So this is the board I’ll use to present. Let me upload the soft copy of the final pieces:
I am a giant flying space butt
When I approach a planet I trust
I release the negative toxins held in
I am a balloon floating in space
When someone is accomplishing higher than me
I shoot myself down
I am a satellite that reads wrong information
Given enough time and space
I crash and burn into another planet
I am a chill little chameleon
But when I’m thrown into a foreign planet
I camouflage nervously
All along, I know I am weak at colours. I don’t understand colours, and I don’t have the patience to tune it properly to fit a look. I get triggered when I see the colour balancing bar (ctrl + B in photoshop if you know what I mean).
I have very little affinity with colours. I always pick the wrong ones, always can’t figure out what’s good with what, even though I used colour theory and picked a decent colour scheme. Like, somehow, they will go wrong (example, last row, last panel)
So, I just know how bad I am at colours.
But, I’m trying hard. To compensate for the lack of knowledge in colours, I use my concepts. I tie the panels together so I can unite them, in overall I will use less colours so it won’t throw me off.
What did I learn from this project? Definitely better understanding of colours, colour schemes. I won’t say that I didn’t know colour theory before, but I’m definitely better at it now.
I also got friends to help me judge my work, but I asked them too late before I can do anything because submission is near so I can’t edit. Their comments are painful because I suddenly see the flaws in my work, my colours suck. But they really gave very helpful comments to improve myself. I wish I asked earlier so I can change it. Anyway, what I learnt here is to get feedbacks early.
Overall, it is fun to express myself through these panels. I wish to get more personal (actually I already am) with this project, but I shouldn’t share too much ahahahhahahahahaha
I hope you guys enjoyed the butt drawing. Peace out. *putttttttttttttt*
It’s time for a new project. Yay. Let’s look at what these colour mean:
Monochromatic colours are colours that are of the same hue, but different saturation. This gives a very balanced and harmonic result that is comfortable for the eyes.
Analogous colour is a combination of a hue and its neighbouring hue in the colour wheel. The saturation and brightness, again, can be adjusted. Generally, if the colours are not too far apart, the saturation can remain the same and yet not create a messy result. It’s still a pretty balanced and harmonic colour palette. Best to have one or two outstanding colours to create the ‘wow’. Also, its not the best to focus on the hue of the colours but the saturation, which will make things more harmonious. Also, avoid combining cool and warm colours.
Complementary colours are a combination of two colours of different hue, roughly opposite of each other in the colour wheel. The useable colours are basically two sets of monochromatic combination, meaning you can manipulate the saturation or brightness within the two selected hue. This creates a high contrast, so more consideration should be taken when using the colours. The high contrast can be used in a way where one colour is dominant while the other works as an accents. The other spaces are best to be covered with neutral colours to let the eyes rest.
Split complementary colour scheme is the use of three colours, one main one and the other 2 being a split of the first colour’s complementary colour. There is an idea that this colour scheme is best used for beginners because it’s hard to mess up.
Triadic colours is a scheme that uses three colours spaced equally apart. It is like complementary, which has a very high contrast. However, it is more balanced. The trick is to use one colour as the dominant one in a design and accent the design with the other two.
WHO AM I???
What is Ego? Ego is a representation of myself. But how do I represent myself? Theres a lot of ways to do it, so what do I pick?
I have thought about it for a while, visualising myself in different scenarios, I decided to create a universe for myself. Basically, I want all my panels to be linked, into a mini universe in the A0 board. Also because I love space stuffs so I really think this ties up all my personalities together in a complete way.
So this row is going to be heavily inspired by Rick and Morty.
I like to hold things in. Like a lot. I have a lot of unexpressed thoughts and feelings that I don’t show out, so as to not create conflict or make others think I am weird. I am self conscious. The thoughts and emotions held in are also mostly negative.
In the first panel, I depict myself as a giant flying space butt. I’m a butt because I hold things in, like fart. It’s crude, but I think that makes it better because of how I always want to show myself as someone who is clean and decent. So, some sprinkle of irony there. Also, I think a butt is perfect for describing someone who holds in too much feelings and thoughts. The space aspect of it is… well, why not?
So I drew the butt in reference to the buttworld’s butt and fart. Using my ideas of lighting, I added some touches here and there.
For the colours I went for split complementary colours because I want to just simply use the deep space blue against the yellow-ish skin colour of the butt. But there’s also the fart which is green, so there is a need for that split comp there.
If you notice, there’s glow on the cheeks, which is coming from the light reflected off the planet :’)
The second panel is a depiction of a planet. I will describe it as a friendly and trust worthy planet, so maybe I will use friendly colours and more rounded edges to depict a planet that won’t bite. I will be using analogous to create a colourful but not too overwhelming colour palette. This planet represents my close friend and thus it is friendly to me. I used pink and turquoise because I think this combination creates an eccentric colour that represents an alien planet, yet these colours are soothing, which represents the friendliness.
p.s. see the shadow of the butt!!!!!!!!!!!!!!
The outcome of a giant flying space butt flying towards a friendly planet: Apocalypse. When I have a close friend with me and when I got something to rant about, I will let loose all my negative emotions to them. I show them the ugly side of myself. In this panel, the poor people of the planet will be overwhelmed by the toxic fart. Thus, it will be monochrome, in toxic green colour. The panel will also be a parody of The Scream by Edvard Munch, which depicts the kind of emotion that the people in the planet feels when hell is let loose.
Overall, the row will be digitally drawn in Rick and Morty cartoon style, as most of the elements in this row is inspired by Rick and Morty. The first panel’s butt is a reference to one of the settings in Rick and Morty, the Butt World. The planet I will be drawing will also be in the style of R&M. Finally, the way I use Edvard Munch’s work is a reference to how R&M can travel to different dimensions. This is also supported by an actual fan artwork shown here:
BUTT…. DISCLAIMER: I really did have the idea before I see this so… Quite surprised to see this lmao. The overall space theme is also inspired by the cartoon.
Anyway, I think the Rick and Morty style fits the crude look of this row, so yeah.
First panel, I am a balloon. The reason for a balloon is because balloons get inflated. I want it to represent my ego, because of how it can be inflated / deflated / popped. The balloon is also a fragile thing, which is how I view my ego. At some points, I will be confident, with inflated ego. At other points, my ego just goes pop. I want to use the colour green to represent my ego, because I am a person that envy people easily. So ego + envy = not a good thing, right? Anyway, since the background is going to be spacey, I’m going for analogous colours, Green + Blue + yellow (stars). For this, I try to make the blue dark, so the green can stand out.
Process: I first went to paint this with acrylic paint. This is consistent with the other 2 panels. However, the colour seems off for one of the panels, so I decided to do a scan for all of them and did image trace to create the paint-ish look instead. I can then alter the colours. Although, what’s lost is the 3D-ness of the paint, which is a pity.
So this inflated balloon is going to meet something he don’t want to see. A person achieving. Oh no! Someone is going to be better than me? OR someone that is already better than me. What will happen???
So this person is going to be represented as a spaceship, as spaceships are launched high up in the sky, to achieve a goal in space which is like out of ordinary. To stay consistent, the design of the planet should be the same as the previous row’s because of continuity. So I’m stuck with the same colour scheme. Nonetheless, I’ve throw in a bit of red on the spaceship to make it more of the highlight, focus, rather than the planet. The colours are going to be triadic due to the way the colour turns out using acrylic paint.
Oh, the planet is the same one, but painted in a different way. You can see the complexity have increased. This is due to me trying to follow the art style of Overwatch to make it consistent.
If I see someone that can achieve high, I get jealous. I feel like I can’t achieve as high as anyone else, and I beat myself down. So to illustrate this, I zoom into the planet once again, and in this panel, my favourite character in the game ‘Overwatch’, McCree, is going to shoot me down. McCree is basically a cowboy that has an ultimate ability to instantly kill his enemy(ies).
This is McCree
When he uses this ability, everything looks sepia. I’m basically trying to use the style of the game to create the overall look of this panel.
Skull reference and ‘ELIMINATED’ text:
The panel is going to also be inspired by Starry Night by Vincent Van Gogh.
The colour scheme I’ll go for… The sky is blue, like the Starry Night painting. The ground, however, due to consistency with the planet’s reddish ground colour, is going to be red. However, blue and red don’t match, unless it is split complementary (with yellow for stars). So that’s the only colour scheme I can go for. To make everything more harmonic, I added the sepia filter.
I made the swirl into the smoke coming out of the gun. The spaceship can be seen here, flying high up in the sky, red in colour. So there you go.
A family portrait :3 . These are the original painted pieces
I am a satellite. A lost one. I got lost because
1. I don’t really listen to people or instructions because I *SPACE* out. (get it?)
2. I read information wrongly, or interpret some things wrongly.
SO, that’s me. A lost satellite reading wrong information. I got inspired by the Mars rover that’s supposed to go to Mars but missed it or crashed ( can’t remember) due to it being coded by imperial units, and then input by metric units (which caused it to calculate wrongly or something). For this row, I am heavily inspired by Kurzgesagt, AKA ‘In A Nutshell’. They are an educational science youtube channel that has a distinct style.
The way they illustrate deep space
I noticed the way they draw clouds/cloudy things, which is lovely, and I noticed how their clouds are used in many other designs around ADM as well as other places. So, I think they’re pretty influential. The colour scheme for this, I have to stick with dark blue and something else because the ‘space’ part needs to stay consistent.
This is the satellite I’m referencing.
Initially, I wanted to make a realistic render of a satellite:
But, it was a bit weird, and I suddenly remembered I wanted to do a Kurz Gesagt row. So I scrapped it. I experimented with different colours:
I was just messing around with the colours, and eventually I settled for bronze, and applied complementary colours : Blue and Orange.
I used a gradiented backdrop to make it not so flat. The stars are indivudually made circles of different sizes, so it’s diverse. I added a ‘?’ and some electric sparks to show that it does not know where it is going and probably is damaged. I also added a gradiented layer behind the satellite to show that it’s moving quickly towards the right.
So this panel, I wanted to just put empty space, as in, illustrated space. But it doesn’t bring context to the next panel.
Empty space, with a small planet in distance.
Therefore I forced a planet in, and try to make it blend as much to the space as possible so it isn’t so visible, but adds to the context of having a planet. So anyway, second panel is ‘give it enough time and space’, so meaning the situation is to give my lost satellite enough time and space. You can already expect what’s next. It’s not going well.
For colour scheme, I want to portray the planet as a more hostile one, reason is I want the next row to be set in a hostile place, and for consistency sake, I need this side of the planet to have the same colour scheme too. I used purple and red because it gives an ominous look. Somewhat poisonous. I used split complementary:
The yellow is being thrown all the way into the white area, so technically still split complementary?
This is the first version, which I think is too bright. The purple makes the whole composition unbalanced and messier, I feel. I want to keep the red. So in order to make the red stand out, I darken the purple.
(I ended up enlarging the planet and changing the colour to blend it with the background, covering the ‘clouds’ which I feel sad about 🙁 )
Third panel, I crash and burn into the planet. Yep. So at first, I didn’t know what artwork to reference to. Shirley gave me a good reference: Raining Men by Rene Magritte.
I also referenced a Kurz Gesagt-inspired digital art of a comet
The colour scheme, together with the last panel and last row, is inspired by Disney villains colour scheme.
You can sort of tell the purple and red are also in the planet’s colours.
So the colour’s gonna be analogous
So, combine all these together, you get:
Crash and burn.
So for the last row, I will be using paper collage. I am inspired by overlaponeanother:
They are a design studio that specialises in paper with patterns, and they will present their photos with lots of patterns overlapping one another.
I really like the kind of stuffs they do, the kind of patterns they use. So I thought about making my own patterns and put them together to form shapes.
I came to realise that this type of paper collage has a name called piecing quilt patterns.
So in this panel, I am a chameleon because I can adapt to places easily. I can learn and mimic people quickly so as to adapt to their style and make friends that way. I am also very carefree and very ‘anything’, so I want to be depicted as a calm/chill little chameleon.
Idea of applying patterns:
So this chameleon is going to be in a tropical setting, it’s home. Where it’s comfortable, where it doesn’t need to blend in.
So I decided to use these leaf patterns for the background.
So the chameleon is going to be depicted by these circular wave things, to indicate that it is chill.
Lastly, the tree branch that it stands on:
The colour scheme I will use is analogous, more to the green side:
Looks pretty chill to me 🙂
Second panel is going to be in space again. The situation is a foreign and hostile planet, symbolising an environment that I, the little chameleon, am not familiar with. It will be the same planet as the 3rd row’s 2nd panel.
I want to depict the place as hostile, so I used triangles.
And once again, the same colours, but with green as the other end of the split complementary, as I added a ring to the planet (invisible in the other panel, visible in this panel). The reason for the ring is to distinguish this planet from the other planet at the top 2 rows, other than the colours.
We can see that this scheme is taken from the villain colours:
So yeah. Even the stars in the background is made of patterns. I kinda was imagining a wrapping paper kind of effect, so yeah. I’m happy with the outcome!
Last panel of the last row. This is going to be my reaction to being in a foreign and hostile environment. I once again zoomed into the planet for the last panel. When I am in a foreign place, no matter how well I can adapt, I will still feel nervous. On the outside, I seem okay I think. But on the inside, I am trying hard to adapt, to blend in. I feel nervous because I don’t like interacting with people that much. But ironically, I can adapt well so… It’s a bit weird, and hard to explain.
I decided to use a lot of sharp-looking shapes like diamonds, squares, zig-zags, etc.
They’re mostly geometric.
So, with these patterns, I form a hostile looking place. The reference for the background will be The Persistence of Memory by Dali:
The reason for this is that it is a strange place to be.
The colour scheme will once again be the split complementary colours in the disney villains. I feel like it’s very repetitive to use it, but it is only because I have to be consistent with the overall look. Now come to think of it, it’s not a very good idea cos in the end, there’s very little colour choices to play around with…
Then again, I played around with the weight of the colours, so that’s something I tried. For this composition, I used more red and green than the purple, using purple only as a touch to not make everything too bold. Whereas for my other compositions, it’s mostly red and purple, which is to give a more harmonic look. The colours picked here, together with the patterns, make everything quite messy. But it is quite intended because I want it to be a hostile place. In a way, it works, but again, it doesn’t because it’s a bit too messy. I can justify, though, because there really is a need to separate the different elements of the painting with colours and patterns.
Oh, if you realised, I used the floor patterns from The Shining, a horror film made by Stanley Kubrick (originally from Stephen King’s book) to depict the floor. This floor pattern is pretty iconic, and I want to use it to depict the horror setting.
Overall for the last row, I will cut and paste the pieces to form an image, rather than it all being on the screen and printed out nicely.
Image taken from http://www.nerdophiles.com/2014/03/06/discussing-dreams-and-reality-with-the-wind-rises/
Airplanes are beautiful, cursed dreams, waiting for the sky to swallow them up. – The Wind Rises
She was beautiful, just like the wind. – The Wind Rises
Every engineer has his 10 years in the sun – The Wind Rises
I am afraid I can’t do that Dave. – 2001: A Space Odyssey
I’m afraid. I’m afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I’m a… fraid. – 2001: A Space Odyssey
Which knot did you tie, Borden? – The Prestige
That’s why every magic trick has a third act, the hardest part, the part we call “The Prestige” – The Prestige
So, I guess we are who we are for alot of reasons. And maybe we’ll never know most of them. But even if we don’t have the power to choose where we come from, we can still choose where we go from there. We can still do things. And we can try to feel okay about them. – Perks Of Being A Wallflower
Right now we are alive and in this moment. I swear we are infinite. – Perks Of Being A Wallflower
We accept the reality of the world with which we’re presented. It’s as simple as that. – Truman Show
In your face, Neil Armstrong! – The Martian
I’m going to have to science the shit out of this. – The Martian
Let’s write our names on each other’s palms – Kimi no na wa
Please make me a handsome Tokyo boy in my next life! – Kimi no na wa
Despite knowing the journey… and where it leads… I embrace it… and I welcome every moment of it. – Arrival
“Language is the foundation of civilization. It is the glue that holds a people together. It is the first weapon drawn in a conflict.” – Arrival
Abbott is death process. – Arrival
Coffee with some aliens… – Arrival
I love this thing because you gave it to me. But the truth is… it is one fuckin’ ugly tie! – Shutter Island
Which is worse, to live as a monster or to die as a good man? – Shutter Island
Those aren’t mountains, they’re waves. – Interstellar, 2015
Alright, with these quotes, let’s break them down!
1. Mountains, waves, doubt, fear, reaction.
Mountains: Rock, giant, wall,
Waves: Ripples, fishes
Fear: Constricted eye
2. Sight, quiet, understand, wallflower.
Sight: Eye, bird, light, camera (without button),
Quiet: Lips closed or covered, water,
3. Fear, botany, powers, mars, plant.
Fear: retreating action, constricted eyes,
Botany: Plant parts / whole plant, soil, spade
Powers: Electricity, muscles,
Mars: Ares, chocolate bar, rock, boy, curiosity
4. Morning, speculate, afternoon, evening, night.
Morning: Breakfast, sunrise, 8am, people going one direction, (transport)
Afternoon: Lunch, sun high, 1pm, people at work (work)
Evening: Dinner, sunset, 6pm, people going the other direction (chilling)
Night: Bed, moon, 10pm, people at home (home)
5. Abbott, alien, heptapod, death, process.
Abbott (alien): alien crab, octopus,
death: corpse, skull,
process: duration, 4th dimension,
Compositions and detailed explanations
First composition: Mars will come to fear my botany powers. – The Martian
I’ve gotten an idea from the quote ‘Men are from Mars, women are from Venus’. Upon further research, I realised tha the male symbol is the same as the Mars symbol:
So, I used a man to represent Mars.
Next, botany is the study of plants, so plant designs will suffice. I used an alien gun to represent the main character in the movie, who is a botanist stranded in Mars. I like the idea of using a man to represent Mars, and an ‘alien’ to represent the human, who is really an alien to Mars. By using the alien gun shooting plant parts to ‘Mars’, I want to create the idea of an invasion, man invading Mars with botany.
I further enhance the idea of an invasion by spreading electricity in a circular manner, making it look like the powers are spreading across the whole of Mars. I tried to arrange the bolts in a way that makes it look like it is coming from the flowers, instead of the other way round. It works by making the flowers big and having small bolts overlapping the flowers, making it seems like it’s coming out from the flowers.
Then, I added an eye, covering the entire face of the man representing Mars, and constrict its pupil to represent fear itself.
Although the meaning is present, the composition looks a bit plain, so I added the symbol itself to enhance the identity of the man being Mars.
And there we go. The first composition, filled with meaning, but lacking in composition.
Here are thumbnails of my work process / variations
Composition 2: Those aren’t mountains, they’re waves. – Interstellar, 2015
Initially, I wanted to use giants or fences to represent mountains, but I ended up using cows, as cows’ bodies have interesting shapes that looks like mountain. Cows are also grounded and strong, so they are good representation of mountains.
To represent waves, I use fishes and sea creatures, because they’re not just a part of the ocean, their movements are also like waves, left and right.
At first, I wanted to use an octopus to represent the waves, hiding behind a cow. But it’s very odd. I decided to have a fisherman, because I just like the idea of fishing.
I think it adds on to the whimsicality of the whole composition, and it is also very symbolic. In the movie, the characters are like the fishermen, trying to find the source of a GPS signal in a planet filled with water. Their spaceship is like the boat, and they are the fishermen, fishing for the GPS. They looked afar and saw mountains, which, upon closer inspection, are huge tidal waves.
In the composition, I used the sea of cows (strong foreground) to represent the water world, and the fishermen are fishing within the cows. (if you look from far, the cows do look like mountains) But to their surprise, a fish came up, and sea creatures crawled upon the boat, causing havoc, like the waves in the movie. The fisherman, conveniently wearing a space helmet, has eyes that expresses fear, like in the movie.
The composition is designed to bring the quote to another context, while maintaining its meaning. For instance, the mountains are usually on the background, but I’m using it as a foreground in this case. This also creates a visual hierarchy, fish, fisherman, cow.
I applied rule of thirds to the fish, making sure that the focus is the fish, even though there are other elements fighting for attention. I also arranged the elements around to lead the eyes from the fish to the fisherman, through the curves and the movements of the tentacles.
So there we go, the most precise composition I did, the one I am most proud of.
Composition 3: You see things. You keep quiet about them. And you understand. You’re a wallflower. – Perks Of Being A Wallflower, 2002
The initial idea is to literally have an eye, mouth, zip on mouth, connected to a brain. The idea is too literal, despite how nice I could imagine it to be. I scrapped the idea completely, and went on with something more in depth.
I liked the idea of having a prism. A prism captures light, then refracts it internally, and then spreads the light out into a rainbow. In a way, it can be a metaphor to the whole seeing and talking and understanding thing.
I’m inspired by this fanart of Pink Floyd’s album ‘The Dark Side of the Moon’, which showcases a prism spreading light. The prism basically ‘sees’ the light by absorbing it, processing it (understanding) by refracting, and then spreading it out into a rainbow, like when someone talks about something they see, it tends to be a bit different from the original.
For my composition, I’m using different elements to craft the idea of seeing, keeping quiet, and processing. Oh, and the last part, wallflower.
These are some of the images I intended to use for my composition. After some iteration, I decided to drop the zippers and the brain, and add in some dingbats of eyes, locks, and keys, which I feel enhances the overall idea.
The eye enhances the idea of sight. The lock is used to lock away the scattered beam of light, and the keys are behind the prism, suggesting that the keyholder has the power over the light scatter but it doesn’t do so. Finally, a flower is in the background, representing the wallflower.
The overall composition is framed around the prism, which is the representation of the main character in this quote. The rest are just supporting elements. I want to use lock and keys to create some distortion of reality, so as to make the overall composition more interesting, and also break away from any literal meaning in the composition.
Composition 4: Abbott is death process – Arrival, 2016
This is a tricky one, but I am not daunted! I really like this quote for its sheer simplicity and its meaning is so strong and whole, it’s one of the most impactful quote in the movie. This quote leaves the viewers in the mystery of what it means by ‘death process’, and makes us wonder where did Abbott go in the movie. Did he really die? Why can’t Costello just say that Abbott is dead? Is it because of the lapse in understanding between the alien language and the human’s? Or is it a way of saying ‘death’? (turns out, it’s the last one).
In the movie, the alien don’t see time as we humans do. They see it as a whole, and they know the timeline of themselves and everything they interact with. To them, time is like space, you can always revisit yourself in another time. In short, they live in the fourth dimension, where time is just like another spatial dimension.
Okay, I digress. So these aliens look like octopuses because they are squid like creatures with 7 legs (named heptapods). Initially, I wanted to create a heptapod out of insect limbs, and then remove them along a path, like in my sketch.
Here are some examples of images I used. I was also inspired by the image of evolution:
However, I try to break away from creating a linear design because I want to amplify the idea of the creature’s perception of time. I want something that is happening all at one time.
This was my first lazy design. It wasn’t that great even though the background is pretty cool. Now, I’m thinking of creating something more surreal.
I’m using chicken as the subject. Why? I am inspired by how every part of the chicken, from the unborn to the adult, can be killed for food. I am also inspired by the question ‘which comes first, the chicken or the egg?’.
All these properties of the chicken describes the character in the quote, Abbott. Abbott cannot see time, therefore he is the unhatched egg, the chick, the chicken. I want to show here that every version of Abbott is dying, thus him being in ‘death process’.
I wanted all of Abbott to be in the frame, and all of Abbott to be dying, that’s the idea. Although it isn’t really the same as the exact meaning in the quote (which is that at that moment in ‘time’, Abbott is dying), I feel that this composition holds the meaning of the quote out of context and in its own interpretation.
Anyhow, I use leading lines and rule of thirds to lead the eye to the chicken.
p.s. now come to think of it, it may look funnier to have the chick lie down instead of standing up. I guess I’ll consult first and edit it in the refinement.
Composition 1 improved: changed the background to more consistent lightning bolts, to create more density and depth. Changed the flowers from ding bats to an image, which works better as it makes the composition more ‘whole’. Made use of negative space within the lightning bolts to create the effect of an energy ball coming from the gun. Overall give a more powerful feeling, less bland. Satisfied.
This is my final one for print. I only resized some elements slightly and added a black background to make the fish more outstanding, and also dampening the other elements that are fighting for attention.
Unfortunately I have printed the wrong version for silkscreen, so for the test print I will just do the one I printed, and I will redo this during recess week. (cons of having too many versions 🙁 )
Silkscreen Trial and Process
It was hard for me to decide which composition to use. I grew attached to the right one, but I like the overall composition of the left one!!!
In the end, after asking for different opinions, I chose the one on the right, as it explains more about the movie and has decent composition.
After drying the silkscreen board, coated both sides of the board with emulsion, drying it again before sticking our transparency onto the front of the silk screen board.
Next, we send the silkscreen into the UV light machine thing, which uses UV to harden the parts that aren’t covered by the black ink in our transparency.
After that, we sent the silk screen to wash. Here’s a video of the process:
Shag face aside: Yay! My silkscreen is ready.
It was at this point when I realised that I printed the wrong design, which means I have to redo it on recess week.
Once the edges are taped off, coins are used on all 4 corners of the screen to create a gap between the screen and the medium that is to be used for the print.
The next few shots are taken by Claire, and Tiffany helped with holding the board for me. The MVPs!!!
Spreading ink like butter
Here we gooooo
A failed attempt
Takeaway from this is, the first print will always be bad, so there is a need to ‘season’ the silkscreen first to allow the ink to be spread more easily on the second attempt. It’s best to nail it on the second or third attempt, because the ink will seep through the board if there’s too much ink (too many attempts).
The squeegee should glide across the board, not pressed down hard. It should be one motion, swift and accurate.
I’m looking forward to printing this on my tote bag, and also on a spare t-shirt. Actually, I might use both designs and see which works best. I may also want to try my own designs!!! A bit xiao exciting 🙂
Before I go with the final prints, I wanna show some of the other prints made on newsprint which I find successful and worth showing hahaha
I decided to try printing my other design on my tshirt as a trial, since I feel that it is visually more appealing than my final one, even though my final one is more meaningful.
Turns out so well! I’m really proud of this. Unfortunately, this isn’t the print that I’ve chosen for my final. Because I love this design so much, I’ve made it into my own tshirt 🙂
But then, there’s new instructions that there isn’t a rule that the design must be on a tote bag, so yay! I’m gonna wear this during submission and bring my tote bag as well!
IT DIDN’T TURNED OUT WELL D:
The tote bag was too uneven, and the design seems to be too complicated, so the results ended up wonky. It is hard to gauge how much ink I need, and my design on emulsion wasn’t aligned well on the screen, basically everything was wrong.
Here’s the video of the fail:
I had to go get another tote bag. I’M REALLY GRATEFUL TO JOY (not the teacher) FOR PROVIDING ME WITH HER TOTE BAG TO PRINT T . T
I went to try again, this time, pressing harder, using more ink, and aligning better
AND YES. IT TURNED OUT WELL
There we go.
My A4 printed pieces:
That’s this assignment, all done and well. Yay!
Before I end off, I’d like to share some extra stuffs we done too!
Making of the basement crew tshirts (2 different designs)
Timelapse of printing:
What I learnt from this: I did silkscreen before in poly, using stencils. This time, I learnt that there is another way to do it, which is much simpler and more effective, that opened my eyes to new processes I never seen before. Also, I learnt to be more flexible with my adobe programs, as I have learnt photoshop now, I can mix both photoshop and illustrator skills together to create more things.
Working on silkscreen is so fun, especially when you get to keep what you make! The satisfaction from a successful print is like… woooooooooooooowz.
I also enjoy the process of creating the visuals from the quote. It is fun to conceptualise and create something unique and holds meaning too.
So, crit is over, and here we have what I submitted. My ‘Anxiety’ piece is the one most liked by everyone, even though I feel that my best work is ‘Longing’ and ‘Captivate’. Still, thanks everyone for the loves there :’)
Optimism. Optimism, to me, feels like rhythmic pulses of positive energy, which is depicted in the waves as seen on the image. It is full of power, so its whiteness is intense. The stroke shows direction, moving from down up, which represents the upwards feeling from optimism. This piece is inspired by the song ‘Miracles (Someone Special)’ by Coldplay, which upon listening, had me knowing I can go on and on, to not give up.
Captivated. Captivated means to be completely drawn by something. I used fabric to depict this emotion because fabric flows, and has creases which can lead people’s eyes to the center. To me, being captivated is to be blind to anything else, which explains the pure blackness and the single white focal point. The crease allows the piece to be full black, while still create a way of drawing people’s eyes to the middle. It represents the tunnelling of the vision to the focal point without the use other marks. This piece is inspired by the song ‘Captivate’ by Midst, which has instrumentals that depict what it’s like to be captivated (muffled and spiralling sounds).
Regret. Regret is a process to me. It starts from an event which happened, which can produce a certain effect to the person. To me, that effect is something dreading, and it lingers. This is depicted through the smoky marks made by a candle flame. The next stage of regret is the thought processing. When the person thinks back on the event, and the feelings. This makes the person feel more uncomfortable, and is depicted by watered ink, dabbed in a manner to create a clearer smog. Finally, the regret hits the person hard, and the person feels a very intense and somewhat aggressive feeling, which is depicted through the jagged and solid marks. This piece is inspired by the song ‘Talking with Strangers’ by Miya Folick, which has a similar flow of emotions depicted here. In the final chorus, she sings with great pain ‘how did I miss this lesson when I was young?’ which was very intense and haunting.
Longing. Longing is an intense, achy, yet somewhat sweet and gentle feeling. The reason why I use tissue is that when ink dries on tissue, it create little creases or wrinkles that creates a feeling of the aches in longing. I use solid ink on the tendril looking mark as longing is an intense emotion. Yet, the emotion dances within the heart, which is depicted by the gentle curves of the stroke. The smoky parts are made of watered ink, which depicts the lingering feeling of longing someone you miss. The tendrils are made in a way that it depicts a longing for joining together, but it is broken by the boundaries of the torn tissue. This piece is inspired by the song ‘Touch’ by Shura, which had always made me feel bittersweet when I listen to it.
Fury. Fury is a very intense emotion, an intense emotion of hate. But for a person to hate someone, there has to be a back story. In the background, I used watered ink to create a cloudy mark, which symbolises the turmoil that a person have to bear before getting angry. Then, fury strikes down hard. Intense and sharp lines are made, focusing into the middle as if clashing down upon something. This piece is inspired by ‘Free’ by Broods, which isn’t about fury, but it creates a fiery feeling, and it feels like she is ready to strike down on someone.
Anxiety. Anxiety, to me, is an invisible thing on the big picture. It seems small and calm, which is depicted by the horizontal stroke in the middle. Then, the anxiety builds up, and reaches the point where the person breaks down, depicted by the disturbance in the middle. But upon closer inspection, one can detect the jaggedness of the strokes, which depicts the jittery feeling of anxiety, quite often missed by observers. The strokes are also covered in coarse salt crystals, which depicts the inner jabbing feeling in a person with anxiety. The white clouds can be seen when looking at the piece closer, which is something invisible seen from far. This is to enhance the idea of anxiety being invisible, but within, it is lingering around. This piece doesn’t have a song, sadly 🙁
I have mentioned about material exploration in class today during my presentation. To me, material exploration is the most fun part of this activity because I really like playing with those stuffs and seeing what each creates. Unfortunately, I had wasted a lot of time on doing that and planning my experiments, that I did not spend enough time developing on what emotions I should work on. Partially also because I feel that doing the emotions first will seem like ‘working backwards’ to me, which I would avoid doing. I thought I could feel the emotions through the materials I use, but it didn’t happen.
I also have spent a lot of time on one piece, Captivated, which all failed and I reused the original work. I had to move on because I really was spending too much time on that. What I learnt here is to be ready to work on the same thing multiple times, and work earlier.
That’s all. It’s been a tiring but fruitful project 1. Looking forward to project 2!
The given text and video resources on Blackboard have helped me understand a bit more on mark making. Here are my thoughts:
I think monoprint can be explored vastly because there are a lot of materials we can use and we can play with not just the shape, size, side of the objects we use, but also the space. I’m excited to see the various type of effect created by thin materials, for instance, the cheese cloth example shown in the video.
Fumage is cool but I think it’s very limiting cos there’s only one way of doing it, which is to use the smoke of a flame to create marks. Unless, maybe we can use another medium in between the flame and the paper to create different effects? Something like a funnel. Hmm…
Mist mark making is cool. It’s quite like monoprint, but just that you gotta let the ink dry up. I’ll be interested in seeing what the outcomes will be for different materials.
Decalcomania… It really looks nice when it’s all colourful. At this point all the resource videos really opened my eye to what you can do with materials and mediums haha. Feel that it’s gonna be fun! Anyway, I digressed. I think it can be fun to do, especially using it to create symmetrical works.
Grattage, the end results is nice and all, but just very boring, in terms of material exploration.
Nail polish art, I’ve seen this before! Marbling. I think the outcome is nice and it can be experimented on using different solutions.
Week 2: Intense research
I went on to read up more about mark making online, how different strokes is made and what they mean.
“Marks are not just used to form the pictures that artists create, they are also used to add expression to the work. Some marks may express movement while others express stability and strength.
Artists can use slashes as marks to express anger or curves as marks to express calm or peace.
Marks can be descriptive, expressive, conceptual, or symbolic. They may be bold and clearly state the intention or they may be so subtle that the concept is only perceived by the viewer’s subconscious.”
The above links explained the different kind of mood different marks have. Here are my notes:
The research is broken down into two different parts: first is identifying the different kinds of lines, and the other is what the lines mean.
The next part was kind of experimental. I really love music, and music makes me feel. So I thought, why don’t I use music to help me find the perfect emotions I should work on.
It is interesting and fun to do this, but it is very inefficient and time consuming. Nonetheless, there’s some effect and I’ll attach each selected emotion with a song to listen to, to immerse myself in the emotion.
I also went to research on artists that make abstract marks in hope to understand more about what different mark means. An example is Picasso.
In this painting, Picasso used strong strokes to represent harder shades, and thin strokes to represent lower toned shadows. In certain parts of the painting, there are no strokes at all at the silhouette of the subject.
I like how Kandinsky can effectively portray the movement of the horse and the man with just abstract strokes. A lot of diagonal lines that depicts movement.
What does each emotion mean? I’ll try to define each emotion subjectively so as to understand them at a personal level. I intend to listen to musics that evoke such feelings to aid my understanding of the emotions.
Hope is something that makes you look forward. It encourages, and motivates. It is something so strong, yet feels so soft. It leaves you warm and pulsing. It gives energy in a spiritual way. It is as though your soul is trying to reach out to grab hold onto something. It also in some cases helps you to push yourself, physically, to keep pressing on. It goes on and on and on, up and up and up.
Hope, to me, is something rich and full. So I’m going to use the mixture of glue and ink to create a thick texture. I’m going to use something that can create a define line, something like a toothbrush, or a piece of sugarcane fibre. The reason is that I feel hope is something solid, and it has a flow to it (from small to big) so it can be represented by the amount of lines present. Perhaps from a single point, some lines, to a lot of lines, all going upwards.
Being captivated is to be brought into another world. It’s, to me, something unconscious. You’re so awed by something that you don’t even know it. Being in wonder. It is also focused, everything else drowned out, sound feels muffled.
Enthralment: Fabric + Ink + white ink.
Fabric shrinks when you add paint to it. So by creating difference in ink density, the fabric will shrink accordingly and create the funnelling effect I want. The folds on the fabric will represent the energy focused down to the middle. The entire thing shall be pure black because being captivated means not seeing anything else. But maybe I’ll use a bit of white paint to guide the eye.
Longing: Song: Touch – Shura
It’s a bittersweet feeling. It’s like a push and pull. When you long for someone, you feel sweetened by the thought of someone. But the person is not around so you feel like something is missing, or lost. The feeling is powerful, all over, but it’s more central, near the chest, and quite pulsing. It’s more pain than sweet.
Use tissue + ink + water
The reason tissue is used is that tissue gives a wrinkly texture, which can represent the aching feeling.
Loneliness: Song: All I Want – Stonefox, Ovenbird – Brooke Waggoner
Loneliness is knowing that there is nowhere to go, and no one to be with at a given time. Even though there are options, you just feel like it either isn’t enough, or that it isn’t appropriate to make a connection. It comes with a lot of thoughts. It’s stale, it needs comforting.
Salt + ink
Resentment: Song: Free – Broods, Never Ending Circle – CHVRCHES
Resentment is a continuous bitter feeling. It lingers and it can get powerful if uncontrolled. It is quite blunt, and can feel like a sore, which pulses, circles around. Bassy feel. At one point, there is some outbursts. Very prickly, very sharp. But it strikes only once, or for a short period of time, before dying down. It is very focused, at one thing.
Ink + tire brush to create an aggressive mark.
Regret: Song: Talking with Strangers – Miya Folick
Regret is a very down feeling. It’s very low to begin with, and leaves you thinking and thinking, how you can make it better, why did something go this way? It makes you reflect about yourself, and reflect about your past.
I feel that regret can be represented in 2 parts: the reflection, and revelation. During the reflection, it is low and dull. It is fuzzy and moving a lot, very fast, because you’re thinking. Then, the revelation comes, it becomes clear. And it starts to get sharp, strong, and overwhelming.
Regret: Transit from soft fuzzy strokes to clear, strong, aggressive strokes.
Other than documentation, I’m going to track my thoughts in words here, or else I’ll get lost in my thoughts hahaha. It’s going to get wordy, but I’ll try my best to make it fun.
So, for next lesson of assignment 1, we got to find materials to be used as tools to experiment with the ways of making mark. Some of the senior’s works really opened up new doors for me, helping me think further than just what’s presented to me. Now that I know the different ways to make marks, it’s time to really find out what effects different materials create, so my objective is mostly to experiment with as many different materials as possible.
Stuffs that can be used to spread ink
tissue (different forms of tissue)
Stuffs that can be mixed with ink
(given example) butter, ground coffee
Stuffs that can be used along with ink
straw / hose
Stuffs that can be used for stamping:
Stuffs that can be used between flame & paper:
Some other ideas:
use 2 or more mediums and throw them together? Or roll 1 object on top of another object in a fixed way to create a rhythmic-ish pattern
using a cactus…. hmmm… :/
i’m quite interested to see what happens if i shoot a nerf dart with ink on paper
Ayy, I’m going to pick up any items I find interesting as I walk around school so yeah, going to be a junk collector.
Week 2: Mark Making
These are items that I think can be used for mark making. I’ll list the items here:
Foam balls – They are those little balls that can be used to fill bean bags.
Toothbrush (don’t worry it’s clean!)
Pen that is shaped like a grass which is rubbery so I think it will form interesting outcomes
I only have some ideas on what to do with each material, and I’m thinking of experimenting on these items as much as I can in the next session, and see what the outcomes will be before deciding on what each outcome mean to me.
So here are the tools I brought today! Let’s get started.
Our first contester is the fidget spinner! Yes. I thought it will be interesting to spin it and roll it on the paper, since it will create repetitive marks on the paper.
Quite interesting! There are many kinds of mark that can be made despite it seemingly only have one way of making marks. The amount of pressure and the speed of the spin create different results. In medium speed, I can vary the pressure. The softer I press on the paper, the more continuous the mark becomes as seen on the top of the paper. If I press on the paper too hard, the fidget spinner will come to an abrupt stop. This creates a big splat, and it is quite inefficient to create marks this way.
The amount of ink on the spinner also affected the mark. As seen on the bottom, when there is lesser ink, the mark create will be more controlled and faded.
Next up, the bottle cap
Since the bottle cap is off shaped, it is hard to stamp it and create a consistent mark. Thus, I tried dropping it onto the paper, creating this dotted ink marks. It gives off a repetitive and rhythmic look. I tried stamping with the other side of the cap, and created this round Arrival-movie-language-ink-blot-thing, which isn’t very interesting. It’s very uniform, that’s what I can say about it.
Next up, an oriental ornament (say that 10 times real fast). I think what’s interesting is to twist the ornament and spread it onto the paper like a mop. It created this short, broken and inconsistent strokes, almost sharp, quick, speedy. Dabbing the ornament creates just spots that are inconsistent. When I dipped the ornament halfway into the ink and stroke it onto the paper, it created longer and more continuous lines, which can suggest more speed. The whole paper turns black when I dipped the entire ornament into ink and stroke it. Just, messy. The ornament soaks up too much ink, so it can create very heavy marks.
Next we have PVC glue. I’m more interested in the properties of the glue than what it can create so it’s more about how it looks like after it dries. The results turned out to be glossy and thick, and has a texture. It gives this feeling of richness and quality, which I think is very pleasant.
Cotton bud creates a very (or too) consistent result. It works almost like a brush tool in photoshop, which can be boring, but it does give off very solid lines.
Next up, foam balls. I tried using fingers to roll them, only to have my fingers accidentally touching the paper. The outcome is very insignificant, so I tried using more balls, and instead of using my finger to roll, I cut off a piece of cardboard to be placed on top of the foam balls to make rolling consistent. The result is a smoky, yet not overly blur look.
Next up, we have tooth brush. Brushing the ink head on creates very consistent strokes, a pity I didn’t experiment with the strength of stroke. The strokes are very tough and harsh.
Dabbing it creates a dusty and clustered look, reminds me of a plague.
Tilting the toothbrush sideways, the strokes create this very rake-like look, which looks very 3-dimensional and depects movement. It is also very strong and heavy.
I’ve used a syringe and squirted ink on paper. But I didn’t document it because I thought it wasn’t good. Looking back, it isn’t bad. I just need to squirt more ink. I could make it drip, creating a perhaps eerie effect. Or, I can just spam it and see how it looks. A pity.
The spray created a majestic piece. It spreads over from a small area to a big area. There are big splats and small splats, which reminds me of the universe. I guess in a way, they co-exist, and in some weird way it depicts togetherness. Like as if the big blots are living together with the small dots in harmony, even though they are different.
Another interpretation is vastness.
This is the result of rolling styrofoam into the rolling thing. I didn’t do it properly, but it did give a pretty interesting result. The balls created holes in the ink, which gave a quite trypophobic. It also looks like something is looking at you. Somehow a bit disgusting.
This is the underside of the previous result. Looks like landscape. Because the ink only seeps in partially, it looks like it is trying to break out, like somewhat oppressed.
Next, we have nails at the top and saga seeds below. The nail is one of the rejected ones because it looks really meh. The nail created boring stamp patterns (the + on the nail is almost impossible to see here) and the only interesting thing I can get is by rolling the nail. It is as good as using a stick to make marks.
The saga seed marks are made the same way as the foam balls. If we were to compare the difference, it appears more solid. It is also quite random, and it varies in stroke size due to the irregularity in the saga seed’s shape. Don’t know how to describe this.
This is cheese cloth. I like the patterns it created. But I can’t think of what it tells me. Hmmm.
This is also cheese cloth, but I tried dragging it around. It created this smoky effect, which is quite cool. Maybe feels a bit nightmarish, fear?
Next up, my favourite material! Sugar cane fibre. It’s interesting because the fibre have different textures from different parts of the sugar cane. First, I tried using it like a brush, creating a uniform stroke.
Next, I used the side and created this thicker stroke.
Next, I tried rolling it, which gives this very nice stampy effect, like trees. It can’t really be unseen so it sort of gave me a very wild feeling.
Week 2.5: More experiments
Over the week, I want to experiment on different medium. Possibly on wood, plastic, and maybe use tools that scratches. I need to do more research, though. I’m lacking on that part. I’ll update what I wanna do.
Here’s a playlist of my processes in video form.
And here are my latest tryouts:
Here we have: Top: Seaweed, Middle left: Bread, Middle right: Pasta, Bottom: Pasta (rubbing)
I think the patterns formed by pasta is interesting. The lines are uniform, but are short. The direction of rolling the pasta can be changed to indicate different direction of lines.
Bread, full page. I like that it leaves behind small crumbs as I stamp. It feels like it is rising, like slowly floating upwards.
This is clay. Clay, when stamped, gives off a smoky effect. It can seem lurking, looming. Or it can also represent clouded.
Red Dates leave a unique imprint. When put together, they look dispersed, and chaotic.
Glue with gouache paint, which has the same effect as glue with chinese ink, glossy and rich texture.
Salt on ink, close up. This created a crystaline texture that’s quite interesting. It reflects light too! I think it can symbolise prestige?
This is actually the water from the real salt crystallisation experiment, but it didn’t work. I think. It, instead, created a smoky effect that works very well with organic lines, creating a bizarre effect. In some ways it can represent lostness, or feelings of being sentimental, longing. Because of the blend of thick and soft, the way the shape looks (shaky, watery), it feels somewhat like it.
Candle painting. I’m not sure what it makes me feel. It’s quite floaty, but in some ways it gives a sense of danger? There’s depth in the softness, something like that. Maybe passive-aggressiveness.
Youtiao. Delicious, and not exactly great for mark-making cos it’s really oily, and the results are not what I expected (cos I cant think of an emotion to relate). For this piece, I stamped the cross section.
This, I just rub it around the page. It has very heavy weight on one side, and tails on the other. There is a quick flowing motion, very vigorous and lively.
When the syringe is low on ink, it can spray a small mist. The effect, I can’t think of any
Curling comb. I like the hatchy effect it has. Somewhat organised, but also somewhat aggressive.
Pardon my leg haha. This is a piece of fabric, for like kitchen deco. I find it quite plain, but quite straightforward-ish kind of feel. os it’s quite uniform.
This is a tire brush. I really like the effect. It is very sharp, very prickly. Very aggressive. When rubbed against thick paint, it created nice negative strokes that are very sharp and aggressive. When doing the thing on the left, it feels like a clash.
Using fake flowers to stamp. It got this outbursty feel. It also have this disperse effect.
WAFFLES!!! What a waste. The effect is very uniform when stamped next to each other. When stamped randomly together, it got this layered feel, because of the way the waffle is shaped. It could create an effect of being stacked, rising in the 3rd dimension.
Fidget spinner, again! This time, with this mark, it got this optimistic rising feeling that I feel is interesting. I think it’s the way I stroke, and it’s also the way the spinner adds strokes in a very minimal way.
Dried chinese herb. When I stroke it and end it off with a sharp edge, it feels like sharp, painful, but also indicates movement.
Using cooling powder and flour creates a thick texture, that’s rough and vigorous. It feels powerful.
Week 3: Final work processes
So, within this week, I tried fabric and tissue also, and found that they also create interesting marks. Unfortunately I didn’t document them. But what I did document are other materials like cardboard, wood, clear plastic, sandpaper.
This is clear plastic. I used different types of strokes I created to try out (ink + glue, ink + cooling powder, ink + water, pure ink). This is applicable to all my trials. This material don’t work, because when the ink dries, it can be easily peeled off from the material.
Wood is much more absorbant, so a lot of textures will disappear when using wood. Not a good material to use.
Sandpaper is rough, and the background colour can be covered by the ink. There is potential in this material. However, when the ink dries, the paper shrinks for some reason, and it creates a kind of smell. I think a chemical reaction occured between the ink and the sand paper XD.
For fabric, what’s interesting is that when wet ink dries, it folds the fabric along with it, creating a crease.
For tissue, the same thing, but on a smaller scale and is a more permanent effect. The tissue will fold and get stuck there due to the ink, creating many small creases that gives a wrinkly effect, which I think can be associated with dull pain.
I’m just going to document how I did each piece, without explaining what each piece is about or else it will get spoiled for the crit!!
So this is the tissue one. Since tissue is not big enough for the entire size, I tore the tissue into 2, and used 2 tissues, leaving a hole in the middle. Once the glue dries, I started painting.
This is watered ink on tissue.
Close up look, you can see the wrinkles.
Here’s a mixture of ink and flour for my next emotion.
Using ink and flour, which creates a thick texture, I created this piece. This piece is pure black, with the help of folds of the fabric to create a flow to the centre, without the need to use any other marks to draw people’s attention to the middle.
Here’s a version of this piece with white ink, to test if there is a need to use white ink (which I later removed)
I also tried using white, but it wasn’t successful because the fabric stuck onto the table (I should have lifted it up while it was half-dried to allow it to fold). It is quite visible that black has better effect, still. I tried making another black version, but it turned out the same way as the white one, which is quite odd. I guess it has to do with timing the drying process right, by picking up the piece and drying it off the ground when the piece is half-dried.
In the end, I removed the white strokes on the creases as it doesn’t enhance the captivatedness, and in fact, distracts the focal point.
Also, initially I wanted to fold the fabric and then use glue to harden the surface, but it didn’t turn out well. Instead, I tried to just paint directly onto the fabric and see what happens. Turns out the thickness of the ink will fold the fabric on its own, which is interesting to me. What I feel I can improve on is
My next work, I used watered ink to create a backdrop.
I then used a floor brush to create an aggressive and brutal mark.
This is the final look. Two of these were made and this is the better one.
For the next one, I used candles to burn the card for a smoky background. Then, I used watered ink to create a dark and cloudy foreground.
Using a toothbrush, I added a jagged texture to create a disturbed feel.
The final look
Next up, I have a black-painted card and a white wavy design that is going upwards. Simple as that. The mark is made by tooth brush, as it can easily create the layered look I am looking for.
Salt + ink creating the mixture I want for the next piece
The work didn’t turn out the way I thought it did. The effect is different, but I like it!
Close up, you can see the salt clumped up. When it is dried, it will create a jagged effect.
This work would have been made better, on hindsight, if I made the middle much more disturbed and intense, symbolising the great anxious feeling during a breakdown.