In my tutorial with graphic designer, David Wrenne, he advised me too look at the type included in my work and showed me ‘post-modern typography’, which uses words as image, playing with the layout and the effect it can have on both meaning and visual interpretation of the words.
Looking into this graphic style lead me to rethink the way that I was presenting the type on my page. The in graphic designer Sam Winston’s work, he uses the lines of text to build up images and challenges the layout of the text on the page, playing with and changing it’s meaning:
Applying this within my own work made me look at how the words interacted with the images in my book; how they could do more within the seen and could better reflect the images they featured it. Up until this point, all the words that featured on my pages were fairly uniformly sized and simply fit into the scene back grounds, so I looked at how I could incorporate them more and use them in my scenes better.
The way that I chose to do this, was by changing the format of the text slightly, I ultered the way that it sits in the scene; expanding some of my text and changing the layout of others, in order to change how they all interacted with the page.
While this was a relatively small change to my images, the way that it altered the relationship between the words and images in my piece really expanded how my book as a hole communicated.
Edited text version
First standard text version
For the final workshop of our field module we used the slab building technique and looked at creating the natural figure of trees in clay. We started with a demonstration on the different application of slab building, as the shape of the base and the formation of branches and off shoots where quite different from what we’d done before. The demonstration was other wise quite straight forward and it didn’t take too long before we could get stuck into building our trees.
Building up the figure of my tree was quite different to building the head; as with the tree, the shape of the trunk had to be quite straight and not bow out too much, this wwas easier said than done though. My tree trunk began to come out quite a lot to begin with and tearing and reshaping it was a bit of a task. In the end, my tree became more of an oak tree, with a large bowing base with gnarled old roots and bulges; though this was not really very intentional, to begin with, it became a cool feature of my trees figure, that used to build the rest of my figure inline with.
Once I got to the branches, I found that the separating of the limbs of my trees was quite easy and straight forward, though I did have to be careful not to put too much weight on one side. As I’d built quite a substantial base and trunk to my tree, and therefore used a large portion of clay, the figure of an oak tree proved to be very handy in minimising the length of my trees branches, so that it looked older and more shrunken.
Overall the workshop was a great look at the natural form and figure of trees, building it out of the clay and getting a feel for the weight distribution and formation was really informative of the build properties of clay. In addition to how it can be used in the building of the human form, this workshop considered other natural forms and gave a different perspective on the way that it holds and communicates it’s shape.
The drawing Symposium was a really good day, that gave me a lot of insight into some of the artists we had covered, and got a better look at their approach to figure.
It started off with Kristie Brown, who talked about the way that her work in ‘Cardiff in the bay’ talked about our relationship with animals and movement in narrative. It was great to listen to how she considers the concepts in her work and how she goes about producing the drawings along side her figures. Kristie Brown was a great introduction to how drawing can interact within the artists practice and effect the work when it is presented in a gallery space.
The high light for me though was Richard St John Heeley, his use of landscape and the Japanese inspiration in his work was a perfect example of the way in which ceramic works can become painterly and reflect landscapes. He also did a demonstration of throwing during the lunch break, which was my first experience of watching a professional thrower at work. His throwing was really captivating and an impressive introduction to the practice.
Alice Kettle talking in her presentation about the implication and application of line, and it’s significance within drawing. Her work deals mostly in stitch and therefore line is very important in her work; Kettle often features an allegorical theme within her work, this often looks at the historical and mythological feature of line.
To round off the day, two M.A students from the university spoke about their own work and the importance of drawing within it, the work of Micki, was particularly interesting to me because it featured a heavily illustrative form of drawing. She was displaying figurative works that she had done that featured cast figures with engraved drawings on them, they where narrative and illustrative drawings that moved away from the traditional style of drawing that she had always been pushed up practice previously.
The symposium was a great look at the way that the practice of both drawing and ceramics can come together to communicate figure, both when providing context to each other and in collaboration together.
When organizing our group for the practice exhibition, it was quite hard to work out how to choose which pieces would actually feature in the exhibition, as we had a pretty small space and therefore couldn’t include everything.
We managed to include one from each of our collections while keeping all the pieces flowing and connected within the space. I particularly liked how my hand casts fitted into the negative space between each of the larger figurative works.
Once we had worked out a good set up for the exhibition, we had a few days to get it properly installed in the space. As I was unfortunately tied up in my subject work, though I did a lot in deciding the set up, I was unavailable to help to set it up in the actual exhibition. Adrian did a really good job of setting it up though and it translated pretty well in the space, certainly much better than on the table in studio 5.
Jayde Perkin’s colourful, painterly approach is a perfect medium for her illustrative observations and figurative playfulness. She presents an enjoyable take on the everyday in detail-filled compositions.
Her great use of vibrant shades and contrasting pastels, give an expressiveness to her painted illustrations. The use of colour creates a narrative that leads them an emotional feel and adds a sense of play to these scenes taken from the everyday.
Once we had put together our drawings of the figures and limbs that we build out of the various forms of clay, we then looked at how they could interact and relate in a presentation or exhibition; we did this as a warm up and build up to putting together our practice exhibition in our groups.
Playing with the relationships between the different pieces and how the 2D to 3D compositions could effect each others meanings; was a really great way of getting a new perspective on my work and of looking at how it represented the figure in different ways. The the way that the arms interacted and changed the perspectives on the other drawings and figures was my favorite thing to look at; the shape and form of the hand and arm casts meant that they where easily integrated into other works and fitted well into the negative spaces around the drawings, as well as mirroring them on top.
(find the simple drawings and get pictures of them with my heads)
Looking at the drawings in perspectives of the heads in-relation to their corresponding drawings made it obvious that the drawings were too stylised to really relate to the figures. So instead of using them, I redrew the heads from similar perspectives with a simpler drawing style, one that was much closer to the looser and more fluid drawings of the hands. these drawings felt much better when in the context of the heads.
These photographs combine panoramic landscapes of Pembrokeshire with ‘sea-paintings’ carried out on this shoreline and images of the artist’s cellular tissue removed from her mouth, ear, blood, cervix and kidney.
Each cell group is combined with a visually appropriate part of the coastline, for example the waves evoke ear bones in one. These works are a complex metaphor for change and evolution, the individual and nature, the virus and its host prompted by the heightened AIDS awareness of the late 1980s.