Floor Plans

The drawings and collages I have been creating have had a mysterious quality to them, as the shapes are in solid black and it is uncertain what they represent. This reminded me of floor plans for buildings, as each part of a room is designed by the outline of a shape. The line qualities and positioning has really interested me as I feel I can use a lot from this style of drawing, adapting my own work to incorporate these line techniques. 

Albert Sjöstam

The prints I have designed are for wall panels or hanging pieces, aimed at an interior context. I have been researching artists and designers who work in this style, creating one off prints in a range of sizes. Albert Sjöstam is a current designer who's work I can relate to, as the spaces he designers for are where I invision my work to go. It is useful to see how one print can be applied to different surfaces and in changing scales. I am going to use this style of visualisation to explore how my prints will look in room scenarios. 

Wall Panels

To create prints that are interesting and eye catching I have scaled the collage up to A1, this has allowed the prints to become more complex and create unusual shapes. I have gone back and drawn more initial structures to add to the depth of designs I can create, as the images were becoming too thin when used on a larger scale. I invision these prints being one off statement panels or hangings. To present I have only worked on paper, however it could cross over into digital print onto perspex panels or fabric. 

Collage

The drawing process for these images is very time consuming, paying attention to detailing line relationships. In order to utilise each image once it is complete I have begun collage work, cutting drawn sections and reassembling them to create new shapes. This has allowed me to focus on composition and finalising shapes.

My print style is always in repeat, so I have experimented different ways of using these images in repeat, be that a simple rotation or the changing of scales to layer onto the image. 

Inspiration

To create a sense of a new world in my prints I needed to find a source of information that was unexpected and far from the norm when it comes to pattern. Stanlow oil refinery works perfectly for this, an ugly and unappealing complex by day, but by night it comes alive into a magnificent city scape.   The composition of the buildings and the lighting has given me the information I needed to create the drawings to be moved into prints. Line drawing has worked the most successfully, by keeping to black and white it leaves a sense of uncertainty to what the shapes are that I'm drawing. Each junction and line creates a level in the print that would work well repeated.

Metropolis

In-keeping with the idea of creating print through imagery of a mystical land or realm I have broadened my research into film. Metropolis is set in a future world of odd shaped constructions and buildings, creating a complex and layered land. The images captured from the film has inspired my drawing and also opened my mind to explore more possibilites when it comes to designing my prints.  

Collaboration

My work has been in black and white to present, finding colour is something that I struggle with so my initial work is often primarily monocrome. To overcome this problem I have collaborated with Victoria Young Jamieson, an artist who has based her work on colour relationships. She had the colour and I provided the maquettes, when put together it created an interesting set of photographs. These images add to my idea of creating work relating to a mystical world, a sense of many layers and shapes. I can take the shapes and space relationships into my print work, focussing on layouts and positioning of pattern.

Artists

The idea of using multiples of a motif to create the art work and pattern has caught my attention, being shown through my drawings. The images and installations created in this way are incredibly captivating, the illusion of another realm or world created in an unusual way. The artist below all create incredible works through obscure materials, bicycles to insulation piping to neon string. Each create a similar feeling, an eeriness, a feeling of wonder and intrigue. Though my work will not be in this installation style, I want to create prints that have this level of interest and mystical sense attached to them. 

Ai Wei Wei

 Churtichaga + Quadra Salcedo architects

 Megan Mosholder

Drawing

My work to this point has been created through making, using cut and fold techniques to create the shape and pattern. The shadows created have been the successful part of this process, creating interesting marks from the maquettes. The paper sculptures have developed slightly, however they are not providing me with enough to work with so I am going to focus on the photographic element. Using the photographed shadows I began trying to emulate the marks through line drawing on different papers. Tracing paper and surfaces with opacity worked the most successfully, the transparency added another level to the drawings. I have researched into different drawing styles and mark making, Tania Kovats work in 'The Drawing Book' in particular captured my interest as she creates layers and depth through her mark repetition. The idea of using one motif in repeat using scale is an interesting concept to explore.  

Shadow

Conrad Shawcross

Cornelia Parker

Wall art through the construction of paper maquettes has not been successful, which lead me to research into how pattern and shape are create on surfaces. The use of light and shadow has always been a strong interest of mine, therefore the construction of shadow to create pattern on a surface was something to explore. Conrad Shawcross creates his work by using a simple mesh cage, but with a rotary light inside it projects moving shadows onto the walls surrounding the installation. The pattern and changing scale is interesting, posing the question of how light can change the outcome from one subject onto a surface.

Cornelia Parker creates her work using random and coarse shapes to create shadow. This explosion of pieces creates a menacing, dangerous outcome on the surrounding surfaces. I do not want my work to have this sense of anger and sporadic nature attached to it, therefore the shadows will need to be more uniform and confined. 

The above images are my interpretation of how shadow can be created in a controlled form. The patterns created from the position of light are more interesting then the paper forms themselves. The paper maquettes were created through simple cut and fold techniques, creating spaces with a range of thicknesses and lengths. I began these pieces as a way to create texture on a wall, moving into a possible installation technique, however the shadows were the more focal point once finished. This has steered me further towards the idea of shadow pattern in a 2D form.

  

Wallpaper

WallDecor

Bovey Lee

This year I intend to expand my 2D wallpaper into 3D pieces, be that on a wall or in a more installation form to create one off designs. I have began research into artists who work in this style, in particular Wall Decor, who create panels to be installed in repeat. This style of design is suited to my style of working as one element is created and then can be used in repeat, creating the pattern work.  

My work to this point has been 2D designs, with my final wallpapers being in repeat and in a simple colour pallet. To create work that moves into a 3D form I have started research into artists who use paper to create texture, in particular Bovey Lee. His work takes one motif and repeats it to create these relief pieces, by cutting and folding. 

I have began folding and manipulating paper to create pattern, my initial idea was to create one shape and repeat it to create texture on a surface. The outcome of this process is not what I envisioned it to look like, they are dull as a wall art as they provide no visual interest. This has been a useful step as I have eliminated this process as it was unsuccessful.