Franz West / Adaptives / Ambiguous Shape
Paul Rudolph / Corduroy Project
Colour Theory / Idea Brainstorm and Second Photoshoot
Colour Theory in Philosophy
Colour Theory in Film, Theatre and My Initial Shoot
To begin my colour theory project I began looking at the human emotion attached to colour and how it can be used to evoke human emotion. This technique is widely used in cinema and theatre ranging from coloured light, set design, costume design ect. One of the most famous films for its colour co-ordinated and stylised nature is Grand Budapest Hotel, so I looked into finding other films which offer the same qualities to find out more about how colour theory is put into practice. I came across The Darjeeling Limited and took film stills from some of the best scenes in which colour theory was the most evident for me; the thing I loved the most about these stills is that the layers of colour in the stills are amazing, from ranging tones, some with patterns, variety of materials so the surface texture had an effect on the overall colour. I wanted to translate this idea of laying colours in a variety of forms in a set of stylised images to invoke emotion in the viewer. The area that I live is a vastly multicultural area and although not very glamorous, is full of colourful markets and shops. I went around Southall high street taking some photos of places and things that stood out for me and I was really happy with the set of photographs that I took and co ordinated outfits accordingly to both contrast and compliment the colours in my photographs. On the day of the shoot I stopped in the Quality Foods store for personal shopping and realised that in the store alone there was colour co-ordinated bags of rice, crates of fruit, incense stick boxes and I changed my mind about the locations last minute. I decided to stick with the outfits I had chosen and used it as a restriction that I would place on myself for this set of images, so I only mix and matched the few things that I had brought with me. I was really happy with the way my photographs turned out and I felt like each set of photographs from each outfit had a completely different vibe but still had the underlying humble mood of the area that I live.
Dhikr Pictural / Anissa Berkane / P21 Gallery
To enhance my culture swap project I wanted to look for an artist
I dedicated today to extending my research of the lunar module image and my quote to generate more ideas for a textile piece. I tried to make this project more personal and found a viewpoint that was interesting to me, rather than taking the image for what it is. I researched into the conspiracy theories behind Apollo 11 and the space race, and the fact that Kennedy couldn't live up to his promises in taking a man safely to and from the moon by 1960 as the first prototype failed, so they faked the moon landing in order to be ahead of Russia. I found the documentary really helpful as it gave some focus points from the Apollo 11 images that were somewhat evidence of the fact that NASA faked the moon landing which gave me details to research further into or take inspiration from. I became increasingly interested in the idea of researching into conspiracy theories to represent this idea of what is real and what isn't, fuelled by the deception of the media. From this I started researching JFK himself and the conspiracy theories attached to his assassination, from which I took stills from the actual Abraham Zapruder film.
Singapore x Palestine / Ruffled Garment Piece
Looking at my research images I found areas of interest in my images from Singapore which was the shape of the roofing which was curved, like the curvature of ruffles. I decided to use this element as collage material in my illustrations which was very successful and I loved the colour combinations, and the way that it complimented my design. I translated the shape of the roof into fabric manipulation by testing out a pleather type material and ruffling. The pleats material was very hard to manipulate because when I tried to create the ruffles the thread kept snapping because the fabric was too stiff, however after multiple attempts and changing the tension and width of the stitch on the sewing machine I was able to ruffle the fabric and the outcome was very successful, I was really happy with the way the fabric held the shape of the ruffle and how this would add to the garment as a whole. I constructed the body of the garment which was a stiff and straight in order to contrast the curvature of the ruffles.
I wanted to keep to the colour scheme of my research images and implement the layeringof ruffles with different fabrics into this piece to give the silhouette more volume and also create a colour contrast. Using a rosewood coloured polyester fabric I repeated the process of creating ruffles from strips of the fabric and layered it on top of the existing pleater. I continued it around the neckline and down the middle of the garment according to my design to create this contrast between the smooth surface and delicate border. This was what I loved most about the singaporean architecture, it had a delicate aesthetic contrasted with the sharp, and smooth body of the building that I wanted to translate into this garment.
Colour Theory in Religion and Culture
I began to experiment with some weaving samples as the smaller samples that I had done were really interesting and I really enjoyed the weaving workshops so I wanted to take this forward in my work and create a set of tactile samples to go along with my drawing responses and research. Taking a section of my drawing responses to the conspiracy theory videos, I created 2 textile weave samples by blowing up sections of the drawing by eye and transforming them into a textile piece. I wasn’t happy with the outcome of these samples as they were too simple and they did not include all of the colours that I had chosen for my colour scheme and therefore did not reflect all of the research I had done. Also the strips of polyester fabric that I had weaved did not work as well as I had hoped, the weave was too loose and looked very bulky which was very unappealing to me. I loved the colour of the fabric that I had chosen and it was perfect in contrast with the white but the medium was not as successful. In the second sample that I created I dominantly used white wool so that the sample was tighter, neater and not as bulky. I still attempted to incorporate the polyester, as I wanted to experiment with working with it in smaller sections to see if that was more successful. This worked better on my second sample as the contrast in thickness was intended to show the overlap of the lines from my response drawing. However the weave was still too loose so I need to look for a replacement medium to use for my weaving.
Deconstructed x Calico Garment / Culture Swap
Looking back into my research that I had done for the culture swap project I wanted to translate my ideas onto the body. For my starting point I wanted to focus on shape and sillhoutte; I used the skills learnt from the part 1 Jacket Project and I used a pair of mens full length cargo trousers to deconstruct and create a womenswear piece to reflect my research from Palestine and Singapore. I began looking solely at the construction of the trousers, where the stitches created shapes, the pockets, zip, and the bucks attachments along the waistband and how I could utilise and recycle these shapes into a completely new form. I deconstructed the trousers into parts, following the lines of the stitching and I was left with irregularly shaped pieces. I wanted this piece to be instinctive so I only used my research images and sketchbook work drawings as reference and restricted myself to the trousers and calico only. Looking at the architecture in Singapore I was drawn to the intricate shapes created along the roof of some of the buildings in my research image from ------. The curvature of the design made me instantly think of the curvature of ruffles and thus I began creating large strips of ruffles with the calico, I opted for large scale ruffles as I didn't want the garment to become to intricate as the focus was on the silhouette only so I could develop designs from this. I experimented on the mannequin with the placement of the pieces
Colour Theory / Shape, Mood and Planet
Looking at the drawing responses that I did from the video of the 1970 ITV Broadcast, I took sections of interest from my drawing and enlarged them to create a more simplified print designn as I felt the drawing as a whole was too complex and the colours clashed too much so I wanted to ensure all my work corresponded to the colours seen in the JFK assassination video as I loved the dreamlike/reminiscent/eiry feel of the 1970s photographs. This idea of an airy feel reflects the subject of my work, delving into the unknown in terms of the Apollo 11 space mission, but also this contrast between what is real and what is fake. I developed these into Lino prints which…….. I also created tactile textile samples based on these developments to try and create a set of final samples that I was happy with. After completing these samples I decided to work more with an artist that I had discovered that related to my study of JFK called Robert Ro because I was still unhappy with the way that this set of textile samples had turned out and I felt as though they were still undeveloped in comparison to the amount of research that I had done and the different leads I had discovered for my work. Earlier in my project when I first started looking at the idea of conspiracy theories, media censoring / fake news I came across an artist who had created a collage called “deception” which was very minimalistic and greyscale, though I was not interested in this I was interested in the shape that he had created with his collage materials and the abstract aesthetic of his work. I combined the ideas of both Robert R and ….. to create print designs that include both my personal experience, my research into JFK and the idea of media censoring / deception. I played around with scale and composition though I was conscious to stick to my colour palette. I was really happy with the first 4 collages that I created as they were inclusive of all the themes that I had looked at, and I liked the compositions I had created as they were simple composition with complex matter and I was happy with the balance. I plan to make a second set of more developed collages, trying to bring in some of my drawing responses, lino prints, and experiment with a mixed media collage. I also want to see how the print designs would work on the body as well as in a space as the tactile samples I was creating weren’t reflecting the aesthetic that I envisioned. I feel like I spent too long on my research and had too many leads that I was interested in that this stunted my practical work and somewhat confused it. In my development throughout this 2 week project I am working on trying to narrow down my ideas and create a coherent body of work.
Culture Swap / Print Development
Continuing my research into