Michael Goro

Michael Goro

“continuous creative search for raw authenticity in urban environments and human forms that are constantly changing.”

Michael Goro is an artist that works within printmaking born in St. Petersburg, Russia. He creates etched plates that create an intaglio print. He received a B.A. in Architecture. He later discovered intaglio printmaking in Israel 1990. This is when he began to use this as his main medium. He later completed his education in printmaking at he University of Illinois at Urbana-Champaign. Goro's work can be found in numerous places, both private and public.
He's shared his unique personal experiences through creativity and art.

Looking at Goro's art the mediums he seems to work with is watercolour and intaglio. I find his work extremely inspiring, he's an artist I think links up with Maja Wronska. Both within there watercolour paintings ass significant amount of detail, and using a range of colours.
Focusing on his printmaking he's and artist that influenced me into creating my own architectural intaglio prints, he captures the fine detail and adds effects but working into them with watercolour.

I like that he captures all aspects of the observational values in which he works from. He adds a lot of detail with his prints, including the shaded areas.
When creating my own I chose to use different mediums to show the contrast in the shaded areas. I chose to work with Tage Mahal for my intaglio print, I think the overall design of this landmark is interesting, its whole composition and the overall shapes used makes it original.
I stuch with using only black ink, referring back to Goro's prints, he also tends to stick with a simple colour of ink and adds any wanted tone with paint, which is what I also interpreted in my work.

This print was added with watercolour, I used a blended technique to create shades, adding water to the area, and then applying the paint will create a gradient outcome, youu can build up the tones by doing this in layers, re-applying the paint over and over again to create darker shading.

  

This intaglio print was also used with watercolour, but using a different technique to get a different outcome. I used a brush stroke technique, I first blended the colour, but once it was fully dry I worked into the shaded areas using a fine headed brush and lightly stroking it in a motion to create shape and definition. I think this added a lot more detail, and showed you a visual understanding of how to create different outcomes when working with a range of techniques. 

This piece was watercolour and added pencil, I again used the blending technique and worked into the areas to add shading. I used 3 different shades of brown and a circular motion of the pencil to make it more defined and darker.

This final development of my printmaking sample was printed onto a handmade textured background, i wanted to experiment with whether the texture of the surface would capture as much detail as it does on ordinary watercolour paper.

I think this print actually worked well, i was a bit sceptical at first but the outcome surprised me, I faintly worked in black watercolour to give it a bit of shading, I stuck to one shade and a minimal amount of layers as I didn't want to overpower the print.

I think my work in comparison to Goro's relate in many ways, the techniques and overall mediums used both create in depth art work.

To capture more of the image like Michael's I think working from observation would enhance my view of fine detail.

however I did enjoy the process of creating my work in response to Michael, I think the outcomes were interesting and original. 

Maja Wronska.

Maja Wronska

Maja Wronska works as an architect and freelance illustrator, who graduated from Warsaw University of Technology (Architecture Faculty). He works with various materials such as 3D, interior designs, hand made renderings and illustrations. His main inspiration is Architecture, he produces his work on Fabriano paper.
HIs work stuck  out to me on Pinterest, I find Wronska's workvery similar to Elwira Bawlikowska, they both add a significant amount of detail within there artwork, but Wronska uses a range of colours, whereas Elwira sticks to minimal tones when creating detail within her work.

I like the way Maja works with hic=s colours, you can see he uses watercolours and a blending thecnique for the sky.
He again captures and portrays the observational values of architecture, within both his drawings and paintings.








I found his work to be very inspiring, which is why his work links to mine. I also kept his techniques in mind when creating my camples.

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Callograph Printing

Collagraph printing.

A collagraphy print has the same techniques when creating an intaglio. The final piece is a lot different to an intaglio but they both require a very similar process when creating them.
Collagraph print is formed by creating texture onto either a plate made from wood or strong cardboard.
The main thing with this type of print is to ensure that all materials are stuck down firmly. This is key when it comes to actually printing them.
To get an even print you should try keep height levels similar and not too uneven so that the press captures all detail.

To create my collagraph prints I started by using small square plates to create test pieces, this gave me a rough idea of what materials worked well, how the press would capture the texture it has and what effects they individually produce. I applied a thick layer of PVA glue and firmly stuck down my materials.
Once dry, apply shellac all over your plate; this will protect it. With this type of printmaking you need to understand the limitations of the materials used, such as applying ink and putting it through the press.



To print, I  first produced one called 'embossed print' This means I only used the plate, I didn't add any colouring or ink to it, just to define the textures I had used, this  made it easy to see what materials worked better than others. I then moved on to inking up my plate using Etching ink. When applying this product try to stick to a minimal amount as a little goes a long way.
Using circular motions with scrim to enable it to capture all detail when being pressed. I then used tissue paper to wipe away the excess ink.
When printing its best to use damp watercolour paper, this helps pick up all ink within the texture.

These were test pieces to get an insight on what types of materials create different textures, i then moved on to creating my larger Collagraph plates, I decided to use a fair few of the same textures I used on my experimental plates as I liked the texture they created. I changed the overall design of my larger plates and manipulated some of the more flimsy material to create a textured surface.

With my larger plates I chose to play around with the colours  and techniques, to get an understanding of the limitations with each material I chose to work with. I didn't stick to one major colour scheme, I liked the idea of using colours I think would define the texture and show the range of detail within it. To get a blended effect with the ink I simply used scraffito, this is a small piece of material used when working with textured plates. I used circular motions which will enable the ink to get in all the small detail, I then used tissue paper to against rub over he plate to eliminate all excess ink that's not needed.
 
I like the final finish of my prints, I think some materials captured more texture than  others, but overall they all had interesting outcomes. To improve the prints I should have added less amounts of ink and stuck to a range of 2-3 colours at most if I wanted to use the blending technique. I think too much colour going on in one print will over-power the textures.
An artist linked to collagraphy would be Barbara Rae.

 

She's an artist that works with painting, sketching and printmaking.  I find Rae's work to be quite child-like when it comes to use of colours and imagery, however i do find her to be quite unique with her techniques. I don't think she's a very influential artist, when looking at her work it doesn't give me any urge to create an outcome inspired by her. 

Sunga Park and Batik response

SUNGA PARK RESPONSE

Being inspired by Sunga Park's work, I decided to create a further response using different materials and techniques.

As I stated in my research to Park's artwork, I liked the way he faded out the imagery, which created an unfinished, yet interesting outcome.

To develop his work further, I used a wax technique called Batik. This is something that's done on fabric to stop other materials/liquids to run in places you don't want. 

The process of this is very simple. You heat up a small pot on a chosen temperature, which can be altered by a switch on the side, after adding a fair amount of wax called Paraffin. This type of material is applied to the fabric using a Batik pen, shown below.

I  found that using this to apply the wax to be quite difficult. If you want to create a very clean and defined piece of work, you'd have to learn the techniques within the tools. Picking up a large amount of the wax can cause it to come out a lot quicker, which gives you unwanted negative sections. I got the hang of this more towards the end of the process.

Batik basically eliminates the sections from any ink or substance you apply to the base, this creates negative and positive spaces. I find it to be like a stencil, you exclude the areas you want to leave blank with only the positive sections visible.

I started by finding architectural images I wanted to work with, I went with photos and designs that are quite detailed, I wanted to add shading and tones through using fabric ink.

I applied wax to the areas I wanted to leave blank and highlighted, I looked at my images chosen and worked with the way the light had hit the building.

 Once I had done this stage I then went on to adding colour. With the ink I was working with I was able to mix the colours, and add water to create different tones. This was the beginning stages of adding colour my work

To begin with when adding shading i started by using the lightest colour and building up on the detail to define the imagery. To do this i used Concentrated batik ink. 

With the ink I was working with I was able to mix the colours, and add water to create different tones. 

I repeated this step around 4-5 times in the areas I felt needed more detail.

Once happy with the overall painted piece I then placed my dry fabric between grease proof paper and ironed over the top. Placing this over the material worked as a protective cover when adding heat to the surface. If you wasn't to do this stage, this would cause the wax to melt and go on to your iron, which isn't ideal if you don't want to ruin your equipment.

Here is the final outcome:

 

 

As you can see, the lines aren't very defined, I don't think the outcome looked neat enough to be produced as a piece of artwork, although this has a negative effect on it, I like the way the shading has turned out, I think it adds enough detail to make the overall piece look original. To clean up the line work, I thought of ways in which I could neaten it up and add detail, for this I chose to work with stitch.
I used a sewing machine to cover the areas I think needed to be worked on, i didn't want to cover too much of the detail with stitch as I think it would take away the aspect of using different materials to develop Park's work further.

 

I started by choosing the main colours i wanted to work with, for the image on the right i chose 3 different shades of thread, all being grey tones.

I used a freehand footer for this, which gave me the ability to move the stitch in a circular motion, which will build up the thread and be opaque. 

I varied the 3 colours in areas to give it a shaded effect.


The limitations when working with stitch illustration would be  thread build up, if you're layering over one area to add more texture or colour be careful with the loose tread at the back of your fabric. This can begin to tangle together and stop your machine from running smoothly.

 

Once happy with the definition and detail  added into my work I then cut off any loose threads ti neaten up the final outcome,

 

 Im happy with how my illustarions have turned out, I think my use of colour and embroidery has worked well together.
My second illustruration was the top of guildhall, I like the amount of detail that the embroidery has captured, its worked well with the use of ink and created an original outcome.
Here's an image of the two finished:

 

To develop this further I could think about adding a series of different architectural stitch illustrations, on a long piece of fabric, I think working with stitch and intaglio to create this would work well.

 

 

 

Harriet Popham

Harriet Popham

Harriet Popham is a 21 year old designer based in Bristol. She's an illustrative textiles designer working with a variety of materials including print, embroidery and pattern design. 
She hand draws her work, adding intricate detail, and lively density. She's inspired and influenced by observations and surroundings. She decides to stick with traditional embroidery and techniques.

I come across Popham's work on Pinterest and found her highly inspirational. I decided to add stitch into my illustrations of architecture. I started by using my intaglio print onto the fabric which gave me an idea of where I should be stitching.

 I only wanted to add the basic outline of Tage Mahal as Popham's architectural stitch illustrations don't go into too much detail with shading etc. She captures enough detail for it to look interesting. Looking at the techniques of her work, the one thing that caught my eye the most was the loose thread she left. Usually this could have a negative effect, but I find that it compliments the artwork and gives it originality. I chose to add this in my own response.

I think my finished piece come out well. I find Popham a massive influence when it comes to stitch illustration. in comparison to both our work I think we capture the main aspects of the architecture. Her work seems to have various stitch techniques, whereas I chose to work with only machine embroidery. If I had worked on a larger scale and added more imagery into my work, it would be a lot more detailed.

3D Art & Design

7 formal elements within 3D:

- Line

- Colour

- Tone

- Texture 

- Form

- Shape

- Pattern

The relevant elements in ceramics when making are: Shape, Form, Texture.

Also similar when decorating your final piece, but pattern and line has also been listed.

To begin the workshops we looked into the understanding of ceramics, the way you can manipulate the materials used, how you can get different textures and shape out of a variety of different types of clay.

We looked into the styles and the overall outcome of various bowls, how they have been shaped, the textures used and added detail.

I then started to sketch small rough ideas of how i wanted my bowl to be shaped, i started with an ordinary circle bowl and finished with a low square drawing of a bowl. 

I started by using ordinary clay and moulded the shape of what i wanted my outcome to be, the initial key to this stage was making sure you got the measures right, and for the final piece to be stable. 

I built up a wall around my finished piece for when i pour in the plaster which will surround my clay and create a bowl template to then give me the basic shape and mould to be able to create my 3D piece, once i had put up the barrier to be able to produce my cast, i tipped in a slip mixture to get the basic template of what my bowl will be, i waited a few days for this to dry out, once this was done i was then able to get my first initial bowl out which left me with a mould to be able to then produce my final bowl, before pouring in the wet clay i cleaned up my mould so that it will come out clean. i then poured in the slip and allowed it to dry, leaving roughly 1cm thickness before removing the access clay. once it had enabled to toughen up i then removed it from the template. 
I had left the slip long enough to be able to get it out easily, without any breakages or cracking in the clay. 

Looking into the final step; which is where added detail comes into it, the main think was to steer away from creating something very un-original, and dull.
I decided to sketch some in which i think would look interesting, the outcomes are presented in my book. 
I liked the paisley kind of design, and henna. I wanted something simple, yet has effective and creative detail. I looked on pinterest for some sort of inspiration, i done a flat type of bowl so that i could add imagery onto it. 
I came across a bowl that i think looked quite original, so i decided to create something similar on my own bowl, i looked at quite a few of her work and found her to be very intriguing. Here's a link to her profile:
Diana Fayt pinterest,

I find that Diana had a very big influence on this piece, i liked that she didn't do a traditional ordinary design on it such as flowers etc. Her imagery is original, i liked the texture she had added so i decided to re- and interpret her work. I used a sharp thin clay tool to get small detail within the clay. With the texture of the clay i found that when scraping/adding texture and imagery it would leave loose access dried clay, which gave it an unprofessional appearance. I decided to get rid of this by adding colour. I went with quite natural colours to go with the imagery.
Techniques in which i used the tool would be continuously prodding the clay to create depth, and a repeated scratching motion to create detail and show features. 
An artist that links to this workshop is Grayson Perry, he's a well known Ceramics artist that creates tapestry pieces and textured pots. Perry lives and works in London.

 

 

 

 

 

 

 

I find Perry's work to be extremely detailed, I like the imagery he adds to his ceramic pieces. Id say I was more inspired by his 3D work than his tapestry.



Equipment used-

• Red or White clay
• Plaster of Paris
• Clay tools (knife, kidney ect.)
• Plastic sheeting eg. Linoleum
• Rolling pin
• Wet sponge
• Clay knife
• Kidney

Felt Making

Felt making

Felt is a type of non-woven cloth that is produced by matting, condensing and pressing woollen fibres. There is a variety of felt, some are very soft, other are tough enough to form construction materials. The good thing when working with this material, its easy to manipulate into any shape or size and can be found in any colour. Felt can be used transformed between different categories, such as jewellery, different  and clothing. Felting is both a 2d and 3d form of art. It can create completely different outcomes when using them in other categories. 

 

Coloured felt                   Adding colours to original                         Adding shape & form


To create my felt piece i first started with the basic method called wet felting; this is where the natural wool fibre is stimulated by friction and moisture. The fibres within the felt tend to bond together and form a cloth as the water and friction causes aggravation to the materials. I started by laying down a reasonable size of bubble wrap and layering up my fibres in a cross hatching technique to ensure that each piece combines together and bonds properly. You have to repeat this process 3-4 times for an opaque outcome.

I placed netting over the felt to helped when dribbling small amounts of water over the material to bind it together, i then swept over a bar of soap across the netting and then firmly rubbing my hands over it to manipulate the materials into bonding together, you repeat this step on the back of the felt piece and then place it into a bamboo matt which increases it to form together.

I then rinse it out in cold water, place it back on the matt and drain all the access liquid buildup inside the felt, the more i rolled out the material in the mat the more of a cleaner finish it will create. 

To add imagery to my work i manipulated and teased he fibres to create detail, this technique was good for the illusion of branches and nature etc. You add in extra imagery by working with it when its wet. 

Being inspired and looking into the intricate detail produced by Moy Mackay  i wanted to ensure that i capture all detail and have a clean finish, to do this i left my felt to dry and once complete i went in around the added imagery with a felting needle and sponge pad. I focused on getting the loose tacky bits neatened up and more defined. I continued poking all the fibers in until i was happy with the overall outcome. 

I decided to add detail by hand stitching. i started by testing out a few techniques such as back stitch, blanket stitch, imagery and flowers. I started by adding in small stitch illustration to give off an illusion of flowers. I found that with this style to make it look interesting you need to do a bundle of them scattered, with a mixture of sizes and colours. I chose to do this around selected areas i think looks interesting,                  

Equipment List-

• Felt fibers
• Bamboo mat
• Bubble wrap
• Soap
• Warm water
• Embroidery Thread
• Sewing machine
• Embroidery needle
• Dry felting needle

SUNGA PARK


Sunga Park is a graphic designer and illustrator currently living and working in Busary, South Korea as a wallpaper designer. He creates various prints, but one thing i was drawn to the most is his watercolour paintings,inspired by architecture. 

I came across Sunga on Pinterest, once inspired by his work i looked into more, his blog has various work of his in different categories, i decided to look into his architecture painting as this is what I'm interested in. 

Lookingat the way Sunga captures his vies is interesting, seeing further photos of his work, its as if he leaves his signature mark by leaving the paintings unfinished.
Im not sure if i can say they're unfinished as such, but his technique of blending out the painting i find interesting.

I think he's capture the main features of his paintings and added enough detail, which is why the washed out look seems to work well within his illustrations.

I decided to create my own work inspired by Sunga, i searched for famous landmarks and chose one i thought was interesting. I added in the detail in which i think gave it enough structue for it to look observational, i then slightly blended it out at the bottom. His work i find very dramatic, i wanted mine to be quite subtle. I find his very overpowering, which is why i decided to tone down the was i would fade it out.

Im happy with the end result of this, i also enjoyed creating an illustrated watercolour painting inspired by architecture. One of my three themes was texture, i decided that id try this on a piece of fabric to see how the watercolour would react to the surface of the material.
This was the outcome;




I think this actually worked well. i was a bit sceptical about applying watercolour to a surface that has texture but i think it created a original outcome. I don't think the watercolour paint went well with the materials as it soaked up a fair amount which meant repeating layer and building up more of a tone.

Elwira Pawlikowska

ELWIRA PAWLIKOWSKA

Elwira Pawlikowska is a watercolour artist from Poland. She graduated from faculty of Architcture in 2010, she's now focused on freelance illustration and graphic design. She spends her time creating illustrations for books, magazines, music albums and games.

Majority of her artwork is created with traditional media, sometimes supported by graphics. She stated that her inspiration is fantasy books, melodic music and long walks through the woods.

Elwira's work is extremely detailed for a watercolour painting. I find her work very liberalizing. I looked at a few images from her blog and realised that she seems to work with basic colours, mainly working up the tones with just ordinary black watercolour and getting different outcomes when applying more water.
I find using water colour paints to be quite a slow process, the build up of layers within her work is what i find interesting, the way she has contrasted the highlighted areas next to the darker and shaded parts creates an in depth finish. 

Although she doesn't actually full on capture the architectural aspects in all her drawings, you can see that her influences vary from topic. 

As an artist i find her very interesting, the quality of her work and overall outcomes look effective and original. 

Health & safety

Health and safety

GENERAL HEALTH AND SAFETY;

• Be careful when working with sharp objects such as scalpels, knifes and scissors. Cut away from your hands when it comes to working with sharp materials, this will ensure you do not cause any injuries to yourself. 
• Keep classroom noise at minimal level so that any emergencies, alarms and information is heard.
• Do not run with objects, this could easily cause you and others around you harm. 

3D H&S;

• Behaviour must be acceptable when in working conditions, no running or unacceptable around.

• Any spillages need attending to and not to be left.

• Be careful when using the tools, be sensible with carving and cutting equipment.

• Understand the use of materials and the way they can be handled.

There are a few health and safety precautions when it comes to 3D. The main one within this style of art is dust. Inhalation of the dust caused by ceramics can be very dangerous activity if not performed properly.  In the long term if no actions are taken, it can damage your breathing, this means its important to take regular breaks.

• Silica dust exposure- Clay dust contains crystalline silica this is known as 'free silica' and poses a serious health risk. The dust particles cannot be seen by the naked eye so the person working with clay with little knowledge would not know they were at risk. The dust can also remain airborne for long periods of time in your working area allowing it to penetrate deep into the lungs during the working process. This exposure to the crystalline silica can lead to serious lung damage and ultimately the lung disease named silicosis.  To prevent exposure to the silica certain precautions should be taken, these include-
• Keep clay damp during use so that no dust particles form.
• Do not dry sweep when using clay floors must always be washed down with a wet cloth.
• Clean all surfaces with a damp cloth after working with clay.
• Any spillages should be cleaned during the slip casting before they dry out.
• Protective clothing should be worn when appropriate to ensure silica is not carried on clothing.

Using clay tools and equipment-

• Care should be taken using sharp clay tools to ensure the user or others are not harmed.
• All clay equipment should be cleaned after use.
• Use the tools to there ability, do not break or miss use the objects. 

TEXTILES:

Hand stitch Health and safety-

• keep hands way from the needle as its very easy to injure yourself when hand sewing.
• Put your needle where you can see it as its easy to misplace. 
• Concentrate at all times, behaviour must be acceptable and noise at reasonable level when working with sharp objects. 
• Keep your work area tidy.

Sewing machine health and safety-

• Never leave appliance unattended
• Always unplug appliance from electric outlet immediately after use. 
• Ensure that wires and loose leads are all hidden so no accidents are capable of happening.
• Do not use bent needles
• Keep fingers away from moving parts- remember to turn off machine when threading your cotton. 
• No earphones to be woe when operating the machine. 
• No liquids near the machine
• Ensure all air openings on appliance are clear from blockage. 

COLLAGRAPHY;

Health & Safety

• When shellacking the printing plates it should be done in a well ventilated room which involves glove and a breathing mask. 
• Printing process is important. When using the press make sure no loose objects, fingers or hair is in the way.
• When creating the plates and cutting your materials be sure that you're careful with any scalpels/scissors so that you can avoid any injuries. 

PHOTOGRAPHY;

Various health and safety procedures are expected to be taken when in the photography studio, this will avoid any harm that may come to con act with myself, people around me and expensive equipment.

• Try not to look at the lights for an unnecessary amount of time. 
• Ensure that all set up equipment such as stands and lights are put up correctly and securely. 
• Be careful with loose wires and leads that aren't hidden, this can cause an accident if not noticed.
• Be cautious about bulbs and large lights, these can get very hot so try not to lean or rest on them.
• Covers and protectors need to be removed before turning on the flash lamps. Fitting the flash should be prior to the lamps heating up. 
• No drinks around the equipment to avoid damaging them.

GRAPHICS H&S:

As with other classes their are various health and safety regulations that I need to bare in mind when working in the graphics rooms and using the Mac devices. This includes:

• - Making sure all my bags are safely placed under the desks. If even a part of my bag is hanging out I run the risk of tripping on it or having someone else trip on it.
• - Making sure that my chair is safe and that the back support is positioned correctly to avoid hurting my back or neck. I must also make sure the chair is set to a height where my feet comfortably touch the floor.
• - Having the keyboard that I am using at a comfortable distance from me so I don’t have to overreach to use it. There should be no documents placed between me and the keyboard.
• - Adjusting computer screen to a height where it’s just below eye level. Having the screen to high up will cause unnecessary neck strain. I must also remind myself to take some breaks (5-10 minutes) during long periods of time spent looking at the screen to avoid eye strain or headaches.
• - Having the correct visual settings on the screen. If I find that I’m getting eye strain from looking at the screen it might mean that I need to turn down the brightness or one of the other settings on the screen. Equally if the screen is too dark I should set it to a brightness setting that is more comfortable to look at.
• - Making sure that no wires trail from my computer onto the floor. If I or someone else trip on them it could cause injury as well as damage to expensive hardware.
• - Not eating or drinking anything at the computers to avoid making a mess of the keyboards and work station around the keyboard. Drinking in the graphics rooms should be done sat away from the computer to avoid spilling.

BATIK H&S:

• Batik involves working with extremely hot wax, this means it should only be used by the appropriate age group.
• This technique involves melting wax, which means working with an electrical hot pot, you need tt enable it maintains the wax at the correct temperature, so that you avoid any overheating which will risk the cause of a fire.
• Never use water to treat a wax fire, its the same as a grease fire. Use a fire extinguisher or suffocate the fire with baking soda or table salt.
• Inhaling smoke from overheated wax can cause lung damage.
• Don't have loose wires hanging around as this can cause tripping and spillages, this can be dangerous due to hot wax.
• Don't have noise level too loud in case of any emergency.