and details of the mushrooms. I think these drawings are stronger than the more detailed drawings because to me they are better images and capture the rawness of the environment I was in.

Fashion Illustration - Build Creative Exercise

This is the fashion flat created on Adobe Illustrator for the paper garment I made in the creative build exercise.

I've tried simplify but still recreate the folds of the paper and the textures in the copper mesh wire. 

  

Creativity Exercise - Build - Part 2 and Group Critique

This morning we spent a little more time on the creativity exercise called Build.

To develop my paper garment I decided to create a skirt to reflect the style of the bodice. Using the same materials folded in a complimentary fashion I made the bottom half of the garment, however joining and overlapping in a different way to the bodice.

After lunch we had our first group critique of the year, where students could opt to show what they had built and receive feedback from the others on their work.

I chose to show my work to gain influences and ideas from other people's opinions of my work. I received comments such as "the garment has a futuristic style, through the use of folding and sharp edges" and how the shape of the bodice reminded some of the group of a bird with the folds representing feathers. 

The group had a discussion about the the use a pattern material if I was to take this way of Origami garment construction forward. After some deliberation it was decided that a pattern material would take away the sharpness of the folds and that the shadows cast by the folds gave the garment its own pattern.

I was questioned on the length of the garment and why I chose it to be at that length. I was restricted to the size of the paper rather than having the option of length. When making the skirt I created it the same way circle skirts are made but using a square rather then a circle for the hemline. 

I was also asked what fabric I would use if I chose to move on from using paper. Using my knowledge of fabric and the qualities each possess, I explained that it would have to be a fabric such cotton calico strengthened by interfacing because it would hold the fold lines without being weighed down. I could also use a synthetic material such as strengthened polyester because some the the characterises of the fabric are similar to cotton but polyester doesn't breathe and if the garment was to be worn it wouldn't be very comfortable and polyester can have a 'cheap' look that is undesirable. Mouldable fabrics such as wool and felt could be used but I would have to experiment to find a way to mould the fabric to create appropriate folds for the garment. 

Creativity Exercise - Build

To demonstrate our creativity today the group were asked to 'build'. What to make was open to our interpretation.

To link this exercise to the main brief I decided to create a garment using the Japanese art form of origami.

I chose to use paper as a base in this experimentation stage rather then fabric because the material would have to go through a time consuming stiffening process. 

By folding the paper, volume and a layered effect was created that gave the bodice a structured aesthetic.

Once the paper bodice was complete, I then tried experimenting with producing the same effect with copper mesh wire.

I then established the wire as a centre piece for the bodice by layering on top.

Task 2 - Research - Sandra Backlund

Sandra Backlund is a swedish designer who specialises in sculptural knitwear. Founding her own brand in 2004, Sandra Backlund's designs have a architectural aesthetic take on a historical medium, winning her awards such as the 2007 Grand Prix winner of the Festival International de Monde and Photographie in Hyeres, France and the 2010 Swedish Elle Award. Backlud's designs accentuate and exaggerate the female form, producing a futuristic quality to her clothing. Her manipulation of wool creates sculptural moving art and through her choice of thick yearn each stitch can be seen creating an abundance of textures.

Personally, I find Buckland's work to have a origami aesthetic approach that is "out of the box" and unique to traditional knit designers. Her use of sculpture has a layered quality that is hard to incorporate into classic knitwear that I admire, giving her work a contempory edge. 

All images from:
http://sandrabacklund.com

Hand Print, Hunting and Being Human Lecture

The group (Foundation Pre-dregree) attended a lecture titled Hand Print, Hunting and Being Human. The subtext of lecture was; what is art?

We were presented with two images of the Lascaux Cave.

Gaining an understand of the paintings will help in answering that question. 

From the very beginning of the human species as we know it, there has been a need to say we are here, we lived. This is represented in the hand painting in the cave.  This is the people who lived thousands of years ago making their mark on the world because they know that one day they won't be there and they didn't want to be forgotten. This could be seen as the first self portrait.  

The second image depicts a hunting scene. This could be seen as documenting where I am - a landscape. The hand print art says 'I was here', the hunting scene could connote 'what I am doing'.

By contrasting the two different view points about art one can propose the theory answering the question 'what is art?'.

That the majority of art is a way of documenting who you are and what you are doing, a way of leaving a mark on the world that you don't have to understand. Humans are the only species that do this and art can be classified into two groups; the hand print (portrait - who I am) and the hunting scene (landscape - where I am). 

Using the theory when considering the manuscripts exhibited in Blackburn Museum, the art work would be classified as the hunting scene as it is documentation of what was happening at the time.

Individual fashion would be categorised as the hand print. Fashion is a way of expressing yourself, emotions and views. What you wear becomes part of you, communicating messages about your identity.

However cultural fashion would be identified as the hunting scene in the way it is a recording of social standing, ethnical differences and influences of social-cultural changes.

Task 2 - Research - Limi Feu

Daughter of the award winning and influential Japanese fashion designer Yohji Yamamoto, Limi Feu has followed her father's foot steps into the fashion world. 

However her choice "LIMIfue" as her design label after coming across the word fue in a French dictionary, suggesting she wanted to make it on her own then rather off her fathers already established label.

Starting her label in 2000, she showcased her work from 2000 to 2007 in Tokyo Fashion week before making her Paris debut in October 2007's Paris Fashion week and breaking into the western fashion world with great praise from critics.

Her designs have characteristics of a darker colour pallet, use of layers, large volumes and asymmetry, a clear influence of her father's designs. However, where Yohji Yamamoto's design are typically more romantic, Limi Feu's are a little more street wear inspired with a rock attitude ambience to her clothing.

I admire the empowering famine yet edgy shapes of her designs. Due to her mostly darker colour scheme, if I could afford it, I do believe I would wear her designs. This collection seems to have a punky-meets-orintal quality that is enforced it the style of the hair and cutting edge designs.

These images are of her latest collection Autumn/Winter 2014-2015 from:

http://www.limifeu.com

Task 2 - Research - Givenchy Spring 2011 Haute Couture

Riccardo Tisci, the creative director of Givenchy, appointed in 2005, is continually exploring uncharted territory for the Parisian fashion house.

The Spring 2011 Haute Couture isn't a couture show in the conventional sense. The ten garments created have never been seen on a runway and were exhibited more like art work, which I guess they are. Only by showing his work in this style, using only Asian models, could the viewers really see the amount of time and effort gone in to each design. The delicacy of the handwork in the beading and the elegant appliqué and embroidery could not of been seen on a catwalk so this was the best possible way to display this collection. 

The pastel colours used in this collection are a modern traditional of the spring colour scheme that have always made me think of dried flower petals.

Tisci took influence from the traditional Japanese art of 'Butoh', and this collection could almost be seen as an abstract homage to the late master of the dance art, Kazuo Ohno.

Some of the looks were completed by elaborately handmade head pieces by Philip Treacy, showing Tisci's fascination with Japanese robot toys.

To clearly define the influence of the Japanese culture through the ten garments, the use of the crane, a symbol of femininity and immortality in the Asian culture.

Tisci has managed to give the awe-inspiring garments a lightness feel even though each floor-sweeping gown is richly fabricated by layers of heavily worked materials, some dresses took thousands of hours to complete. 

This collection is persistent in the way his past couture collections have been elaborately detailed but is contrasting and a departure from the more gothic designs he has produced.

Fabrics Used:
satin, tulle, georgette, satin, organza, muslin, feathers, sequins, leather, crystals, lace

Images from:
http://www.vogue.it/en/shows/show/ss-2011-haute-couture/givenchy

Task 2 - Research - To Dream Of Japan

To dream of Japan: Fashion Photography by Tina Patni for Amato Haute Couture.

Tina Patni is a fashion photographer based in Dubai, United Arab Emirates. 

This creative stylised collection of photographs has a clear Japanese, almost 'geshia-ery', influence flowing throughout each image. 

 Created by Tina Patni for Amato Haute Couture, these photographs have intense oriental concept with a aesthetically modern appeal that is clearly shown thought the series. 

The soft shot of the photographs mixed with the contrasting bold make up and pops of colours from the props used captures the viewers eyes.

Photographer: Tina Patni

Designer: Amato Haute Couture

Make up artist: Gene Ginno Alducente

Hair Stylist: Jojo Padua

Images from: 

http://amatohautecouture.com/campaigns/orientalismo/