REFLECTIVE QUESTIONS / GRAPHIC DESIGN / 30.09.2019
Were you able to adapt your idea and visual language to the screenprint process successfully?
I really liked this day, because coming up with options for using the numbers was very developing and unusual. This was due to the fact that the triple was not located in the center of the sheet, which complicated the process of selecting the composition. I am pleased with the result, it seems to me that simple graphic compositions look very advantageous, with the help of simplicity of the image the main idea is immediately visible.
How did the restrictions shape your final image?
Due to the fact that in the printing technique it was impossible to create thin lines and there were only three allowed colors, the image turned out without unnecessary workers, as simplified as possible, but it was this that helped to leave only the basic elements.
What were the biggest challenges you faced during the workshop?
The most difficult thing for me was the creation of animation, since I had never encountered this before. It was difficult to understand how long the resulting animation should be, what should happen, but it turned out quite unusual, even a little rebellious. It turned out to be very unusual to move all the elements and think about every detail, because everything in the pictures had to be gradually changed.
CONTEXTUAL PRTCTICE / 02.10.2019
What factors do you consider important when interpreting a work?
When interpreting a work, it seems very important, it seems to me, to pay attention to everything: composition (indicates the main thing, reducing all the elements of the work to it), colors (blue, for example, is associated with natural; white with purity; green calms and reminds of nature) , the number of objects, their value (each element carries a certain meaning).
What is the difference between work in group analysis, interpretation and advertising from independent work?
Analysis of work in a group differs from individual analysis in that in group analysis, each member of the group gives his own interpretation, as a result, everything is summarized and the most general interpretation is displayed.
CONTEXTUAL PRACTICE / LAUNDRY ADVERTISMENT / 02.10.2019
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REFLECTIVE QUESTIONS / TEXTILES / 01.10.2019
What was successful / unsuccessful today and why?
In my opinion, the first part of the project was very experimental and exciting. You could try different techniques, and it was fun. The resulting result made me very happy, because six squares with textures turned out to be different, interesting, of which you could very easily choose (any, it seems to me, would look good on the projection). The only thing that is unsuccessful today is the final drawing of the installation. For some reason, I was very tired by that moment and could not draw as I saw it in my head (I got confused with the threads and they turned out to be messy, they did not see the structure that was in the sculpture itself).
How do you do you work together as a group? What could you do to improve this?
I think we had a fairly cohesive group. We quickly made decisions and worked together (in the arrangement of objects in order, in laying out the cards in the right order to project onto the wall, in transferring from projection to paper). The only thing we could not agree on the installation, so it turned out to be scattered (everyone did what he wanted), it did not have a general meaning and did not look whole. We also misallocated the time allotted for the projection. It seems to me that in order to improve our work, we should have spent less time on photographs, and more devoted to reconstructing the print on paper.
What techniques can you take from today and use in your future projects discipline?
Since today's workshop, I have memorized the technique of drawing using dots. It seems to me that she is very unusual. Using the density of the arrangement of points, you can change the degree of proximity of the object: the parts closest to the viewer can be most saturated - most of the points are located on the closer parts - due to this, the image seems voluminous even without chiaroscuro.
Research textile artists that relate to your work.
L.S. Popova. Drawing for Fabric, 1923-1924. Ink on paper. 24x15. GMZ Tsaritsyno
Lyubov Popova, drawing for fabric, 1923-1924.
Fall-Winter 2013 Collection. Taareli, design by Jenni Tuominen for Marimekko