bad-color-theory

Valerie and Zoe - Y9AR103 - Printing

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puzzle pieces

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evaluation and reflection

Overall, I feel like we had achieved our targets for this project and managed to make a piece that relates to Mona Hatoum’s work, the audience and conflict. There was good use of materials, layering, overlapping, colours and attachments of collage pieces. However, I feel like we can still improve on the placement of the prints, and applying ink and pressure. In the future, I feel like we should experiment more before putting it on the final piece, so some areas wouldn’t look out of place. 

Individually, I feel like I worked well in some of my works, as there was a clear indication of what I wanted to achieve and target. But, in some other works, they didn’t turn out as good as I would’ve hoped. I feel like I should improve on my technical printing skills, my colour choices (to make sure they match), and my layering (to make sure they all compliment one another). 

As a team, Zoe and I worked really well together and can understand what we’re both trying to communicate in our work. We both made decisions and know how to push this project forward which was really useful, although, at times, we were both very indecisive about what to do. We both listen to each other's ideas and comment on it, working collaboratively. Most importantly, we both negotiated which is vital when working in teams. I think what really makes this teamwork is the communication and the fact that we are friends before this project. 

All in all, I quite enjoyed making this project and will use the skills and ideas I’ve learnt in future works. 

_valerie

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conflict

Linking it to conflict, we had

conflict of materials

colours

saturation and vibrancy

layering

disruption

overlapping

direction

order

industry and nature

depth

lines (straight, organic)

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final piece

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In our work, we tried to use a similar colour palette as Mona Hatoum, with reds, blues and yellows, as she frequently features the primary colours in her works.

The use of block-out and stencil also relates to Mona Hatoum, as we are sectioning off areas, with some block-outs acting as a grid system. A stencil we used (similar to a braid pattern) relates to Mona Hatoum, as this pattern is present in many of her works in twelve windows.

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Here, you can definitely see references to past projects and works, such as the layered yellow, black and orange piece. The yellow, red and neutral salmon prints on the neutral piece of paper were added on after the experimentation with this piece:

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In our work, we tried to use a similar colour palette as Mona Hatoum, with reds, blues and yellows, as she frequently features the primary colours in her works.

The use of block-out and stencil also relates to Mona Hatoum, as we are sectioning off areas, with some block-outs acting as a grid system. A stencil we used (similar to a braid pattern) relates to Mona Hatoum, as this pattern is present in many of her works in twelve windows.

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linking it to other artists

One of the first collaborated pieces we did ↑

Mona Hatoum:  There is lots of links from our artwork to Mona Hatoum’s starting from:

grid systems and sectionings

blockout and stencils, especially with the influence of her patterns and ideas in the design

the use of primary colours

red

theme ideas of conflict

use of space

lack of white space

divided

abstract

range of tone and shade

vertical lines

Ben Johnston: Ben Johnston had lots of artworks of typography, which may not be as obviously included in our final piece, but it is apparent in some individual works and in the linear plate that said SOHO PRINTING. 

Joseph Mallord William Turner: Joseph Mallord William Turner also wasn’t included as much in our work, but there is links of the color palette (red), and the abstract approach in both of our works. In addition, conflict is also a key theme seen in his works, just like ours. 

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Conflict

Zoe Chan 2k18

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final piece

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In our work, we tried to use a similar colour palette as Mona Hatoum, with reds, blues and yellows, as she frequently features the primary colours in her works.

The use of block-out and stencil also relates to Mona Hatoum, as we are sectioning off areas, with some block-outs acting as a grid system. A stencil we used (similar to a braid pattern) relates to Mona Hatoum, as this pattern is present in many of her works in twelve windows.

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Here, you can definitely see references to past projects and works, such as the layered yellow, black and orange piece. The yellow, red and neutral salmon prints on the neutral piece of paper were added on after the experimentation with this piece:

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final piece

[badcolortheory]

In our work, we tried to use a similar colour palette as Mona Hatoum, with reds, blues and yellows, as she frequently features the primary colours in her works.

The use of block-out and stencil also relates to Mona Hatoum, as we are sectioning off areas, with some block-outs acting as a grid system. A stencil we used (similar to a braid pattern) relates to Mona Hatoum, as this pattern is present in many of her works in twelve windows.

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final piece

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in progress

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Here, we identified the different elements that worked and ones that didn’t. We both felt like the additional paper attachment pieces worked really well, as it gives it a multidimensional and depth to our work. They were mostly made by printing on the coloured paper, which would be attached to the large piece, and then will be printed over on top again.

However, we both felt like the tissue paper (bottom right corner) didn’t work as well, as it didn’t really fit in with the other sections of the prints. This can demonstrate conflict, in the way it is neon, chunky and out of place, but ultimately, it might’ve been better as an individual piece. We added it on, as it can create a mirror effect of the plate (both sides mirroring each other since the ink can pass through the paper).

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the tissue paper was really contrasting compared to the rustic atmosphere of the overall piece. luckily it gave us a softer edge and surface to work with.

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in progress

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Here, we identified the different elements that worked and ones that didn’t. We both felt like the additional paper attachment pieces worked really well, as it gives it a multidimensional and depth to our work. They were mostly made by printing on the coloured paper, which would be attached to the large piece, and then will be printed over on top again. For example, the pink and blue piece at the top right corner was made by doing half-drops on the pink coloured paper, before it was stuck on and printed over in yellow and black. 

However, we both felt like the tissue paper (bottom right corner) didn’t work as well, as it didn’t really fit in with the other sections of the prints. This can demonstrate conflict, in the way it is neon, chunky and out of place, but ultimately, it might’ve been better as an individual piece. We added it on, as it can create a mirror effect of the plate (both sides mirroring each other since the ink can pass through the paper).

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in progress

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working

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final piece planning

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In this final piece, we wanted to achieve a piece with many different layers, each one using a different element. We also wanted to demonstrate conflict by using toned down and pale colours, but add some bright, shocking red on the very last layer. We also wanted to create a connecting grid system, similar to Hatoum, but different, since ours would be more chaotic.

For the background, we wanted to use neutral paper to have a base that works well with every colour. The black was also used, as we realised many of our colours stand out a lot better on black than on white.

On the bottom few layers, we wanted to do some simple printing, without any additional add-ons. We were planning to add to those few prints and build up from there.

Moreover, adding other materials were another idea, so using tissue paper, coloured paper, etc we added more elements.

Obviously, blockouts and stencils were to be used, alongside other collage pieces to add more conflict and depth to our work.

We can create grid systems by having sections in our work, but they can overlap one another to demonstrate conflict. Connections are made between the plates since they all link to each other already in the design.

However, our planning also changed many times, and some layers were improvised. 

_valerie

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we changed the planning constantly, improvising for the best idea of conflict without creating pure mess without any rules at all

_ZoeCHAN

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constant modification and changing gave our piece the multilayered dynamic it needed

_ZoeCHAN

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in the third picture we can see the though process and a discussion we had for the decision to use red. we find this color very provoking, powerful and moving. it connotes concepts of love, passion, anger, blood and etc, we find all these ideas very helpful and relates to our topic;

CONFLICT

_ZoeCHAN