COP3 Evaluation

This has been a difficult module for me and, ultimately, one that has left me feeling frustrated. Not because of the content of the course itself, but because I really struggle with such long deadlines. Such lengths of time seem to cripple my ability to make decisions about the direction of my work, and this really plagued me during this module. Not picking up traction quickly with my initial idea left me floundering, and changing my idea/whole project quite far into the module; this, however, didn't work either and I ended up returning to my first idea with only a few weeks until the deadline.
While this wasn't entirely catastrophic, as I still had the initial research that I'd accrued, it did leave me with a whole essay to write and most of a body of practical work to make.

This was definitely the right thing to do, as I very quickly became completely immersed in (and enjoying!) research and making work. However, I'm finishing this module feeling that I've cheated myself out of a project that I could have really enjoyed by being hesitant and doubting my judgement. If nothing else, this module has been a lesson in trusting my intuition.

In terms of the practical outcome, I think that the work I've made is some of the most enjoyable that I've ever made. I feel that I've really pushed and expanded my printmaking practice, whilst still incorporating drawing. This module has also confirmed to me that I am absolutely not a sketchbook-er; my work is at it's best when it is uninhibited and unconstrained. Directed, process-led visual investigation isn't something that I've ever really had the chance to explore, and it's completely reshaped the way I think about making.

An upside of feeling 'rushed' toward the end of this module, is that I still have lots of momentum, and am excited to keep pushing and exploring printmaking processes. I also intend to keep investigating the place of tactility, play and joyfulness within my practice.

Logistically, I think the module is pretty well structured and functions successfully. Although it is nice to have regularly spaced points of contact, perhaps if the module was more 'intense' at the beginning, with workshops on shaping questions and lots of peer-to-peer discussion, it might be helpful for people who are having difficulty getting go-ing with the project.

Cop3 design boards

print proposals

This image is an example of how I've coming digital processes with all I've learned about creating texture through analogue processes over the course of this project. I could propose this print as a conclusion to the project. I think it's quite indicative of all the fun I have had exploring this process, - it's a little celebration of texture.

 

Megacrit feedback

I got some constructive feedback from the practical outcomes mega crit. I had been worrying about the fact that I don't have a final practical 'outcome' as such, instead having a process-led body of exploratory visual research, and so it was reassuring to have it acknowledged in my feedback that this is obviously supposed to be the case. Also as I have been creating lots of work, I have a big 'bank' so to delve into if I do want to use the textures that I have created in future projects.

Monotype experiments

I have been getting some really interesting results from the print room, I've been exploring the monotype process, and trying to create textile-like textures, some more realistic and some more interpretative.

hat

Although socks have been the main motif I've used to explore this process through, I am very happy with this outcome -  a mono print of a wooly hat. I think that I've employed textures effectively  to communicate the softness of the wool.

printed textures

More experimenting with mono printing, this time trying to achieve a knitted texture. I made these prints using a hand-cut stencil . I'm pleased with the effect, and would be interested to utilise it in some cut paper craft.

inspiration: marion deuchars

Looking at some of Marion Deuchars' publications has been instrumental in helping me decide what tone of voice I want to convey within my work. Deuchars work is manages to think about and discuss big ideas in art & design, while still being playful and tactile. My practical investigation is process-led and exploratory, and generally my approach to making work has been 'keep having fun until something really works'.

Lots of socks

Started using the sock as a visual motif in my exploratory printmaking, in which to condense some of what I've found out about texture through mark making. I want a visual representation that is playful and fun. These have been made using a combination of mono type and mono print processes

Given that I don't have a final 'outcome' or product, I think my sock prints are quite nicely and effectively representative of everything my process exploration has taught me. I'm choosing not label them a final outcome, as that feels too conclusive - making them has still been a process of ongoing experimentation and development

creating backgrounds

Experiementing with combing some of my monoprints with digital overlay effects in Photoshop in order to create textured backgrounds that I could use for composing prints, book spreads etc.

Practical summary thus far

Inspired by my research into Hannah Waldron and the Bauhaus weavers, I have been creating some of my own weavings. This has been an enjoyable learning experience, and has hinted at a new way of working for me. It has been interesting for me to create spontaneously, as I have been working without planning designs in a sketchbook, and just trying to consider how shapes and colours come together in the woven form. Although it has been interesting and informative to try this tactile process, I don't think that I shall continue working with it. I am cautious of just making work that echos work I have looked at, and don't know how innovative I can be with this process.