LIM

ITA

TIO

NS

CO

NTI

NU

ED

Afte

r wor

king

on

the

pape

r lim

itatio

ns p

roje

ct, I

dec

ided

to

car

ry o

ut o

n fu

rthe

r. I

deci

ded

to k

eep

limita

tions

of

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y pa

per a

nd k

nife

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llow

ed m

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oure

d pa

per a

nd to

get

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ore

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rate

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e de

sign

it o

n th

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ter a

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en tr

aces

th

roug

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to th

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per I

was

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ing

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ork

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akin

g it

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nd ty

pe I

star

ted

to

look

at w

hat w

as th

e m

ost

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plex

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pes

and

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es

that

I ca

n cr

eate

whi

le s

till

usin

g tw

o co

lour

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d a

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ty o

f met

hods

for t

he

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es w

hich

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as c

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to c

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etel

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t out

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e sh

apes

from

the

pape

r or

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keep

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truc

tura

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ct. W

ith th

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pe im

ages

I w

ante

d to

cut

aw

ay th

e ne

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e sp

ace

but i

s ke

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but

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e ha

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tch

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nd s

tay

as o

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plet

e sh

ape.

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the

pict

ures

of o

bjec

ts I

deci

ded

to c

ut a

way

the

posi

tive

area

of t

he p

ictu

re le

avin

g th

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edic

ine

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com

e th

e fra

me

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then

slid

ing

this

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tive

area

ove

r the

top

of a

co

lour

ed p

iece

of p

aper

to

crea

te th

e fin

al im

age.

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e tw

o im

ages

are

the

posi

tive

area

rear

rang

ed o

n a

sepa

rate

pag

e to

sho

w th

e de

tails

whi

ch I

cut a

way

.

Als

o ex

perim

entin

g on

fo

ods

seem

ed a

n in

tere

stin

g id

ea, a

fter a

ll eve

ryon

e do

es p

umpk

in c

arvi

ngs

our

Hal

low

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why

not

dra

w

ship

s on

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les.

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as a

lso

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rest

ed to

see

wha

t effe

ct

carv

ing

away

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sche

me

wou

ld h

ave

on th

e in

tegr

ity

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e A

pple

, it m

eant

that

st

arte

d to

rot f

aste

r tha

n le

avin

g th

e sk

in o

n be

caus

e it

was

dry

ing

out.

This

led

it st

art t

o sh

rink

and

dry

out.

Since coming to university I been receiving a monthly magazine called practical photo shop which ranges from how to improve simple photographic errors all the way up to complex image making. One of the rings I found in the magazine was somebody asking how to make a Roy Lichtenstein style of work, he’s famous for making pop art which uses halftone dots as a fundamental part of the image, but the whole image is not made up of halftone dots. They are very simple to do, but difficult to get right, the basic principle was to create the main outline of the image, in my case to World War II planes. I started with the main bicker outline of the planes and then adding smaller hairlines to add detail, asked that adding block colours which had to be a brighter colour that I wanted because the halftone affect brings down the brightness of the

colours which I was using. One of the major styles of this comic book\pop art style is to have large black shadowed areas, again this is one of hard parts to get right but looks very effective when done properly.

The first images were done on photoshop and it was a case of building up the layers as went along, one of the issues was did the planes need to be completely coloured or could some of it be left white empty space. The second image of the boat was done in Illustrator because I once the push myself to see if I can get a more detailed image and also to see whether I have the same effect through Illustrator rather than photo shop. The third image of a person was actually the hardest as a difficult to work out exactly what detail needs to stay and what can go.

POP ART

LOW LIGHT PHOTOGRAPHY

RACECOURSEf/7.1, 2.0, ISO 200

FIREWORKSf/5, 1/13, ISO 200

FAIRGROUNDf/10, 1/4, ISO 400

NATURAL HISTORYf/ 3.5, 1/3, I SO 640

CENOTAPHf/ 3.5, 3.0, ISO 200

TRAFFIC LIGHTSf/5, 4.0, ISO 200

TRAIN STATIONf/4, 1/60, ISO 400

UCA ENTRANCEf/3.5, 1/13, ISO 200

ASHLEY ROADf/5.6, 1/1, ISO 200

UNI STAIRSf/3.5, 1/50, ISO 200

HIGH STREET f/ 5.3, 1/60, ISO 560

LOWER STREETf/5.6, 1/10, ISO 200

After working on the commitment to learning brief and taking night photographs I wanted to push myself to low light photography work, some issues I had were needing to use a tripod and processing the raw files having both white and black clippings. I found that an ISO of 200 days more detail and a better quality of image but a long this is these than our high ISO photograph.

The object of the girls workshop was personal personality, as a group we had come up with group shots showing our personality, and groups initial idea was to get rid of the surrounding distractions and photograph purely our face in our normal expression. This idea and others we had, such as a group shot in a phone booth, were put down by zoe sinclair saying that they didn’t really reflect our personality. It was the first time in a long time that someone in the art world has put one of my ideas down, most just say to run with it and creates more out of the initial idea than just say no to it!

THE GIRLS - WORKSHOP

When our original ideas had been put down we were sat by the large blackboards and decided why not draw our personality onto the blackboard. So the idea was that we drew round ourselves and filled in details of ourselves with basic images. We filmed and photographed the

entire process to create a stop motion animation of our personal outlines filling up with our personal interests, and then photographed ourselves in front of the board showing our stuff around us. This was a better and more interesting idea, which I’d like to take further in the future.

RODERICK MILLS - WORKSHOP

I came across Roderick Mills a few years ago in a book full of different illustrators, I really liked his style work of outline and silhouette images, so when I heard he was given the one of our guest speakers I jumped at the opportunity to be in his workshop. However they say you should know the meet your heroes, because you build them up in your mind and they don’t always meet your expectations. The workshop itself was

interesting because we were given a large number of images to work from and given a range of titles such as hybrid, growth, defence and death. What was most interesting is that he played horror films wildly did the workshops and subtly it influenced my work, I’m not a violent person but my work seemed to be quite violent in places. But I’m still glad I met him!

The reason why cat’s land on their feet

Wanting to improve my skills with Illustrator, I decided to create some basic animal images with some mild humour. I sketched out my ideas first sign new where to start and then just playing around until I got it to looked right.

ILLUSTRATOR

This is typeset which I been playing around with since pretty much the first day of the course when we were introduced to TED talks with Tim Brown and we were given a four piece of paper with a load of circles to come up with as many different uses with the circles in under a minute. One of the things I cannot with was using the circle as a negative space for a letter.

SKETCHES

These are a number of sketches from my sketchbook which I have been doodling, the first whilst watching beautiful

losers. The film made me realise verbally more I foundation that it’s really important just to sketch and doodle!

Now armed with my 3-D Max software knowledge I want to turn these sketches into 3-D models, even though there are many computer-generated spaceships out there I want to have a go at doing one myself.

This image (left) is a sketch of exploring what’s on the London, which I want to make into a large-scale detailed illustration.

WORKSHOPS

A brief look at the variety of workshops which I have done such as print screen, letterpress, HTML & CSS and 3-D Max studio.

Prints don’t always come out perfect.

Not all these images and text are mine, but work done to print them was my own.

mine were the word Moose and the image to the right.

Screen shots taken from 3-D max workshop, which was very enjoyable and something to pursue for the future.