Summer Project Feedback

So, this summer I recorded my summer through a range of drawings. Materials that I used were watercolours, fine lines, pens and gouache. I felt the best way to record my summer was by drawing what was close to me i.e. family and my cats! So therefore essential objects such as my cat’s paw print and my mother luggage to go abroad with, will pop up randomly. 

Fig 1



Fig 2
 

 Fig 3
 

Fig 1 and 2 were the first drawings that I had done in the holidays as I felt the need to go back to my own personal hobby of applying henna and drawing out more designs. I came across Aztec design and incorporated them into my own designs. These two patterns have very similarity in both simplicity and elegance yet neutral colours. Something I would like to be carrying out onto my units. I was able to fuse both of these drawings into one and in Fig 3, you can see that this was done successfully.



Fig 4

Some of my drawings did not turn out the way I planned. For example fig 4 was one of those particularly paintings that was not willing to dry. However, from my peer group’s feedback, they specifically liked that one. They had also mentioned that as my specialism is embroidery, I could layer up materials and work into the pieces individually. I thought about how I could cooperate colour like this onto material mentioning to my group that print is not one of my strengths. What I did not think about is how I could apply colour directly onto the material and work over it.

Fig 5

Fig 5 is one my favourite ‘mistake’ drawings that I had created. What was fascinating to find out was that the marks that was left on the black paint, my peers had thought I had used something on top of it to give it such an effect; when all I did was close the page once and left it to dry.

 



Fig 6
 

Fig 6. A drawing I had control over and I felt that the colours used was just right. The piece is a replica of my Quran. The technique I had used to create the intricate gold design was the same as I apply henna; through a cone.

Fig 7

 

Fig 8

Fig 7 and 8 was created from inspiration from the artist Stina Persson. Persson often uses colour in her work so I had a go doing this myself. I found myself to work better with fusing colours rather that painting the outline of the object. From the feedback I feel like I have an idea of where to start off and possibly develop on.

Artists for Inspiration

First Artist: Dina Torkia

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Fig 2

Torkia is a Muslim designer and blogger. Her work has come an interest to me because of the use of colours for her hijabs (scarves). In her YouTube videos she mentions her purposes for using the colours, materials and sizes. As a Muslim myself I feel that I can relate to her because I wear hijab myself and as an art student, it is unusual for me to wear natural colours all the time, or same style. From this artist, I feel that I can use her technique of dying materials when it comes to selecting materials.

Second Artist: Stina Persson

Fig 1

Fig 2

Fig 3

Most of my colour pallets have been blacks, greys and whites. So for colour to inspire me more I have chosen this artist, Persson. I am familiar with her work as I worked with it before. A specific reason to why her work interests me is because, as I was looking through my first drawing days, I came across Fig 3 and realised how similar our work is. Fig 3 was created from ink and bleach.

Third Artist: Susie Macmurray

Fig 1

Fig 2

Fig 3

Macmurray is an installation artists that works repetition and unusual objects to create her pieces. one piece of work of hers that interested me was the one with shells filled with red velvet materials Fig 2. Macmurray held a lecture and explained that in order to create that piece, it took months of cleaning out the shells and looking for identical shells. this is obviously something you would need patience for. I have experienced a snippet of this from college from my 'depression' project that I worked on, which required me to make several masks as you see the final piece in Fig 3.

From researching artists that I can relate to and who interest me, huge installations has come across as a major interest for me. In the past I have adapted my work to being on a smaller scale with less detail. But from the experiences at uni and looking at other artists (singer, fashion designers, painters etc.) I feel that the best scale for me to work with is big like Macmurray in Fig 1.

Henna

Fig 1

Fig 2

Fig 3

Fig 4

Throughout my Summer in 2015, I went back to my interests of henna designs. After the first year of university, I felt more advanced in designing with different objects, materials and techniques. So I incorporated these skills into my henna designs.

Fig 1 is where I first began my designs (on paper). I then moved onto applying henna on my own body as you can see on Fig 2. I then thought about how I could apply the Fig 1 design with henna onto myself without leaving strong stained smudges; as henna tends to leave stains within seconds. this skill required an awful lot of patience, practice and accuracy. The outcome of how I did that is seen on Fig 3. As I mentioned before when planning to do big installation pieces, like Fig 4 I would love to have the ability to do my henna designs on larger areas on the body.

MY2015SUMMER

CLICK THE  LINK BELOW TO VIEW MY2015SUMMER

https://youtu.be/rOT3ORO4Vxg

I know that this was not requested for the summer project but I felt that when it comes to showcasing something that I have done, I work best with photography. It probably doesn't relate to my profession in anyway but this is something that I enjoy doing. So enjoy!