#assemble brief

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Week 4 LSAD 10/10/2024. Brief 2 "Assemble"

Zine publication with Fiona

I feel like I touched on Japan a little in this work. I realized how important energy-saving technologies are and how unique it is to work with a risograph that saves energy and is eco-friendly, knowing that my creative result is part of that process. I also think there’s a small hint of Japanese minimalism in my works.

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Week 4 LSAD 07/10/2024. Brief 2 "Assemble"

Zine publication with Fiona

It was fantastic workshop, I really enjoyed the process and the publication station. And now I know more about Risograph printing.

Risograph is a machine (looks like a photocopier, but!) that prints fast and in layers, with each color printed separately.

Riso printing inks give an unique texture, resulting in a hand-printed and tactile finish. The inks are soy-based and non-toxic, which means they can take longer to dry.

Risograph printing is also eco-friendly and sustainable. It uses these inks, which are better for the environment. The machine uses less energy since it doesn’t need heat to print, unlike regular printers. It’s great for printing in bulk with little waste, making it a sustainable choice for artists.

For my project I wanted to make a simple graphic story.

*Into the Dill Spirit* is a narrative that explores the life cycle of a plant, focusing on how it is born, takes shape, grows, and gathers energy. This story gives my private viewpoint on the natural process of growth and energy assembly. The use of dill as the central figure represents a common, everyday plant, making the complex process of energy transformation feel more accessible. Here I also convey the idea that dill’s inflorescences resemble a form of assembly.

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Week 6 LSAD 24/10/2024. Brief 2 "Assemble"

Secondary research

1. Ann Goddard’s work amazes me with how it uses different materials to show the delicate and fragile side of nature.

2. Katie Spragg’s porcelain plant sculptures are so detailed and beautiful, making me feel connected to nature in a new way.

3. Phoebe Cummings creates clay art that captures nature’s patterns and history, blending modern and old styles in a really unique way.

4. Leonardo da Vinci’s studies of nature are inspiring, showing his passion for understanding the shapes and details of life around us.

5. Alice Fox’s art uses materials found in nature, and her stitching brings out a gentle beauty that feels grounded and real.

6. Michael Canning’s plant paintings are striking, with plants set against dark backgrounds that give his scenes a dreamlike feeling.

7. David Lilburn’s art really draws me in; he uses maps to bring out memories, identities, and a strong sense of place, making each piece feel like a story about the landscape.

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My presentation for the assessment.

For my final display, I chose pieces that convey the breadth of my exploration and my vision of “assembling my own meadow.” I especially love clay and wire mixed sculpture, which brings together natural forms and graphic textures. I suppose I found success with photography and cyanotype, along with the discovery of printmaking, which brought the project closer to my passion for illustration, graphic and experimentation. The minimalist style of the display, with its nearly monochromatic palette and few colours ties the works together and reflects the most significant points of journey I undertook throughout this project.

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Week 12 LSAD 02/12/2024. Brief 2 "Assemble"

Workshop: Colour/ color/col.our/ tint/tone with Sylvia

I worked with black and white colors to study tone and tint, but I wasn't pleased with the outcome. Acrylic paint feels challenging to work with for me—it dries quickly and doesn't allow the flexibility I prefer when blending tones. Balancing tones to create dimension didn't come naturally, which made the process feel restrictive. This project helped me identify areas where I need more practice.

Later I explored color theory by creating palettes using two complementary colors. These combinations provided a dynamic contrast that I used to paint my chosen theme. Through this process, I learned how complementary colors interact to create balance and vibrancy. This outcome is better, but I am still not satisfied with the sketches. I might have forgotten how to paint during the semester.

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Week 11 LSAD 28/11/2024. Brief 2 "Assemble"

I can’t stop making cyanotype prints—I enjoy the process so much!

Today, Gemma suggested that I make copies of all my prints and turn them into a book. And then turn original prints into the book. Hope I make it tomorrow on Friday lab.

I also spent time experimenting with my plaster plant castings. One of them was finished with a silver patina (glue + golden/silver leaf), which I really like, while another was covered in gold, scraped back, and painted with watercolor (will see how it dries)

It’s been quite a busy day—I managed to visit all discipline introductions.

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Week 11 LSAD 25/11/2024. Brief 2 "Assemble"

Workshop Blueprints: Cyanotype with Gemma

Cyanotype is an old photographic printing process that creates beautiful blue images.

To start, I just need paper and a light-sensitive solution. We got a starter kit and worked in the dark room.

I brush the solution evenly onto the paper, covering the areas I want to print on. Let the paper dry in a dark place to avoid any accidental exposure to light (we left it in the box for the night)

I place flat objects (dry plants, glue pieces) and a transparent image ( a photo printed on transparent acetate ) under the coated paper and put it in the uv-light box. Then expose it to UV light for a few minutes. The areas exposed to light turn blue, while the parts covered by objects or images stay white. After exposure, I rinse the paper in water to wash away the chemicals and stop the reaction. As it dries, the blue color deepens, creating the final image.

I use disposable gloves to protect my skin from contact with the chemicals, wear protective glasses and clothes, cover my work area with plastic or newspaper to prevent spills. Don’t forget to keep light-sensitive coated paper and chemicals in a dark space until ready to use to prevent premature exposure.

I admire my finished cyanotype print, especially the way the layers create depth and texture. It was fun and easy project.

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Week 10 LSAD 22/11/2024. Brief 2 "Assemble"

Friday lab Glazing with Elaine

I finished my plate, glazed all pieces I had.