ADAD1002 - S2 2018

[heal2018]

ADAD1002 Ass.3: Questions from Class

What are your strengths?

Apple

Brainstorming interesting ideas

Writing scripts 

Creating storyline

Lucia

Editing videos

3D modelling; building environments which look like in the future

Brainstorming for the event happens in visual novel

Aileen

Brainstorming a range of interesting ideas and cutting them down methodically

Editing videos on iMovie

Experienced in writing scripts (especially of visual novel-esque formats)

Some experience in making animations to overlay on videos in iMovie

What are your weaknesses?

Apple

No experience in making visual novel

Not good at editing

Not good at using professional camera

No experience in creating BGM

Lucia

Don’t know how to make a visual novel

No experience in writing scripts

No experience in creating sound effect 

Aileen

No extensive experience in the coding aspect of visual novel creation

No experience in adding video clips to visual novels

Little experience in using professional cameras (especially to their full extent)

No experience in creating BGM

Delineate roles: who is doing what?

Script-writing: Apple, Aileen

Prop-making/collecting: Apple, Aileen 

Photographer/filmer: Apple, Aileen

Video editor: Lucia, Aileen

Visual Novel creating: Lucia, Aileen

BGM/Sound effects creating: Lucia

Do an account of what the ‘event’ to which your work portends?

The event occurs a decade or so in the future, where technology is an even bigger impact on our lives than ever before. It’s neither all positive or negative, but it is simply a different lifestyle. Everyone uses ‘smart iris’ in place of phones or tablets, placing the screens on a contact lens to encompass everything they interact with. Our work portends to an event in this future, where all technological communications and devices become obsolete due to an interference in the signals. Our work is an account of an individual’s day during this interference and how the event impacts them and the world.

How will you make it unusual/interesting?

We wanted to create an interesting video, with props and animation to make it seem to be set in a future of technological advancement. However, to make it more interesting we wanted the viewer to be able to interact with the piece. This incited the idea to create an amalgamation of video, visual novel, and choice-based gameplay. We aim to create a video with several questions for the audience to choose from, which may or may not affect the outcome of the scene and the entire play-through of events.

[heal2018]

ADAD1002 Ass. 3: Group Meeting #2

Meeting 2 Journal

03.10.2018

Continued to refine ideas and concept - nailed down the main theme of how technology impacts how humans communicate love and affection (both the positives and negatives of this impact in the continuum of space and time).

Discussed ideas for sections of the video: show characters being unable to pronounce words properly due to lack of speaking and depending on technological communications, inability to physically communicate, etc.

Set-up a basic storyline in preparation for developing it further in our following meeting.

Created a to-do list to meet our completion goals as stated in our gantt chart.

To-Do List

Brainstorm possibilities and ideas to include in the narrative

Create a list of positive and negative impacts of technology to portray in our artwork

Figure out how to borrow a camera from the Resource Centre (as well as learn how to use the camera)

Create script and storyboard for the video

Design and create props for the video

Collect and choose areas suitable for filming

Learn how to use the Ren’Py software and figure out how to integrate video clips into the game

Research methods of creating BGM and sound effects and conduct some experimentation

Film all scenes for the video and edit into clips

Etc.

[heal2018]

ADAD1002 Ass.3: Gantt Chart

[heal2018]

ADAD1002 Ass. 3: Group Meeting #1

Meeting 1 Journal:

26.09.2018

In our first meeting we decided to brainstorm key ideas for our concept, flesh out possibilities for our final work and researched the weekly concepts.

Apple (@chiaroungchen) came up with the idea to concentrate our project on the impact of technology on the relationships between people. After some discussion we decided to focus on both the positive and negative impacts technology has on how we communicate.

Aileen (@heal2018) suggested using a merging of an interactive visual novel format with real-life video we record. It would be an interesting and unique method to provoke the input of the audience to create the “event” that occurs in the project.

Lucia (@lucialijia) her research from the weekly concept of glitches/noise to suggest the impact of interference in the plot of our visual novel. This idea was incredibly interesting as it outlined what would happen if, in a future where all communication relied on technology, interference caused it to become unusable. This could potentially be the “event” we concentrate on.

[heal2018]

Assessment 2: 700-Word Concept Statement

p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #454545}

p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #454545}

Question 1:

Art and design often explore relationships between humans and non-humans, the environment and ecology. How can contemporary art and design propose new possibilities for imagining the ‘human’ and the environment? 

“Juvenile Corruptions” is a collection of works that highlights the current relationship between humans and the environment, more specifically, animals. This work brings to question the way our future generations are raised - with the unchallenged idea that humanity can reap from nature without guilt or consequence. It challenges the hypocrisy we teach our children, that might equals right and humans have authority to use animals as entertainment, food, clothing and subjects to research upon. This body of work outlines the six facets of human dominion over animals, including: companion animals, wildlife, scientific research, entertainment, clothing and food.

The normalisation of these processes inspired this body of artworks; which outline a multitude of ways we abuse animals displayed in a child-like format. The use of minimalistic paper-cutting, bright colours and simple shapes conveys a sense of childhood and evokes memories of crafting and creating. These pieces seem almost like a child’s project, or a toy, diminishing the graphic nature of the images they depict. This is a metaphor for the normalisation of animal abuse, which is often disguised in our media and entertainment, and how it’s considered suitable for our children. The small frames and size of the works further represents how the suffering of animals is diminished in our society.

Paper-cutting also possesses a personal connection to me, as my mother was practiced in traditional Chinese paper cutting. My appropriation of this technique is a metaphor for how the teaching from parent to child can infinitely evolve. This process parallels that of parents teaching their child that the abuse and exploitation of animals is the normal hierarchy of power, with that of parents passing on knowledge and techniques to their children. By my action of changing the technique to suit my needs it communicates the idea that our perceived norms in society can always evolve and be taught differently to future generations.

This collection is displayed hung against an expansive white wall. There is no apparent structure to their placement, conveying the abstract implications of normalising animal abuse.

The process of creating this collection relied heavily on practice-led research and critical reflection. I was initially inspired to represent these ideas using layers of plastic, as it was a tactile medium that would allow me to create depth with an interesting aesthetic quality. I then considered the use of materials to represent animals in my work, such as faux fur and feathers I’ve collected in parks. However, I found this idea problematic as I couldn’t communicate the exploitation of animals while using animals in my work.

One of the main issues I had to overcome in the process of creating this body of work was the method of display and curation. I decided to critically assess all of my options and ideas to find one that was able to holistically represent all of the facets I focused on as well as be a complete and refined artwork.

The class critique and suggestions from my peers allowed me to expand my concept, which had been too narrowly focused on simply representing dominion. I reflected on my previous experiments, which seemed too focused on the mere representation of my current idea, not the development of it. This led me to experiment with the idea of childhood and a child’s role in humanity’s impact on the world. I found this particularly interesting as it provided the foundation to juxtapose the innocence of childhood and the passing on of the normalisation of abuse from society to child to demonstrate the absurdity of this normalisation. Finally, I was introduced to the art of paper cutting by my mother, and, realising it both matches my vision of creating work with depth and also the idea of childhood innocence, I began experimenting with the technique.

This collection not only demonstrates humanity's current relationship with animals, one of abuse and exploitation, but also conveys an alternative. By challenging the viewer's perception of the normalisation of animal abuse, the teaching of future generations can be altered to one of further critical thinking and reflecting on one's actions. By challenging the normalisation of animal abuse I hope to incite a new reality for the interaction between humans and the environment.

(700 words)

[heal2018]

Juvenile Corruptions Part 2

(Juvenile Corruptions Collection, Paper-cut, Aileen Heal, 2018)

Featuring:

(Macerated Male, Juvenile Corruptions Collection)

(Fur Coat, Juvenile Corruptions Collection)

(Puppy Mill Victim, Juvenile Corruptions Collection)

[heal2018]

Juvenile Corruptions Part 1

(Juvenile Corruptions Collection, Paper-cut, Aileen Heal, 2018)

Featuring:

(Dissected Rat, Juvenile Corruptions Collection)

(Albatross, Juvenile Corruptions Collection)

(Circus Elephant, Juvenile Corruptions Collection)

[heal2018]

Assessment 2: Process of Final Work

Part 1: Planning

Firstly, I gathered all the materials I expected to use, including:

Cutting mat

X-Acto Knife

Foam tape

Double-sided tape

Scissors

Pencil + paper

Various 180gsm paper

Deep frames

Other various decorations

For each of the pieces that form my body of work the process was relatively the same.

Firstly, I would brainstorm ideas for the composition and draw several thumbnails based on these ideas. Sometimes the first idea turns out to be the most effective composition, but other times I had to create at least half a dozen thumbnails before I was satisfied.

After deciding on a design I would create a life-size drawing of it to fit in the frame. I would create guidelines to show the size of the back piece as well as the inside perimeter of the frame, to ensure everything was well placed.

The final step in the planning phase is to assign the colours so it is well coordinated. I first chose Copic markers that represented the colours of paper I had effectively then I marked areas of the design depending on the colour.

Part 2: Cutting

After setting up the design I begin cutting the paper.

Firstly, I would cut the back piece where all the other elements would be fastened to. For this series I alternated between grey and black.

I would then cut out the pieces that would be closest to the back piece. I wouldn’t necessarily trace the lines of my design, for example, with my image of the dog, I used one large white piece to cover the entire silhouette of the dog and worked upwards from there.

I would then proceed to cut out the remaining elements, paying careful attention to how they would be layered and what sections would be visible or not.

Part 3: Assembling

After all the pieces had been cut I would begin to stick them to the back piece and layer them using both foam tape and double-sided tape.

As each design was different, the amount of layers of paper and tape varied, but generally I would use a similar format. First, the main sillhouette piece would be attached to the back piece using several layers of foam tape to give it some height.

Sometimes, to create dimension, I would put more layers of foam tape on one end of a paper piece so that it bends towards the viewer.

(Process of Puppy Mill Piece, GIF, Aileen Heal)

(Process of Albatross Piece, GIF, Aileen Heal)

It was somewhat difficult to use the foam tape as, whenever I cut it with scissors, it would stick to the scissors and lower their effectiveness. Most of the foam pieces weren’t cut as cleanly as I had hoped and small pieces often ripped and had a lowered adhesive quality. If I were to re-do this project I may experiment with different brands of foam tape to find something easier to use.

Part 4: Finalisation

For some of the pieces I added extra embellishments that I believe convey my message and theme.

For example, my circus elephant piece has clear thread tied onto its legs and trunk, symbolising a puppet on a string and its lack of autonomy. Also, my albatross piece has elements such as beads, paper stars, resin pieces, nail polish peels and off-cuts from laser-cut acrylic in its stomach cavity to represent plastic. I like the effect as these items contain lots of childhood memories and they also have symbolism pertaining to childhood, such as easy arts and crafts.

After everything is assembled I slip it into the frame without the glass panel so the depth is visible.

(Below: Sped-up process of start to finish of Circus Elephant piece)

[heal2018]

Assessment 2: Artist Inspiration #3

Once I had the realisation that paper cutting would be a perfect medium to communicate my ideas, I decided to research both the technique and how other artist’s have used it to convey their message.

Diane Feng

I was originally inspired to experiment with paper-cutting because of my mother, who is the author of the book ‘Chinese Paper Cutting’. 

(Feng, D, Chinese Paper Cutting. in , Sydney, Kangaroo Press, 1996.)

Many of her works depict animals, and sometimes people interacting with the animals. As the majority of Chinese paper cutting depicts nature I think that it is the perfect medium to reflect humanity’s treatment of nature.

(Koala & Girl, Paper-cut, Diane Feng)

I also think that by having this personal relation between me and the craft there would be more significance present in my final work. 

I aim for this to symbolise the parallel nature between the passing on of techniques and trades from parents to children (such as cooking, crafting, fixing, etc.) to the unquestioned treatment of animals by humans, which is shown to our children in a normalised fashion.

Patrick Cabral 

Patrick is a freelance, multi-disciplinary artist who focuses on the technique of paper cutting in his artworks. Many of these paper-cuts depict endangered animals, such as Lynx, Panda, Honeybee in order to raise awareness of humanity’s impact on their survival. The use of delicate paper to present abstract fractal patterns on the face is a metaphor that communicates their fragility. This is a representation of how fragile their ecosystems are as their populations continue to decline.

(Lynx, Paper-cutting, Patrick Cabral)

(Honey Bee, Paper-cut, Patrick Cabral)

[heal2018]

Assessment 2: Brainstorming

In this session I would like to address two main aspects of my final work. I would like to brainstorm the format of composition of my six works and how they would be presented in a gallery setting. My current ideas for my final piece all rely on being mounted on a wall, so I have to now think of what pattern, where on the wall, etc.

My two main ideas for presenting my work include:

a) The Clock

Has the capability to represent a holistic perspective of humanity’s impact on the environment by assigning each hour to a certain number.

Will allow me to convey numerical statistics, such as the number of animals killed in an hour or day, which also links to the physical form of the artwork

b) The Windows

Represents viewing from an alternative perspective, or from an outsider’s perspective, as viewers will be looking through the framed “window”

I can create a layered effect to achieve depth through either layers of glass, plastic or paper

Based on the enlightening feedback from last week I’m deciding on my Windows idea. I believe I can convey more effectively the idea of a childish perspective on humanity’s dominion over nature with this format. To convey this childishness I aim to use bright, bold colours and simple, minimalistic shapes. 

Regarding material, my experiments seemed to have led me in a circle, from initially using layers of plastic between drawings to create depth to physically representing depth with layers of paper cutting. I decided on paper cutting as, when I was brainstorming how this childish aspect could be represented I remembered my own childhood filled with origami and paper crafts. In addition, my mother published a book on Chinese Paper Cutting which inspired me to interpret this technique for my work. I believe it matches the idea I want to express, as this technique is being passed from parent to child, just like humanity’s current treatment of animals. However, since I am appropriating the technique and not doing it in a typical culturally Chinese style, I aim that this would represent the possibility that, in the future, humanity can also change their treatment of animals.

[heal2018]

Experiment 4: Symbolism & Juxtaposition

Many of the illustrative artworks that I have researched that deal with the topic of humanity’s treatment and abuse of animals often involve juxtaposition or double-meaning techniques.

Some ideas I had to represent this with the materials I had on hand included:

Creating a book lined with faux fur, with fake blood oozing from the spine so it seems like a recently-killed animal. The pages of the book depict an individual suffering animal, to convey the extent of factory farming.

Lining a calculator with faux fur and only have the screen be visible, with the numbers rising depending on how many animals are killed for human use. The calculator screen will have fake blood dripping from it that extend from the box and creates a fake blood puddle on the floor.

Cutting out small outline figures of animals out of faux fur and covering an entire room with a countless number of them. Their uncharacteristic facades represent their loss of individuality and their small size and large numbers represent how humanity treats them, as insignificant units of production on a massive scale.

For this experiment I tried to create on of the ideas listed above: the calculator.

This process involved sourcing a large childrens calculator from my closet and lining it with faux fur. I first traced the outline of the calculator on the fur then cut out the shape, as well as a window to see the numbers. 

Afterwards I hot-glued the faux fur onto the calculator and molded it to fit so the window for numbers could be seen.

As I let this dry, I used hot glue and a red Posca marker to create “fake blood” elements, as per the method I used in previous experiments.

I then hot-glued this element onto the calculator to simulate the effect of blood dripping from the window.

I like the effect that this experiment created. The soft fur and almost candy-like blood conveys a certain innocence. In addition, this piece also has connotations of a domestic setting and childhood, as the fur reminds of a children’s toy. 

However, I don’t think this piece will be involved with my final artwork as it doesn’t align with or represent humanity’s dominion over animals in the way I want to demonstrate it. I shall experiment further to achieve my desired result.

I’m aiming on creating a series of six works, each work depicting a facet of humanity’s dominion over animals. However, throughout my brainstorming and experimentation, although I’ve developed some interesting ideas for each facet, I doubt they will look good as a collective work in a gallery. I hope I can form a more holistic way to represent all six facets rather than having a jumble of pieces that seem un-curated.  

I hope to brainstorm and experiment further to find a method of representing all six facets in a more connected way.

Extra:

This experiment was the one that I presented to the class in our art critique week and a few interesting points that were raised included:

The childish nature of the object. It seemed almost like a soft toy and had pastel features giving it a more child-like essence.

They suggested for me to continue with exploring the childish aspects of this artwork.

This incited me to think about a child’s role in human’s treatment of animals and how children are taught this aggression and wrath in such a normalised way that it’s concerning.

I aim to explore this idea further in future brainstorming and experimentation.

[heal2018]

Assessment 2: Artist Inspiration #2

Since my work focused on concepts such as humanity’s dominion and abuse of animals and nature I decided to explore artworks from those of a vegan perspective. The diverse range of art forms, techniques and styles provided a wide breadth of inspiration for how I should present my final piece.

Sue Coe

Sue Coe is a renowned artist who depicts the horrors of slaughterhouses and factory farming in her works. Her art is often graphic and dark with significant contrast and low saturation of colours. A primary technique she uses is that of woodcut prints as well as the use of a monochrome colour palette. These images graphically explore the extent of suffering, injustice and exploitation present in the modern agricultural system. She claims that her “aim is to use art to change the world, not reflect it.” 

("Auschwitz begins whenever someone looks at a slaughterhouse and thinks they are only animals." . . . Theodor Adorno woodcut, 2009. edition: 25, Sue Coe)

(Turning a Blind Eye, 2009. woodcut on cream Kitikata paper 17 x 52 1/4" edition: 25, Sue Coe)

Andrew Tilsley - ‘Cures for Diseases’

Andrew Tilsley’s work explores the relationship between human and animal. His collection ‘Animal Wrongs’ consist of satirical artworks that explore this relationship. These works essentially swap the position of the animal and the human in an effort to highlight our hypocrisy and inadequate justification of our treatment of animals. This collection consists of brightly-coloured acrylic paintings that convey their message using satire.

(Cures for Diseases, Acrylic on paper, Andrew Tilsley)

Twyla Francois - Dairy is a Mother’s Tears

Twyla is an animal activist and artist who communicates the exploitation of animals in her artwork. Her use of art is a method to convey the plight of animals without the graphic detail, which people turn away from. Her use of art, which can be less graphic, is used to communicate with a wider audience. Her technique, using pencils and acrylic, achieves a realistic representation of animals without the intense graphic nature present in real life.

(Dairy is a Mother’s Tears, acrylic on canvas, Twyla Francois)

I find the different techniques used among these artists all evocative and effective in their own way. I would like to continue experimenting with colour and form to alter the connotations my artworks hold.

[heal2018]

Experiment 3: Materials & Meaning

For this experiment I wanted to explore the meaning generated by the material rather than its physical qualities.

Continuing with my theme of focusing on the six facets of dominion I wanted to see if it was possible to create artworks on the products that we make from animals, or a material that represents their body (e.g. leather for cows, fur for animals used for fur (e.g. foxes, rabbits, minks), feathers for birds, etc.)

The six facets of human dominion over animals include:

Companion animals

Wildlife

Scientific research

Entertainment

Clothing

Food

For this experiment I decided to work on fake fur and feathers I had picked up off the ground, as they were materials that I already owned. I also believe my previous assessment, involving the use of needle-felting on pleather, is also a suitable representation of this idea.

Experiment 3(a): Feathers

Picture 1: blank feathers

My first round of experimentation involved some white feathers that I had collected recently. I decided to use Posca markers as they seemed the simplest way to achieve an opaque application of colour. I created a basic gradient using the limited range of markers I currently have.

Picture 2: gradient feather

I noticed that after this process an interesting pattern formed on the paper I had underneath the feather. It was a very natural, flowing form and I found that it seemed like intricate brushstrokes. I could perhaps use this pattern in future work.

Picture 3: pattern

I also noticed that the paint could be seen from the other side as it “bleed through” the feather. However, it did seem to disappear, and become obscured by the normal white colour of the feather, at specific angles

Picture 4: opposite side of feather

I aim to continue experimenting with the ideas presented in this experiment. Specifically, the use of animal products (well, materials that REPRESENT animal products) to represent an animal in my works.

[heal2018]

Assessment 2: Artist Inspiration #1

Jamie Homeister - Feather paintings 

Jamie Homeister is a folk artist who uses the unconventional canvas of feathers as the foundation of her paintings of animals and birds. This process is extremely meticulous as “the feathers splice, buckle, splinter and shred under the weight of the paint.” 

Since I’ve recently collected a few feathers from walking in parks lately, I’m interested in exploring how they can be used as a medium in art. However, I’m still unsure as to whether I could include this in my final work or not as I am opposed to buying feathers. This may be an issue if I require more than I already own. 

Solus - Fur coat street art 

This installation is created by street artist, Solus, and uses fur coats donated by people “who have changed their minds about the fur industry” in order to protest animal cruelty. This fur is shaped into that of an animal and plastered around the streets of Dublin. Solus outlines that, “re-shaping the fur coats into animals  is a way to remind us of the life that once inhabited those garments.” 

I found this work very simplistic in design but effective in it’s message. I’m interested in using materials that represent animals in my work, to convey a message through symbolism rather than being too direct. I have faux fur remaining from previous projects that I aim to experiment on. 

Dan Witz - Empty the Cages project 

Dan Witz is an artist who concerns himself and his work with the injustices faced in society. His street art gives him an opportunity to address his frustration with the injustices of the world and provoke a dialogue about issues that matter to him. Currently, his attention is drawn to America’s animal agriculture industry and it’s devastating effects on the environment. His collaboration with the Empty the Cages project raises awareness for the plight of animals caught in factory farming. This work features sculptural installation of chicken feet in an urban setting - such as peeking out from between grates and vents.

I find that a lot of artwork aimed at raising awareness for an issue is a public sculptural installation. This piques my interest in both creating a sculptural and public installation. I may experiment with public art before I finish my final artwork. 

[heal2018]

Week 5: Kudos Gallery Visit

The work I chose to examine was Play it by ear (Marisa Suen). The work was a diptych of photographic works with an “earring” hanging from the ceiling between the two photos. 

The use of a 2D image and a 3D object together in one piece created a sense of immersion that allowed the viewer to experience the physical nature of the piece. In addition, the harsh edges of the prints that contrast with the white wall seem to juxtapose with the lightness of the “floating” jewellery piece.

I chose this piece mainly because of how well it is displayed. The display is very simple but I believe it frames the work effectively. It also provides a more physical element for the viewer to experience.

In addition, the work I enjoyed experiencing the most was Magic Dyke XXL, a video created by Em Size. It was very entertaining and the message of the work was clear and well communicated.

[heal2018]

Assessment 2: Experiment #2

In my second experiment I wanted to test the capabilities of hot-glue to create inexpensive pieces. I was inspired to do this by witnessing the use of hot-glue in costume creation in the cosplay community to create intricate decorative pieces, such as light-weight and delicate crowns. 

The process of this experiment involved using a hot-glue gun and forming various blood drop shapes on a sheet of plastic.

I then tried different methods of colouring the pieces with a red Posca marker. In the pictures shown below, the top splatter was coloured with marker on top of the glue and the lower drops were coloured by using the marker on the plastic side. 

I was originally planning on peeling the plastic pieces from the plastic sheet and colouring them red so I tried this technique on one of the drops. Using the Posca marker on the hot glue didn’t provide consistent coverage, both on the front and back. The best method so far was colouring the plastic that the hot glue was attached to.   

In future experiments, if I continue to use hot-glue, I would like to try different methods of colouring that could be more effective than a paint marker. At this time I decided that colouring the “blood” in on the plastic side was most effective and I proceeded with that on two pieces.

I then decided to cut the pieces out, as peeling them would remove the colour. From previous experiments I’ve discovered that putting tape on the plastic reduced the opaqueness and made it more clear, so I did that to ensure that the plastic had a minimal impact on the “blood” visually.

I was considering using these more physical representations of blood on a 2D format of artwork, such as attaching them to drawings or paintings. At the time I had conveniently just taken a polaroid of my cat and it was on the table beside me as I worked on my experimentation and I decided to use this print as a representation of how I could use the “blood” pieces in a final work. However, I found the result more interesting than I had originally intended.

I like the juxtaposition between the cute culture behind polaroids and the blood dripping down the image. At first I found the red posca marker in combination with the hot glue having too soft of a colour as it seemed too pink. However, I think it complements the symbolism of a polaroid well, as it had that cloudy vagueness often present in polaroids that provide a sense of nostalgia. It also looked like melted candy, the way it was semi-opaque and was tinged different shades of pink, which juxtaposed with the original intention of the piece.

If this experiment were to be magnified to the scale of a completed artwork I would envision an entire wall covered in “blood-coated” polaroids. All of them depicting a domesticated house-pet, animals where there is no question that we have unlimited love for. Having a large-scale, specific number that matched the number of animals killed per hour would be a good idea. Or perhaps a comparison between the number of pet photos we post to social media in a certain period in contrast with the number of animals killed for human need in the same period. I would like to compare the views of people on pets in contrast to other animals. 

However, this idea would be too expensive for me to create as polaroid film can get expensive on a large-scale. The polaroids could be replaced with similar-sized photo prints but this would lose the domestic and “cute” symbolism associated with polaroids. 

This experiment showed that it is possible to create a static, 3D representation of blood and could be useful to employ in my final work.

[heal2018]

Assessment 2: Experiment #1

In my first experiment for assessment 2 I decided to explore the effects drawing on layered plastic could make. 

I was inspired by artworks I’ve seen throughout the years that utilise layers of glass or perspex to create depth. These works are often created with a monochromatic or defined colour palette to create a minimalistic and dramatic look. 

The materials I used for this experiment included a plastic sheet (which I fished out of a bin), a few Posca markers and some clear tape. My process began with me forming a few random shapes on a piece of plastic with a black Posca marker. I didn’t have an exact idea of what I was going to draw, but was planning to go for an abstract, morphed shape. 

However, my drawing soon evolved into that of a fish. I found the use of layers, almost like those in drawing software but in reality, very useful. It allowed for me to create stacks of designs and allowed me to remove and replace slides without impacting the rest of the image. However, as the plastic was very thin, little depth was created with this technique. I also noticed that the plastic became more transparent when covered with tape, so I decided to layer the front of the piece with tape. In future I’d like to experiment with tape and resin on plastic to see the different effects that can be achieved.

I decided to continue experimenting with layering plastic and decided to draw on the shiny side instead of the dull side to see if it changed the effect. Doing this definitely made deeper layers more cloudy and “softer”. I decided to experiment with the separation of the layers and created this piece in a “flip book” style. I found it interesting to be able to open up the layers and to inspect how each layer contributes to the whole picture. I may explore this technique further in future.