ZENELY MARTIN RIOS
Cooking up a Good Sketchbook
ORDER Own work
1
Brief theme
9
2
Ideas
10
Analyse
3
Brainstorms
11
Contact Sheets
4
Visual Brainstorm
12
Metadata
5
Photoshoots
13
Development
6
Artist Research
14
7
Gallery Visit
15
Exhibition
8
Annotations
16
Evaluation
Outcomes
There are several ways to progress into a project. In my opinion it all depends on the individual’s personality, preferences and ways to approaching ideas. After some experience producing sketchbooks, I have come to find what I consider my own style. I personally follow different methods to develop my project. I usually note down my ideas in a little notepad. I am that kind of inspirational person who goes arround carrying a mini-diary to note down any spontaneous thing that could later on lead me into more detailed ideas. I get inspiration from everything surrounding me. I consider myself lucky for being able to see things in this artistic and creative way. Nothing is ordinary to me. I find art in landscapes, posters on the street, adverts on TV, random music, conversations I hear, sounds, colours, shapes...even smells! The tricky part comes when the time to turn those words into ideas comes. Words into ideas, ideas into plans and plan into tasks. To then allow me to develop my outcomes.
I find a lot of information online, on books, and other sources. Once I’d gained all the information I would draw templates of my sketchbook pages (as shown on the images). I plan the content using a pencil so I can erase and write again just in case I change my mind or come up with different ideas. It is extremely important to me to know the approximate content, the pages I will need, their layout. I think order is essential. A sketchbook needs to follow a sensible structure to show how the artist thinks and how their ideas have changed throughout the whole project. And that’s why I always keep a check-list to avoid forgeting the little details.
Photography Useful Vocabulary Abstract
Content
Direct Approach
Documentary
Expressive
Geometric Shape
Intention
Landscape
Objective
Subjective
Organic Shape
Representational
Subject
Montage
Juxtapose
Edited
Contrast
Scale
Focus
Shape
Repetition
Angle
Background Lead in Lines Symmetry
Texture
Value
Balance
Silhouette
Foreground
Mid-ground
Contour
Vantage Point
Asymmetrical
Central Focus
Setting
Dark
Depth of Field
Framing
Compare
Light
Form
Tone
Formal
Informal
Artistic
Monochrome
Normal
Planning
Meaning of questions
2. Fragile • Easily broken or damaged. • Easily destroyed or threatened. • Not strong or sturdy; delicate and vulnerable.
Breakable Weak
Frangible
Brittle
Insubstantial Smashable
Dainty Fine eggshell Insecure Sickly
Tottery
Unsound
Frail
Splintery
Delicate Flimsy Vulnerable Tenuous
Easily destroyed
Shaky
Perilous
Nebulous
Ailing
Feeble
Easily theatened Enfeebled
Unreliable
Debilitated
6 Alternative Questions 1. How can power be represented in both its negative and positive way? 2. What are, in your opinion, the possible consequences of power? Relate your response to weakness. 3. Explore the different ways in which society nowadays would understand vulnerability. 4. Represent in diverse forms and thoughout the use of different techniques the multiple meanings of delicacy. 5. In which ways would you portray breakable and unreliable elements? 6. Describe insecurity through the use of mixed-media techniques.
14. Elevate the Ordinary
Normal
• Raise or lift to a higher position.
Habitual
• Raise to a more important or impressive level. • With no special or distinctive features; normal. • Exercising authority by virtue of office and not by deputation. • What is commonplace or standard.
Accustomed Typical
Usual Wonted
Standard
Regular
Common
Day-to-day
Customary Routine
Stock
Established
Daily
Set
Everyday
Fixed
Quotidian
Expected
Traditional
Prevailing
Raise up
Raise Buoy up
6 Alternative Questions 1. Explore the ways in which day-to-day elements can be ennobled. 2. How can typicality be given a higher rank on customary items/scenarios? 3. How can we improve the position of expected situations? 4. In which ways can standardized and regular elements be exalted? 5. Explore different ways in which usual and routinary situations can be dignified. 6. How can established and traditional circumstances be given more importance and attention?
Raise aloft
Upraise
Bear Aloft Give promotion
Upgrade
Improve position Give higher rank
Advance Bring up
Promote Move up
Give advancement
Exalt Hoist
Dignify Ennoble
Aggrandize
Haul up
Visual Mindmap
Levitation
Steve Richard Photography (nude) Brgsky studio
Aaron Siskind Manufactor West Vienna Levitation Tanja Westphal
www.deviantart.com/morelikethis/331202339 Rick Nadal
Hakuksmizaks Brenitzer Method (bokehrama)
First Ideas & Inspiration
Whitwork Art Gallery
Reason to visit this gallery: The way in which certain artwork was displayed gave me a lot of ideas to exhibit my own when the time comes. Hanging work with pins being one of them. A good reason to visit this gallery was the feeling I got when being with people who shared the same love for art as me.
Background:
The Whithworth Art Gallery is an art museum situated in Whitwork Park south Oxford Road, Manchester. It was founded in 1889 by Robert Darbishire with a donation from Sir Joseph Whitworth. The first building was completed in 1908 and it became part of the University of Manchester in 1958. An architectural competition was launched to design an extension in 2008, for which the funding was confirmed in February 201. In September 2013 the art gallery closed for refurbishment and extension works, until the 14th February 2015, when it re-opened being three times bigger than before. Withworth now includes expanded gallery areas, a learning studio, study centre, an art garden and cafe. The Withworth has notable collections of watercolours, sculptures, wallpapers and textiles which mainly focuses in modern astirsts. When I visited, I could see all types of artwork displayed in diverse forms, which game me inspiration and ideas to develop my own projects.
There was a spectacular room displaying one of Guo-Qiang art pieces. I appreciated the opportunity of being there and being able to see reality as he described it. Explossions of pale colours all over the walls, being reflected on the water and slowly drowing landscape.
Sometimes it was the feeling I got aout of being in the same place as a special piece. For example, there was a scupture of a house made out of pannels and lights on the inside. The pannels were all written over with handwriting with gave it a personal perspective. It defended feminism values and the rights of women. The perception of shapes and shadows made me think about how many different interpretations can something have. It made me wonder what was the real message the artist wanted to portray. I thought about the power of a pattern to repeat. It was important to see the little details.
Artists:
This is the very first piece of art I saw at the art gallery. It caught my attention for various reasons. First, the symmetry in which it was all allocated reminded me of the rule of odds. As I later on investigated, Susie MacMurray loves working with textures and little details. Within this piece I found myself exploring the glamour on the feathers and the way she had displayed them against a plain background to highlight their details.
Cai Guo-Quiang is an artist who coming from China, surprised me with his methods for creating paintings. Being raised up within the asian culture, he must have known about the Hiroshima bomb. He uses explosive paint to create his outcomes, and what most amazes me about this is the irony. How something so dangerous and usually related to destruction can create such a beautiful landscape painting.
Cornelia Parker came up with the collection of “Poison and Antidote Drawing”, a set of 4 pictures where she used rattlesnake venom, black ink anti-venom, white ink and acid free paper. To me, these series of outcomes resembled the interior composition of the human body. The little details and all those tiny branches reminded me of radiographies. I liked the way Parker used color connotations to depict danger in the pictures. At the same time, it was a very clever way to represent beauty, even in evilness, from my point of view.
Thomas Schütte’s work was all hung on pins upon eye level accross one section of the gallery. “Low Tide Wandering” was the name of the collection exhibited. It merely consisted on A4 prints of different messages, drawings and sketches . I loved it because I could relate it to the theme of levitation straigh away. Also, I had the sensation of being looking at the pages of a sketchbook. It was a different but creative way of showcasing your work and your first ideas in a simple but interactive way.
What is it so special about visiting an art gallery? Firstly, I would say that visiting an art gallery is a completly rewarding experience since the feeling you get by being surrounded by people who share the same love for art as you makes you see things from another perspective. Besides, when you’re at the gallery you can see and percieve the outcomes from a different point of view. You can feel what the artist was trying to convey and even analyse how other people react to the same artwork. This experience, contrary to what books or the internet may give you, allows you interact with the piece of artwork. You can get closer, you can get away, you can analyse the details and change your perspective along the way. Whilst with Internet or other sources of information you must get satisfied with what it’s been given to you as there is no more.
Inspiration:
One of the things that most impressed me was the way every artwork was curated. The position of every single piece and the influence these had when evaluating the work myself was surprising. I have to admit that I never went to the gallery thinking about how to position outcomes to make the most out of them. But that is something extra I achieved from this visit. As I was walking through the corridors and checking out different paintings and the ways they were framed, I made notes on my thoughts. Reading over them now, I can percieve that most of the time I felt attracted to the composition over all, and not always was the particular content what attracted me. For example there were about 50 different sized frames located symmetrically on a big wall in front of me. I was mesmerized to see the beauty on the way the curator had positioned them all without making the wall seem too busy or overloaded. To be honest, this visit provided me with a lot more of surprises than what I had expected. It definetly gave me a lot of ideas to consider. Seeing different types artwork displayed in so many different forms made me think about the message that I want to transmit to my viewers when I exhibit my final outcomes.
of
Contact Sheet: Whitworth IMG_9518.JPG
IMG_9519.JPG
IMG_9520.JPG
IMG_9521.JPG
IMG_9546.JPG
IMG_9547.JPG
IMG_9548
IMG_9522.JPG
IMG_9523.JPG
IMG_9524.JPG
IMG_9525.JPG
IMG_9550.JPG
IMG_9551.JPG
IMG_9552
IMG_9526.JPG
IMG_9527.JPG
IMG_9528.JPG
IMG_9529.JPG
IMG_9554.JPG
IMG_9555.JPG
IMG_9556
IMG_9530.JPG
IMG_9531.JPG
IMG_9532.JPG
IMG_9533.JPG
IMG_9558.JPG
IMG_9559.JPG
IMG_9560
IMG_9534.JPG
IMG_9535.JPG
IMG_9536.JPG
IMG_9537.JPG
IMG_9562.JPG
IMG_9563.JPG
IMG_9564
IMG_9538.JPG
IMG_9539.JPG
IMG_9540.JPG
IMG_9541.JPG
IMG_9566.JPG
IMG_9567.JPG
IMG_9568
IMG_9542.JPG
IMG_9543.JPG
IMG_9544.JPG
IMG_9545.JPG
IMG_9570.JPG
IMG_9571.JPG
IMG_9572
Gallery Visit IMG_9548.JPG
IMG_9549.JPG
IMG_9574.JPG
IMG_9575.JPG
IMG_9576.JPG
IMG_9577.JPG
IMG_9552.JPG
IMG_9553.JPG
IMG_9578.JPG
IMG_9579.JPG
IMG_9580.JPG
IMG_9581.JPG
IMG_9556.JPG
IMG_9557.JPG
IMG_9582.JPG
IMG_9583.JPG
IMG_9584.JPG
IMG_9585.JPG
IMG_9560.JPG
IMG_9561.JPG
IMG_9586.JPG
IMG_9587.JPG
IMG_9588.JPG
IMG_9589.JPG
IMG_9564.JPG
IMG_9565.JPG
IMG_9591.JPG
IMG_9592.JPG
IMG_9593.JPG
IMG_9594.JPG
IMG_9568.JPG
IMG_9569.JPG
IMG_9595.JPG
IMG_9596.JPG
IMG_9597.JPG
IMG_9598.JPG
IMG_9572.JPG
IMG_9573.JPG
IMG_9599.JPG
IMG_9600.JPG
IMG_9603.JPG
IMG_9604.JPG
Contact Sheet: Whitwork Gallery Visit IMG_9605.JPG
IMG_9606.JPG
IMG_9607.JPG
IMG_9608.JPG
IMG_9633.JPG
IMG_9634.JPG
IMG_9609.JPG
IMG_9610.JPG
IMG_9611.JPG
IMG_9612.JPG
IMG_9637.JPG
IMG_9638.JPG
IMG_9613.JPG
IMG_9614.JPG
IMG_9615.JPG
IMG_9616.JPG
IMG_9641.JPG
IMG_9642.JPG
IMG_9617.JPG
IMG_9618.JPG
IMG_9619.JPG
IMG_9620.JPG
IMG_9645.JPG
IMG_9646.JPG
IMG_9621.JPG
IMG_9622.JPG
IMG_9623.JPG IMG_9633.JPG
IMG_9624.JPG IMG_9634.JPG
IMG_9635.JPG
IMG_9636.JPG
IMG_9625.JPG
IMG_9626.JPG
IMG_9627.JPG IMG_9637.JPG
IMG_9628.JPG IMG_9638.JPG
IMG_9639.JPG
IMG_9640.JPG
IMG_9629.JPG
IMG_9630.JPG
IMG_9631.JPG IMG_9641.JPG
IMG_9632.JPG IMG_9642.JPG
IMG_9643.JPG
IMG_9644.JPG
Thoughts on Inspirational Artwork Shapes Time
Dark
Frozen
Strong Wood
Form
Impossible
Order
Perspective
Centre Weight
Broken
Composition
Levitation
Meaning
Material Past
Life
Yesterday
Contrast
Admiration
Art
Texture Movement
Interaction
This is my favourite piece of the whole exhibition so far. I think it is amazing and we could say that it is highly related to levitation and suspension in the air themes. Maybe that’s one of the many reasons why it caught my attention. When I entered the room, I somehow felt my chest filling up with a nice and warm sensation. The piece I had in front of me could have just been representing an awful disaster, just there, stating its own power, but instead of feeling horrified by it, I just stood there wordless, staring at every single piece of her art work. I didn’t see the strings. I suddenly couldn’t stop thinking that a human, just like me, had done this. This certainly very artistic human found art in explosions and recreated one meticulously. The detailed work showed the amount of patience this artist must have had to come up with such an incredible composition. To me, being able to see that blown up and frozen mo-
Shadows
Destruction
Symmetry
Suspenssion
Explossion
Pieces
Colour
Weak
Light
Power
ment and to see all the objects floating in the air was unimaginable. There were so many different objects hanging around, both little and big ones. I was mesmerized. I felt I could spend hours looking at it. Every now and then a little breeze from people steps would come in and move some of the wood tiles floating in the air. This just made the scenario even more realistic. I had a hard time trying to work out how Cornelia Parker could have had all this planned on her head. I wondered whether she came up with it when mounting it, or if she already had it all thought through. I couldn’t believe it, it was all suspended in the air, slightly moving in front of me, and it was real. I admit that this work has definitely shocked me in a very positive way. I am very glad I was recommended to come and visit it. Looking at it I remember this thought crossing my mind. It was in some ways like a human rib cage, long
and big. The strong and sturdy pieces were located closer to the outside protecting the little ones. This transmitted me a feeling of home, protection, security, even though everything was destroyed. How can we find beauty in destruction? A trillion pieces of broken mess and still it formed a marvellous scene. It was all part of a composition. All those pieces together wouldn’t have the same look if they were united. It made me think about how destruction can change us, for better, for worse. Destruction turns us into shields versions of ourselves, yet we sometimes feel the urge to be together once again. Being so close to such a magnificent creation only made me realize how big the creative world is. It’s connected to everything. I could feel how people in the world would cry seeing this, feeling identified with the piece and pieces. Nothing could take my eyes off it. I loved the piece. Was it supposed to be a house, was it supposed
to ever be different to what it currently is? Was it even meant to be something whole? Would’ve it looked better? It had history and diverse thoughts represented, every single millimetre of it showed an entire decomposition of something that was never truly supposed to have a shape, yet it had symmetry and it had lines everywhere. And that subtle light bulb in the middle, like a beating heart. The very sight of it transmits enough passion. The light coming from the inside of the structure reproduced the shadows on the walls. It was as if the movements of the past could be still seen on the shadows but not on the real thing. It all expressed energy, emanating sadness at the same time. In my opinion, Cornelia Parker has both a terrifying and lovely heart full of sadness and amazing capacity to express emotion through the combination of everything it’s got.
Library Research
Why is it useful to use the library instead of Internet resources? During previous projects I have explored the way in which I research and gather information from different sources. I have recently found out that Internet isn’t always reliable and that sometimes older methods are more useful than new ones.
Other Books:
To me, going to the library isn’t something new. I love reading and getting engaged into the stories inside books. But I have to admit that I had never before tried to look for inspiration into books when it comes to Photography. For creative writing, or for my personal pleasure, I often find inspiration in every letter, word and sentence I read. Sometimes it is just a word what opens my mind into some new ideas, and I quickly note them down, to later on develop them into one of my entry blogs. This nex experience of looking into the images of a book and reading what other people has to say about them is innovative and exiting because it shows me that books are ven more valuable than what I already had in mind. I have to say that at first I tried to take the most illustrative one, the one full of colour, images and the one looking newer. But then I found art in the past, within pages dedicated to the history of art. I saw the diverse work of different artists, I saw how photography has evolutioned and how ways of impregning moments have changes throughout these years. It amazed me how we all have different perspectives of things, and how this has been recorded on paintings, sculptures and pictures. I have to say that going to the library has realy been an enriching and very useful experience to get inspiration for my work. During my investigation and whilst looking for something strongly related to my theme of levitation and elevating ordinary things, I had the luck to find this famous picture (which I had already seen but didn’t remember it). I read that the artist repeated the scene once and again untill he achieved the exact results he wanted. Dali Atomicus is the name of this piece of art, and I have to say that I feel fascinated by the only thought that someone like Salvador Dali, such an abstract and creative Spanish artist
and explorer of the world of art in its different forms, decided to produce an outcome regarding levitation. On the picture we can see how different objects have been placed around the scenario: Dali, a chair, water, a cat, a painting, another cat, a little chair. What most amazes me of all of these, is that he insited on creating the perfect outcome, probably the one that most resembled what was going on in his mind. I will later on explore more in depth more artwork of Salvador Dali to get more inspiration.
A World History of Photography is a book that contains a lot of different pictures from different artists and genres. Most of them are monochrome photographs, since they’re from a long time ago. But that doesn’t make them less interesting. In fact, it is always useful to know how artists used to think to convey their ideas when they didn’t have the same facilities we have nowadays. From this book I could see, not only the use of diverse techniques but the importance they give to the subject of matter. There was one picture where you could see a human sat down on the floor, and a hourse spread out taking the mayority of the space in the picture, looking down. The texture of it was dusty, and even though this was a normal characteristic since it’s related to the animal environement, the overall atmosphere was mysterious and enchanting. The edges of the picture were difused. There was certain gradient on the tone, going from darker at the corners to the lighter in the centre. This photograph could have had so many different interpretations. When I do my outcomes, I want to convey the possibility of different words, stories and characters.
Matisse, an artistic book written by Gilles Nèret and published in the editorial of Taschen , was one of the books available in the department of creative arts in the library. Even though it was more full of paintings from an ancient era, I found it usefull because I could find abstract images where the subjects wouldn’t exactly be standing on the floor. As we can see on the image, there are five men holding hands and simulating the movements of a dance. Even though the artist has drawn a field below them, it doesn’t really look like they’re supporting themselves on it. The naturality of the picture gave me inspiration to recreate ordinary scenes of creative and fairly intimate events using the technique of levitation. Here, these moments of suspension in the air are used to add more grace to the overall momentum. The figures look more involved in the dance when their foot are not touching the floor. This makes them seem more agile and light. I’d like to achieve a similar effect on my pictures, though I might approach the thechnique in a different way. I want to achieve the resemblence in the gentle aspects, the molodic and almost dreamlike features.
From this book, I could find more than one source of inspiration. I specially focused my attention in a photograph where two bins were placed touching each other from a low angle shot. Because the sky was visible and dominating the picture, it gave me the impression that the two bins were flying. It wasn’t until later when I started to analyse the picture in depth, that I discovered the stick keeping both bins in place. However, the idea of the low angle shot made me think about how to use perspective to help me achieve the desire effect. This can even reduce the need to manipulate the picture in a digital programme or with any other techniques. From this very same book, I found a picture I analysed on the prior page. This encouraged me to have in mind that I have to be persistent to get the exact results I want, and that I should never give up or go for the easy shoot, as the difficulty and challenges confronted will be shown on the final outcome, and it will be worth it. Looking at pictures from the 20th century, and seeing how artists already thought about manipulating pictures is quite interesting, since they didn’t do it in the same way we do currently.
Guy Bourdin Analysis:
Line: This picture is divided by lines all accross the canvas. They set the limits of every element, forming shapes and creating a path to follow. Lines establish certain order within the different objects: the bed, her legs, the child. They indicate the depth of field and also dimensions.
Composition: This narrative-like photography presents us a naked woman lying down in a bed. Her most intimate parts are covered with a white towel. We can’t see her head, which is only makes us think that the artists didn’t want us to focus on her beauty. There is also a little boy at the same level as her shoes, giving them importance.
Tone: These warm colours present a huge contrast in comparison with the cold and bright colour of the TV screen. The orange and red tonalities connote passion, maybe danger and uncertainty, mistery as we don’t really know what’s going on. Brown tones are used on their skins hinting their raze and culture.
Light: This is a very important factor on this composition since the light focuses certain elements of the picture to highlight them. In this case, we can see how the shoes are highly illuminated in comparison to the spot where the television is. Also, the presence of the boy is reinforced by locating him under a source of light.
Texture: There are different textures in the picture, from the plain walls that seems to be old but well-conserved, to the grainny effect over their skins, the threads of the towel against the girl skin, the new shoe material against her feets and the texture of the textiles of the bed sheets which are a bit wrinkled to create a less set-up effect.
Technical: Appart from the use of light, we could also appreciate the symmetry on every element. Everything has been positioned in line, following an order. Focal Point: Given all these facts, it’s clear the main point of focus of this picture are the shoes, since they’re quite highlighted.
Images:
1
2
3
4
Background: Guy Louis Banarès born in Paris in 1928, was a French fashion photographer well known in the world of creative art by his very provocative fashion pictures. He worked for Vogue, and did outstanding advertising campaigns for Chanel, Gianni Versace and Pentax amongst others. His first exhinition was in London, 2003. He created complex and mysterious narratives for his photographs which frequently offered rich sensual context with an addition of integrated eroticism and surreal and sinister components representing the goods of the hautecouture. A peculiar characteristic of Boudin was that he never grew close to his work. In fact, he refused any idea of preserving his artwork in books or exhibit it around the world. He wanted his work to be destroyed after his death, which I find odd since he has a very creative and unique way to represent fashionable items using the women’s body.
Personal Opinion: What I liked the most about this artist, appart from his very thoughtfull shoots, is the fact that he somtimes does plans and sketches previsualizing what he would like to transmit to his viewers. I felt identified with this technique since I also like to plan things ahead and follow certain order. In some ways it could be said that it helps me organise the things I need to include, and to get ideas out of my head properly and with detail. On the other hand, I truly think his work is very artistic. Some of the digital techniques Bourdin uses on his work could be useful on my future outcomes since I will require a lot of Photoshop manipulation and digitalisation to get a realistic effect. This picture shows a group of heads with similar tones of haircolour and hair styles. They’re all looking at the back, hiding their faces, except one of them who looks to the camera. Different techniques of composition have been used to make this picture effective and communicative. I think it tries to sell the message of “think out of the box” or “be original, be yourself ”. THe subject of matter clearly behaves differently to the others. The rule of odds has been used building a pyramid to the top. This, at the same time, also shapes up a little triangle. Within this triangle we can also identify circles on each head. The texture of their shinning heads captures attention in contrast with the background.
1
This picture uses a pattern of repetition by placing hand one over the other to cover the girls eyes. The artist has thought about colour, making a connection between the red of the nail polilsh and the lipstick used. This can also be seen as a reference to the world of fashion, cosmetics and beauty. The most captivating thing in the photograph is the contrast of this colours agains her white and pale skin. Even her haistyle seems casual, as it it didn’t need to attract attention. We can see how this pictire, similar to others, has been taken in a studio with studioo lighting coming from above her head. We can see the reflections on her lips and nails.
Again, this photograph shows a patter of repetition by showing six legs which look identical one to the other. The three women are wearing the exact same shoes and they’re holding their legs in the saeme position. The length and colour of their legs conforms to the femenin steretype of women in the world of fashion. This picture is clearly trying to appeal to women to buy shoes or get involved in the beauty and care department. As seen by the looks of the image, the artist encourages what society knows as perfection. Long legs, perfect skin. Everything seems in symmetrical order and the leading lines drives viewers to the unknown. Their identities.
2
3
Finally, this digitally manipulated picture shows us four women who apparently have fallen down into a suitcase. We can only see their long and photogenic legs wearing black and white stripped thights. The symmetry on this image plays an important role since the lines shown direct the audience to different parts of the photograph. Every leg is pointing to a different direction. At the same time, we can see that the artist has again used a simple colour scheme, only highliting the thights as the most eye-candy item. It could be said that, to reinforce the rule of thirds, positioning the subject in the centre, he’s used a vignette effect, slightly darkening the corners of the picture.
4
Contact Sheet: Garden IMG_9249.JPG
IMG_9250.JPG
IMG_9251.JPG
IMG_9252.JPG
IMG_9280.JPG
IMG_9281.JPG
IMG_9253.JPG
IMG_9254.JPG
IMG_9255.JPG
IMG_9256.JPG
IMG_9285.JPG
IMG_9286.JPG
IMG_9257.JPG
IMG_9258.JPG
IMG_9259.JPG
IMG_9260.JPG
IMG_9289.JPG
IMG_9290.JPG
IMG_9261.JPG
IMG_9264.JPG
IMG_9265.JPG
IMG_9266.JPG
IMG_9293.JPG
IMG_9294.JPG
IMG_9267.JPG
IMG_9268.JPG
IMG_9269.JPG
IMG_9270.JPG
IMG_9297.JPG
IMG_9298.JPG
IMG_9271.JPG
IMG_9272.JPG
IMG_9273.JPG
IMG_9274.JPG
IMG_9301.JPG
IMG_9302.JPG
IMG_9275.JPG
IMG_9276.JPG
IMG_9277.JPG
IMG_9278.JPG
IMG_9305.JPG
IMG_9306.JPG
Front Page Tittle IMG_9282.JPG
IMG_9284.JPG
IMG_9309.JPG
IMG_9310.JPG
IMG_9311.JPG
IMG_9312.JPG
IMG_9287.JPG
IMG_9288.JPG
IMG_9313.JPG
IMG_9314.JPG
IMG_9315.JPG
IMG_9316.JPG
IMG_9291.JPG
IMG_9292.JPG
IMG_9317.JPG
IMG_9318.JPG
IMG_9319.JPG
IMG_9320.JPG
IMG_9295.JPG
IMG_9296.JPG
IMG_9321.JPG
IMG_9322.JPG
IMG_9323.JPG
PLAN FOR SHOOT After Katy’s talk about linking our sketchbook style to the theme we had been asIMG_9299.JPG
IMG_9300.JPG
signed or had chosen, I thought about different ways to express levitation. Being the first page of my sketchbook I wanted it to make an impact, to kind of reflect what the content was going to be about. I wanted to show that my project would be fun and would also had certain bits of humour. So after looking in my head for ideas related to elevating, I thought about lifting up. I printed the correspondent letters to form the title of my project and headed off to my backyard.
IMG_9303.JPG
IMG_9304.JPG
I decided to use my brandnew tripod and set the camera to shoot after 10 seconds so I would have time to stand in position. I didn’t exactly know where to stand but I pictured the approximate spot in my mind. I always like to get my brother involved in my projects, because we both have so much fun working together. IMG_9307.JPG
IMG_9308.JPG
Development Open the background image, empty, only Start placing the silhouettes and if needed Don’t worry if light changes. You can alshowing what would be behind. erase any possible flaws or shadows. ways try to fix it with a layer of levels.
Sometimes when you add figures, they will Place them in the order you desired having Keep in mind that every layer you add will overlap. Be careful when you erase. in mind what you were looking for. be placed on top of the older ones.
Evaluation:
This means you will have to keep the levels And also that you’ll have to delete every- Finally, add some adjustment layers to on every layer in order. thing you don’t need. bring up the colour, brightness and shadows. I was happy with the idea of multiplying me and my brother to hold the lettlers in our backyard since it was a new technique I hadn’t tried and I always thought it would be interesting to do it. I have to say that at first it wasn’t as easy as I thought. I didn’t mark the exact positions where I should stand. So a lot of times I ended up overlaping with myself in the post-production phase. I could fix this in Photoshop, by either cutting out the whole silhouette and moving it to the place I wanted it, or just erasing certain parts of the body to create the ilussion of being behind the person. However, if I had to do this shoot again, I would probably mark the positions in advance to save time. Time is really important,
specially outdoors when it comes to lighting. Since it was already in the afternoon, the sun was slowly setting down, which I didn’t notice straight away, but later on when I checked the pictures. I’d highly recommend to do this shoot between a period of time where the light won’t change too much. For example, at midday. Although that depends, of course, of the weather and the season we are in. I advice to never do this type of shoots in 2 days. I couldn’t imagine how many difficulties I’d have to match the same settings!
Other Contact Sheets IMG_9286.JPG
IMG_9287.JPG
IMG_9288.JPG
IMG_9290.JPG
IMG_9291.JPG
IMG_9292.JPG
IMG_9951.JPG
IMG_9952.JPG
IMG_9953.JPG
IMG_9954
IMG_9955.JPG
IMG_9956.JPG
IMG_9957.JPG
IMG_9958
IMG_9960.JPG
IMG_9961.JPG
IMG_9962
IMG_9289.JPG
IMG_9959.JPG
IMG_9951.JPG
IMG_9969.JPG
IMG_9970.JPG
IMG_9971.JPG
IMG_9972.JPG IMG_9963.JPG
IMG_9964.JPG
IMG_9955.JPG
IMG_9973.JPG
IMG_9974.JPG
IMG_9975.JPG
IMG_9967.JPG
IMG_9952.JPG IMG_9965.JPG
IMG_9953.JP
IMG_9966
IMG_9956.JPG
IMG_9957.JP
IMG_9968.JPG
IMG_9951.JPG
IMG_9952.JPG
IMG_9953.JPG
IMG_9954.JPG
IMG_9959.JPG
IMG_9960.JPG
IMG_9961.JP
IMG_9955.JPG
IMG_9956.JPG
IMG_9957.JPG
IMG_9958.JPG
IMG_9963.JPG
IMG_9964.JPG
IMG_9965.JP
Macro Effect Workshop
At the Studio:
_1240491.JPG
_1240495.JPG _1240492.JPG
_1240499.JPG _1240496.JPG
_1240503.JPG _1240500.JPG
_1240504.JPG
At Home: IMG_9539.JPG
_1240490.JPG
_1240491.JPG
_1240490.JPG _1240492.JPG
_1240492.JPG
_1240491.JPG _1240493.JPG
IMG_9544.JPG
_1240494.JPG
_1240495.JPG
_1240494.JPG _1240496.JPG
_1240499.JPG
_1240498.JPG _1240500.JPG
_1240499.JPG _1240501.JPG
IMG_9555.JPG
IMG_9564.JPG
_1240492.JPG _1240502.JPG
_1240496.JPG _1240506.JPG _1240493.JPG
_1240493.JPG _1240503.JPG
_1240497.JPG
_1240502.JPG _1240504.JPG
IMG_9546.JPG
_1240496.JPG
_1240495.JPG _1240497.JPG IMG_9550.JPG
_1240498.JPG
IMG_9540.JPG
IMG_9552.JPG
IMG_9557.JPG
_1240500.JPG
IMG_9565.JPG
_1240504.JPG
_1240503.JPG _1240505.JPG
IMG_9542.JPG
IMG_9543.JPG
_1240493.JPG
IMG_9548.JPG
IMG_9549.JPG
_1240497.JPG IMG_9553.JPG
IMG_9554.JPG
IMG_9559.JPG
IMG_9562.JPG
IMG_9566.JPG
IMG_9567.JPG
_1240501.JPG
_1240505.JPG
IMG_9568.JPG
IMG_9569.JPG
IMG_9570.JPG
IMG_9573.JPG
IMG_9574.JPG
IMG_9575.JPG
IMG_9578.JPG
IMG_9579.JPG
_1240506.JPG
Evaluation: This shoot was very interesting. Not only did I discover a new techni_1240500.JPG _1240501.JPG que but I also found out about an innovative way to frame something _1240497.JPG with blur. The first shoot was a bit rushed. Since it was the first time I did this, I was a bit lost and uncertain about how my results should look like. I was also in a hurry because I was aware about other people waiting for me to have their go with the professor’s camera. The second shoot at home_1240505.JPG was quick as well and out of curiosity. I _1240504.JPG _1240501.JPG wanted to know whether my camera could achieve the same effects as the one I had tried at college. Even though I didnt have so many interesting things to take pictures too, I think I didn’t waste my time. I got some gradients and nice misterious textures out of the carpet, tickets, screens, sunglasses case and more. If I had to do this shoot again, I would organise my shoots in advance and program the _1240505.JPG things I am going to be using. Although, just taking the camera and being spontaneous seems more natural and fun. I would chose a good time in the middle of the day to get more light. I would use the extra time to find shapes in the light and maybe I could even try to to use a mini-tripod I have at ground level which would facilitate it for me to take the pictures and manipulating the objects.
PLAN FOR SHOOT
For the studio shoot, I volunteered to take part in learning a little trick about macro lenses. My professor had a camera which lense you could deattatch and the camera still allowed you to take pictures. So when reversing the lense and looking through, you could see everything magnified. I found this surprising, really practical and interesting to know. There was a mechanical piece in front of us, a really interesting object to take pictures to, and that’s what me and my group did, collecting more data for our research. Then I tried to do it at home, with my own camera and my own lense of 18-55mm. Although it wasn’t the same, I can say that I could find interesting results in my carpet and within the texture of one of flowers and other elements in my room. The most interesting one would be the laptop closeup.
There was acrilic painting, all kind of brushes, jars of clean water, palette knives, paint rollers, transparent glass pannels so you could do double printings. The centre also had a laser printer and different coloured papers so you could investigate printing over them instead of the basic white plain sheet of paper. There were watercolours, crayons, scissors and all kind of brushes. There were also pieces of old books, maps, newspapers and disposable family photographs. With all this material and so little time, I came up with a million ideas. I was eager to explore everything and investigate new techniques. But I tried to connect my work to the theme I was working on. So I finally decided to produce a set of tex-
ture backgrounds . I thought this could be useful if I wanted to experiment creating a dreamlike atmosphere in some of my pictures, or even if I wanted to just add some creativity-out-of-the-box features to my artwork. So I started off trying double printing. Then tried to create mixture of colours, mixture of tones, textures and shapes. I am happy with the outcomes, and I might even try some more in the future. There were times where I felt more enthusiastic about progressing with an outcome than others. There were times when I felt more creative and spent more time developing the little details of my paintings, covering the whole canvas. I enjoyed this activity a lot. It was relaxing and different. Thanks to this workshop I discovered a new technique that I didn’t even knew about. It consists on using colour in powder and spreading it over a wet paper, so when it hits the ground it explodes creating waves and amazing random forms. I found it really beautiful. In my opinion, it’s quite hard to controol the way you want it to look like at the end. But this is also the good thing about it, it can allow you to be spontaneous and improvise in the moment. I would definetly say that this was my favourite technique.
Mixed Media Workshop
One of the tasks proposed by my photography teacher was to experiment with different materials, trying to create artistic outcomes. I think this is a good way of investigating and exploring other possibilities and ways of expressing art. In order to do this she organised a little workshop in the studio next door. She put a lot of different materials and explained to us, briefly, about the use we could give them all. She also showed us some images of mixed media artists so we could get some inspiration and understand better the process of what we needed to do. On this studio, there were all kind of facilities we could possible need. For example, we had the drying stray were all students could put their work pieces to dry overnight and collect the day after without having to use up too much space in the room or getting your artwork mixed up with other. We had a sink to clean the brushes, our hands or any mess we could create .
Some Textures
This texture was created with a mixture of everything I thought off. Starting with watercolour paintings and then using the powder ones. I used water to mix the colours and I used the brush to help me spread the colours all around the canvas, colouring it all. Luckly for me, the same week I was beginning to do this, I had the opportunity to take pictures to an eclipse. Therefore, when thinking about mixing the texture created with a mystical picture, what’s better than a solar eclipse? So I took one of my favourite pictures and started experimenting with different methods to make the background stand out, to add this magical and irreal atmosphere to it. Whilst I was doing this, I realised that there were some geommetrical lines I could use. By overlaying duplicates of my texture layer, I achieved to position the moon in the centre and at the same time, inside a romboide.
Development Open your mystical image in the background.
Add your texture layer and position it where you prefer.
Duplicate this layer and overlay it over the other one.
Do this as many times as you want and play with oppacity.
Change the direction of your duplicates to fill up the canvas with this effect.
Finally, add some adjustment layers to reinforce its colours.
Development
When creating this texture, I felt I wanted to do it properly, so I could say that I really got into it. I experimented with different methods at the same time. I used the same bubbled paper I hd used with other outcomes, I used brushes to perfection little details and I specially used water to spread the colours on the canvas. Sometime there were drops of colours still untouched and I would just use that ink to draw a line over the artpiece. I wanted to use energetic colours, so I picked yellow and combined it with brown because they matched.
Open the image you want to be working with.
Open the textured image you want to mix it with.
Reduce its size until you’re happy with the amount of detail. Then lower the oppacity to 43%.
If you change the blending mode to Darken, you won’t have to delete the overlapping parts.
Copy and paste this last layer moving arround the direction of each one to fill the wall.
Once you’ve done this group the layers to avoid mistaking them with the ones that will follow.
To get the facial effect, we just need to enlarge one of the texture layers and put it on Darken mode.
For the shadowed part of the face,, you’d need to do the same but on “Lighten” at 30%.
Finally, add adjustment layers to enhance the colour, contrast, brightness and levels.
Development
To produce this outcome I used the remainings of a double print experiment and some textured bubbled paper. I stuck the paper on the cristal and stained surface where I had been experimenting and then I removed it carefully. It itsn’t interesting on its own but when mixing it with the image and multipliying it, duplicating it and changing its colour once and again, I came up with something more useful. As we can see on the tutorial, I made a square texture with this and by changing the oppacity and other aspects I could finally create something more artistic. It wouldn’t have been the same if I didn’t reduce the size of the texture layers, or duplicated them. I wanted to achieve the cold effect, that’s why I used blue and pale colors.
Open the image you want to work with as your background.
Open your texture layer and set it to overlay.
To experiment, duplicate and change the hue of the texture layer creating a new group.
Change the blend mode to Overlay.
Create different patterns and duplicate them.
Play arround with them until you feel satisfied.
Duplicate the texture layer and group it.
Reduce the oppacity to 34%.
Change the blending mode to Darken.
Development
To create this outcome I used a recycled sheet of card paper, several painting wastes from other artworks and a piece of bubbled plastic. These materials were all layed out on the table, and it didn’t take me too long to set my eyes on the bubbled plastic. I think everyone is adicted to it. So I quickly grabbed some and stamped it on the colour pallete I had created for the previous outcome. I just mixed different colours from the same tones: orange, yellow, a little bit of blue, oink, white and red. I tried to overlay one stamp from the other, creating a busy textured outcome. Sometime the paper ran out of paint, but instead of renewing its colour once again, I decided that the “wasted” effect was also efficient. This was a pretty easy and quick outcome, without complications and made out of the spur of the moment, taking inspiration from what I had on sight and improvising with different materials.
Open the picture you want to manipulate.
Select the the part where you want to Add the texture layer just on top of your make any changes and save it using a laselected area. yer mask.
Then inverse the selection you’d made before and erase the rest. Make sure you’ve clicked on the texture layer.
By changing the blending mode you can obtain different results. In this case, it’s Overlay. You can also change its colour in Hue and Saturation or Color Balance.
The repeat the process within other areas of the picture. Like the river. This time you can change the hue to colder colours.
For this outcome, I thought the tree could perfectly do with pink tones.
To relate it more to the mixed media theme, you could set up a customized brush and after covering your canvas with a texture layer, just erase the borders, getting this “painting” look.
Finally, to reinforce the colours and its fantasy, you could add different adjustment layers such as controling levels, hue and saturation, brightness and contrast.
Development
Open your background picture.
Isolate the part you’re interested in and save it as a new image.
Enhance the colours by adding some adjustment layers.
Add the chosen texture over the last layer.
Open the other image you want to be working with.
Investigate with the blending modes. In this case, I found interesting the Screen one.
Change the Blending Mode to “Vivid Colour”
Finally, you can change the hue and erase some bits to increase the texture.
This outcome was created with the technique of double printing. After experimenting with some other canvas and colours, the roller ran out of paint, but instead of refilling it or creating a new pallette, I decided to create a new texture with the remainings. It would use some recyclable card I found and the little painting from the surace of glass. My intention was to use this over another picture. However, whilst looking for a picture and manipulating it on Photoshop, I re-created a new texture with it and then overlayed it with an old picture I had of my eye. I’d say I achieved the effect I was looking for.
I made this texture by experimenting with blue and white in the double printing surface of glass. I found it really amusing, entretainning and relaxing at the same time. I liked stopping closely to see where the colours mixed together, where the gradient started. Then, I thought about how I could use this texture to create a mixed media outcome. I looked for pictures on my hard drive and I was surprised to find myself thinking of an idea. The texture’s shape looked like a waterfall, like liquid falling. And on the picture I had from a trip to Chester, I had my hands pushing or directing something invisible. So, after duplicating the layers once and again, changing their color and applying layer masks, I came up with this a mixture of different coloured waterfalls overlaying over each other and mixing their colours making the outcome look very lively and energetic. I am happy with the result because it came out of nowhere, it was spontaneous and it looks good. It was the product of improvisation and experimetation, which is always a good method of learning.
Development Open the original image. Have in mind that you Add the conventional adjustment layers (levels, Select the silohuette of the person. This will faciare looking for something you can interact with. contrast...) to improve the appearance of the litate later manipulation. It will avoid problems picture. with overlaying.
Add your desired texture layer and clonate the Duplicate the texture layer and place it slightly Change the values on the hua and saturation necessary background to fill up the canvas. above the other one, covering the empty spaces. adjustment layer so you achieve another colour.
Duplicate the texture layer again and add another colour. Add a new layer and set it to overlay in the blending mode options.
With a special brush, add some sprinkles of a different colour to make more contrast and reinforce the power in her hands.
Development Open your background image. Preferably with some overexposed black and white tones.
You can always adjust its levels and brightness and contrast to achieve the result you want.
Bring your texture layer to the top and cover all the canvas with it. You can also strech it as you like.
Change the blending mode to “Lighten” so the darkest areas blend in with the texture.
Open a third image with the same characteristics as the first one and place it over the other two.
After some adjustment layers, you will obtain brighter and more contrasted results.
Group up all the layers you’ve worked with until now and change the blending mode to “Darken”
Duplicate the texture layer. Select the part your interested on and then erase the rest. Change it to “Multiply”
Duplicate the whole group and change it into the “Overlay” blending mode.
Add some text and duplicate the second texture layer and substract the text from it so you keep some of the image underneath.
Add the appropiate adjustment layers to keep it bright and colorful.
Additionally you can add some adjustment layers changing values for lightness to a +25.
To create this texture I used similar technique as with the other ones. I made special use of the powder colours and brushes. Later on, on Photoshop, I remembered a technique from last year and chose a high contrasted image with a fancy symmetry. I overlayed it with the landscape from Sunderland, from a visit to one of the open days of their university. I had initially left the image with some text, but after some thought and public reviews, I reconsidered it and decided to bright up the buildings and leave out the text, at least for exhibition purposes. I think the combination of the texture in the sky and the colour on the ocean work well together.
Development Open your background image.
Add some adjustment layers to bring up the colours.
Open the teture you want to be working with.
Change its blend mode to “Overlay”.
Duplicate the texture layer and move it arround to form a shape.
To make it look less harsh you can change its transparency to 66%
Insert the shape of a heart and select it by pressing Ctrl+click
Inverse the selection and erase the surroundings.
Add some different sized hearts arround.
To create this outcome I used the remaining paint from a colour pallete that I was using to experiment with mixed media. I was aiming to achieve some red, pink and orange tones, to make an image look warmer. I also used bubbled plastic paper to recreate some kind of texture within the already existing paper. I left it to dry and didn’t make any final tweaks to it. Then I decided to use it on my responses to this technique. When placing this two images together on Photoshop, I came up with the shape of a heart. I decided to improve this shape and make it stand out of the canvas. I still wanted the image to have certain feeling of warmth, so I didn’t change the hue on any of the layers. I chose this shape because those colours are stereotypically connceted to the theme of love and romanticism in general.
Frederique Daubal Analysis:
Line: This image shows us a lot of leading lines. They’re not predominant on the picture but they’re important, they’re the creative aspect of it. They drive us in and out of the silhouette of the woman.
Composition: We can talk about juxtaposition between the fact of putting together the picture already taken, as in its physical form, and this kind of coloured clay. In some ways it both opposses each other. New against old. At the same time, it is important to consider that the clay has been put over where her face should be. This is a way of hiding identity and coming out with a nice outcome anyway.
Tone: There are different tones in the picture. Since the image has two materials (the real photograph and the material added afterwards). We can appreciate the warmer colors on the top layer and the colder colours on the one underneath. It also transmits different emotions. Colours have connotations. I think the artist has used them to cause a reaction on the viewer, but mainly to call attention, inviting them to deeply analyse the several aspects of this photograph.
Light: I would say that the source of light comes from the centre. The flash light was probably located to enlighten the side of herface. This is what gave the image a little percentage of a vignette effect. Technical: It doesn’t look like this picture has been digitally manipulated. Though both photographs have probably been taken on a studio under previously planned lighting compositions techniques.
Texture: Having two different materials, we have a lot of different textures. The woman’s hair looks smooth and clean. It’s less lively than the plastic and colourful material the artist has used to put above the picture. This new material gives the whole composition a feeling of being brandnew, of being renovated.
Focal Point: What’s my eye-catching in the image is the use of coloured clay. This quickly attracts viewers, so it would be wise to say it’s the focal point.
Images:
1
2
3
4
Background: Frédérique Daubal is a French artist and photographer with a background in graphic design. she works as a freelance creative for clients worldwide such as Arkitip, Beams Japan, Colette Paris, Feiyue and Hint Fashion Magazine. She also experiments with textile as a 3-Dimensional medium and creates products using second hand pieces which are for sale in her online shop. She’s now based in Paris, experimenting with her speciality: mixed media techniques and materials. She has recently been working on her last series, ‘Hide and Seek’, for which Daubal cut out pages from fashion magazines to make masks resembling Muslim veils – a thought-provoking art piece on what it means to be French today. Again she hide the identity of her models.
Personal Opinion: This mixed media artist was recommended to me as an extention task. I personally find her creative and practical, since she makes an artistic piece out of anything. Also, I would say that her style is quite abstract and imaginative. I love how she hides identity by using other materials and other media. She also shows her graphic design skills in the outcomes she produces. Sometimes her work can look a bit out of place or senseless, without meaning. However, I’ve found out that the more you look at it, the more things it gets you to talk about. I like her as an artists because she knows how to use her resources and knows how to express opinions, thoughts and emotions even when she hides the most obvious way of expression the human being has: the face. I think this has a lot of merit. This is a picture taken from the collection album: “Clothes 2000/10”. It could be classified as a portrait because the subject is facing the camera. Her personality is hidden by the matching coloured triangles . There are a lot of leading lines going in different directions. The colour tones are lively, full of energetic and young connotations. Putting them all together creates an effective contrast. They transmit a sensation of happiness. I would say that this particular outcome is efficient because of the combination of shapes spread across the canvas. It looks right. It’s a good way of using mixed media techniques and graphic design aspects.
I found this picture on the collection “Nylon and hairy family”. I think it is quite powerful. We can see how the artist has decided, again, to hide the model’s identity but show bits of her personality through the representation of rough emotions. It’s as if she wanted to hide and express something at the same time. Although she adds certain aspects of humour by using the pink cloth and pieces of jewerly, which can be classified as mixed media since she’s using different materials to be the focus of her artwork. As well as the previous outcome, this can be classified as a portrait since it shows us a close-up of the model’s face. The techniques used are effective.
This photograph was taken out from the collection “Overprints”. It looks like Daubal feels certain attraction to hiding identities. From what we can see here, she has also added some sensuality to the composition by placing the model in a position where she partially looks over her shoulder and leaves her lips a bit open. The artist has used two materials: an actual printed photograph and a laser-cut texture composed by white little circles. The way she has used this feature makes the viewers feel more more curiosity about the girl. The pattern of repetition is noticeable. As seen in other outcomes, she likes to make a contrast using the brightness of the new layer.
I founf this picture in the collection of “Korean fashion”. I liked the way the upper layer works within the body of the girl and interacts with it. I found this technique a simple way of expressing thoughts or movement in this case. It looks like it could easilly be turned into an animated picture any moment. There are links between the way the message has been placed and the the meaning it is trying to convey. Even having used the colour purple can transmit a more feminine perception. Daubal has approached the use of formal elements by creating a pattern of repetition within the cirles and the horizontal lines in the background.
1
2
3
4
Pascal Marthine Tayou Analysis:
Line: They show all paths will end equally.
things we could do with the bags we give away everyday. Composition: The structure is composed by a lot of little plastic bags stuck up together and creating an amazing sculpture of color and texture. The composition seems random, it doesn’t seem to be any patterns followed.
Tone: Colors are very important in this structure. Entering into the field of connotations, it could be said that he has used white to convey peace, cleanness and purity. He has used blue to make a reference to the ocean, the sky and water in general. The green tones are representing the green areas of the planet that we should preserve. and all the environmentally friendly things he supports. The yellow tones could be appealing to energy and the sun, and the pink ones could be trying to make reference to the endangered parts of the planet, which aren’t red but, nearly.
Light: This factor is very important for this outcome to look properly. I think this structure in the dark wouldn’t be so interesting. It needs light to make the colors bright. Technical: Because we’re looking more at the structure and not the picture itself, it could be said that this outcome took a lot of time to get done. Tayou had the patience to stick all the coloured plastic bags into the oval structure and make it look detailed and full.
Texture: If I was closer to the structure I might be able to tell the exact texture it has, but from here we can see that all that’s supposed to be seen are plastic bags together creating a whole new thing. However, it is clear that the artist has used the formal element of repetition to reinforce the streght of his outcome, the meaning of his artwork and, in this case, since he’s for the environment, he’s showing how many beautiful
Focal Point: The most attracting point in the picture is the colourful structure in the middle. It kinds of stands out from the rest of the environnement which is more sophissticated. and less lively.
Images:
1
2
3
4
Background: Pascale Martine Tayou is a Cameroonian artist born in Younde in 1967. He began his career as an artist in the 1990s, and has carried out exhibitions in Cameroon, Germany, France, and Belgium, among others. His work combines various mediums and seeks to artistically redefine postcolonial culture and raise questions about globalisation and modernity. Formerly known as Pascal Marthin Tayou, he changed his name to Pascale Marthine Tayou in the 1990s. His work is directly influenced by the scenes he witnesses in the countries he visits. He collects little things from his journeys, including train and airline ticket stubs, restaurant and shop receipts and labels or wrappings for socks, razors, batteries and plastic bags. Tayou’s insistent reuse and recycling of these objects reminds us that contemporary life is inextricably linked with economics, migration and politics
Personal Opinion: I find this artist fantastic. He has a talent to turn everything we usually give for granted and don’t consider important at all, such as plastic bags or socks, a whole new image of art and beautiness. From what I’ve learned from him, he likes recycling and encourages people to reuse things to protect the environnement. He’s also the subtle voice of global and social issues such as famine and poverty. What he does with his artwork is really unique and calls the attention of a lot of people arround the world. I believe it’s wise to be able to turn something ordinary into something that great.
The first picture looks like a wave of sound. Even the elements he has used to create this sculpture remind me of items some tribes might used to create music. There is definetely a pattern of repetition in this picture, and a great combination of different tones of the same color scheme. Its colours, blue, green and brown, remind us more of the primitive world rather than the modern one. He has places this hanging on a plain white wall to avoid viewers getting distracted from the main element. Looking more closely, they could perfectly be dishes, old dishes asking for food. In this case, it is a good representation of famine and how the world doesn’t listen to claims.
The second photograph shows us an entangled mess of what seems to be coloured socks mixed together. My first impression was a snake. But it has a face that reminds us more of human beings. The whole structure is placed on top of a wooden scaffolding usually known to be the base for burning something of for setting out a fire. From the way I see it, it could be representing how the human race complicates itself by carrying with them a lot of different problems that they never fully resolve. However, at the same time, I find it beautiful. This could still be the message the artist is trying to say: We are an entangled mess, but that’s what makes us what we are.
This photograph shows us a tree with colorful plastic bags for leaves. Equally to the other outcomes, it is related to the world of nature and looks quite adecuate for an infant audience. Tayou has used the technique of pattern and repetition by places diverse plastic bags on the tree, repeting its colours and sometimes mixing them on the same branch. It’s a simple outcome stating a message of nature. Maybe it is traying to tell us that if we don’t take action soon, we might probably get plasctic bags growing on the trees instead of food and flowers. It’s a creative and very artistic way to warn the planet. This, again, could be perfectly used for commercial purposes.
This picture shows us a giant ball of presents wrapped in a wide variety of colours. It seems to be levatating from the floor, which adds a sense of magic to the composition. It is probably addressed to innocent people or children in general. It could easily be used for commercial purposes, specially for Christmas campaigns. The artist has used different wrapping papers to show diversity. The fact that he has chosen a sphere to represent his outcome could indicate he was trying to make reference to the world and how happy we all are when we receive presents. The lines on the picture could perfectly divide countries in this representation of the world.
1
2
3
4
Mixed Media Response
IMG_0001.JPG
IMG_0002.JPG
IMG_0003.JPG
IMG_0004.JPG
IMG_9984.JPG
IMG
IMG_0005.JPG
IMG_0006.JPG
IMG_0007.JPG
IMG_0008.JPG
IMG_9988.JPG
IMG
IMG_0009.JPG
IMG_0010.JPG
IMG_0011.JPG
IMG_0012.JPG
IMG_9992.JPG
IMG
IMG_0013.JPG
IMG_0014.JPG
IMG_0015.JPG
IMG_0016.JPG
IMG_9996.JPG
IMG
IMG_0017.JPG
IMG_0018.JPG
IMG_0019.JPG
IMG_9984.JPG IMG_0020.JPG
IMG_9985.JPG
IMG
IMG_9976.JPG
IMG_9977.JPG
IMG_9978.JPG
IMG_9988.JPG IMG_9979.JPG
IMG_9989.JPG
IMG
IMG_9980.JPG
IMG_9981.JPG
IMG_9982.JPG
IMG_9992.JPG IMG_9983.JPG
IMG_9993.JPG
IMG
Development IMG_9986.JPG
IMG_9987.JPG
IMG_9990.JPG
IMG_9991.JPG
Create your typology template on InDesign and add some lines to top it up.
IMG_9994.JPG
IMG_9995.JPG
Start adding your edited images in the layout you prefer.
Typology Technique Finally, you’ll come up with something like this. Try to mix the colors and centre all the images. Leave a margin between each square, sometime space looks good. To export it, simply go to File>Export and then choose your preferred settings. This way, you’ll have it on a PDF format, more maleable for other programs.
IMG_9998.JPG
IMG_9999.JPG
PLAN FOR SHOOT I found really creative the idea of playing with different materials and hiding ones identity. It seemed to me really interesting, different, unique. Therefore, I planned a quick shoot using some textiles, a plain background and different propps. I drew eyes of different colours and mouths. I took some coloured tshirts from my wardrobe and decided to use them as the colour skin. Then, with some cellotape, I moved the different items arround and took pictures of it. I thought it could be a good way to explore this feature of personalitis without the actual facial expressions and that connecction with materials that surround us in our daily basis.
Blooms Taxonomy MM Artists
Pascal Martin Tayou:
Frederique Daubal:
Comparison to my work
Similarly to the two mixed media artists I have chosen to investigate the world of art mixing materials, I have come up with an outcome who represents the human being in a completely different way, where personal identity is hidden and replaced for a rather comical atmosphere. Both Daubal and Tayou used different materials and colours to present their artistic work. I decided to use different coloured clothes and drawings of some parts of a face. They have played a huge role when it comes to getting inspiration from similar work. I didn’t want to produce the very same outcomes, or copy what they’ve done, so I mixed the way Daubal covers her model’s faces and the way Tayou uses different materials to make reference to the human being. Differently to their style, I opted out to work with several images at the same time. In my case scenario, it looked better and the whole composition had more power when places with other images too. I played with space and structure applying knowledge from a task given last year at the beginning of the Photography course. As we can see on the images displayed on this page, I tried to approach a similar technique, but the resemble ends when we look closely at the techniques used. For example, my images were taken indoors, in a simple room against the door, with the only light of the light bulb on the ceiling and some extra bulbs on hte adjacent corridor. Instead of using clay, paper or any other material, I used clothes, as I have mentioned above. I chose this partly for the same reason Daubal probably did. To change some of the models characteristics. In my case, the colour skin. Even though I didn’t use different coloured backgrounds, I tried to make each outcome a little bit different from the other, so they were unique. I also changed frequently the type of eyes the models were wearing, as well as the mouth or their positions. Although I kept the square template.
Looking at other students work
Activity: It is always possitive to be able to develop your ideas independently, to be able to see how you plans go further and how everything falls into place. However, it is highly recommendable that you look at the work of other people too. Not only to get some inpiration, but to see if you’re going through the right path. Working in class doesn’t mean we all have to come up with the same outcomes, but we all have to come up with a very well planned project capable of representing our research, inspiration, ideas, techniques and so forth. So it is very useful to see how far away are you from the track. Usually planning what you are going to do is very practical in this case scenario. We all plan differently and that’s one of the reasons why we will be comparing the ways we approach the production of our outcomes. My photography teacher, Katy, put us in groups and asked us to show the approximate way in which we worked. During this activity I could see how differently people approach their aspirations. Some of them worked really hard and had a lot of things done. Some of them work in computers, others prefer to work sticking pieces of work on their sketchbooks. Either way, I could see how people went out on shoots seeking inspiration and material to work with, or how other had been researching techniques online. This gave me further ideas to add to my project. I found this activity pretty useful. I felt that, even though I am working individually, I was part of a group. We are all striving towards the same thing: High grades, more knowledge, the development of our technical skills and in some ways, self relevation. With this kind of projects and activities, we get to discover what we are capable of. Even though none of the ways they were working looked similar to mine, I could identify certain similarities on the structure and planning of some of them. It was interesting to see how other people worked. I came up with the conclussion thath everybody has its own style and rythm of working, which is completely fine.
Adam:
Emily:
Josh:
Adam showed us how he had recently discovered a new method of turning his images over themselves creating geometric figures. in the shape of spirals. He also added how interested he was about producing animation in Photoshop.
Emily had her sketchbook on the table for all of us to see. She had been working hard and had a lot of things stuck in already. She commented on the last shoot she had been, at her house where her father was wrecking some walls.
Josh had dived into the world of landscape. He had initially gone for geometry, but something changed in his mind. He told us about this whilst showing us some of his already editted work and commenting about the techniques he had used.
Develop
e Describ
Vignette
Juxtaposition
Learning to link work
Lines Review e ule of Odds R r u s Study Invest po tive x c e Represe E igate p Panorama ble nt ers u P etition o p e R D e Plan Exp ic Shap r t e ion m o e t G e i r i m s e e t n la o t p Critisize Contemp m o e m H C DR les Fra u r R u ook into L o me Col onochro Pattern Consider Do cu M m e nt Motion Blur Form ure Evaluate t c e u w ca l Str Vie S Record E x p e t lo c e r e y p s In sE d l d trast r e n i i o g C B F n f di Analyse a ho e t L Examine L i p ght T Converg De Research ines rails Ob L ing Lines serv e r u t e Tex cro a rds M i Th Ve e of l rb u R
ts n e m le
s
Techniques
E
Activity: Sometimes it’s difficult to link your work to all the things and techniques you’re gathering. Because it can get a little bit tricky, I have been recommended to do a very simple activity where I can practice how to approach the different possible exam questions and the way to work with diverse formal elements. For example: “Explore scale by using double exposure”. To make it random and more fun, Ruari, my photography teacher, came up with a very creative system. It consisted on three bowls or boxes. Each one of them had a bunch of words inside. One box had the possible actions they would want you to explore: analyse, explain, describe, represent and so on. On the second box there were different photography techniques and finally on the third one were all the formal elements. So having this in mind, the only thing you had to do was just fold all those papers and put them in their correspondent boxes. Then, with your eyes closed, pick one piece of paper from each box. The final outcome will be a question asking you to do something experimenting with a technique and focusing your theme on a topic. I did this carefully and I came up with the following question: “Investigate birds eye view by using depth of field”
PLAN FOR SHOOT
Having in mind that I wanted to explore the world from an bird’s eye view perspective using depth of field, I thought about being in the heights. Because I don’t own a plane, the first place that crossed my mind was my room, which is on the second floor of my house. From my window I can see my backyard. For some reason, I automatically pictured my brother standing on that level and looking up. I could focus on his face and let the rest be blurred out. It would look nice and it won’t bee too difficult to achieve. If I don’t get the deepth of field effect that I want, I could always manipulate the results with the help of Photoshop, adding Blur filters. But the outcome would perfectly represent what I see in my mind. I might face other difficulties, such as the lack of light. To avoid that, I will plan ahead the times of daylight when the sun would be hitting my wall. That way I will make sure my pictures have enough lisght.
Contact Sheet: Randomiser Task IMG_9828.JPG
IMG_9829.JPG
IMG_9830.JPG
IMG_9831.JPG
IMG_9856.JPG
IMG_9857.JPG
IM
IMG_9832.JPG
IMG_9833.JPG
IMG_9834.JPG
IMG_9835.JPG
IMG_9860.JPG
IMG_9861.JPG
IM
IMG_9836.JPG
IMG_9837.JPG
IMG_9838.JPG
IMG_9839.JPG
IMG_9864.JPG
IMG_9865.JPG
IM
IMG_9840.JPG
IMG_9841.JPG
IMG_9842.JPG
IMG_9843.JPG
IMG_9868.JPG
IMG_9869.JPG
IM
IMG_9844.JPG
IMG_9845.JPG
IMG_9846.JPG
IMG_9847.JPG
IMG_9872.JPG
IMG_9873.JPG
IM
IMG_9848.JPG
IMG_9849.JPG
IMG_9850.JPG
IMG_9851.JPG
IMG_9876.JPG
IMG_9877.JPG
IM
IMG_9852.JPG
IMG_9853.JPG
IMG_9854.JPG
IMG_9855.JPG
IMG_9880.JPG
IMG_9881.JPG
IM
Annotations
Good:
IMG_9839
Bad:
IMG_9844
IMG_9865
IMG_9850
IMG_9831
IMG_9842
IMG_9830
IMG_9847
I think these images are good because there are no cuts, the lightning is natural and they’re pretty much on focus. Thinking forward to the postproduction process, I see an easier way to make this outcome because there are not a lot of elements to have in mind. I see symmetry and matching colors on the composition, which always benefits the appearance of the image overall. This shoot was good because I got di-
fferent perspectives of the same action. I also used different techniques, from fast shutter speed, to having a tripod set in an impossible location (my window has a little security pannel for children, which makes the tripod really difficult to get closer to the edge of the window). I also had my brother standing, pretending to be falling. These are some of the characteristics that make this picture good.
These, on the other side, have cuts, are moved, unfocused or lack light. We can see how sometimes the face of the subject is not on sight and his hands go off the frame. On the third picture selected here, we can see an overexposed image. This makes the composition look too bright, it would more difficult to edit it and we would be loosing bits of the image. Other reason why I have decided to discard some of these images
is because they were simply part of an action. I took series of fast pictures to capture him on the air. On this process, there would be of course some pictures either starting the jump or ending it. Sometimes the face wasn’t the main point focused, which was very important for this particular outcome, so they were automatically discarded. We can see and example of this on the second photograph.
How did you link the three aspects chosen? After having chosen the elements of “Depth of Field”, “Investigte” and “Birds Eyes View” I automatically thought about a possible way I could connect the three of them. I had worked before with blur techniques, but I had never applied them from a high perspective. On the final outcome created out of this process, I managed to show depth of field on the floor, showing distance and increasing the sensation of being quite high up in the air. I also took advantage of this technique to reinforce the focal point on the model’s hands and face, which were almost at the same level. Then, I used “Birds Eyes View” to recreate the action of falling. This also conects to the project as a whole because I captured the moment when he was technically levitating. Finally, I investigted all of these options by putting them all together and create an outcome for levitation with different techniques rather than the usual ones.
Development Open your background image Open the image of the person Delete the chair he’s using. and make sure it’s in focus. jumping. You’ll have an empy space.
Using the healing tool, try to Add Iris Blur and try to leave Add a vignette effect by going to even the floor out. the face and hands out of it. Lens Correction and pull it to a lighter mode.
Evaluation:
Add some items from the first This will make the picture look Finally, add some adjustment image, increase their size and more realistic. layers to reinforce the colours modify the perspective. and the brightness of the picture.
I am happy with the result of this activity because I could relate the outcome to the theme I am working on and besides I learned how to really link formal elements with the different techniques and ways of approaching things. I had fun doing the shoot, planning it, and editing afterwards. I think the colour scheme used fits the picture correcctly since it’s in the garden where the grass was. I asked my brother to wear a green T-shirt to match the colours and also decided afterwards to include the flying pots. This last minute decision was made because on the day I made the shoot, I forgot to place something flying. But there wasn’t any problems because I could successfully come up with a solution, and still get te same outcome I was aiming for. I think the depth of field effect makes the whole composition look a lot more realistic and professional. It also makes you focus on the subject and don’t get distracted with any other elements, although you can see them.
Rick Nadal Analysis:
Line: This image shows us various leading lines. Nadal has used the arms and legs of the model to lead the viewers to different points of the canvas, covering it all. We can see how both feet are pointing different ways, nd how one of her arms is lower than the other one. Somehow, the line of her body also indicates us where she was headed.
Composition: In terms of composition, it could be said that the rule of thirds has been used position the subject in the middle of the canvas. Her lims point in different directions creating a natural feeling to it. Light: The source of light is natural, although I don’t discard the possibility of the use of “Dodge” tool in Photoshop to achieve better results and more tonification in the girls skin. There is a realistic shadow underneath her, but it suddenly stops where the point of support would’ve been.
Tone: The colour scheme is quite related to nature. The predominant tones are blue, green, grey and some bits of dark red. It reminds me of winter, or autumm. They are cold colors. It is fit to mention that the artist has probably chosen monochrome colours for the model’s outfit to outstand the tone sin the backgroun and make her more noticeable.
Technical: This photograph has had to be digitally manipulated in order to achieve the main purpose of it. Levitation. I believe this has been done by layering different pictures and blending them correctly.
Texture: There are different textures on the image because there are various elements we are invited to look at. For example, the textiles of her clothing. Although they’re simple, they have some eye-catching rinkles. Also, the weeds and nature surrounding the model, her hair, her skin and even that misterious aura around her.
Focal Point: The most focused area of this picture is her body and all her curves. We can see this on how sharp the wrinkles of her skirt are or how clean and neat her skin looks.
Images:
1
2
3
4
Background: Rick Nadal is a Dutch photographer who works with digitally manipulated photography and weedings. He offers special services of filming and documenting weedings to any interested couples. On his webpage, he mentions that he likes to make his models fly, work with floating objects and tell a whole story with only one picture. He tries to make his work emotive and inspirational for others. He uses natural settings to enhance the fantasy-like effect.
Personal Opinion: I like this artist a lot because of the lighting effects he uses and because of the natural relation he makes within every outcome. The majority of the pictures look real, like they have never been digitally modified. I also find interesting the way everything links back to magic in some sense since the girls are floating in the air, and there is always a mistic atmosphere around them. I think the techniques Nadal has used are efficient and work well with his intentions. Researching him has been useful because it has been a real source of inspiration, both for ideas and techniques. I will try to come up with similar outcomes of my own by using color filters and vignette effects.
This picture shows us a woman positioned in the middle of the canvas applying the rule of thirds, floating in the air. The main colours on the composition are white, brown and green. The connotation of these three colors combined suggest a strong link to nature and peace. The soft light enlights the skin of the model but at the same time it transmits a sensation of tranquility. I believe this picture could be used for a creative fashion shoot or for a vintage collection. The path where she stands has converging lines, leading the viewers to the centre of the canvas. There are also certain textures on the textiles of her clothes, the earth on the ground or the leaves.
This photograph has a lively but subtle colour scheme where we are shown and asian women wearing the typical clothes of her country in a very sensual way whilst holding a sword. I think the depth of field in this picture is very poweful since it reinforces the presence of the women up front. It highlights the importance of what’s on focus. The source of light is natural, but the artist has modified the amount of light to create a rather romantic feeling to it. The colours, red, orange and brown, are all from the same colour pallette and therefore create certain harmony on the composition overall. Symmetry and leading lines are also noticeable on the ceiling.
This picture shows us a woman wearing a white silky dress laying on the floor and watching her feet fly. She looks relaxed, and this feeling is accompanied by the lightless of the picture, which has been probably modify to recreate the fog od the woods. The colour of her skin and the clothes she’s wearing make a contrast with the background, but it isn’t bright enough to think it couldn’t be real. Tones match. The source of light is natural. This makes the image look cleaner and less modified. The photographer has used the rule of thirds to position the model in the centre of the picture, but leaving some “talking space” above to lead the viewer to her thoughts.
This picture shows us a girl floating in the air in the middle of the woods. The whole picture has a mistic atmosphere. Its colour scheme stablishes a very efficient connection with the world of nature. The source of light is natural and hits her skin making it shine and look really bright in contrast with the dark colour of her clothes. The photographer has positioned her as if she was falling. The position of her arms indicate that she’s enjoying the moment, embracing the light, the air. The picture has a sepia color scheme relating it more to nature and old times. The depth of field shows us the path on the woods in the background. She even has a shadow to make it all more realistic.
1
2
3
4
Contact Sheet: Washing Machine
IMG_9324.JPG
IMG_9325.JPG
IMG_9326.JPG
IMG_9327.JPG
IMG_9328.JPG
IMG_9330.JPG
IMG_9331.JPG
IMG_9332.JPG
IMG_9339.JPG
IMG_9340.JPG
IMG_9341.JPG
IMG_9342.JPG
IMG_9343.JPG
IMG_9344.JPG
IMG_9345.JPG
IMG_9346.JPG
IMG_9347.JPG
IMG_9348.JPG
IMG_9354.JPG
IMG_9355.JPG
IMG_9356.JPG
IMG_9357.JPG
IMG_9358.JPG
IMG_9359.JPG
IMG_9360.JPG
IMG_9361.JPG
IMG_9362.JPG
Development Open the background image that will help serve you as a backup for everything you’ll have to erase.
Open the image where your subject is standing over something to simulate the levitation.
Very carefully, erase all the chairs and support your subject uses to obtain the effect of being on the air.
You can add objects and do the same things later, erasing the background.
After erasing the background, this is approximately what you’ll get.
Finally, after getting rid off some shadows, we’ll just need to add some adjustment layers.
Evaluation:
As I have mentioned on the “Plan For Shoot” section, I was thinking about what I could do to begin with, so coming up with this outcome, which I quite like, was a success. However, if I had to repeat the shoot or the process to develop the outcome or any step of this particular project, I would have chosen a time during the day to get more natural light instead of the bulbs ones. Also, I would have liked (even though it didn’t ocurred to me until later when I had already moved the tripod) to add more objects floating arround the subject. Like clothes. I think it would have communicated better the message I wanted to convey. It would have been easier to identify the theme of levitation as well as the composition overall “Looking into the Washing Machine”. But appart from that, I have to say that it’s a good outcome to be the first one of the series.
PLAN FOR SHOOT I wanted to know how to achieve the levitation effect by taking some pictures on the same place and then digitally overlay them. To do this, I first looked on Internet how some other artist did it, and then I came up with my own version of it. I was standing in the kitchen, thinking what I could do. The washing machine had been working, but then it bleeped announcing it had finished. I had to do the laundry then, and that’s when my idea took shape. I would take a picture, a creative and unique one, of that moment. So I took some chairs and cushions to make myself a bit more comfortable (it’s not the best position to be in, to be honest) and got on with it. I had a timer shooter and a tripod, so all I had to do was wait on that position.
Tanja Westphal Analysis:
Line: This image is full of leading lines. Lines that lead us in and out of that room she’s leaving. There are also lines on her dress, on the umbrella and on the floor. All these lines create a symmetrical pattern and at the same time they centre the image and create an imaginary grid.
certain shape. Composition: This image has been carefully composed to display the impression that she’s leaving the store. This could therefore be classified as a narrative photography since it tells a story.
Light: In terms of light, we can identify vignette tones in the corners, shadows on the floor and different tonalities when it comes to the thereshold. the source of light shines on her back and the right side of her face, which is convenient because it’s the one we see the most.
Tone: The colour pallette suits the mood of the picture. Pale tones have been used to reinforce the delicacy of the model, the situation and highlight the bad weather of the day, as if justifying the fact that she’s holding an umbrella. There are also other colours such as the orange on the inside of the shop, or room that she has recently visited. This can suggest warmth, and justify why she’s not wearing more than a thin dress.
Technical: This image has obviously been digitally manipulated, erasing all kinds of support the model might have had to lean on and stand in that position. Even though this requires certain amount of time, it adds a lot of credibility and quiality to the image, and it makes it easier to manipulate rather than creating from scratch.
Texture: On one hand we have silk on her dress. Since it is a little bit transparent, we can appreciate the softness of the textiles and the quality of the dress. her wavy hair also presents a different texture and contrast since it is different from the wrinkleless appearance of everything, and it has
Focal Point: It would be wise to say that he focal point is the model, her dress and the other propps she’s using, like the umbrella.
Images:
1
2
3
4
Background: Tanja Westphal is a photographer located in Austria who works for the industry of fashion photography. She posts her work online in different platforms to advertise herself. She also experiments with other series of photography styles, such as levitation, portraits and dream like effects.
n d -
Personal Opinion:
e s s , e
I found this artist on a photography platform called 500px on Internet. I instantly fell in love with the style of her pictures because they were really feminin and romantic. The filters she used create certain drama on every photograph and at the same time all the models look fashionable, young and healthy which is always appealing. I liked they way she pretended the models weren’t aware of the camera sometimes, or when they addressed the viewer as if levitating was completely normal on their daily life. I think her pictures could work well on the fashion magazines industry. The composition of the whole image makes it seem realistc. It looks like she plans her photos ahead succesfully.
n f n h t e e
e e .
This image shows us a women wearinf a feminin skirt and a rather pin up style clothing composition, falling into a bench in a common and public plaza. It could be said that a vintage ffect has been added by couloring the layers above the original image and manipulating the hues, saturation, curves and other elements of the image. However, it has been done in a subtle way, making it look really credible. Regarding color schemes, her shoes and the accesory on her hair are selected to match. The whole picture has an air of autumn, like it’s cold, but her clothes tells us the opposite. Some depth of field can be noticed in the way the bench and the tile floor are located.
This image follows a series of image portraying levitation aspects. Similarly to the image analysed above, there is certain texture on her dress. We can also see different graphics within the graphics, for example, the tattoes. Credibility has been added by positioning a shadow beneath her figure, as if she was really floating in the air. It looks like the settings are parisian settings or italian. The structure and the architectture of the building, plus the tiles on the floor and other aspectes suggest so. The artist has used the rule of thirds to position the subject in the middle and therefore add effectivity to the composition. Furhtermore, light has been correctly and evenly set.
This photograph is similar to the previous ones. It follows the rule of thirds and it is position in the middle to increase the effectivitiness of the picture. Again, this picture has been shoot under the same settings and location as the two previous ones. All leaning support has been erased and her clothes match the colour scheme of the composition. Furthermore, light is evely spread on her back, whilst shadow is just beneath her creating a real effect. In adition to the composition, the artist has decided to add some propps to emphasize the credibility effect and add an action to this potential narrative photograph. Finally, there is no direct mode of address.
1
2
3
This picture is myfavourite from the series of four. The rule of thirds has been applied to position the subject in the middle. The model is using a pink toned stereotypical feminin dress and her position within the composition looks credible. It is hard to imagine what she was leaning on. There are some lines of reference to set the horizon and stick to it, making the image more balanced. It could be said that there is an incidental gradient of tones starting from the top in a lighter mood and then going darker and bending with her fake shadow on the bottom. Some elements of the picture match in harmony, like the lantern and the door.
4
Contact Sheet: Sink, IMG_9309.JPG
IMG_9309.JPG
IMG_9310.JPG
IMG_9311.JPG
IMG_9312.JPG
IMG_9313.JPG
IMG_9314.JPG
IMG_9315.JPG
IMG_9316.JPG
IMG_9313.JPG
IMG_9317.JPG
IMG_9318.JPG
IMG_9319.JPG
IMG_9320.JPG
IMG_9317.JPG
IMG_9321.JPG
IMG_9322.JPG
IMG_9323.JPG
IMG_9324.JPG
IMG_9321.JPG
IMG_9325.JPG
IMG_9326.JPG
IMG_9327.JPG
IMG_9328.JPG
IMG_9325.JPG
IMG_9329.JPG
IMG_9330.JPG
IMG_9331.JPG
IMG_9332.JPG
IMG_9329.JPG
Bread and Shoes IMG_9310.JPG
IMG_9311.JPG
IMG_9312.JPG
PLAN FOR SHOOT This was one of the shoots that you do IMG_9314.JPG
IMG_9315.JPG
IMG_9316.JPG
but you don’t really get convinced by
the material you have obtained. For this shoot, my idea was to have some
flip flops floating in the air whilst I
pretended to be controling them with my hands. However, due to the hours I had available to do the shoot, the light IMG_9318.JPG
IMG_9319.JPG
IMG_9320.JPG
wasn’t good enough. It would have been difficult to edit these images to the extent the light was believable adequate. However, the experience served me as a
practice and to see what things I should consider for the next time, which are light, hours and focusing the right obIMG_9322.JPG
IMG_9323.JPG
IMG_9324.JPG
jects in each shoot, otherwise it will be the background what would always be on focus.
IMG_9326.JPG
IMG_9327.JPG
IMG_9328.JPG
IMG_9330.JPG
IMG_9331.JPG
IMG_9332.JPG
Other Contact Sheets IMG_9596.JPG
IMG_9597.JPG
IMG_9598.JPG
IMG_9599.JPG
IMG_9622.JPG
IMG_9623.JPG
IM
IMG_9600.JPG
IMG_9601.JPG
IMG_9603.JPG
IMG_9604.JPG
IMG_9626.JPG
IMG_9627.JPG
IM
IMG_9606.JPG
IMG_9607.JPG
IMG_9608.JPG
IMG_9609.JPG
IMG_9630.JPG
IMG_9631.JPG
IM
IMG_9610.JPG
IMG_9611.JPG
IMG_9612.JPG
IMG_9613.JPG
IMG_9634.JPG
IMG_9635.JPG
IM
IMG_9614.JPG
IMG_9615.JPG
IMG_9616.JPG
IMG_9617.JPG
IMG_9638.JPG
IMG_9639.JPG
IM
IMG_9618.JPG
IMG_9619.JPG
IMG_9620.JPG
IMG_9621.JPG
IMG_9644.JPG
IMG_9645.JPG
IM
IMG_9624.JPG
IMG_9628.JPG
IMG_9632.JPG
IMG_9625.JPG
IMG_9294.JPG
IMG_9296.JPG
IMG_9297.JPG
IMG_9298.JPG
IMG_9299.JPG
IMG_9300.JPG
IMG_9301.JPG
IMG_9302.JPG
IMG_9303.JPG
IMG_9304.JPG
IMG_9305.JPG
IMG_9306.JPG
IMG_9307.JPG
IMG_9308.JPG
IMG_9629.JPG
IMG_9633.JPG
PLAN FOR SHOOT IMG_9636.JPG
IMG_9637.JPG
For the first shoot of this page, I intended to pretend I was flying near the mirror. It would have been ideal to have my reflection seen on the mirror.
However, with the motion of the situation, we got carried away and forgot
about that detail. Besides, it seemed impossible since the tripo was on the limit of the door frame. We worked out doing this outcome, combining a series of planks and weights, but I have to say that, as usual, it was very fun. Looking at the pictures now, you can see how many different positions IMG_9640.JPG
IMG_9641.JPG
we tried and how creative the situation got with the time.
For the second shoot, my intentions were to construct a scene where more
than one element on the sink of my kitchen was floating or levitating. In
order to do this, I place the tripod in front of the sink at ‘eye level’ (assuming that level is the sink’s level) and then I just held some objects carefully, trying to avoid any skin being shown. This would only complicate the IMG_9646.JPG
IMG_9647.JPG
editting afterwards, hence my decision.
Other Contact Sheets IMG_9448.JPG
IMG_9449.JPG
IMG_9450.JPG
IMG_9451.JPG
IMG_9486.JPG
IMG_9487.JPG
IM
IMG_9452.JPG
IMG_9453.JPG
IMG_9454.JPG
IMG_9455.JPG
IMG_9490.JPG
IMG_9491.JPG
IM
IMG_9456.JPG
IMG_9457.JPG
IMG_9458.JPG
IMG_9459.JPG
IMG_9494.JPG
IMG_9495.JPG
IM
IMG_9460.JPG
IMG_9461.JPG
IMG_9462.JPG
IMG_9463.JPG
IMG_9498.JPG
IMG_9499.JPG
IM
IMG_9464.JPG
IMG_9465.JPG
IMG_9466.JPG
IMG_9481.JPG
IMG_9502.JPG
IMG_9503.JPG
IM
IMG_9482.JPG
IMG_9483.JPG
IMG_9484.JPG
IMG_9485.JPG
IMG_9506.JPG
IMG_9507.JPG
IM
IMG_9488.JPG
IMG_9489.JPG
IMG_9815.JPG
IMG_9816.JPG
IMG_9817.JPG
IMG_9818.JPG
IMG_9492.JPG
IMG_9493.JPG
IMG_9819.JPG
IMG_9820.JPG
IMG_9821.JPG
IMG_9822.JPG
IMG_9496.JPG
IMG_9497.JPG
IMG_9823.JPG
IMG_9824.JPG
PLAN FOR SHOOT For the first shoot, I tried to handle everything myself. My DSLR does’t have a 180 degrees screen, which means that I can’t see what I am doing IMG_9500.JPG
IMG_9501.JPG
when I pose in front of the lense. I calculated, approximately, the position
I had to take in order to achieve the results I was aiming for. If it wasn’t for a second shoot I did after a 15 min break, I wouldn’t have gotten any
good material to work with from this shoot. But I have to say that this second shoot was pretty sucessful. It didn’t take long and I got the images I needed in a very short period of time.
IMG_9504.JPG
IMG_9505.JPG
I should mention that the second shoot shown after the mirror one, was in a different day and was about a complete different outcome. I was planning to response to some of the images I has displayed on my moodboard. I wanted to create the ilusion that I was floating over the bed. This room
was the same I used for the second mirror shoot with my brother, on the
prior page. This one was less complicated and despite the low key light I could achieve good results.
IMG_9508.JPG
IMG_9509.JPG
Other Contact Sheets IMG_9883.JPG
IMG_9884.JPG
IMG_9885.JPG
IMG_9886.JPG
IMG_9914.JPG
IMG_9915.JPG
IM
IMG_9887.JPG
IMG_9892.JPG
IMG_9893.JPG
IMG_9894.JPG
IMG_9918.JPG
IMG_9919.JPG
IM
IMG_9895.JPG
IMG_9896.JPG
IMG_9897.JPG
IMG_9898.JPG
IMG_9922.JPG
IMG_9923.JPG
IM
IMG_9899.JPG
IMG_9900.JPG
IMG_9901.JPG
IMG_9902.JPG
IMG_9926.JPG
IMG_9927.JPG
IM
IMG_9904.JPG
IMG_9905.JPG
IMG_9906.JPG
IMG_9908.JPG
IMG_9930.JPG
IMG_9931.JPG
IM
IMG_9909.JPG
IMG_9910.JPG
IMG_9912.JPG
IMG_9913.JPG
IMG_9934.JPG
IMG_9935.JPG
IM
IMG_9916.JPG
IMG_9917.JPG
IMG_9920.JPG
IMG_9921.JPG
PLAN FOR SHOOT
This shoot was at midday approximately and it was all based in my room. I have to mention that the most challenging aspect of this shoot was the fact that I was wearing a dress. I had founf out that wearing a
dress for this type of shoots and photography was highly recommendable and practical. You could hide the limits where your body made
contact with the leaning support furniture. In this case I used two little IMG_9924.JPG
IMG_9925.JPG
chairs and I tried my best to balance myself and stay still.
The dress was constantly falling to the wrong places and leaving un-
covered my legs and other parts of my body. It took my and my
brother a long time to get some useful footage. But I also have to say that we had fun. I ended up feeling some pain in my back but it was all worth it because we both laughed whilst doing this shoot and IMG_9928.JPG
IMG_9929.JPG
had a good time. For future reference, I should use more comfortable
furniture or use cushions to prevent my legs and back from getting smashed. Other than that, the shoot was fine.
In terms of lighting, settings, background and general composition, it was correct. I highly recommend spending some time thinking about the exact shoot you want to do, and what results you are aiming to IMG_9932.JPG
IMG_9933.JPG
achieve. Having your goal in mind helps you strieve for the best and keeps you motivated.
IMG_9936.JPG
Contact Sheet: Computer IMG_9510.JPG
IMG_9511.JPG
IMG_9512.JPG
IMG_9513.JPG
IMG_9514.JPG
IMG_9515.JPG
IMG_9516.JPG
IMG_9517.JPG
IMG_9518.JPG
IMG_9519.JPG
IMG_9520.JPG
IMG_9521.JPG
PLAN FOR SHOOT
This shoot was taken in my room during one Sunday morning. I was still on my piIMG_9522.JPG
IMG_9523.JPG
IMG_9524.JPG
IMG_9525.JPG
jamas and decided to get on with my photography project. I looked at my desk and started experimenting with chairs, cuchions and different positions. At first I thought it was easy, just taking the a few pictures and layering them on top of each other. How-
IMG_9526.JPG
IMG_9527.JPG
IMG_9528.JPG
IMG_9529.JPG
ever, get into the position nneeded to avoid having to clonate things was really hard. It almost seemed you needed to levitate for real (which would have made my work easier if it was possible). I encountered problems finding the right height since I didn’t have a
IMG_9530.JPG
IMG_9531.JPG
IMG_9532.JPG
IMG_9533.JPG
ladder at home, so I did my own scaffoldings with office chairs, living room chairs and always having in mind that I was next to the window, living in Manchester and the light could change any minute, complicating the
IMG_9534.JPG
IMG_9535.JPG
post-production afterwards.
Development
Open your background image, the one that will contain all you’ll need to back up any image loss.
Open the image with the silhouette abd all the assets to support your levitation.
Very carefully, erase the chairs you’re using to levitate. This leaves you with the background again.
With the healing spot tool try to recover all the parts you see are missing.
Erase all you consider could disturb your outcome.
Fix the areas where a shadow should be. And either add a new one or leave it like that if the light difference is ok.
Fix level, brightness and contrast levels.
Now add some curves adjustments.
Evaluation:
This was a very complicated outcome to produce. Not precisely for the editting but due to the strange position I had to adapt my body to in order to obtain a realistic position. Erasing the supporting furniture I was leaning on was also a challenging task, but the most difficult bits are always on the light and shadows. You need to be really careful and look at the picture closely to see where you should fix the tones. Sometimes adjustment layers can hide it, but sometimes you need to deal with the dodge and burn tool and manipulate yourself the tones of certain parts of the image as an individual and not as a whole layer. This was that case. I spend a lot of time doing it, but similarly to other outcomes, once you get the handle of the technique, things get easier. And in my opinion, it is always good to practice to learn more.
Finally, play with the hue and saturation.
Contact Sheet: Christian IMG_9650.JPG
IMG_9651.JPG
IMG_9652.JPG
IMG_9653.JPG
IMG_9678.JPG
IMG_9679.JPG
IMG_
IMG_9654.JPG
IMG_9655.JPG
IMG_9656.JPG
IMG_9657.JPG
IMG_9682.JPG
IMG_9683.JPG
IMG_
IMG_9658.JPG
IMG_9659.JPG
IMG_9660.JPG
IMG_9661.JPG
IMG_9686.JPG
IMG_9687.JPG
IMG_
IMG_9662.JPG
IMG_9663.JPG
IMG_9664.JPG
IMG_9665.JPG
IMG_9690.JPG
IMG_9691.JPG
IMG_
IMG_9666.JPG
IMG_9667.JPG
IMG_9668.JPG
IMG_9669.JPG
IMG_9694.JPG
IMG_9695.JPG
IMG_
IMG_9670.JPG
IMG_9671.JPG
IMG_9672.JPG
IMG_9673.JPG
IMG_9698.JPG
IMG_9699.JPG
IMG_
IMG_9674.JPG
IMG_9675.JPG
IMG_9676.JPG
IMG_9677.JPG
IMG_9702.JPG
IMG_9703.JPG
IMG_
Falling on the Bed IMG_9680.JPG
IMG_9681.JPG
IMG_9706.JPG
IMG_9707.JPG
IMG_9708.JPG
IMG_9709.JPG
IMG_9684.JPG
IMG_9685.JPG
IMG_9710.JPG
IMG_9711.JPG
IMG_9712.JPG
IMG_9713.JPG
IMG_9688.JPG
IMG_9689.JPG
IMG_9714.JPG
IMG_9715.JPG
IMG_9716.JPG
IMG_9717.JPG
IMG_9692.JPG
IMG_9693.JPG
IMG_9718.JPG
IMG_9719.JPG
IMG_9720.JPG
IMG_9721.JPG
IMG_9696.JPG
IMG_9697.JPG
IMG_9722.JPG
IMG_9723.JPG
IMG_9724.JPG
IMG_9775.JPG
IMG_9700.JPG
IMG_9701.JPG
IMG_9776.JPG
IMG_9777.JPG
IMG_9778.JPG
IMG_9779.JPG
IMG_9704.JPG
IMG_9705.JPG
IMG_9780.JPG
IMG_9781.JPG
IMG_9782.JPG
IMG_9783.JPG
Contact Sheet: Looking IMG_9333.JPG
IMG_9334.JPG
IMG_9335.JPG
IMG_9336.JPG
IMG_9361.JPG
IMG_9362.JPG
IMG_9337.JPG
IMG_9338.JPG
IMG_9339.JPG
IMG_9340.JPG
IMG_9365.JPG
IMG_9366.JPG
IMG_9341.JPG
IMG_9342.JPG
IMG_9343.JPG
IMG_9344.JPG
IMG_9369.JPG
IMG_9370.JPG
IMG_9345.JPG
IMG_9346.JPG
IMG_9347.JPG
IMG_9348.JPG
IMG_9373.JPG
IMG_9374.JPG
IMG_9349.JPG
IMG_9350.JPG
IMG_9351.JPG
IMG_9352.JPG
IMG_9377.JPG
IMG_9378.JPG
IMG_9353.JPG
IMG_9354.JPG
IMG_9355.JPG
IMG_9356.JPG
IMG_9381.JPG
IMG_9382.JPG
into the fridge IMG_9363.JPG
IMG_9364.JPG
IMG_9389.JPG
IMG_9390.JPG
IMG_9391.JPG
IMG_9392.JPG
IMG_9367.JPG
IMG_9368.JPG
IMG_9393.JPG
IMG_9394.JPG
IMG_9443.JPG
IMG_9445.JPG
IMG_9371.JPG
IMG_9372.JPG
PLAN FOR SHOOT
IMG_9375.JPG
IMG_9376.JPG
IMG_9379.JPG
IMG_9380.JPG
IMG_9383.JPG
IMG_9384.JPG
This outcome was funny to create. My brother and I were in the kitchen, thinking about what to have for dinner and then, this idea came to my mind. Since I was constantly thinking about my sketchbook and things to include on it, as well as in my project in general, I couldn’t help it but relate my daily life situations to my academic life. Therefore, I opened the fridge’s door and inspectioned whatever was inside. I had the tripod and the camera already downstairs because I had been doing shoots all afternoon, so I decided to do one more shoot before going to bed. I have to say that I love doing shoots with my brother because we both have fun and we get very creative. He gives me ideas, and I try new things, and viceversa. We experiment and try out new techniques and at the end of the shoot we both have a new memorie.
Development Open your background image without the supporting elements.
Open later the image where the models is.
Fix the misplaced or too obvious shadows.
Draw coloured lines to mark the path where you’ll be clonning.
Very carefully and slowly, clonate the parts missing.
Fix any little technicalities such as the hair or the clock.
Add the floating objects by using layer mask after selecting them.
Finally, add the typical adjustment layers to enhance its appearance .
Evaluation:
This outcome was pretty difficult to do certain things, such as clonating the leg or adjusting the lights properly but with some patience and many hours of work, I got it done. I decided to include the flying elements because I thought it could contribute the appearance of the outcome as a whole. It would helpt the viewer see what my intentions were. This was easily achievable once I got the technique with the layer mask right. I repeated it several times with the different elements of the picture, the ones that are in the air, at least. Because I wanted my outcomes to be a little bit as narrative photography I also aded the adjustment layers and increased the dramatic effect on the picture.
Delete any assets the model might be using for support.
Contact Sheet: Studying
IMG_9946.JPG
PLAN FOR SHOOT
I usually take a lot of time off my brother’s leisure time so he can help me set things out.
IMG_9942.JPG
IMG_9943.JPG
IMG_9944.JPG
IMG_9945.JPG
IMG_9946.JPG
IMG_9947.JPG
IMG_9948.JPG
IMG_9949.JPG
IMG_9950.JPG
Sometimes I only need him to press the buttom, other times I really need him to be the model on my pictures. However this time, as he was on the exam period, I could not bring myself to disturb him on any way. So whilst he was studying in his room, as every afternoon, I quietly set my tripod up and asked him to keep doing what he was doing. I focused the lens every time I had to take
Development
IMG_9950.JPG
a picture to something different, either the books or him. The shoot didn’t take long, and I didn’t need top many pictures.
Open the background image.
Open the image with the Place the floating books model. by layering.
All Final Outcomes
All Final Outcomes
Exhibition Ideas
My exhibition ideas are to frame all of my pictures in IKEA coloured frames combining sizes od 21x30 and 13x8. I would like to make something similar to the layout above but including all the outcomes. I wanted to combine the colour of the frame with something present on the picture. For example, on the first big one from the right with the black frame, we see that the subject is wearing black leggings and therefore matches the frame. When this is not possible to make, I would like to choose a similar tone, as we can see on the first picture from the left. The subject is wearing a red dress and the tones of the picture are warm and orange but since the color orange is not available I would like to intriduce the pink one, which is stereotypically feminin and can work well in the same way red or orange would do. For the pictures where a boy is the model, I would like to select more masculine or neutral colors, such as green or blue. So this are the aspect I want to have in mind when presenting my outcomes in an exhibition. I would also like to exhibit my Mixed Media outcomes. I am planning to put them into frameless frames, meaning invisible frames (so they still have the crystal but no colors arround) and display them in the following layout approximately. Even though they are not related to each other, I think they would look nice if I place the most important image in the middle and all the others arround.
Finally, I will print this combination of pictures, also known as typology, in color laser transparent film. Idially, I would print it on a A3 sheet. If this idea doens’t work I can always divide the document into two and print each part on an A4, then put them together and create the desired A3 layout I was aiming for. Since this print would look nice with some light effects, I would like to place it on the window, so depending on the time and light outside, the outcomes will look different.
Final Evaluation The topic chosen was the question 14, “Elevate the Ordinary”. I was asked to develop a project surrounding this idea. Whatever came to my mind related to this. To be honest, I already knew what to do once I saw this title was an option. I am fascinated by the world of levitation and digital manipulation of photography. Therefore, the first thing I thought about was levitation. People flying, people in the air, people floating. However, it had the word “ordinary” in it, so I had to focus it more to normal and quotidian things. Ordinary things. The things from our daily life. It was a challenge to make levitation look like an ordinary and pretty basic activity. But I loved having to work with the theme, and we all know that things get smoother and easier to work with when we actually enjoy doing them. I have to say that the idea came originally from a double spreadsheet I had done last year on a Japanese artist called Natsumi Hayashi. Her work impressed me so much that I immediately knew I had to try the technique. When I had to look into it more deeply, I decided to browse for ideas on 500px, Tumblr, Flikr and other Internet sources. It was such a surprise to see how everybody had tried different approaches to levitation. From images in the woods, to indoors, fashion and even food. I had so many options. I decided to make a mindmap of ideas and a visual moodboard with the ones that most attracted me. Looking now at the results, I can say that there are certain similarities between my ideas and theirs. You can see where I took inspiration from, but it isn’t too obvious either. I tried to come up with my own version of their ideas. For this module I had to make use of different equipment, especially since I had to work with very still photographs. I got myself a 160 cm tripod and a shutter distance control. I also used my DSLR Cannon 500D camera with the 18-55mm lens. I explored a wide range of techniques, from working with mixed media to inverting the lens of the camera and get magnified pictures. Digitally, I learned a lot of new techniques. There were some outcomes where I had to clone certain parts of the picture, which was difficult and tricky because you never fully get the effect you’re aiming for, but I got close to the extent the cloned parts are almost unperceivable. I also had to learn how to recreate shadows and get rid of other lightning issues to make the results more realistic looking. I set out to produce a combination of 26 different outcomes from which 8 were “Mixed Media” related (result of my experimentation with different techniques). All outcomes explore in certain way the world of levitation. There is always someone on the air twisting in strange positions. Comparing my results to the work of the artists I had researched, it could be said that it was a success. In my opinion, there are some positive resemblances and then you can also appreciate the original and creative funny side coming from my style. I believe the outcomes are unique, different and very interesting indeed. It isn’t something you get to see everyday. They also represent the daily actions we all do everyday, like looking at ourselves in the mirror, look into the fridge, do the laundry, study or go to bed. My audience could feel identified to some of the pictures. If I had to improve something it would maybe be the quality of the paper in which they’ve been printed for the exhibition. They’re all enclosed in IKEA colorful frames but they’re printed on A3 paper. My intentions for the exhibition are to lay the composition of 18 frames (six frames sized 21x30cm and 12 frames sixed 13x8cm) in a horizontal and very symmetrical way. I am also planning to put the typology outcome printed on feed paper against the window so it will have more light. Finally, for the Mixed Media collection, I would like to position them in a circle, centering the big one on the middle, and hang it up in a wall. In conclusion, I can say that the production process has been both awarding and successful. I am really happy with the results and the amount of effort I have put into making them. After the exhibition I will probably hang my outcomes on the stair wall of my house, going all the way up. I think it’d be interesting to see them laid out that way. From this project I have achieved some transferable skills into the world of work. Time management, organization, development of technical abilities and online promotion of work being amongst them.