Exercise 1

For exercise 1, we explored split joints with looking at contour shapes. Jorgie and I decided to go with the theme of plants so I decided to cut contour lines of a tree and insert my first split joint by the side. I did this so I could add more trees around to create a 3D effect.

After this, we looked at the classes first try on split joint and came back for round 2 to begin to explore a new way of doing so. this time my split joint were still on the side but they were splits instead of inserts. This still allowed my to have the 3D effect I wanted and let my split joint trees become more stable.

 

 

 

 

 

 

 

Chess Redesign

Partner: Jorgie Capper

Concept Statement

“Societal Status”

Every game has a narrative. By shifting the narrative of chess to represent our modern-day issues, the story transforms from kings battling for land and gold to a battle between the classes, the lower fighting the upper for rights and living conditions. Chess is war and among the two opponents, one always wins. The hierarchy that consists in the pieces themselves is brought into the spotlight, highlighting the hierarchy within society itself. One side is small and weak while another is solid, tall, and strong. The differences of proportion sizes of the pieces display the distinction of who is the consistent winner and who is the consistent loser. The small pieces are colorful and diverse, representing the wide variety of people in the lower class, while the big pieces are black and white, showing the continuity within the group that makes up the upper class. In addition to creating our own narrative, we will be adding in the element of time to the gameplay. By shifting the goal from checkmate to taking as many of the opponent as you can in a limited amount of time, gameplay can be made simpler and help just focus on what each piece can do, instead of strategies employed after understanding the pieces. This makes the game more accessible to players of all levels of experience.

Research

Chess History

https://www.ichess.net/blog/history-of-chess/

https://www.masterclass.com/articles/chess-101-who-invented-chess-learn-about-the-history-of-chess-and-3-memorable-chess-games#how-did-chess-develop-into-a-competitive-sport

 https://www.chess.com/terms/draw-chess

• The Beginning of Inspiration
  • Dated back to the 6th century
    • “Chaturanga” played on 8×8 grid
      • Unknown rules
      • Queens (counselors) moves limited
      • Bishops (elephants) moves limited
      • Could win by removing all his/her enemy’s pieces besides the king
    • Rules spread to Persia, game known as “Chatrang”
      • Dated to 10th or 11th century
    • Passed onto the Arab world then China, Japan, Southeast Asia, game known as “Xiangqi and Shogi”
      • Began the first scholarly studies of Chess (problems, openings, etc..)
• Where does chess originate from?
  • Europeans influence Chess
  • Traced back around 1500 years
  • Started in North of India and spread throughout Asia
  • Mechanical changes to the game
    • checkered chess boards and names of various pieces to reflect medieval figures (Knights, Bishops, Rooks)
    • The Play
      • Games were slow lasting hours/days
      • Led to changes to the rules
        • The ability to move pawns two spaces on the first move
        • Development of castling to protect the King
        • By 1500, Queen and bishops were made powerful
        • Shortened game
      • Spanish Ruy Lopez de Segura later Frenchman Andre Danican Philidor began to analyze the various openings and endgame situations
• Rules of Chess
  • Changed numerous times until the 1880s (romantic era)
    • 32 pieces
    • Rooks
      • Start on the bottom-right corner of the light squares 
      • Coordinates (a1,h1,a8,h8)
    • Knights go next to rooks
      • They move “L” shaped
      • Worth around 3 pawns and useful at the start of the game for hopping over other pieces
      • Dealing with a “Check”
        • Capture attacking piece
        • Block check with one of your piece
        • Move the King
    • Bishops next to Knights
      • They move diagonally
      • Worth 3 pawns
      • Coronation by real-life King/Queen handled by religious figure who puts crown atop the new monarch’s head
      • If survived during the game, they gain additional power to their long range
    • Queen next to Bishops 
      • Color of her own
      • White Queen goes onto a light square, Black Queen goes on a dark square
      • They move any unblocked squares diagonally, vertical, or horizontally
      • Combines both powers of Rook and Bishop
      • Worth 9 pawns
    • King goes last
      • Moves one square in any direction
      • Worth more than all the other pieces
      • “Checkmate”
    • 8 Pawns go in the front row
      • Least valuable piece
• Competitive Sport
  • By 19th century, players joined Chess clubs
    • 1st official World Chess Championship was hosted in 1886
      • Led to the development of modern timekeeping “speed chess” variations and sealed moves
  • First disputed player was Wilhelm Steinetz
    • Exemplified the aggressive highly romantic style period
    • Later developed positional style of play that dominated the 20th century
  • Rival, Adolf Anderssen played a major role in popularizing modern chess problems
  • Emanuel Lasker, reigned as World Champion fro 27 years
  • American, Paul Morphy was an early chess prodigy
• Virtual vs In-person
  • Players can consult databases of million of games to identify errors in their own play
    • Allows players to discover brilliant new moves “novelties” that have never been played before
  • Magnus Carlsen, famous for playing variety of opening that keep his opponents guessing
• Ratings
  • 800<: Novice
  • 1200: Beginner
  • 1800-2000: Intermediate
  • 2000-2200: Expert
  • 2200+: Masters
• Best Beginner Chess Openings
  • Start by moving a Pawn or a Knight
    • 1.e4 1.d4 1.c4 1.Nf3
  • White
    • 1.e4 c5 2.Nf3 d6 3.d4 cxd4 4.Nxd4 Nf6 A6
    • Following Black sequence
    • 6.Be3 e6 7.Bd3 Be7 8.f4 0-0 9.Qf3 Ndb7 10.0-0-0 Qc7 10.g4
  • Black
    • 1.e4 c5 2.Nf3 d6 3.d4 cxd4 4.Nxd4 Nf6 5.Nc3 a6
    • Following White sequence
    • 7.Nb3 Be7 8.f3 Be6 9.Qd2 0-0 10.0-0-0 Nbd7
• Castling
  • Get the King out of the center or to activate a Rook
• Terminology (Language of Chess)
  • https://www.vice.com/en/article/av4bb4/the-hidden-language-of-chess-players-225
• A Draw
  • More common among high rated players
  • Stalemate Draw
    • When a player needs to move has no legal moves and his King is not in Check
  • Dead Position
    • Happens when neither player can legally checkmate the opponents King
      • King vs King
      • King vs Bishop vs King
      • King and Knight vs King
      • King and Bishop vs King and Bishop of the same color as the opponents Bishop
  • Mutual Agreement
  • Threefold Repetition
    • Player can draw when a position is reached or is about to be reached at least 3 times in the same game
    • Repetition is only possible when all the pieces of the same size and color are occupying identical squares as they were before and possible moves are also the same
  • 50-move Rule
    • If both players make 50 consecutive moves without capturing any pieces or moving any Pawns, any player can ask for a draw if it is their turn
• Competitive Sport
  • 1st official World Chess Championship was hosted in 1886

Chess Pieces Inspiration

Pinterest: https://www.pinterest.com/michkaylaa/chess-board/

Jorgie and I developed our concept statements on the first day our the project was assign so that we could know what forms to begin looking for during inspiration. I looked at many different forms from traditional and abstract pieces. I was more inspired with the abstract forms to show the diversity within the social class.

Chess Pattern Inspiration

Pinterest: https://www.pinterest.com/michkaylaa/chess-patterns/

Since my forms were going to be abstract, I wanted to look at inspiration with checkered patterns that stayed consistent with the theme. Through Pinterest, I found a designer, Sam Bruce, that creates these abstract digital works with bold colors and movement.

Ideations

Sketches

As I begun sketching, I started with the pawns because once I found my form with that piece, the rest would follow easier to develop. In the beginning my sketches were too complex to create split joints everywhere, in result, I simplifed it and came up with organic circles, curved, and inverted pieces.

  

   

Final Sketches

All of my potential chess pieces represent an individual within the social class. However, I wanted these pieces to be symbolic to a flower because flowers blossom and each and every person does as well. While I was sketching this came in mind for my chess piece idea.

Pawn= represents a vase

Rook= represents a flower bouquet

Knight= represents a vase plus shield

Bishop= represents a vase plus the flower

Queen= represents flower plus crown

King= represents closed flower plus crown

Pattern

From the designer Sam Bruce on Pinterest, I wanted to create a similar inspired pattern that could go onto my chess pieces, I begun to create a checkered board, lines, and circles, and begun to to form patterns within patterns. This was what I wanted to achieve was movement within the abstract pattern. Although, for the color scheme, I searched what colors are primary in Chess and I found that blue, green, and red are very apparent in Chess tournaments. As for printing this pattern, I wanted to use a thick cardstock to apply it to the Matte board

 

Laser Cut Files

To figure out my Chess piece sizes, I research what are their typical dimensions. I wanted my pieces to have some consistent in evelavtion to my sizes so I went with intervals of 1/2’s.

Pawn= 0.25×1.5″

Rooks= 0.25×2.0″

Knights= 0.5×2.5″

Bishops= 0.5×3.0″

King & Queen= 0.5×3.5″

With testing my split joints, I took several tries to find the right measurements. Some were too big or small and I had to take into the account of my 100lb cardstock that I would be applying with the pattern.

Testing

Since I was using Matte board as my bases for the pieces, I started with 0.18, 0.19, 1.0, and 0.1.

   

Final

With my final cuts, my split joint sizes were 0.111″ inches.

Mockups

For my mockups, I used Bristol board so that I could focus my forms rather than split joints. I found that some of my forms were too complex and needed to still be simpler such as the Bishop, Queen and King. I can still get my forms concepts but with less pieces to add. Although, I am missing the Knight due to the form not coming out the way I wanted it to.

Split Joints

As stated before, I tested my split joint sizes starting out with measurements. of 0.18″, 0.19″, 1.0″, and 0.1″ now that my focus were set. However, I did cut them in Matte board this time so that they became more accurate.

To do this, I went the  Innovation Lab laser cut and my pieces ended up becoming too small so the only piece I could mock up was a knight and I liked that form since I did not get to mock it up with Bristol board.

Pattern Assembly

Deb showed me a way to glue down my pattern so that it laser cuts all at one time. With this process, I used spray adhesive or rubber cement and let it dry.

During the process of using spray adhesive, you spray the base (Matte board) and the back side of the pattern and let it dry until it becomes sticky (15 minutes). Once that dries, you apply the pattern slowly and place a paper underneath the pattern and smooth it down as it exits the other side so that no bubbles form.

Laser Cutting

Laser cutting was easy once I found my correct split joint size which was 0.111″ inches and now that my pattern was glued to the Matte board, all I now had to do was assembly my pieces.

Chess Pieces Assembly

I assembled all of my pieces first so that I could see which pieces could fit into one another and how they fit. I realized some pieces were not as a tight fit as I wanted them to be so I decided that some of my pieces would need glued.

Pawns

For the most part assembling the Pawns were a tight fit and did not need glue.

Rooks

For the Rooks, the split joints were they intersected were very tight which caused them to flare out of one another so I did use hot glue to bring the “flaps” inward.

Knights

The Knights had the same problem with the split joint being too tight to where they flared out on one another. In addition, I added curved some pieces to be hooked to the top of the abstract “shield,” I needed to also hot glue those down so that they did not move too much while playing the game.

Furthermore, one of my Knights became unstable on weight being applied to one side, so I had to add more bases at the bottom to secure its standing.

Bishops

For the bishop, I did not add a split joint at the top of “flower” but I did at the bottom of the “vase.” Therefore, I connected the “vase” to the “flower” and hot glued it to stay in place.

King & Queen

To achieve both the King and Queens crown and “flower” opening up and inwards, I scored lines on the front and back of them so that they could bend easily. Before doing so I took little pieces to test this method and to see how much the Matte board would bend with it being scored. After that was successfully, I did the same to the final King and Queen.

Final Chess Composition

Jorgie and I’s Full Set

In Jorgie and I’s concept statement, we wanted to portray the different between social classes and how the higher rank is strong and tall while the lower classes are more diverse, fragile, and small. In order to represent these attributes to distinguish the differences among the classes, we used both color and proportions. However, it is not all about the social classes but also about the type of gameplay each side consistently plays in their role with the separation of the higher vs lower class.

My Chess Set

Furthermore, the forms of each piece represent the idea of “flowers” because they blossom and so do people. Although, within the social classes, every form represents a certain individual as well.

Individual Chess Pieces

Pawn

The Pawns are the weakest in both the social class and in Chess. The form represents two individuals in the lower class to create the classified majority. Since the Pawns in Chess can grow from getting to the other end of the board, it represents a vase since it holds how every many flowers you want, it is displayed as the majority.

Front view & Side view

Rooks

The Rooks are the castles in Chess and in royalty, you need an invitation in. The form I created has the vertical structure of a castle but also represents a flower, the curve in the flower adds to the dynamic of a simple vertical form.

Front view & Side view

Knights

The Knights are the protectors, in Chess the move in an “L” shape. In addition, I wanted the “L” shape in my design to be separately attached so that it can provide an emphasis on the moves it can make.  I created this in-between form of the Pawn and the Rook. I wanted the organic shape to be solid rather than hollow like the Pawn because Knight can block a check during the game. As for the social class, the Knights represent the blockage individuals face in the lower class from advancing into the higher class.

Front view & Side view

Bishops

The Bishops does the coronations who puts the crown on the new monarch’s head and if the survive during the game, they can gain additional power. The form for the Bishops are in-between the Rooks and the Pawns and with the Pawns being a vase, the vase now on top of the bishop represents holding something important into a container such as the coronation and going additional power. In relation to the social class, it represents how importing qualities are in the lower class and how they can contribute too.

Front view & Side view

Queen

The Queen is the one who changed Chess altogether by making the game much faster. She holds all of the power and has the combined powers of Rooks and Bishops. The queen crown is outward and flowers blossom outward as well. This symbolizes the value of an individual in the lower class blossoming.

Front view & Side view

King

The King is closed off and his crown inverts in. This form represents a closed flower bouquet containing all the power and the same as an individual in the lower class.

Front view & Side view

Reflection

This project was one of the more challenging ones due to all of the elements that needed to be put into consideration such as split joints, materials, forms, achieving your concept statement, and more. It made it more difficult because of time management and trying to get access the laser cutter. Jorgie and I originally wanted to use plexiglass for our material but it would have not got shipped in time to begin testing split joint sizes. This project required a lot of patience within what forms I wanted to create and I did have some creative block when doing so. The way that I overcame this was by taking breaks and continuing to just draw lines and shapes onto the paper and sticking with a consistent theme to provide a unified set. In addition, I struggled with creating the accurate sizes for all my spit joints. It required a reworking cycle. If I were to this project again, I would have made sure that my split joints fit much tighter so that I would not have had to use hot glue to make them more stable. Furthermore, I also wish my craft as a whole was neater since the laser cutter burned my pieces and I could not cleaned them off without ripping the cardstock itself. All in all, I am happy with the hardwork Jorgie and I put into and how we managed the challenges we faced in this project. The outcome of my pieces and Jorgie and I’s chess set were what we both wanted to achieve within our narratives.

Portfolio

View detailed final project at: Project 3: Chess Redesign

 

My “Favorite” Gift Received

When I was eight years old, I received an electric scooter for my birthday. It was at a time my parents where going through a divorce so I was not expecting it at all. I was very happy and excited that I rode it as soon as it came out of the box. However, I do not really like receiving gifts rather then gift giving but I would say this gift was a big surprise and made me feel better.

How do gifts make you feel? Concept Map

This concept map is shows how gifts make someone feel once they received the gifts.

Exercise 1

For this exercise, I found a random object in Hayes Hall to then create to make a “gift” out of this object. I choose a SCAD catalog. SCAD stands for Savannah College of Art and Design. However, the design of this catalog is very artistic and inviting bringing a viewer to want to open the book up. It consists of patterns and bright colors and clear and yellow plastics to cover the book itself.

Process

I wanted to create a cover for someone that is a Future Student receiving this catalog to be surprised and enjoy the process of opening up what is inside to see this incredible designed book.

Lettering & Pattern

I begun by tracing the SCAD logo letters to design a stagnant design with patterns for the cover. I used shades of pink for the main connection between the card-stock and letter because of the cover of the catalog has a pattern the consists of pink shades.

Gold Lettering

I wanted to add gold to add an element of surprise within the letters on the back of the cover pages so that they were not just plain.

Assembling the Cover

I scored the ends of the over by 1″ inch so it makes a binding around the catalog. In addition I created a 3D layering effect with the letters to enhance the composition with the patterns creating depth and an illusion for the viewer. Afterwards, to make the cardstock more cohesive with SCADs’ yellow plastic cover design, I added an additional clear plastic piece as well.

Cover Assembly

As I assembled the cover and made the letter covers stagnant with the clear plastic, I included Bristol board to develop a “wrap around” cover. Since the Bristol is not strong/durable enough to hold the cover and catalog, I took Cardboard to make it sturdy in the inside. At the end of this, since the lettering cover where stagnant, I needed something to close the whole composition. In result, it now contains a slip pin and string for closure.

The Writing

The writing on the outside of the piece states what the “gift” is and in the inside of each letter, it has SCADs’ statistics.

Final Composition

With the Final Composition for this Exercise, I wanted to create a cover for the catalog that was interactive and design appealing since it is a design school. I made this for “Future Students” to SCAD. The decorative flaps with the statistics written on the inside, brings an element of invitation to the viewer (giftee) while the composition as whole can be reused to now put anything in the inside. I think that any “Future Student) giftee would be exciting if they received this in the mail.

 

Gifting Design

Concept Statement

“Fauvism in a Box”

My mentor is Ana Suhayda and I learned that she loves traveling just like me. Her favorite art period is Fauvism. As a designer she is inspired by color and likes to paint and do conceptual design. I asked her what Fauvism art means to her and she responded and said “I would say that Fauvism art are topics of realistic things displayed unrealistically through color altering how a person perceived it. I like it because it pushes the boundaries of traditional things.” With gathering this information, I wanted to create a piece that provides a memory of her favorite traveling sites and how I view them as realistically unrealistic as abstract shapes and lines with the use of color that Fauvism is known for. I want Ana to look at this piece and know what memories she had created while traveling and to be inspired by another form of Fauvism art. Furthermore, Van Gogh inspired Fauvism and I choose the quote “What color is in a picture, enthusiasm is in life” by Vincent van Gogh. This speaks to not only Fauvism as an art form but to enjoying life and getting the opportunity to explore new places. 

Research

Mentor Research

My mentor is Ana Suhayda, a third year Interior Design Student.

I got to know Ana communicating through via text message and sent her a list of questions with the topics being: About Yourself, Design, and Gifting. For her to get to know my I also answered the same questions. I found a lot of interesting information about her for me to figure out what gift I could give her.

I asked more in-depth question as to her traveling in different places, what type of art she likes, and what inspires her. I wanted to find things that we had in common so that I could connect with her and the gift I am making to give.

Questions

Ana’s Traveling

Ana has traveled to a lot of many places so I asked her what were her favorites and what sites did she like when she was there. She sent me these photos: Niagara Falls in Canada, Stairs in Tennessee, Streets in California, Desserts in San Diego, and the OBX Sunset in South Carolina. Since she loves traveling and I do too, I thought, it would be a good gift idea if I center my gift around something we both have in common and is exciting to experience.

Fauvist Art

This link provides my art inspiration of Fauve Art: https://pin.it/24CYIyd

Ana’s favorite art period is Fauvist Art. My idea is to create a composition around her favorite art era and traveling images.

Fauvist Art is a genre of “modernized” art such as impressionism. It was inspired by Picasso, Van Gogh, Paul Gauguin, Georges Seurat and many more that consisted of bright, vivid, bold colors and visible brushstrokes on a painting. It created movement within the work. Colors were not blended but as placed onto one another so that they can emphasize layering.

Inspired Artists

Top (left to right): Georges Seurat and Paul Gaugui

Bottom (left to right): Van Gogh and Picasso

I asked Ana “What is Fauvist Art to you?”

She answered: “I would say that fauvism art are topics of realistic things displayed unrealistically through color altering how a person perceived it. I like it because it pushes the boundaries of traditional things.”

Later, I looked up “How to Paint like a Faurve” and read this article: https://www.liveabout.com/how-to-paint-like-a-fauve-2578246

 

Idea Concept Map

Doing a concept map not only did it condense down my ideas for incorporating both traveling images and fauvist art, from the question Ana told me she like collaging. My thought process for the gift wanted to use mixed medias but the restrictions on how many resources you can used discarded that idea. Therefore, I begun looking at the images I took from the Brooklyn Museum and Pinterest for inspiration.

Gift Inspiration

Brooklyn Museum

I went to New York for spring break, and found this piece intriguing bc of how many mixed medias the artist used on their canvas. However, the bright colors peaking out and the movement that leads to the middle of the collage is interesting that all of these different materials led to one designation into the middle.

Pinterest

Additional inspiration: https://pin.it/1nOw4cd

As I begun to look for inspiration of mixed medias and abstract works, I came across sculptures that unrealistically represented realistic things as how to what Ana described Fauvist art. I think that this would be a good idea to combine both Fauvist art and Ana’s traveling images. They use line, shape, form, and color in a way of layering that is exciting and appealing to the viewer.

Sketches

On Paper

While sketching my ideas, I needed to know what shapes I wanted to use to represent what I wanted in some of the images. I explored until my shapes and lines became simple and abstract to bring out those realistic things unrealistically.

Niagara Falls in Canada: Spirals to represent Water

Dessert in San Diego: “Flowers” to represent Poppy Flowers

OBX Sunset in South Carolina: Circles and Lines to represent the Sunset

Streets in California: Triangles to represent Palm Trees

Stairs in Tennessee: Squares and Line to represent the Colors 

Digitally & Grid Structure

A grid is needed to insure that everything lines up with other pieces throughout the composition. I used guide lines in Abode Illustrator to make sure there was a grid structure applied for me to follow when assembling.

Color Palette

I used the eye dropping tool to form my color palettes in each photograph.

Process

Mockup

I made a mockup out of chipboard and hot glue to get the idea of how to assembly the sculpture and to see how the shapes lined up. Although, I did have extra pieces left so I did add them onto the composition. I added the quote by Vincent Van Gogh “What color is in a picture, is euthuasiam is in life,”  as well as brushstroke texture to get the concept I am trying to portray with Fauvist art.

Laser Cutting

I decided to use MDF board because of its density and affordability rather than birch wood or plywood. It will give the effect I want in the sculpture of the idea of using real wood fibers and the implied thickness from the side view of the composition.

Cut Files

My laser cut file are simple shapes and lines arranged on a 18×16 artboard.

My other cut file is for the container my composition will be going in a 18×16 inch box.

Composition Attempt 1 Cutting

In attempt 1 of laser cutting, I purchased 1/4″ inch MDF board to cut out my file. I did have troubles when cutting due to the laser cutting not being abled to cut all the way through from how dense the board was. In result, I had to take the board to the woodshop to use the band saw to “shave” down my board in order to get my pieces out. This caused my pieces to not be straight cuts of abled to sand them down to smooth out the edges.

Composition Attempt 2 Cutting

In attempt 2 of laser cutting, Deb gave me 1/2″ inch MDF board that the laser cutter can cut through. This was successfully as to get smooth edges and straight lines as seen in the final composition.

Composition Attempt 2 Cutting

For my box, I used 1/2″ inch MDF board to keep it consistent with the material I used for the composition.

Painting

Before I assembled my sculpture, I painted the back of every individual piece black with oil paint. I painted the back black because Fauvist art is an era of Modern art and I wanted to bring that element to the back of my piece to make it more versatile and it can be placed on either side. Although, oil paint does not have a dry time, so it was very difficult to start painting the front side until it was dry. To speed up this process, I painted over oil paint with acrylic.

Back

Front

The front of my composition is where I wanted to showcase those colors, lines, and shapes that portrayed Ana’s favorite traveling spots unrealistically. I tried to make the color palette from above by color mixing to the best of my abilities. However, for the from I did use acrylic paint so that it dried very fast and indeed needed apx. 5 coats of paint per piece.

Rasterize

I rasterized the quote “What color is in a picture, enthusiasm is in life” by Vincent van Gogh and the pattern of my of my full composition on the front, the side panels, and the back. I wanted to add value to the box so that it was not just a plain box.

Assembly

At the beginning I tried to use wood glue to assembly my composition and box container but the dry time for that was not applicable for how much movement with flipping the piece back and froth to apply layering of the line and shapes. I decided to use the hot glue gun because of the fast dry time and hold that it can provide.

Composition

With the composition assembly, I did have some good pieces from the 1/8″ inch MDF board so I decided to add two different thickness to add depth.

 

Box

After the assembly of the box container, I painted the inside black so that it does stay consistent with the modernized theme of the back side of the sculpture.

 

Afterwards

From my pieces, I had left over spiral rings and decided to add them to the back of the composition so that raw rings of MDF coal “peek” out with the colors and unite the container together.

Giving the Gift

Ana was very excited and surprised when opening her gift. Her first reaction was “This is so cool, I can see the Fauvism!”

I then proceed to ask her “Do you know what it represents?”

She said no so I then told her what it was and that it was her traveling images presented abstractly through color.

Ana replied and said, “I can see that now! “Right now, I am doing a moral of my traveling photos on my wall and this could be the centerpiece.”

She said that I nailed Fauvism and represented her images very well.

In addition, I asked her “How did this gift make you feel?”

She said surprised because she did not know what to expect since my questioning was all of the place but now that she looked back, the gift makes sense.

Full Composition

I wanted this gift for Ana to be memorable of her favorite traveling sites and of her favorite art period, which is Fauvism art.

Container

With the container, I used Matte board so that it can be a united piece with the sculpture itself. I wanted the box to be decorative and abstract and to become something unique to Ana. I place the quote “What Color is in a picture, enthusiasm is in life” by Vincent van Gogh to remind her of living life and exploring new places and seeing color everywhere. I rasterize the box with the digital sketch I made for the sculpture to add value to the box and texture. This container can be reusable for anything she wants and can become a keepsake.

Fauvism Sculpture

Fauvism is all about color and how you portray realistic things unrealistically. It is a modern genre of art and I used her traveling images that she sent as to what shapes and lines I would interpret to what I saw. I tried to color match as close as possible to the colors in the images which the composition as a whole takes on the qualities of Fauvism. The geometric shapes with the color aspects brings ‘enthusiasm’ to this piece. The raw spirals brings an element of surprise to the piece and ties in the container it comes in as well as a modern touch.

Modern Sculpture

I wanted this piece to not just be colored on both sides. I wanted versatility and a neutral color to “calm” down one side of the sculpture. Therefore, I used black paint to settle down the Fauvism side and to incorporate a Modern look to the piece so Ana can choose which side to display. The raw spiral material being placed on this side as a different effect to brightening up the piece and to add movement with how black makes every shape and line stop in a sense. In addition, then again the raw spirals tie into the container itself.

Reflection

In this project, learning about someone who you do not know to give a gift to was difficult but if you ask the right questions and learn more about them, it becomes very clear on the idea you have for them. When giving a gift, you worry about if the recipient will like it or not but I think I learned that it doesn’t matter what gift you give, they are grateful for the time and effort you put into it or what meaning it can have behind it. I wanted to focus on the design elements that both of us find interest in and wanted to create a piece that can be display as wall art. For me, painting is not my strong suit, and I had a challenging time painting within the shapes and line to where the paint spilled over the edges. However, it does add an element of painting technique of messy but controlled. If I could do this project over again, time would be my biggest thing for using actually wood glue to to pan out the drying time for each piece as well as taking a lot more time to tape and paint. All in all, I am proud how this turned out and I am glad that Ana liked her gift.

Portfolio

View final detail project at: Project 3: Gifting Design

 

Exercise 1

Part A

During E1, it was to experiment with taking a word and listening to sounds to translating it on paper of what you interpret. From this, it helped to zone in on what sounds you heard rather than the lyrics of songs and what shapes, forms, or  colors you imagined.

Part B

With Part 2 of this exercise, I created a paper mechanism using the word ‘Muffled’ to translate through movement.

   

Dynamic Pages

In this project, it is a collaborative work that illustrates a narrative using paper to craft a paper mechanism/stop-motion animation translating the principle of movement through sound.

My Collaborative Partner: Liann Trahey

Concept Statement

“Mrs. Sandman”

The Project 2: Dynamic Pages focuses a diptych split between circular rotating paper mechanisms consisting of the visual aspects of sound through music. The visually representation of the song “Mr.Sandman” by The Cordettes feels calm and groovy allowing patterns and color to compositionally advance the non-objective features into a stop motion.Telling a narrative of a of a loopy, twisty sensation from the song is drawn throughout while creating a constellation of whimsical circular movements. From this a pattern of circles is created enhancing the beats of the sound and making the viewer excited of what they experience from the composition. 

Research

Thompson Library

While looking at all of the various paper mechanism at the Thompson Library, I found myself interested into more of how simple circles can be intriguing and compelling by straightforward movement or by how designs transformed the mechanism to become more lively. Not only did I find interest in that but also the different materials that were used to display the mechanism such as: acetate paper, high-gloss card stock with words, tan toned paper, etc…

These velcro mechanisms fascinated me the most because of the use of cardstock, the designs with the mix of colors, and wordplay around the circles. This simple paper mechanism is interesting and eye-catching and allows the user to interchange the designs.

Continued…

Paper Mechanisms

Since I found inspiration at Thompson with circles, I begun looking at paper mechanism with circles of them rotating, pull tabs, and them opening and closing. However, I did find other mechanism that were more of squares/rectangles with pull tabs and sliding doors and handles.

Here is my Pinterest link: https://pin.it/745duhT

Illustrations

By my primary source of inspiration at Thompson with the designs on the circle, I started exploring fun designs with color play and theory with organic shapes, forms, and lines.

Here is my Pinterest link: https://pin.it/2D4mviH

Ideations

In the composition, I made an example of a pattern with color to see how they would look before going digitally.

The Concept Process

Song Selection

Liann and I choose the song: Slow Dancing in the Dark by Joji

This song had a calming smoothness to the beat and that is what lead me to draw circles big or small and wavy lines/straight lines during the pauses creating the sound.

As it came closer to begun creating the diptych paper mechanism, Liann and I decided to change the song to: Mr.Sandman by The Chordettes. We changed the song due to our plan of the desired composition in relationship with sound, movement, and color.

Color Theory

For the color theme, they are complementary colors of blue and orange while purple and green are split complementary. We choose these colors due to the  beat to the song “Mr. Sandman” being groovy, calm, but also exciting. These are the shades we choose.

 

Sketches

With the sketches, it determined the size of the circles and the layout of how the paper mechanism will work. These will be 9 circles in total. As of 4 of them are consisting of velcro interchangeable pattern designed circles onto a black high glass cardstock with the words “bung, bung, bung, bung” as acappello beats/lyrics of the chosen song around the shape.

On Paper

Digitally

This digital sketch is what the composition will potentially show. Pattern 1 will be used as the outer circle whereas Pattern 2 will be the design onto the velcro paper mechanism circles and as for the acapello beats of the song “bung, bung, bung, bung” that will be the background.

 

Patterns

I designed these abstract patterns with the various shades of split complementary and complementary colors to brig excitement to the composition through the layering of color, line, and movement. Yet, with the black background it provides a subtly among the choas of color.

Materials and Assembly Process

• 100 lb high-gloss cardstock
• Chipboard
• Velcro
• Hot glue
• Resin
• Sand

I decided I wanted to carry-on the ideal of using 100 lb high-gloss card stock for my piece to make the color brighter and the paper more sturdy.In addition, in order to use velcro as my paper mechanism, I used chipboard so that my velcro to paper attachment is durable and firm.

Laser Cutting

Cut Files

These are my Ai files to use for the laser cutter to began cutting 2″ inch circles for the mechanism, 10″ inch circles for the background, and a 10.5″ inch circle for the pattern layer.

Assembly

Gluing

After all of the cardstock and chipboard was laser cut out, I used rubber cement to glue attach the cardstock to the chipboard them I took a hot glue gun to glue down the velcro onto the 2″ inch circles. Surpisingly, we managed to use all of the paper of the 11×17 patterns with no scapes as well.

Failed Gluing Method

Although, I started to hot glue the other attaching side of the velcro down to the black cardstock and once the velcro was being attached then pulled, it ripped the cardstock paper.

Resin

From the velcro tearing the cardstock, I painted over the ripped areas black and adjusted to work with resin to create a barrier between the velcro and cardstock and a base so that the velcro is not applied straight to the gloss paper. By this solution not only did it generate a barrier but a high contrast within my composition among the layers cardstock.

The Solution

Since the velcro being super glued straight onto the high-gloss card-stock was ripping the paper, I started the resin process and waited 18-24 hours  so that it could set. Once it set, I did have overspill and had to sand down the edges around the circle making it smooth. I only resined the black card-stock because I wanted a contrast among the pattern card-stock on the 10.5″ inch circle and the 2″ inch interchangeable circles. This makes both the 10.5″ inch and 2″inch circle consistent with the texture of the paper.

Nonetheless, applying the resin creates a smoothness finish to the surface of the card-stock and as stated before the song “Mr.Sandman”, provides a smooth feeling when listening to the beats.

   

Creating an Additional Texture Element

After sanding down the overspill edges of resin, I applied texture onto it using the sand paper by scratching the surface creating a rough feature against the smoothness of the resin.

The Platform

Liann and I both agreed that we needed to levitate the structure of our composition for the patterns and mechanism could stand out. We wanted to create our layers as visible as possible although due to the resin being top heavy, the design demanded for a strong, sturdy way of connection. Here is the experimentation:

Idea #1

I thought that if I used pipe cleaners and wrapped two of them together, that would be durable. That was not the case. They are flimsy.

Idea #2

Moving forward, I took white Bristol and damped it down with water then wrapped it around a marker to make a circle. Afterwards I poked hole punched holes so that they are an architectural and interior design decor. This approach with Bristol was more dynamic than use pipe cleaners. However, using Bristol with resin was not durable enough either.

Finalized Idea

Moreover, doing this approach with cardboard, providing that sturdiness and durability to build the compositional structure. Columns are used to uphold many structures and wielding this feature into the design invites the architecture arrangement. I used the 2″ inch circles to cover the top and bottom of the columns to hot glue them on the bases.

I decided to make sure that the pattern was abled to still be captured through the holes and bottom of the bases so that they are united with the composition.

The Structure

With the whole structure of my composition, I wanted to stay consistent with using black as the bases for the platforms therefore I painted them black. However, with the black paint I added glitter so bring in the glossy/shiny aspect. Although, the glitter does not create a barrier that is texturized and high gloss, glitter correlates to adding “shine” to certain areas. In addition, when the acrylic paint dried, it is matte black provides a contrast between having a glossy black against matte.

Lastly, I used the hot glue gun to glue the platforms together.

 

Adding Outer Details

Continuous circles are the concept of this composition and establishes a common theme. The bottom base was very blank and the idea of using pins to create another paper mechanism element that also rotates added more value. I tested different ways to apply the pins on the chipboard and I realized that bending the end back to hold them in place was more efficient for still being capable of laying the piece flat.

Stop Motion

Liann and I managed the stop motion video process together through all 87 photos. She took and moved the mechanisms for the video while I produced the video itself. All of the paper mechanisms of the circles rotating simultaneously and/or singly in the video perform until “Mr.Sandman” comes at the end.

View stop motion video at: https://youtube.com/shorts/w9qerEXUwas?feature=share

The diptych aspect of Liann and I’s composition was through not only the piece as a whole but also in the top motion video that we both worked on together as mentioned above.

Final Composition

All in all, with the final composition of our paper mechanism correlated with sound, it consisted of various materials to achieve our project ted concept. Within the structure, we used these materials with the value of creating contrast among the materials once built. For instance, the colors being split complementary and complementary, the resin black against the matte black. Lastly, the contrast between the different mechanism: velcro rotation versus literal rotation versus turning rotation. Moreover, Liann and I acquired the stop motion video to present the movement throughout the mechanism and how it flowed with the song: “Mr.Sandman”. However, in this case, with my velcro paper mechanism, it produced a sound as well. The ripping off the circle pattern and replacing it back on created a subtle “rough” sound in opposed to the music being light and calming. In addition, the diptych aspect also played the role of Liann’s paper mechanism being set right next to mine completing the composition.

Here are the final images of our work:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Columns Detail

Diptych & Mechanism Detail

 

Reflection

With this project, Dynamic pages, I learned that working with a collaborative partner creates an even more interesting composition than what you would expected. From both my partner and I, we worked very cohesively for our design to be integrated as one whole piece as a diptych. We both overcame time management and the “waiting time” for both prints and resin setting ourselves to focus on other aspects of the design. In addition, the experience of using stop motion in the project was new but exciting for the end result. However, the process of producing stop motion is very time consuming and requires a lot of attention to detail in each frame so that the video plays smoothly. Nonetheless, exploring how paper mechanisms work, I discovered that they can be simple or complex and still be interesting. If I were to do this project again, we would have advanced on how the diptych between my partner and I’s paper mechanism were placed onto the composition.

Portfolio

View final project at: Project 2: Dynamic Pages

 

Mask-Up

For this project, it is to create a three-dimensional masking form that addresses a theme related to a pandemic. However, we will work collaboratively in teams designing my own composition while presenting a unified concept.

My Collaborative Partners: Aaron Beckhon & Liann Trahey

Concept Statement

“The Reality Underneath the Masks”

The idea of masking to show/hide emotions and facial expressions has become an unintentional habit within the pandemic. The masks have the ability to hide one’s emotions of how they really feel by covering partial aspects of the face. However, the collaborative work of constructing our mask is to reveal one’s true emotions openly. Our masks are abstract, modern, industrial, and exciting creating an interesting composition through utilizing various materials such as wire, resin, acrylic paint, glitter and ribbon. The abstract and industrial aspects come for the wire to highlight one’s features and the perspective of their emotions with forms and color. Impart of the concept detailing our emotions being hidden and then expressed through our masks, have been uncomfortably troublesome having to wear constantly throughout the two years of the pandemic. Manipulating all of the materials conjoined within our composition, while using wire and resin brings discomfit onto the face to wear realistically. Nonetheless, our masks showcase important areas on the face like ones eyes, mouth, or the physicality of the emotion being portrayed. To achieve this, the use of wire exposes the reality of how one is feeling with the openness of line work. It is soldered together to twist, shape, and form creating durability within the composition whereas the resin with a burst of color related to the emotion expressed invites the ideal of color theory play and what emotion relates to a specific color. The collaborative work will bring each mask together to showcase the different emotions focusing on the facial structure, expressions, and color theory that allows this relationship. The interesting compositions will reveal the hidden emotions that one presents to another and the reality underneath the masks. Beneath them, are we happy, sad or angry? Although, for our emotions with the masks, we choose joy, sadness, and surprise that correlates to their own color. All in all, the conformity of masks and hiding our emotions has both been beneficially satisfying but harmful as well into not knowing how one is truly feeling or the instance of why we want to hide how we feel.

Research & Ideations

Masking Inspiration

I gained my inspiration through various artists and design concepts using different materials. Although, I was more drawn more towards was the wire, color theory, transparency, and organic shapes. I begin to look as what materials and how can facial expressions and emotions be presented in my composition to make our narrative to come to life.

My Pinterest link is: https://pin.it/57pTrhY for more of my inspiration.

Neckline Inspiration

In order to make a durable mask, I needed a structure that will be capable of taking the mask on and off. I took inspiration from different metal works with designs that are more necklaces around the neck area.

Sketches

For our narrative of the pandemic aspect of my composition, I wanted to begin showcasing how emotions/facial expressions are hidden behind the use of masking. As a group we choose one emotion for the each of us and begin sketching our ideas. My emotion is surprised. Surprised facial expressions are big eyes and an open mouth and I started sketching loops throughout the face.

Color Theory of Emotions

Through research, I found a psychologist, Robert Plutchik, who studied emotions and color theory. He used the color wheel that categorized the intensities of what he consider eight primary emotions. As you can see, surprised is a blue-green color and that is what is on my mask to show that emotion.

Prototyping

The first two prototypes with the wire focused on the structure of the face that enhances facial expressions. In terms with that, I decided to steer away from just this focus alone because they were not also presenting the emotion behind the facial expressions.

Yet with this third prototype type, I focused on the form of the mask with the wire where the emotion of surprised as stated before are big eyes and an opened mouth. Although, I did steer away of this approach due to the fact that, it did not show the facial structure but only “blobs” of wire on the face as a mask.

 

Soldering Technique Experimentation

Instead of twisting the wire upon wore to make the composition durable and sturdy, I wanted to solder the mail together so that is it just so. I experimented how I wanted to solder the wire together and came to a conclusion and a better way to interlock the wire together so that it does not break. I did trail and error before making my final form. Also, while creating my form before soldering, I used materials around me to wrap the wire around so that the wire are not wonky.

 

Without interlocking the wire ends, it made my forms unstable and needless to say they broke. So I begun the interlocking the two end of the wire. By doing so I can twist the wire however I want without it breaking.

 

 

 

 

 

 

 

 

 

 

 

 

 

Process in Constructing

As for the process of my final piece, I decided on using brass wire, resin, glitter, and acrylic paint.

Creating the Frame

Soldering

During the soldering process, I made various circle sizes to then manipulate into organic shapes.

Afterwards, I formed a composition for my abstract mask the highlights not only the facial expression but also somewhat of the emotion of surprised.

I made “rings” to be placed on the outside of the masks that will be filled with resin.

Molding the Details

Resin

I wanted to use resin as my transparent element for showing emotions through my mask because it adds durability to use thinner wire to thread and provides details to the mask with the color, flowers, and the high-gloss affect.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In the resin, I added glitter, metallic acrylic paint, and glow-in the-dark paint.

Before pouring the resin, I taped down each piece so that they are easier to pull apart after it sets.

Due to the resin overspilling, I had to clean up around the edges so that my composition is cleaner. But I had to wait 24-48 before it sets.

From the overspilling, I had to cut the excess off. Although, the shape of the bigger piece of resin is for where my mouth is because when you are surprised your facial expression are big eyes and an open mouth. The oval shape at the top and bottom of the resin piece is an abstract form of the shape of a mouth and I placed blue-green acrylic paint because that is the color for the expression: surprised. In addition, I made “rings” as a jewelry element to unite the resin with metal aspect.

Making the Structure

Neckline

To stay consistent with my design of organic abstract shapes, I created my neckline the same as my masking piece. Also, I soldered the pieces together.

Resin & Metal ( The Mask + The Neckline)

In this process of the making of my composition, I conjoined both the metal wire frame and the individual resin pieces by using the soldering gun to burn holes in the resin to then thread the metal wire through it and wrap it around my composition.

   

Furthermore, I added pieces of resin in the back of the neckline to where it will tie because my composition was very top heavy and to balance out was to add them.

Joining the Neckline and Mask

Methodically, for binding both of these parts together required me to solder the wire in the middle of the neckline and face mask to hold the structure.

 

The Ribbon

I used the ribbon so that the wire does not poke my face and neck when it is tied around and also for the mask to have the ability of being taken on and off as well as adjustable to size.

 

Final Composition

Here are the final images of my composition from the front, side, back, and top view.

 

These images show the details of the resin and the solder connections.

The Photoshoot

Liann, Aaron, and I wanted photoshoot as our presentation for our individually crafted masks that gave a Euphoric ambiance. In the photoshoot we expressed the emotion as related to each color.

View Photoshoot Video: https://youtube.com/shorts/fiGE7mPp3Xs?feature=share

Eye Makeup

In terms of the color blue-green associated with the emotion ‘surprised’, I did a glitter wavy makeup look on my eyelids to emphasize my eyes for the emotion. I did a wavy took to connect it with my organic shapes on mask. This intensifies my composition in color.

The Team

My collaborative partner, Aaron, he did swooping line work on his right eye and check area due to his design to highlight that side of his face as well as express the emotion ‘joy’ from the color yellow. With my other collaborative partner Liann she took the subtle route of winged dark blue eyeliner to further her blue sad for ‘sadness’. She wanted the color focus on her tear droplets rather than the eye makeup itself.

Reflection

From this project, I learned how to take all of the compositional elements in this piece such as, color theory, abstract, industrial, various materials and techniques while combining them together to design a mask. The challenge I had during the process was time management and not rushing through this piece by taking the “wait time” for the resin to set. I discovered that patience is required to achieve what you imagined. Yet collaboratively working together with my partners, we all understood our concept and learned how to manipulate the wire to our advantage. We all worked very well together and managed to pull off our masks with the intentions creating cohesive pieces among one another.

Portfolio

View final project at: Project 2: Mask-Up

 

Exercise 1

In this exercise, I was to use my own initials and pick a font to use negative space that conceals an image that says something about me. I explore my various initials: “M, K, G, and O” to see how they will hold the different aspects that I wanted to share about myself. Afterwards, I choose the font Playfair Display, the initial “K” and my love for sleep with clouds.

Initial Sketches

Laser Cut Files

Final Exercise 1

The final product of this exercise communicates my love for sleep through clouds and daydreaming. As you can see in the initial “K”, there is a cloud in the negative space but also in to foreground as well. I wanted to display both clouds so that they are overlapping in a sense just like what you would see in the sky. Clouds to me are related to my love of sleep because of clouds are soft and fluffy and my bed is like laying on a cloud. They are both in relation to one another of being soft and comfortable and of the idea of dreaming.

Layering Space Process

This project consisted of crating a composition using paper layering techniques to emphasize and exaggerates a sense of depth in a space using 5 grayscale layers. I begin to research different areas through the Hayes building to see how space fills a room. After that, I decided I wanted to do a Kitchen that shows depth in a space because I have been cooking more and a lot goes on in the Kitchen. In addition begun working on my concept statement.

Research

I explored around Hayes building to examine spaces, layering, and depth and through the internet and Pinterest of other paper layering compositions.

Modeling (Water Layering Research)

I explored and created a model of how I wanted the water to be showcased in my design.

Cricuit Files

The Crafting

I used the Cricuit to cut out all the individuals piece to create my layers and begin to assemble my composition.

Final Layering Space Composition

Concept Statement

“The Kitchen”

My goal in my composition is to use the technique of layering paper to emphasize and to exaggerate a sense of depth in a space. The space will be a perspective kitchen composition that allows movement and an overemphasis on the entirety process of cooking. Cooking can be hectic and mostly relaxing at times and by developing a composition inspiration of Van Gogh’s “The Bedroom” painting will admire those aspects by viewing a space as a whole. Despite the point of view is standing from one angle, it will also allow the viewer to see what is happening in the kitchen all at once. There are dishes and ingredients everywhere and simultaneously during all of that hectic, there’s a sense of peace when cooking and being alone. In this design, it will create depth within the space from the foreground (the pan), middle ground (the stove/cabinets), and background (the wall) to allow the visual of someones point of view standing in the kitchen. Furthermore, the design solution is to focus on perspective consisting on different layers within the space. The kitchen is displayed in a normal setting in a house with a checkered floor, traditional cabinets, electric stove, with a horizontal textured wall and a kitchen table. Moreover, the strategy of this piece is to create depth by the different levels from the kitchen floor to the ceiling and the food that is being prepared to add dimensions within the space. Adding layers within the food and spills of in the kitchen will not only bring the composition to life but will achieve the goal in this assignment. For instance, there are layers within the egg that is being prepared, the stove showing that is it on, the water from the sink that is spilling all over the kitchen floor, on the counter top from the spill of the blender, and inside in the pan from all the grease. The layers are subtle but the show a sense of depth within a space and connects the overall scene. I want the viewer to be stopped in the moment of time before everything goes chaotic. There’s mishaps, mistakes, and overall messes everywhere, however, time is frozen for a split second that provides an overwhelming feeling but also calming due to the timelessness.

 

 

In Color

Placing my composition in color, I choose Complementary colors of purple and green because it calms the space down a bit with the cooler colors but also is pleasing to look at with the way that I illustrated the scene.

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Reflection

Throughout this project, the process of using the Cricut was difficult for how small my individuals pieces were. This is why I could have improved upon my cut files because I had so many pieces to glue down instead of creating continuous bigger pieces to form layers. In addition, creating continuous bigger pieces to form layers would have allowed me to explore more on how my layers could have improved upon a 3D effect instead of a flat plane. My strengths for this composition were the egg and the water that detailed the narrative behind my concept statement to show how messy and hectic cooking in the kitchen can and creating depth.

Portfolio

View final project at: Project 1: Layering Space

 

Exercise 1

Mindmapping

Using mind mapping to build fast iterations through class to begin the mini sketchbook exercise. We would then take these mind maps the do iterations with different materials and techniques to build a potential sketchbook.

 

 

Mini Sketchbook Iterations

Utilizing the process of mind mapping on the different prompts given: How to live your best life? to stem off of developing new ideas for creating the mini sketchbook using recycled materials.

 

 

Mini Sketchbook Final

I wanted to create a mini sketchbook with recycled material per se syllabus but I wanted to focus on the different materials being used and the functionality on how it would open and close and how it would be bond. Throughout this exercise, it explored my creativity on not only the mind mapping inside but also the various textures that played a role on how it felt to hold and touch. I wanted the cover to feel soft and slick while the form of the composition as a whole was more organic due to the process of making a sketchbook prototype.

Materials Used:

iPad box cover

Thread/Ribbon

Mask elastic earband

Notebook clear plastic pocket

Drawing, Graph, and Newspaper

How to live your best life? Mindmap Illustrations

Sketchbook Process

Concept Statement

“Neutrality”

Exploring natural materials brings a feeling of calmness and subtly within a design. However, the play on neutral tones can be perceived as “boring” or uninteresting. This is why inviting texture provides value to elevate how the feel or look of a piece is. Utilizing natural, organic materials on the outside is considered plain to an artists’ sketchbook but what is important is how creativity is performed in the inside through drawing, sketches, and ideas.

CheeseCloth Process

I decided to use cheese cloth to bring in the organic and texture elements to my sketchbook. I used the laser cutter to cut out 5″ x 7″ chipboard to have a durable stable cover for the cheesecloth to be glued down. I used Golden Heavy Gel Semi-Gloss acrylic glue and performed to two coats of laying the cheesecloth down method. As I gluing them down little lint specs pooped out of the cheesecloth exposing its natural quality.  Not only did the cheesecloth created value in the aspect of its form needed for my final composition but provided natural neutral tones with the chipboard.

Coptic Stitch Process

After getting the cheesecloth glued, I then took a hole punch to create holes through the cheesecloth and chipboard for binding. Once, that was done, I began to punch holes in the scored (used circuit)  drawing paper pages for the thread.

 

 

“Hidden” Element Process

For my “hidden” element, I saw this cloth with the same neutral tones as the chipboard and the cheesecloth and wanted to create a pocket and a pencil holder. I used a hot glue to make it stable and to close the openings.

 

Final Sketchbook Composition

I created a natural tone organic sketchbook with neutral toned chipboard, cheesecloth, woven fabric, wax thread, and toned drawing paper. All of these materials helped me make a sketchbook that is what I wanted to achieve was simple and a handmade feel. With these elements, it made my sketchbook rough around the edges but concise on what I wanted create. Since, I typically pick out a neutral plain colored sketchbook when buying one, this is was my version in making one. Sketchbooks are personal and inside, there is creativity, notes, color, and a variety of whatever you want to place in there. However, to me, the outside of my sketchbook doesn’t define what I place in it even if it is plain and neutralized.

 

 

 

 

 

 

 

 

 

Reflection

Throughout this project, I experimented with textures, organic materials, and techniques that transformed my understanding on how these materials can be brought together to produce the neutrality of my sketchbook. The lessons that I learned while making my sketchbook were how to use the laser cutter, doing coptic stitching, and gluing down cheesecloth. However, I overcame my worries on creating a tangible, functional, composition that was out of my comfort zone by exploring the function of materials to tools. For instance, the laser cutter to matte board can burn the edges, and when gluing down the cheesecloth with a brush can have the material create fuzz that provides another visual textured element, or how the cheesecloth applies ripples when laid down and taking the gesso over top to make them stay. Furthermore, the exploration into materials and learning how materials interact expanded my design vocabulary. Overall, I could have improved on my craft to make my sketchbook neater and consistent coptic stitching so that my pages are not so loose.

Portfolio

View final project at: Project 1: Sketchbook