From the previous post, I mentioned my attraction and interest on the technique of News Overprint. So this post will hold a slightly in-depth portion on my research throughout the project.
(above) I used these images as an example of how I could incorporate designs into my own book page.
(above) I used these images to help me have an idea how I want to make the typography stand out within the designs in the book page. I thought alot of contrast between bold and light, negative space etc.
(above) I refer to Sol LeWitt’s wall drawing line works to see how I could portray my personality by using just lines.
There are other resources that I came across with that I found to be interesting to add on as an inspiration:
The third image uses the same word throughout the work “HA”. The bold effect allows one to actually see what the message is, with its background faded.
The 2 images below consists of Pinterest research on artist Kurt Schwitters on his collage works and the technique of Ephemera:
Continuing research on ‘Connecting Lines’ — I wanted to look further from Sol LeWitt’s line works, example: on how I could use these lines to form shapes or typography?
And after these research, I’d try it out myself to see if it suits with the vocation or personality I chose.
Besides Agnes Martin, I actually looked up on Ed Moses and a little bit on Sol LeWitt. So I went to the ADM library and borrowed these books (see below) for further reference.
Although the research of these 2 artists are brief, I managed to get some information about them and their techniques.
First of, we have Sol LeWitt.
Sol LeWitt is a leading figure of Minimalism and pioneer of Conceptual art. LeWitt’s work is characterized by serialization, repetition, and progression, exemplified by his iconic open-grid structures. LeWitt’s wall paintings are just about the same as Agnes Martin, lines are mathematically drawn. In LeWitt’s case, once he does the calculations and planning, he would get his assistants to carry out the work for him with specific instructions.
I actually watched a documentary before about LeWitt’s art techniques and how he works in the industry. They actually showed his assistants working on the installation — not 1 or 2, but at least 4 people working on a wide wall.
Next, Ed Moses, the artist.
I considered myself lucky to have found the book (see above) in the ADM library. Although the weight was a total burden, I had to do what I had to do for research — BORROW IT!
In the book contained bits and pieces of the artist, his artworks, and FAQs. I admit I was solely interested in his artworks besides anything else. But I picked up a few information from the book as well.
Prefers taking risks, moving beyond what he already knew
Focuses on profound possibilities and challenges of abstract painting
Thinks that painting is an adventure whose ultimate reward is knowledge of self
Mainly uses watercolours for his paintings
Multi-coloured to monochrome
Structure of diagonal & parallel lines
Early paintings formed by a grid
Concept of “Playing with Chaos” — painting without rules or preconceived compositional goals
Works on both sides of the canvas, allowing bled through ghosts from one side to prompt composition painted on unusual materials with unusual tools
Interesting information of his techniques are actually the materials he used for his artworks. As stated above, he uses unusual materials like raw mahagony and unstretched canvas; unusual tools like long-handled mops, sponges and squeeges, besides normal rollers and brushes.
Paint with spray gun — using insoluble mixtures of oil paint, acrylic & shellac
Here are some snapshots of his artworks from the book. (I should have done proper citation of the images. My bad!)
Most of the time when I continued to flip the pages, I was in awe with how contrasting and bold Moses’ artwork are.
In conclusion with these 2 artists, I mainly looked at their artworks for inspiration and motivation to continue coming up with whatever I have at the back of my mind. I didn’t really plan to follow this artist to that type of art piece, I just do without thinking. Then when Prof Ina mentioned mine had some of Agnes Martin’s work in the monoprint etc, I was like…… “really?”
Just like in design terms of “Form follow Function”, this assignment had the term of “Lines follow Emotions” where we had to mix and match the different abstract lines we have to the following emotions.
When I was trying to sort out the lines to go with which emotion, I was mostly stuck on how one actually see the lines as nonsensical for example. However, I decided to just go with my own interpretation of how each line represents the emotions.
With all these strips, it was then compiled and sorted out to their windows… (see below)
Throughout the assignment, I made full use of the layout pad to compile everything I have done into the hard copy journal. It consists of doodling, inspiration images I captured, the different experimentation of automatic techniques, and personal reflection based on research and consultation.
The line definitely went for a walk last Friday during submission and it’s not coming back anytime soon.
I always have these ideas at the back of my mind when I have some “me time”, so I decided to have another session of self monoprinting at my balcony.
So I decided to try several techniques, as attached in the set of pictures above:
Top set contains the techniques of Decalcomania
Middle set contains mixture of inspired Jackson Pollock splattering of paint technique, standard monoprint, and the dripping of paint/ink technique.
Last set contains inspired Mehndi or Henna art (4th and 5th from the left), inspired Art Attack technique of painting over dried glue (first 3 from left) but it failed when the glue flattens as it dries up, and, technique somewhat similar to Sand Painting except the minus off the glue and the sand and replacing it with just baby powder.
*Just some reflections*
I had this thought to myself whereby I feel that most of the time when I do these monoprints and automatism techniques, my mind would be completely blank. Sometimes during the monoprint sessions, I would just loose myself into whatever I was doing, using whatever resources and not actually thinking what I want to achieve in the printing. For example, putting this and that on the mat. Or when trying out the Rorschach tests, I don’t try to draw anything in particular, I just spam inks here and there and that’s what I get.
On the other hand, while trying out the Jackson Pollock technique, I was splattering the ink while I was feeling rather upset, and as I splat more inks, the emotions followed and I actually felt better when I was done.