An Illustrated Learning Journal _ Little by little: A pheromone journal by Doan Thuy Chi by doan_th.chi

An Illustrated Learning Journal

little by little: Doan Thuy Chi a pheromone journal

Little by Little A Pheromone Journal

British University in Vietnam HaNoi, Vietnam 1904 Contemporary Creative Pratice CCIF40050/ CCIF40741/ CCIF40837 Doan Thuy Chi HAN18100004 July 2019 Photography and designed by Doan Thuy Chi

Little by Little A Pheromone Journal Doan Thuy Chi

CONTENTS Foreword

Section One: Study Skills

ƂÀÌ iw Ì Ã

Art History Timeline

Section Two: Print Making

Organic Print

Washing Line

Stencils

Final work/ Exhibition

Section Three: Photography

Black and White (B&W)

Colour

Final work/ Exhibition

Section Four: Visual Studies

Mark Making

Crumple paper/Paper still life

Final work/ Exhibition

Afterword

Reference List

Jackson Pollock untitled, 1948

Little by little: A Pheromone Journal

Introduction “Cause you never think that the last time is the last time. You think there will be more. You think you have forever, but you don’t” - Meredith Grey -

Hello! My name is Doan Thuy Chi. I am one of the student of 1904 Contemporary Creative Practice. This is Þ -ÌÕ` iÃ - Ã ÕÀ > Ü V ÀiV À`i` > >L ÕÌ Þ wÀÃÌ Ãi iÃÌiÀ v Þ wÀÃÌ Þi>À À Ì Ã 1 ÛiÀÃ ÌÞ 6 iÌ > ° / Ã book containts all of the techniques, my reasearch and my work through twelfth weeks learning of four different subjecs which are Print-making, Visual Studies, Photography and Studies Skills.

SECTION ONE: STUDY SKILLS

STUDY SKILLS

ART

STUDY SKILLS

WHAT IS ART?

/ iÀi Ã Õ ÛiÀÃ> Þ >VVi«Ìi` `iw Ì v >ÀÌ°(1)

Art used to describe something of beauty, or a skill which produces an aesthetic results, there is no clear line in principle between (say) a unique piece of handmade sculpture, “There is no universally and a massproduced but visually atCEEGRVGF FGƂPKVKQP QH tractive item. According to Dictionary. art.” cambridge.org (2019), art has a lot of meaning. It can be the making of objects, images, music that are beautiful or that express feelings or it is an activity through which people express particular ideas. (2)

£® >À`iÀ] ° Óä£ ®° Ã Ì Ûi * ÃÃ L i Ì iw i 7 >Ì ƂÀÌ Ã] Ý>VÌ Þ¶° Q iR / Õ} Ì ° ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉÜÜÜ° Ì Õ} ÌV °V ÉÜ >Ì Ã Ì i `iw Ì v >ÀÌ £nÓÇäÇ QƂVViÃÃi` £Ó Õ ° Óä£ R° Ó® VÌ >ÀÞ°V> LÀ `}i° À}° Óä£ ®° Ƃ,/ N i> } Ì i > LÀ `}i } Ã VÌ >ÀÞ° Q iR ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉ ` VÌ >ÀÞ°V> LÀ `}i° À}É` VÌ >ÀÞÉi } Ã É>ÀÌ QƂVViÃÃi` £Ó Õ ° Óä£ R°

SECTION ONE: STUDY SKILLS

Doan Thuy Chi Print-making, Drawing Paper 201 x 297 mm, BUV, Hanoi, Vietnam

STUDY SKILLS

ART HISTORY TIMELINE “History has remembered the kings and warriors, because they destroyed; Art has remembered the people, because they created. - William Morris -

SECTION ONE: STUDY SKILLS PREHISTORIC ART c.30,000 - 2000 BC

ACIENT ROME ART c.509BC - 330AD

ACIENT EGYPTIAN ART c.3000 - 30BC

BYZANTINE ART c.300 - 1204

EARLY RENAISSANCE

GOTHIC ART c.1140 - 1500

NORTHERN RENAISSANCE c.1400 - 1500

DUTCH GOLDEN AGE c.1620 - 1700

UKIYO-E

c.17th-20th centuries

REALISM 1830s - 50s

POST IMPRESSIONISM c.1880 - 1905

ART NOUVEAU 1890s - 1905

c.1300 - 1500

BAROQUE c.1600 - 1750

ROMANTICISM c.1800 - 80

PRE-RAPHAELITIES 1848 - 1853 IMPRESSIONISM 1870S - 90S

NEO-IMPRESSIONISM/ POINTILLISM C.1880 - 1905

EXPRESSIONISM C.1890 - 1934

Doan Thuy Chi Drawing Paper 148 x 210 mm BUV, Hanoi, Vietnam

SECTION TWO: PRINT-MAKING

PRINT-MAKING

PRINTMAKING TECHNIQUES

Print making - according to Moma (2019) is “a work of art made up of ink on paper and existing in multiple examples.” (1) *À Ì > } ` Û `i` Ì v ÕÀ }À Õ«Ã\ - Woodcut/ Etching/ Lithography/ Screenprint

/ i wÀÃÌ Ì } >Ûi iÛiÀ i>À i` vÀ «À Ì > } is potatoes print. But, in this section, I start with vegetables and fruit print which is my homework after the potatoes print.

(1) >° À}° Óä£ ®° 7 >Ì Ã > *À Ì¶° Q iR ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉÜÜÜ° >° org/interactives/projects/2001/whatisapÀ ÌÉy>Ã ° Ì QƂVViÃÃi` Óx Õ ° Óä£ R°

PRINT-MAKING

ORGANIC PRINT ƂÌ wÀÃÌ] Üi >Ûi Ì VÀi>Ìi > ` >« wÀÃÌ > ` Ì i `i> Ã Ì Ì >L ÕÌ yourself. After thinking about ten things about myself. the only thing I wanted to do most was the Lion because it is my zodiac. The hardest thing when creating stamp from potatoes was the softness of the potatoes. If we putting to much pressure onto the potatoes, it will damage the potato. So, we should be really careful and think crealy before cutting.

Doan Thuy Chi Print-making, Drawing Paper and plain paper BUV, Hanoi, Vietnam

SECTION TWO: PRINT-MAKING Next, in organic print we also have the leaf print.

Doan Thuy Chi Print-making, Drawing Paper 100 x 297 mm BUV, Hanoi, Vietnam

PRINT-MAKING

WASHING LINE The process of making the washing line print was really easy: 1. Draw the continuous line of the cloths. 2. Then use that line to put up on the foamex to cut out the shape to create the stamp. Doan Thuy Chi Print-making, Drawing Paper 100 x 200 mm BUV, Hanoi, Vietnam

3. Using the colour you want to put onto the stamp and print it out.

Doan Thuy Chi Print-making, Drawing Paper 100 x 200 mm BUV, Hanoi, Vietnam

(1) The colour you use to put onto the stamp will have to be notice if you want to print the stamp out fully with colour.

SECTION TWO: PRINT-MAKING

Doan Thuy Chi Print-making, Drawing Paper 80 x 80 mm BUV, Hanoi, Vietnam

“We divide this into two sections: follow Andy Warhol styles/using the colour like Tone or Shade or Tint ”

Andy Warhol Marilyn Monroe, 1962 Acrylic paint on canvas 205.44 x 289.56 cm

Andy Warhol Andy Warhol Skulls, 1976 Acrylic paint and silk screen on 6 canvas 1222 x 1024 mm

Doan Thuy Chi Print-making, Drawing Paper 100 x 200 mm BUV, Hanoi, Vietnam

(2) You should notice to the timing for using the colour because sometimes it will dry really fast. The best solution is just using the liquid make colour dry slowly.

PRINT-MAKING

STENCILS After 1904CCP’s wÀÃÌ wi ` ÌÀ « Ì > i lake to draw the out line of the church or some of the houses we saw.

Doan Thuy Chi Print-making. PlainPaper 210 x 297 mm BUV, Hanoi, Vietnam

The stencils was create from acetate paper and by drawing out the shape that I Ü> Ì wÀÃÌ° / i ] `À>Ü L>V Ì i Ã >«i Ì the acetate paper to cut out and print.

Doan Thuy Chi Print-making. Plain paper + Newspaper 210 x 297 mm BUV, Hanoi, Vietnam

(1) We should create layers and layers of the acetate to print out to easy control the detail colour.

SECTION TWO: PRINT-MAKING (2) You should notice to the timing for using the colour because sometimes it will dry really fast. The best solution is just using the liquid make colour dry slowly.

Doan Thuy Chi Print-making, Drawing Paper 100 x 200 mm BUV, Hanoi, Vietnam

>ÌÃÕÃ > ÕÃ>

Doan Thuy Chi Print-making. BUV, Hanoi, Vietnam

“I combine the two techniques stencils and usinng the woodblocks to create a new print work.”

Katsushika Hokusai / i }Ài>Ì Ü>Ûi vv > >}>Ü>] V° £nÓ q£nÎÎ Color woodblock 25.7 cm × 37.8 cm

PRINT-MAKING

EXHIBITION

Doan Thuy Chi Print-making, Drawing Paper and plain paper BUV, Hanoi, Vietnam

Doan Thuy Chi Print-making, Drawing Paper 100 x 297 mm BUV, Hanoi, Vietnam

SECTION TWO: PRINT-MAKING

Doan Thuy Chi Print-making, Drawing Paper and plain paper BUV, Hanoi, Vietnam

p/QUV QH O[ ƂPCN YQTM YCU using stencils to create. Some of it was using the number Eight.”

Doan Thuy Chi Print-making, Drawing Paper 100 x 297 mm BUV, Hanoi, Vietnam

PRINT-MAKING

EXHIBITION

Doan Thuy Chi Print-making, Exhibition BUV, Hanoi, Vietnam

SECTION TWO: PRINT-MAKING

End of Print-Making

SECTION THREE: PHOTOGRAPHY

PHOTOGRAPHY

COLOUR with B&W PHOTOGRAPHY “To see in colour is the delight for the eye but to see in black and white is a delight for the soul.” - Andri Cauldwell -

According to Spencer, D (1973), Photography is an art which considering to connected with the creativity in creating durable photos by using the light or using other electromagnetic radiation. (1) / i wÀÃÌ Ì } Þ Õ >Ûi Ì i>À Ã Ü } Ü Ì protect your camera and all the setting of how to take a good picture by using photography theories. There are two kinds of photography one is colour and the second one was black and white.

(1) Spencer, D A (1973). The Focal Dictionary of Photographic Technologies. Focal Press. p. 454. ISBN 978-0-13322719-2.

Chapter 1

SECTION THREE: PHOTOGRAPHY

PHOTOGRAPHY

BLACK AND WHITE The pictures was changed to B&W to make us focus onto the main character or the hero of the photograph. During this section - 1904CCP’s photography class, I was using E7 ÌÜ «>ÀÌ\ 1. Composition. 2. Light Project.

B&W

COMPOSITION Every picture we took has it own composition. And, in our photography class, we learned four basic photos theories about V « Ã Ì \ 1. Rules of third/ Golden Ratio. 2. Leading Lines. 3. Symetric.

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Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

Henri Cartier-Bresson Henri Catier-Bresson

Henri Catier-Bresson Hyères, France, 1932 Gelatin silver print, printed 1930s 7 11/16 x 11 7/16” (19.6 x 29.1 cm) Magnum Photos, courtesy Fondation Henri Cartier-Bresson, Paris

Behind the Gare St. Lazare, 1932 Gelatin silver print, printed 1950s 13 7/8 x 9 1/2” (35.2 x 24.1 cm) Magnum Photos, courtesy Fondation Henri Cartier-Bresson, Paris

The best thing from henri Cartier Bresson with me was his patience when waiting for his moment to take a photograph.

B&W

Split Light

LIGHT PROJECT Same with the way we understand about Composition. Light also have different effect to the model’s/ the hero’s face.We divide the } Ì Ì ÌÜ \ - vÌ > ` >À` } Ì°/ iÀi >Ài wÛi `Ã v ÕÃ } Ì i } Ì\ 1. Split effect. 2. Loop effect.

Î° ÕÌÌiÀy iÃ ivviVÌ° 4. Rembrandt effect. 5.Catching effect. Loop Light

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

ÕÌÌiÀy iÃ } Ì

SECTION THREE: PHOTOGRAPHY

Catching light.

Loop Light

Loop soft Light

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Split soft Light

Chapter 1

SECTION THREE: PHOTOGRAPHY

PHOTOGRAPHY

COLOUR Ì i ÕÀ ÃiVÌ ] Ü>Ã ` } wÛi «À iVÌ\ 1. Story Telling. 2. Street Photography. 3. Girls’s Project. 4. Models Project. 38

Colour

STORY TELLING About Story Telling, I have the chance to learn about how to build a story based on on the picture. As Horace has said, “A picture is a poem without words.” And yes, the purpose of story telling is making people understand the story before they being told about it.

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

“A picture is a poem without words.” - Horace -

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Colour

STREET PHOTOGRAPHY

Street photography have the same meaning with the sotry telling photograph. As the picture telling it own story, we also able to see all of the motion or even action in the picture and undestand it. Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

“If you can smell the street by looking at the photo, it’s a street photography” - Bruce Gilden 42

Colour

GIRLS’S PROJECT

In this section, 1904CCP was giving a project and was separated into group. And, I was group with Zoe and Trang. Doan Thuy Chi

BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Basically, in this project, we have to combine everything we have ever learned from the beginning in this project.

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Colour

MODEL

1904CCP give me a really big chance to experiment with a real model. After this section, I could able to taking shoot with other people even with stranger. Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

All of the picture is my but the last four are the picture I took when going with others students in class to practice wÀÃÌ°

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Photography

EXHIBITION

This is the wall display my work for photography in the exhibition.

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Light project

SECTION THREE: PHOTOGRAPHY Light project

Model project

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

PRINT-MAKING

EXHIBITION

Street Photography

Doan Thuy Chi BUV Ecopark, Vietnam, 2019 1904CCP Photography

Practice before model project

Doan Thuy Chi

BUV Ecopark, Vietnam, 2019 1904CCP Photography

SECTION THREE: PHOTOGRAPHY

End of Photography

SECTION FOUR: VISUAL STUDIES

VISUAL STUDIES

ƂvÌiÀ ÌÜi vÌ Üii Ã ÃÌÕ`Þ } Ì i wÀÃÌ Ãi iÃÌiÀ v term 1904CCP, I was able to understand what “Visual -ÌÕ` iÃ» Ã° Ƃ«>ÀÌ vÀ ÌÜ Ì iÀ ÃÕL iVÌÃ q *À Ì > } and Photography, “Visual Studies” is “everything studies.” (Brunet, 2013) (1) In short, I understand “Visual Studies” also is a “de-disciplinary exercise.” (Brunet, 2013) (1)

(1) ÀÕ iÌ] ° Óä£Î®° ,i®`iw } 6 ÃÕ> -ÌÕ` iÃ° Q iR ÕÀ > Ã° «i i` Ì ° À}° ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉ ÕÀ > Ã° «i i` Ì ° À}É i` >Éx{Î QƂVViÃÃi` ÓÇ Õ ° Óä£ R°

Visual Studies

MARK MAKING Mark Making was a part to help us to practice drawing and know how to development one ideas. In this section, I draw out one idea then develop it into set of 6.

Doan Thuy Chi Visual Studies Drawing Paper 10 x10 cm BUV, Hanoi, Vietnam

SECTION FOUR: VISUAL STUDIES

Doan Thuy Chi Visual Studies Drawing Paper 10 x10 cm BUV, Hanoi, Vietnam

À> â i

Franz Kline Thumbnails Echoes of EmpireInk, 1940 Canvas

Franz Kline Chief, 1950 Oil on canvas 148.3 x 186.7 cm

Franz Kline Self-Portrait, circa 1950 Ink drawing, on wove paper 16.51 x 17.78 cm

Visual Studies

CRUMPLED PAPER PAPER STILL LIFE

Doan Thuy Chi Visual Studies Drawing Paper 15 x 15 cm BUV, Hanoi, Vietnam

Doan Thuy Chi Visual Studies Drawing Paper 40 x 40 cm BUV, Hanoi, Vietnam

SECTION FOUR: VISUAL STUDIES PHOTOSHOP Art always contain the part drawing back somthing you see like still life. And, 1904CCP practice and draw back the paper still life for the purpose that we can draw better than before. After praticing on the paper from 15x15 and 40x40 cm, we started to learn how to draw digital by using PS and AI. ADOBE ILLUSTRATOR

Doan Thuy Chi Visual Studies Digital Drawing 40 x 40 cm BUV, Hanoi, Vietnam

Doan Thuy Chi Visual Studies 3D Paper arts BUV, Hanoi, Vietnam

SECTION FOUR: VISUAL STUDIES Visual Studies

FINAL WORK After learning a lot of new lessons, we come to the composition studies which containt the 3D paper arts. I have print out my old work then create it into shape. After that I have to take pictures of the 3D paper that I create. In addition, we can do anything for ÕÀ w > Ü À Ã V Ãi Î «>«iÀ >ÀÌ Ì LiV i Þ w > i° Þ V L } > ÃiÌ v 9 and make it become a circle. My exhibition for Visual Studies was just contain this.

End of Visual Studies

NOTICE: My work is Interactive so you can able to change the position for each piece of my work.

Afterword With Visual Studies ƂvÌiÀ ÌÜi vÌ Üii Ã ÃÌÕ`Þ } Ì i wÀÃÌ Ãi iÃÌiÀ v ÌiÀ 1904CCP, I was able to understand what “Visual Studies” is. Ƃ«>ÀÌ vÀ ÌÜ Ì iÀ ÃÕL iVÌÃ q *À Ì > } > ` * Ì }À>« Þ] “Visual Studies” is “everything studies.” (Brunet, 2013). Firstly, this was a new module with BUV, and I am one of the second cohorts join in this module. Everything was new at wÀÃÌ] > Ì i ÃÌÕ`i Ì v £ ä{

* >Ài > Ã Þ >Ì wÀÃÌ Ã iÛiÀÞL `Þ seems to dawdle when doing the work. I and everybody was slowly and kind of confuse about this module. then, we started to get known to each other and started to improve their skills. Ì i Ì iÀ > `Ã] > L }}iÀ «À L i ÃÌ>ÀÌi` >Ì Üii wÛi Ì Ã Ý when the work started to come out extra and I cannot handle all the work I was given. This problem was not about the quality but the quantity and experimental of our work. As much as the work was being given to us, we would have to development more than the original work we have and that was the part create the problem for anybody in CCP class. It is worth nothing that even creativity has its own limits, but it also cannot be denied that human can do everything if they have wills. To be honest, I was do not know what to do in that case. After times, I start to understand what I should do. From the artists, I was assigned to research by Richard, I was being inspiration to keep continuing doing and handle any kind of work. Secondly, we were getting into another problem when doing our work in the same class. The thing always happens when you are in the same class is you would have the same idea and 59

want to try the same idea with others. In a little more detail, when doing the work, we are being assigned like creating a new brush or someone has a good texture in their work, as a class we would like to learn and improve ourselves more by doing the same thing. That way of learning and improving was creating a class having the same style of work. And, we didn’t realize it Ì , V >À` q ÕÀ Ìi>V iÀ Ì ` ÕÃ >L ÕÌ Ì° Ü>Ã Ài> Þ ÃÕÀ«À Ãi` but if looking backwards, that problem was pushing six people to work into one-person development work. on my second thought, I knew that was a necessary mistake for us to learn from for our class. After that, everybody started to be more careful and noticed their own styles when doing their work. Ì i i `] ÌÜi Ûi Üii Ã q Ì Ì } À Ì Ã ÀÌ LÕÌ Ì Ü>Ã i « } i Ì w}ÕÀi ÕÌ Ü >Ì º6 ÃÕ> -ÌÕ` iÃ» Ã Ü V >VV À` } Ì Ƃ/, Ƃ Ƃ8 ", Óä£ ® Ã ºÜ iÀi Þ Õ iÝ« Ài > ` experiment with art styles, ideas, concepts, media, techniques or technologies of your choice.” In short, I understand “Visual Studies” also is a “de-disciplinary exercise.” (Brunet, 2013) On my second thoughts, being disciplinary can be free to creative, free styles and also “Visual Studies” is everywhere in your daily life even the design on the cup or the design for your house so all of that was make “Visual Studies” is “everything studies.” (Brunet, 2013)

7 Ì *À>VÌ V> Ìi « À>ÀÞ ƂÀÌ *À>VÌ Vi\ * Ì }À>« Þ ³ *À Ì > } During my print-making module, I have learned three > ÌiV µÕiÃ >Ài\ À}> V *À Ì] V Ì Õ ÕÃ i] À -ÌÕ`Þ and stencils. First, with Organic Print, I learned to use everything to be my print. And, even potatoes and the leaf can become one of my print just by using a knife, color or ink and brushes. With Ì i V Ì Õ ÕÃ i > ` V À ÃÌÕ`Þ] w > Þ Õ `iÀÃÌ> ` Ài Ü >Ì Ã Õ ` `À>Ü V w`i Ì Þ > ` Ü Ì ÕÃi Ì i V À «À L>bly on my works. Lastly, with the stencils technique, I was able to understand how to use the plastics to create your own imprint on 60

your works. Four artists such as Andy Warhol, Jasper Johns, Zevs and Henri Matisse are my main artists I have research in this module. Ƃ `] Ì i ÃÌ Ã« Ài` i Ü>Ã > v Ì i iÝVi«Ì <iÛÃ° 7 Þ¶ Andy Warhol teach me how to use the bright color and mix it to make the work become rare and make the “wow” effect with the watchers. Next, Jasper Johns is the one who inspired me. In printmaking, my main themes from my research are looking for the artist’s works and trying to found out what is his techniques of doing his works. Then to successfully explored these in my Ü Ü À ] Ü ÌÀÞ Ì Ài` Ã Ü À wÀÃÌ Ì i ìÛi « i Ì Ü Ì my own techniques and my styles. In some cases, I would like to `À>Ü ÕÌ Þ Ì Õ} ÌÃ > ` ì>Ã Ì Þ ÌiL wÀÃÌ Ì Ì about the way the artist doing their works plus with how I could redo, or development based on the artist’s works. When I were giving a work to do, I done all my work by being inspired and learning from other 1904CCP’s techniques or works. Then I started to realize the most important step to improve my work and ideas is just to research to see, to read and to understand. Then, somehow, my notebook has been an indispensable step for me to help myself keep moving forward on my module. The second part of this module was Photography, I have i>À i` Ì iÃi ÌÜ > Ì i iÃ Ü Ì wÛi ÌiV µÕiÃ° Ã ÀÌ] divide it into two-part Black and White (Composition, Light and Shade) and Color (Story Telling, Street Photography, Model) With the B&W theme, I have learned about composition with light. Firstly, with composition, I have learned how to create an interesting photo with a “wow” effect by using the techniques ÃÕV >Ã] ÀÕ iÃ v Ì À` } ì À>Ì ®] ÃÞ iÌÀ V] ÀiyiVÌ ] > ` texture. Secondly, with light and shade project, I know how to take a magazine portrait for model and how to use the light you have probably in a photoshoot. B&W sometimes used to make the watcher focus the eyes to the main heroes and not the color around them. With the color theme, I have learn about the story telling, 61

street photography and model project. Firstly, with the story telling, I learned how to tell a story just with three to four pictures by using the structure of detail, medium and wide shots. Next is street photography, by using back the technique I have learn, I also learn how keep record about daily life and started to understand more about the stop motion by using the shutter speed. Lastly, working with a real model is a real challenge, I have the chance to get known how to communicate and think to the ideas faster. This also can eventually lead you to become a studio photographer who taking shots follow their customer’s request. This are photographers who were covered during the `Õ i\ Õ}i i ƂÌ}iÌ] Ƃ Ãi Ƃ`> Ã] i À >ÀÌ iÀ ÀiÃÃ > ` >À ÃÃvi `Ì° > v v ÕÀ « Ì }À>« iÀÃ] Ü Õ ` Ã>Þ iÛiÀÞ i is important but only Henri Cartier-Bresson is the most important to me. He is a virtuous person in taking photos. His “Hyeres” £ ÎÓ® Ü>Ã Ì i wÀÃÌ « VÌÕÀi Ì Vi LiV>ÕÃi v Ì i ÃÌ ÀÞ Li ` it and the rules he used in his picture. That photo was proving i ÌÀÕÌ vÀ iÛiÀÞ « Ì }À>« iÀ Ì i Ü À `\ º7> Ì } Ã Ì i hardest part but also the greatest part when you look back.” When exploring the photography, being inspired is really good but you should know how to make it becoming your work. And, after all of the twelve module weeks, I feel that experimenting after a fail shot is really good. If I can rate myself for my performance during this module on the scale 10/10. For printmaking, I rated myself 8/10 for responding to my study targets and engaging fully with this module. And for photography, I rated myself 9/10 for everything I have done in this module. The most Û> Õ>L i > ` i Þ>L i Þ «À Ì > } `Õ i Ã Ì i wÀÃÌ `>Þ our class work on the potatoes which is in the organic project. More specialist, I would want to give advice to other students “Be creative then development it.” DOAN THUY CHI, HAN1810004 July 2019 62

Reference Ƃ Ì Þ] ° £ È®° *À ÌÃ > ` *À Ì > }\ Ƃ ÌÀ `ÕVÌ Ì Ì i ÃÌ ÀÞ > ` /iV µÕiÃ° Ã Ƃ }i iÃ\ 1 ÛiÀÃ ÌÞ v > v Ània Press/ British Museum Press. ÀÕ iÌ] ° Óä£Î®° ,i®`iw } 6 ÃÕ> -ÌÕ` iÃ° Q iR ÕÀ > Ã° «i i` Ì ° À}° ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉ ÕÀ > Ã° «i i` Ì ° À}É i` >Éx{Î QƂVViÃÃi` ÓÇ Õ ° Óä£ R° Dictionary.cambridge.org. (2019). ART | meaning in the

> LÀ `}i } Ã VÌ >ÀÞ° Q iR ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉ` VÌ >ÀÞ°V> LÀ `}i° À}É` VÌ >ÀÞÉi } Ã É>ÀÌ QƂVViÃÃi` £Ó Õ ° Óä£ R° >° À}° Óä£ ®° 7 >Ì Ã > *À Ì¶ Q iR ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉÜÜÜ° >° À}É ÌiÀ>VÌ ÛiÃÉ«À iVÌÃÉÓää£ÉÜ >Ì Ã>«À ÌÉ y>Ã ° Ì QƂVViÃÃi` Óx Õ ° Óä£ R° >À`iÀ] ° Óä£ ®° Ã Ì Ûi * ÃÃ L i Ì iw i 7 >Ì ƂÀÌ Ã] Ý>VÌ Þ¶° Q iR / Õ} Ì ° ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉÜÜÜ° Ì Õ} ÌV °V ÉÜ >Ì Ã Ì i `iw Ì v >ÀÌ £nÓÇäÇ QƂVViÃÃi` £Ó Õ ° Óä£ R° Ƃ/, Ƃ Ƃ8 ", ° Óä£ ®° 6 ÃÕ> -ÌÕ`Þ° Q iR ƂÛ> >L i >Ì\ ÌÌ«Ã\ÉÉÜÜÜ° >ÌÀ >>Ýv À`°V ÉÛ ÃÕ> ÃÌÕ`ÞÓ° Ì QƂVViÃÃi` £ Õ ° Óä£ R° Spencer, D A (1973). The Focal Dictionary of Photographic Technologies. Focal Press. p. 454. ISBN 978-0-13-322719-2.

End of My Journal.