My initial response to these exercises were that they were pointless. However my opinion has changed somewhat and was surprised how much was done! Also the range of marks made was very impressive, however some were not as successful as others. I have learnt a lot doing these and realize that composition can play an important part, when designing.
PROJECT 1 EXERCISE 1 LINEAR ACCORDION PLEATS (PAGE 22)
1 CARD 2 PAPER
The very tight pleats seemed more rigid that some of the others. There was a springy element on the overall design. Which would be useful in disguising the lumps and bumps we all have in fashion. SUCCESSFUL
3 CARD 4 PAPER
5 WALLPAPER 6 PAPER
Linear pleating reminds me of school skirts or something an old person would wear and is something I hated with a passion. But by experimenting have shown a very different way of thinking. The pleats no longer seem to fit my original thoughts. I decided to photograph the pleats in a different direction. This proved quite useful, as it gave a totally different feel and interesting to see how the shadow plays a part in the creating the 3d element in photographs. There is an illusion of stairs at this angle. Which proves that placement can have an impact on the overall design. ALL WERE SUCCESSFUL
7 PAPER 8 PAPER
The first image uses negative space and a fold across the centre. This adds to the 2D quality of the samples. The second uses another shape and used the same principles of folding, with an added line. All of the lines follow the same direction. But it was surprising to see what the effects of this were, from a crisp circle to a circular shape with points jutting out. SUCCESSFUL
9 PAPER 10 PAPER
The negative space was omitted on this circle, which had an impact on how the folds could be made resulting in a raised circle. The folds on the second image created peaks and troughs, but also a 3D sample. SUCCESSFUL
11 WALLPAPER 12 WALLPAPER
Using wallpaper to fold, was photographed on both sides to see the difference. There is a marked change in the texture direction and composition. SUCCESSFUL
PROJECT 1 EXERCISE 2 ROTATIONAL ACCORDION PLEATS (PAGE 23)
13 PAPER 14 PAPER
Rotational pleats have definitely made me reevaluate the usefulness of pleating. Whilst experimenting with the direction it showed movement and whilst I know there is mountains and valleys, the photograph shows that it could be a flat piece where a colour change could denote the shadowed areas. The second image has been zoomed in to see what the effect would be creating a colour change. Direction to one corner gives an impression of height, as you are automatically drawn to the first pleat upwards going to a point. This was quite successful in showing that negative space would work well, with only light pleating. SUCCESSFUL
I had always thought that pleats were restricted to clothing, but I remembered when I was a child, when I was given a Japanese style fan.
Many fans are of the same half circle basic shape, fixed at the handle and positioned as to fold or open when needed.
This is a French fan C 1860, which is has painted gold leaf and mother of pearl.The scene has little cherubs, which was a popular subject during the 1800s for painting.
Treasures of the Fan Museum 9/7/2016
The Japanese have a fondness for pleating depicted in fans, but also paper lanterns. I think the origin of the paper lantern comes from the paper lantern plant, but this is only my opinion.
I like the way that the picture recedes into the background.
15 PAPER 16 PAPER
Further exploration created a shape that when photographed creates shadows giving an illusion the shape is something different.
These two images reminded me of the paper aeroplane we all did when we were children. Using newspaper was a good choice for folding as it distorted the printed image, changing my perception and giving a different dimension. It was also softer than paper which aided the process, although somewhat flimsy. SUCCESSFUL
PROJECT 1 EXERCISE 3 KNIFE AND BOX PLEATS (PAGE 24)
20 PAPER 21 PAPER
The box pleats give a more sculptured feel in design and a lot in fashion, albeit for the
catwalk. Most of the designs are unwearable for everyday use, but it is interesting to see how the clothing may have been constructed.
Box pleating on a Steampunk reproduction of a 1880’s walking dress. The pleating on this gives a sense of movement and this particular style of dress is a practical addition to enable the wearer to walk.
22 CARD 23 WALLPAPER
Using textured wallpaper for further experiments revealed added to movement
within the pleat. The wallpaper wasn’t as easy as paper to manipulate, but
led to a stiffer pleat. The ‘meshed’ paper gave different dimensions within the work such as a textural element. SUCCESSFUL
24 FOIL 25 TISSUE PAPER
Experimenting with foil using box pleats was quite successful, but due to the nature of the metallic finish would be easily crushed. So this would be a consideration with material selection in the future. Light was altered in the raised and dipped areas.
Tissue paper wasn’t as easy to use as I thought as it was a little too flimsy but did crease the paper crisply However i did manage to pleat it, but highlighted if the material was too thin, it might not take pleats. It was slightly harder to manipulate than card, because of the delicate nature of the paper. SUCCESSFUL
This was an unexpected shape and indicated that no matter what shape is used as a base would definitely change when folded. SUCCESSFUL
27 CARD 28 WALLPAPER
The semi circle is further adapted from the circle with box like pleats. But the only problem it kept springing out of shape. The second image worked a little better that the first circle that was pleated. I think this is partially due to the centre being cut out.SUCCESSFUL
29 PAGE OF CHILDREN’S BOOK 30
Using a children’s book was not only challenging but produced an surprising concept. Although there is a little distortion, its not markedly.
Pleating with newspaper is similar to tissue paper but a little more rigid. I like the way the image in the newspaper has been distorted. FAIRLY SUCCESSFUL
EXERCISE 4 INCREMENTAL PLEATS (PAGE 25)
32 TISSUE PAPER
This was only an experiment to see if I liked the effect and how easy it was to do. It didn’t produce the results required and was not very inspired by this and abandoned the exercise. My thoughts on this are that if it didn’t hold my interest then a good prototype or end product would not be produced.
Various types of pleats were attempted with good results. I wanted to see what could be achieved by using the pleats but with design in mind, and the results were far better than expected.
33 NEWSPAPER 34 CARD
36 PAPER 37 PAPER
Experiments proved surprising effective. The honeycombed paper was by far the hardest thing done. It was extremely complex and after manipulating the paper, found that it became fairly soft although retained the folds. VERY SUCCESSFUL
PROJECT 1 EXERCISE 5 BASIC CRUMPLING TECHNIQUE
PROJECT 1 EXERCISE 6 LINEAR CRUMPLING TECHNIQUE
PROJECT 1 EXERCISE 7 ROTATIONAL CRUMPLING TECHNIQUE
PROJECT 2 EXERCISE 1 CUTTING CENTRAL SPACE
38 METALLIC PAPER 39 CORRUGATED CARD
40 CARD 41 FUNKY FOAM
42 CARD 43 CARD
Cutting central space was curious in the way that it took a flat piece whether card or paper and turned it into a 2d structure. The cutting of the paper allows for folds to be made, whilst still keeping the main structure, which gives it stability. SUCCESSFUL
PROJECT 2 EXERCISE 2 CUTTING EDGES (PAGE 32)
A length of paper was cut on one edge only, wrapped and taped resulting in spider like structure. The second didn’t hold its shape very well, as too flimsy. SUCCESSFUL
47 CARD 48 PAPER
A length of gold card was cut half way down the width and cut strips. The card supporting the structure very well and was able to hold its own, whereas the previous samples were unstable. The same technique was used but included slots to bend the strips over to form the second structure. SUCCESSFUL
The first sample was made using shiny card. Cuts were made half way across the width and curled using scissors. This was quite effective. The second was cut into triangles with cut edges. Again was successful but was very different from the curled sample. SUCCESSFUL
51 PAPER 52 METALLIC ‘PAPER’
A small strip of paper was cut at intervals and gave unexpected texture. I could see this as a series of similar design built up, possibly in leather. QUITE INSPIRING
The second was metallic paper, however is very flimsy. I am not sure where I got this, but really like it. It is quite fluid. SUCCESSFUL
53 WRAPPING PAPER 54 CARD
The reflective paper did not photograph well, which is something I have discovered with a number of the samples. However these happy accidents, have a purpose as unusual elements have been discovered. The paper was only partially cut and woven into the main piece of paper. The second structure worked very well giving a sense of movement and reminds me of a hand waving, well loosely anyway. SUCCESSFUL
55 SUGAR PAPER 56 CORRUGATED CARD
By using the edge of the paper it was manipulated back on itself with pleasing results. The second image was cut on both sides, and pulled to one side. This distorted the edge fan the one side out and the distorted edge inwards. SUCCESSFUL
57 COLOURED CARD 58 WRAPPING PAPER
A similar method was used with coloured card. The effect was very different to the lines of the previous exercise. The second sample was cut in selective areas and the edges woven together. This is quite useful for composition if placing mosaics. SUCCESSFUL
58 PAPER 59 WALLPAPER
60 PAPER 61 PAPER
I wanted to photograph this from different angles to see what the effect would be. This was interesting in the way the sample is seen. I like the way the first image has shadow to the right and makes the picture appear bigger on the left. It also shows the angle taken can alter the shape.
Paper was cut on the edges and folded over. The sculpture created provides a useful reference for the future and shows by adapting the direction can alter the whole feel of the design. SUCCESSFUL
PROJECT 2 EXERCISE 3 A MEANDERING CUT
62 CARD 63 MAP 64 CARD
Although I didn’t do many samples for this technique, the ones that I did showed movement. I wanted to see what the difference would be if I used a map. The cuts were not as sharp as the two outer ones. But where the map shows a river, draws the eye around and up. So it highlights that pattern can be useful in some designs, but not in others.SUCCESSFUL
I tried to create a sculpted piece out of the card cut using the meandering technique. It wasn’t too successful.
PROJECT 2 EXERCISE 4 CUTTING HOLES
66 PRINTER LABEL 67 PRINTER LABEL
68 PRINTER LABEL 69 PRINTER LABEL
70 PRINTER LABEL 71 PRINTER LABEL
These examples were made using printer labels. It was intriguing to see the layer underneath. The waxy paper below gives a contrast between this and the label, which was duller in comparison. One of the pictures was blurred but decided to keep in it, as it gave a surreal feel and is possibly something I could consider. SUCCESSFUL
71 LINED PAPER 72 PAPER
73 PAPER 74 PAPER
Whilst doing these exercises, it reminded me of the snowflake cut patterns I used to do as a child. I was pleased with the outcome of these as were symmetrical in design. Where the creases were made, adds to the dimension of the composition giving a sense of depth. SUCCESSFUL
75 PAPER 76 PAPER
I feel number 75 is unbalanced. NOT SUCCESSFUL
number 76 also seems unbalanced NOT SUCCESSFUL
77 PAPER 78
Number 77 seems balanced and i think this may be due to the size of the holes made.SUCCESSFUL
Number 78 again seems balanced due to the placement of the shapes. SUCCESSFUL
Due to the cutting number 79 is a little off, making it lean towards the right. UNSUCCESSFUL
Number 79 is similar to 80, but only slightly, but still feels balanced. FAIRLY SUCCESSFUL
81 LINED PAPER 82 LINED PAPER
Number 81 appears to be leaning, due to photographing it. However it is balanced. FAIRLY SUCCESSFUL
number 82 is balanced, with the emphasis on the focus being directed to the left. SUCCESSFUL
83 LINED PAPER 84 LINED PAPER
I like number 83 as it is well balanced with the eye being directed to the right. SUCCESSFUL
Number 84 is a total disaster, not balanced, off centre and generally unpleasant to look at. UNSUCCESSFUL
85 LINED PAPER
Number 85 seems off balance, due to two factors. The one is the way it was photographed and two the line on the backing paper. UNSUCCESSFUL
Experiments with cartridge and lined paper showed varying compositions, again this worked quite well. The lined paper changed the feel of the direction. This was a useful exercise in composition and I was surprised at the diversity that was created.
86 PAPER 87 PAPER
Number 86 seems to be like boxes stacked up and go to the right hand side. Number 87 again although there is a ‘table’, the direction still feels like it is going to the right. SUCCESSFUL
88 PAPER 89 PAPER
Number 88 reminds me off a block of flats, with the door being to the right and the windows above. The focus on this is drawn upwards.
Number 89 reminds me of an abstract face, with the mouth being at the bottom, an eye on the right, nose in the middle. I quite like the arrangement of this. SUCCESSFUL
90 PAPER 91 PAPER
Number 90 is self evident of hearts, but not all uniform.
Number 91 shows flowers, but there is a hint of the petals breaking away. This is something I could definitely use in the future. SUCCESSFUL
92 PAPER 93 PAPER
Number 92 is almost linear and looks like claw marks.
Number 93 is has almost leaf like marks. BOTH SUCCESSFUL
Number 94 feels a little uncomfortable, but again I think this is because my preference is to softer rounded edges. Whilst researching i found a lot of the artists drew on nature and having lived in the country, feel that my inspiration comes from the softness of leaves and flowers. As I predominately draw circular doodles, this seems a little alien to me.
95 BROWN PAPER 96 BROWN PAPER
On Number 95 the opposite effect of the harshness of the white paper is felt here. The negative space seems brighter. Where the shadow has hit it, gives an almost 3D effect. SUCCESSFUL
On number 96 the arrangement is to the left, with a divide almost in the middle. FAIRLY SUCCESSFUL
97 BROWN PAPER
Number 97 seems a little unbalanced, as the larger rectangle is at the top and feels like it could topple down. FAIRLY SUCCESSFUL
98 FOOD CARTON 99 FUNKY FOAM
I used a food carton for number 98 but when carving wasn’t easy to get clean lines, but overall a success. UNSUCCESSFUL
Number 99 Funky foam was used and again had jagged edges, but seemed to be worse than the previous. The only thing I can say about this is that it gave a texture around the cut areas. UNSUCCESSFUL
100 CRAFTING FOAM 101 HANDMADE PAPER
Number 100 was used with crafting foam, this was a little better in application, with cleaner cuts. SUCCESSFUL
Number 101 used handmade paper, but due to the nature of the process, did not cut at all well leaving jagged edges. UNSUCCESSFUL
102 VOILE 103 FELT
On number 102 I wanted to see what the effect would be on fabric, with very differing results. The sheer fabric did not cut well as it was not easy to use. NOT SUCCESSFUL
Number 103 was highly successful using heavy felt. I was really pleased with the way it was constructed, giving a 3D effect. SUCCESSFUL
104 SILKY MATERIAL 105 COTTON
number 104 was also not successful where cut but adds to the texture. Where it had been stitched proved to be the better choice of technique.
number 105 has also a jagged edge but was not easy to cut, so the shapes were distorted. UNSUCCESSFUL
106 COTTON 107 PLASTIC COATED FABRIC
Number 106 was not too successful as the cotton was too flimsy and didn’t hold it NOT SUCCESSFUL
Number 107 was a lot easier to cut and produced cleaner edges. However the placement wasn’t good. NOT SUCCESSFUL
108 COTTON 109 SHINY MATERIAL
Number 108 didn’t work well as the fabric was too flimsy to hold shape and didn’t cut cleanly. UNSUCCESSFUL
Number 109 also was too flimsy, but where cut gave a certain amount of texture. UNSUCCESSFUL
110 PLASTIC COATED FABRIC 111 SILKY MATERIAL
112 SHINY CARD
Some of the material, I wasn’t quite sure what category it should be put in.
PROJECT 2 EXERCISE 5 CREATING FLAPS
These were not attempted as I really didn’t feel this was worth my time, as I like things to be neat and tidy. I can see the usefulness of it for designing but was not something that I would do now or in the future to create a final piece. However having said that i have used paper mache in the past and liked creating masks for my children.
113 BROWN PAPER 114 BROWN PAPER
As I like the rounder edges, it seemed natural for me to attempt them with pleasing results. I particularly like the second image, as the shadows created add a different element. FAIRLY SUCCESSFUL
114 BROWN PAPER 115 SANDPAPER
The sandpaper was horrible to use, although adds to the textural feel. So was not something I would like to use again. This highlighted the importance of what material to use. UNSUCCESSFUL
115 WALLPAPER 116 ALTERED PICTURE
I took a drawing I did and not submitted last time, and created flaps. I like this as it gives a totally different dimension to the drawing as opposed to the plainer samples. SUCCESSFUL
116 CARD 117 CARD
118 LINED PAPER 119 LINED PAPER
120 PAPER 121 PAPER
I like this colour, and the composition of these and could see this in a sculpted felt.
123 CARD 124 CARD
The composition of number 123 draws the eye downwards and to the left giving a sense of movement.
Whereas 124 the direction is to the right directing you upward. BOTH SUCCESSFUL
The focus on 125 is central, with the space around almost framing it. On 126 the eye is drawn around the paper and is angular in design. BOTH SUCCESSFUL
127 PAPER 128 PAPER
There is a castellated feel about this, and the shadowing appears to have been drawn on. I didn’t like number 6 as it appears flat in the picture and overall the placement doesn’t work. FAIRLY SUCCESSFUL.
Number 7 almost snakes its way across the paper and seems to flow. SUCCESSFUL
130 GRAPH PAPER 131 GRAPH PAPER
The graph paper gives an added dimension to the cut work, giving an illusion that the small triangles are in the background and the larger rhombus to the foreground. SUCCESSFUL
132 LINED PAPER 133 CARD
I am very happy with the samples made and have shown diversity between them. All of them worked extremely well. SUCCESSFUL
135 PAPER 136 LINED PAPER
The plain background seemed to team well with the black and silver. The silver being reflective contrasts well with the dullness of the white background. The effect using corrugated card with the lined paper created an unusual effect.
I used corrugated card (which was handmade) and plain card, this gave an adequate contrast. There was a sense of depth with this on two levels. FAIRLY SUCCESFUL
137 BROWN PAPER 138 BROWN PAPER AND WOOD
The corrugated card in the first of the two images, appear dull in comparison to the second. It compliments rather than contrast.SUCCESSFUL
138 PAPER/TISSUE PAPER 139 PAPER/TISSUE
The tissue paper is creased in places which gives a feel of texture. Again contrast is apparent. SUCCESSFUL
140 PAPER 141 PAPER
Handmade paper (I made) is put behind orange paper. Texture is evident here and works rather well. Especially as the paper cut out is representative of flowers. The second image was layered. Firstly cutting the negative space and layering the back and then bringing the level back up to the original. This proved a success overall.
142 LINED PAPER/PATTERNED PAPER 143 PAPER
The lined paper reminded me of writing so used lettering in this image, and liked the way the head has to move to read the writing. Very pleased with the composition of this. I cut the circles out and played around with placement, with good results. The eye takes you to the top of the first rectangle drawing your focus on downwards to the last rectangle. SUCCESSFUL
143 PAPER/CARD 144 PAPER/CARD
The direction of this is a little confusing as i am not sure which direction to concentrate on. The blue background appears brighter in this, in comparison to the second picture. The colour chosen compliment the foreground and the outer lines adds a textural difference.FAIRLY SUCCESSFUL
145 PAPER/CARD 146 PAPER
145 corrugated card was used, but instead of a piece on its own, was left blank. Which I really liked. There was a lot of texture all over, The centre reminds me of little bows, but not quite sure why. This time i used patterned corrugated card, which changed the feel of the flowers within. SUCCESSFUL
PROJECT 3 EXERCISE 1/2 HEATING AND FUSING
The coursework had suggested I heat a few bags together, but this was not a success, as I think my iron is not working properly, so wasn’t successful
146 PLASTIC BAGS
Plastic bags were screwed up and melted with a heat gun. The result of which rendered the bags into a solid mass, which was quite surprising.
146 PLASTIC BAG 147 PLASTIC BAG
I tried layering the bags as suggested, but it didn’t work. I think this was possibly because the heat transferred was not sufficient. I think the iron was not heating enough. NOT SUCCESSFUL
The plastic bag this time, is laid flat and cut into strips and then fused together with an iron. This time the plastic bag, became flimsy and didn’t fuse as well as the previous sample. As many of the samples lacked contrasting colour, i wanted to see what the effect was.
148 BROWN PAPER AND PLASTIC 149 ROPE
148 The brown paper and plastic was actually an accident. I was using the paper to iron over and it stuck. However although didn’t work, I think this is quite useful as a technique. NOT SUCCESSFUL
149 The rope melted very well and resulted in it becoming a stronger piece of plastic, showing a lot of texture. SUCCESSFUL
150 PLASTIC NET 151 PLASTIC HESSIAN BAG
150 The plastic net when melted became a little fragile and keeping the heat on when melted burnt away some of the net, whilst other parts merged.
151 The hessian bag melted well together, but the effect of keeping the iron on it, resulted in fusion, but also created darker patches where the bag had melted heavily.
152 SCRIM 153 PLASTIC WEAVING
152 The scrim melted well making it sturdier and altered the colour of the material. The light was more intense when melted SUCCESSFUL
153 The plastic weaving material produced a more organic sample which had a lot of texture.SUCCESSFUL
154 PLASTIC 155 PLANT LABELS
154 Strips of plastic were melted together, but not too successful
155 Using plant labels was a little difficult as the plastic didn’t want to melt. However, when it did melt, the surface of the plastic became stringy. Which was quite bizarre.
156 MILK BOTTLE 157 RUBBER
156 The milk bottle for me had the most impact. It was extremely difficult to melt and my mind was drawn to the environmental footprint that these would leave which left me quite sad. UNSUCCESSFUL
157 I decided to see what the effect would be on a rubber, with surprising results. It flatted down fairly well and because there were paint splashes on, added to the soft nature. SUCCESSFUL
158 PLASTIC FILAMENT 159 PLASTIC FILAMENT
158 The plastic filament showed a very organic form, which i really liked. It was very organic and reminded me of the anemone we have in the marine tank. VERY SUCCESSFUL
160 BUBBLE WRAP WITH ANGELICA 161 BUBBLE WRAP
160 Using bubble wrap is something that I have attempted before. However I haven’t done a lot of experimentation, so decided to trap unusual materials with very different results. FAIRLY SUCCESSFUL
161 The bubble wrap revealed some interesting qualities. Where the plastic had melted away the angelina was revealed, giving a sneak preview of what lies beneath. SUCCESSFUL
162 VEGETABLE BAG 163 VEGETABLE BAG/SEQUINS
162 Using a vegetable bag two different ways, shows quite a difference. The first is cut into strips and fused together. The second the net was kept whole, sequins were trapped between and ironed. I can’t decide which was better as I like them both. SUCCESSFUL
164 ONION BAG AND SEQUINS
The vegetable net enveloped sequin and then fused. The net became distorted and produced an interesting textural piece. SUCCESSFUL
165 SEQUINS/PLASTIC 166 SEQUINS/ONION NET
165 The sequins in plastic was not a total success due to not being properly sealed. However despite this, if the wrapping had worked. the sample would have worked. SUCCESSFUL
166 I really like the way the onion net distorts and melts revealing some of the sequins. SUCCESSFUL
167 LOOM BAND/BUBBLE WRAP 168 PLASTIC TOP/FILAMENT
167 I had tried to melt loom band and to my surprise did not melt. So trapped them between bubble wrap and then pressed. The bubble wrap shrunk and gave a textural element. FAIRLY SUCCESSFUL
168 The photograph did not load properly, however decided to leave it in as it gives a contrast. A bottle lid was melted with the filament, again the environment came to mind, as the lid didn’t melt well and had to use a lot of pressure to melt it. FAIRLY SUCCESSFUL
169 SEQUINS/PLASTIC 170 PLASTIC/ANGELINA
Both produced some interesting texture features when heat is applied. SUCCESSFUL
171 PLASTIC FLOWER POT 172 PLASTIC PACKING
171 The flower pot was extremely difficult to melt, but produced an almost woven look.
172 The plastic packing melted and created holes that were a little stringy. NOT SUCCESSFUL
172 PLASTIC HESSIAN BAG 173 METALLIC PAPER
172 The plastic hessian tended to melt from a softer material to a hardened plastic. SUCCESSFUL
The metallic paper was one of the most interesting things that have been melted. The surface changed from a flat surface to an organic one that reminds me of Mathias Bengsston’s work. SUCCESSFUL
PROJECT 3 EXERCISE 3 USING HOT WATER
This was not attempted, as I have done this before using material wrapped over marbles and dipped in hot water.
PROJECT 1 EXERCISE 5 BASIC CRUMPLING TECHNIQUE
PROJECT 1 EXERCISE 6 LINEAR CRUMPLING TECHNIQUE
PROJECT 1 EXERCISE 7 ROTATIONAL CRUMPLING TECHNIQUE
PROJECT 4 EXERCISE 1 EMBOSSING (PAGE 42)
174 FOIL 175 FOIL
Embossing over objects was fairly easy to do, but I still felt there was something missing when doing this and decided early on that this was not going to be inspiring. FAIRLY SUCCESSFUL
Embossing over a colander was successful, however in a number of place too much pressure resulted in holes. SUCCESSFUL
177 FLOOR TILE
The floor tile wasn’t a success due to the embossing tool which slid off the tile causing holes. Embossing over a floor tile was slightly indented using slow/light but hard/quick gave variations in depth but ripped the paper. And using the second technique made the indents shiny in opposition to the first. UNSUCCESSFUL
178 SCOURER 179 SCRUBBING BRUSH
Dots were created by using a scourer and embossing tool. The light/slow marks only just marked the paper and was disappointed. However, the harder marks pierced the paper raising the surface on one side and indent on the other. The first dots were shiny in the middle but the other were to one side. The second was more successful. FAIRLY SUCCESSFUL
When embossing with a cushion the opposite effect happening the lighter dots appeared more pronounced and tore the paper. More so than the harder/quick dots. Which is the reverse of many of the papers used. The light appeared on one side with shadow on the other. Something to explore later on. UNSUCCESSFUL
Paper over a buckle show soft lines with varying depths and were fairly level. The harder and quick marks did not work well although some lines were created the lines pierced the paper, but there were a few that were soft. SUCESSFUL
A wave pattern is created where sequin waste is put under the pattern and is very successful. The harder lines are very similar, but the extra pressure has caused a hole. SUCCESSFUL
Lines were embossing over a pack of Pritt stick. The first set was light and where the tool had slipped off the edge bent the line. There is some tearing, but not as much as the quicker harder mark which was less defined and not too inspiring. UNSUCCESSFUL
By using a gun barrel that has a ridged surface yielded little difference in results for linear work. The only interesting thing is if the paper is reversed, where the ridge is raised instead of indented. SUCCESSFUL
Linear work on a floor tile worked fairly well, but lost the shape of the tiles, giving an undulating pattern, with varying depths. The harder fast marks tended to give some soft lines and some linear holes. I do like the way the first one moves. NOT SUCCESSFUL
Creating lines on the page using wood as the base and using a pen nib were easy to do over the figures and gave an illusion of movement when held up to the light FAIRLY SUCCESSFUL
Using a scrubbing brush and pen nib, I created lines which serrated the edges, mostly they closed back up after. Hard marks weren’t easy to keep straight and were all over the place NOT SUCCESSFUL
Lines were created with scrim under paper. Both slow and quick marks show the same marks but have created a series of dashes which are quite pleasing. It appears to be like running stitch. SUCCESSFULL
I used a key to emboss but this did not go as anticipated. As it slipped off the keys edge, the slow gentle marks ripped into the surface of the paper. However, I like the directional marks of the scoring of the paper. Embossing fast and hard did not score the paper as the first set of marks, and was fairly random NOT SUCCESSFULL
The lines created were determined by the pattern of the metal bookmark. There are a number of dots and lines and undulating line. It reminds me of Morse code. It gives depth within the marks. The harder/quick marks seemed fainter and less defined. The second was not too successful. UNSUCCESSFUL
Lines were created over scrim showed a wave pattern which was very successful. The design replicates on the other side. Quick hard marks have distorted the surface and looked like feathers where the surface of the plastic has cracked. This caused the surface to shine in a pleasing pattern SUCCESSFUL
A metal bookmark was further used but because of the strong lines ripped the paper and was difficult to control. There are a variety of depth within each mark made. SUCCESSFUL
Scrim is used under paper to creates lines. It produces a dotted line, which only just scored the paper. SUCCESSFUL
Using a bookmark under paper was not successful at all. It showed random dots on the slower marks, but tore the paper on the quicker marks. NOT SUCCESSFUL
When wood was placed under paper the line was determined by the grain of the wood. The marks produced were wavy where embossed. FAIRLY SUCCESSFUL
Embossing over a plug socket, produced some interesting marks, that were determined by the 3 holes where the plug would go. FAIRLY SUCCESSFUL
The paper was scored with a stick, leaving a serrated edge. NOT SUCCESSFUL
This did not work too well. However on the faster harder marks, the edges of the coins enhanced the effect of the embossing. It created a shadow where the embossing tool skimmed the edge of the coin. NOT SUCCESSFUL
Cartridge paper Another experiment with coins was attempted but still with poor results. Most uninspiring.NOT SUCCESSFUL
Embossing using an egg box was not as successful as I thought it would be using white paper. Through my experiment I have found many other materials that are more suitable. NOT SUCCESSFUL
Embossing using wood showed that slow/light were more uniform, whereas the hard quick lost the shape. Both showed light in the indent. NOT SUCCESSFUL
Embossing over a tile was a difficult as the card didn’t impress well. On the slower marks, it just scored the card, when heavier quicker marks were made the same imprint was made, but with some holes in the card NOT SUCCESSFUL
Circles were made with an embossing tool and a cushion. I wanted to see if a softer surface would have any impact on the overall design. The lighter marks raised the surface on one side but the quick/hard surfaces tore at the paper. Both sides gave different effects with the lighting. When raised were dull but generated light surrounding the dullness.NOT SUCCESSFUL
Cartridge paper Embossing circles on a gun barrel was interesting. I had more control when using slow/light pressure, which was somewhat lost when the quick/hard pressure was used. The indented areas were light on the one side but on the other appeared dull. Overall a successful outcome.
The bookmark created dots when drawing a circle and lightly marked the paper. However when hard/fast marks were made the circles were ripped in areas. And in places shines where the paper was scored. FAIRLY SUCCESSFUL
This was highly successful, using circles and lines over scrim waste to see the effect. The objects own shape was used. The first circles were indented and were quite deep set. The light appears to be around the edge this time, whilst the base of the circles is dull. The second set of circles was defined by the outer part of the scrim which changes the whole appearance, but again the edges show light. The faster/heavy technique loses the circles as such. This is probably due to the speed and distorts the general design of the sequin waste. The lines add a new dimension with the eye being drawn to the lines. SUCCESSFUL
Circles were attempted by placing paper over a pack of Pritt stick. UNSUCCESSFUL
Cartridge paper was placed over coins and circles were attempted to be made again unsuccessful. NOT SUCCESSFUL
Circles were attempted over paper and sequin waste. The slow marks produced light marks, but the quicker marks tore at the paper. UNSUCCESSFUL
I tried directional dots using a fastener and it’s interesting to see how the different pressures and speed yielded different results. The slower lighter marks actually weren’t as defined as the faster ones, which is something that I have discovered whilst doing these exercises. The first dots are rough whilst the second appear cleaner. FAIRLY SUCCESSFUL
Using a pen to create holes broke through the surface revealing the inner page, but wasn’t a total success. UNSUCCESSFUL
Using a colander showed some interesting dots, that were depressed into the paper on the slower marks, but on the faster marks the paper is penetrated. FAIRLY SUCCESSFUL
A screwdriver was used to create the dots, and again the cleaner ones were the faster dots. The first were generally disorganized, but there is a sense of order within the second. The paper appears to go inward on the second set, but is random on the first. I prefer the second set of dots. FAIRLY SUCCESSFUL
Using an embossing tool, with wood over paper was not too successful, as the wood determined the direction of the mark made.UNSUCCESSFUL
using paper over a gun barrel, squiggles were made over the pattern of the barrel. This was not successful.Hard and soft pressure were applied to the surface using squiggles. The differences were very much the same and were hard to control because of the grain in the wood. Overall not too successful. The light was mainly present where the paper had been indented NOT SUCCESSFUL
Embossing over a gun barrel was the same for slow/light or hard/quick. It made an interesting pattern overall and where the light hit it was on the raised dots. Something I quite like. SUCCESSFUL
Embossing over an earring wasn’t successful either slow/light or hard/quick. The squiggles just scored the paper on the first technique but ripped on the second. NOT SUCCESSFUL
Embossing using squiggles produced some subtle differences. The lighter impression was dull on the shiny background, but the fast marks increased the intensity of the light. NOT SUCCESSFUL
PROJECT 4 EXERCISE 2 SCRATCHING (PAGE 43)
The marks created have use slow and light pressure and hard and quick.
184 DRILL BIT 185 STANLEY BLADE
184 I was surprised to see the results of the drill bit. i feel they both gave good results, but rather different. The slower marks produced more of a textural feel than the faster marks, that generated larger triangular shapes. although there was a distortion in both. i think the first were far better overall. SUCCESSFUL
185 The Stanley blade gave triangular shapes again. I like the way the blade skips over the paper, leaving tiny marks interspersed with larger. The smaller marks are raised, but only just. SUCCESSFUL
186 JIGSAW BLADE 187 BOLT
186 The jigsaw blade was not a success on the slower marks, just grazing the surface. However on the faster marks, left a jagged edge and whilst not a total success, showing unusual surface design. FAIRLY SUCCESSFUL
187 The Bolt although didn’t score through the paper, it left scores marks. The metal rubbed off onto the paper and ‘bent’ the fabric of the paper. The faster marks produced some small triangles in the paper added the effect. It reminded me of noughts and crosses. SUCCESSFUL
188 COIN 189 DRAWING PIN
188The coin, although difficult to handle showed mostly uniform marks. I am not sure if this was to do with the pressure applied, or just the dragging action. However on the faster harder marks, the edges of the coins enhanced the effect of the embossing. It created a shadow where the embossing tool skimmed the edge of the coin SUCCESSFUL
189 The drawing pin was extremely difficult to manipulate and resulted in random marks all over. There seems a lot of movement in this image. NOT SUCCESSFUL
190 HAMMER 191 HINGE
190 When the hammer was used I wasn’t sure if it would would well. But texture is formed where the paper is ruched up. I like the way the soft/slow and fast/hard marks seems to compliment each other, whether this is because of their placement i am not sure. SUCCESSFUL
191 When looking at the results from using a hinge, my thoughts were they looked spiky and a little uncomfortable, again this is possibly due to the direction. SUCCESSFUL
192 HACKSAW 193 SMALL SCREWDRIVER
192 The hacksaw similar to the previous exercise was spiky but this time doesn’t feel uncomfortable. There is more a sense of direction. Where the hacksaw has skimmed the surface, has left a bobbled effect. SUCCESSFUL
193 The small screwdriver was the most successful of all the marks, as the small marks are not defined as some of the bigger ones, but are more subtle. SUCCESSFUL
194 AA BATTERY 195 SAW BLADE
194 The AA battery produced results that were intermittent in the slower marks. The general feel of the mark making was random. The faster marks were mostly uniform, whereas the slower marks were haphazard, but with more texture. SUCCESSFUL
195 The saw blade was a fairly aggressive mark, being quite jagged in application. Although successful in the marks made, personally i didn’t like the atmosphere it gave. SUCCESSFUL
196 SCISSORS 197 MEDIUM SCREWDRIVER
196 The top marks were not as successful as the bottom. They appeared more uniform on the faster marks. In comparison with the upper marks which where more distorted. NOT SUCCESSFUL
197 Using the medium screwdriver was an interesting exercise. The slower marks showed diversity of drag marks, small and large marks. Faster marks generated larger marks that were concertinaed however the smaller marks were more defined. SUCCESSFUL
199 PAPER CLIP 198 KEY
199 The paper clip was not a success, only ripping the upper part of the paper, with random holes in the paper. NOT SUCCESSFUL
198 The key was far more successful. And feel it is useful to have them together on the page for comparison. As the direction of the marks are different there is a sense of height. SUCCESSFUL
199 PLIERS 200 LETTER OPENER
199 I have noticed with all the tools used, there is a recurring pattern, which are triangular shapes, through many of the samples. The upper marks tend to be a tighter and smaller, whilst the lower marks are larger and less of them. Where the paper has ruched there is a textural feature. SUCCESSFUL
200 The wooden letter opening was not a success as only scored the paper, and the colour of the wood stained the paper. SUCCESSFUL
201 SCREW 202 BRADAWL
201 When using a quicker stroke the screw skimmed the surface leaving a jagged texture, interspersed with few triangles. NOT SUCCESSFUL
202 Like many of the previous sample the triangular shape is evident. The Slower marks are more controlled and as a results more organised. However the faster marks are larger and not so neat. 203 KNIFE 204 LARGE KNIFE
203 The knife was not particularly successful. The marks that were made were not defined and seems messy. UNSUCCESSFUL
204 However with the larger knife, there seemed more control when used fast. Which was a little daunting as the knife is very sharp. However the marks made tend to be intermittent, which is something that i quite like. SUCCESSFUL
205 STEAK KNIFE (graph paper) 206 CORN ON THE COB
205 The steak knife cut the paper which slightly destroyed the edges of the paper. NOT SUCCESSFUL
206 The corn on the cob holder on the graph paper was only scored the paper mostly on the surface, when using slower lighter pressure with occasional penetration of the paper. However when more pressure and scoring the paper quickly revealed a scored line, with holes in the paper, which reminded me of stitching. FAIRLY SUCCESSFUL
207 KEY 208 SCREWDRIVER
207 Using a key on a magazine page wasn’t as easy as I had imagined, as the paper resisted pressure, however the marks made were quite interesting. The surface of the paper was scored, revealing the paper beneath the illustration.
208 As the picture was quite ‘busy’ the slower marks complimented the picture. The screwdriver skimmed the surface leaving drag marks and little holes, which reminded me of a necklace. When running your fingers over it, the glossy surface was felt along with a slightly rougher line.
209 CHILDRENS BOOK 210 Allen Key
209 Destroying a book is a alien to me, but I like the way the illustration and writing recede into the background with the triangular marks. The paper was not easy to use and extra had to be applied to score the paper. SUCCESSFUL
210 The allen key when used fast was very unpredictable and not particularly successful. But when used slow produced some interesting marks, some larger than others. Like many of the other samples, the ruched produced some raised texture. SOMEWHAT SUCCESSFUL
211 SCREWDRIVER 212 SCREWDRIVER
211 The Magazine page using a screwdriver left elongated marks, with serrated edges revealing the paper under the illustration. SUCCESSFUL
212 The screwdriver was not easy to use on the waxy paper, but as holes were created was more successful than scratching. NOT SUCCESSFUL
213 SEAM RIPPER 214 SERRATED KNIFE
213 The seam ripper created marks that looked like stitching. Where the paper is pierced the paper is serrated, showing the inner paper. SUCCESSFUL
214 The serrated edge knife was very effective, where the paper has been cut, looks like it has been stitched together. SUCCESSFUL
215 SCISSORS 216 SCREW
215 The holes created have a serrated edge creating texture. I like the way, the paper tear spiders across the paper. SUCCESSFUL
216 The screw pushes the paper inwards and outwards giving more definition and texture. SUCCESSFUL
217 SEAM RIPPER 218 SEAM RIPPER
217 The seam ripped was an excellent choice, like tiny footprints across the page raising the paper in areas. SUCCESSFUL
218 The seam ripper on the graph paper changes the feel of the marks, the eye is confused and is not able to concentrate on both at once.
219 SPOON 220 CORKSCREW
219 I felt this was very successful, especially where the surface is broken. The concertinaed paper, aids the direction of the circle which are quite defined. Light and shadow are created in the folds where the surface is broken. VERY SUCCESSFUL
220 The Corkscrew marks were extremely small and where dragged produced a jagged edge. SUCCESSFUL
230 SCREWDRIVER 231 SCISSORS
230 The pattern was more delicate using a screwdriver and was less defined on the slower marks. The texture was created by the break in the surface, which had a dotty appearance. FAIRLY SUCCESSFUL
231 The scissors on the quicker marks, distorted the circular shape, but regained it when doing it slowly. FAIRLY SUCCESSFUL
232 SCREWDRIVER 233 SCISSORS
232 The marks made using the screwdriver were quite defined on the slower marks and are lighter in comparison to the heavier quicker marks.
It would be interesting to see how this could be translated to fabric, but not sure how that would be achieved at the moment. The slower marks seem to skim the paper, leaving a trace of ‘stitches’, whereas the faster marks appeared bigger. Similar lighting in ruching.
233 The scissor marks were more controlled when applied slowly and it was interesting to see how they only used two strokes of the edge of the scissors. They reminded me of hoof marks. Which is similar to the larger faster marks. SUCCESSFUL
234 Key 235 Spoon
234 When using the key the marks had longer and shorter ‘lines’ and were a little random, but again kept to the circular design. SUCCESSFUL
235 The spoon on the glossy magazine page was not easy as explained before. The surface did not aid the process, sliding over and scoring randomly. However the picture showing circles, was a good choice, and when looking carefully helped indicate the circles.The paper itself has a glossy finish but where the paper lifts, has an added shine.
236 When applying the screwdriver, it shows smaller marks both quickly and slowly and again the circular design is evident. However, it was a little more controlled on the slower technique. lighting is not really noted. UNSUCCESSFUL
237 Knife 238 Tea spoon
237 I really like the ‘hole’ created by the light from the camera reflection. As the marks gave subtle circles, whilst this is the defining element. The text gave an interesting surface on which to create the circles, which showed the paper beneath the illustration. SUCCESSFUL
238 The tea spoon was not easy to mark the surface on the children’s page as the surface was resistant to the pressure. Obviously a good quality book.
239 Scissors 240 SPOON
239 Marks made using the scissors again similar to the previous sample, were difficult to make due to the paper. This highlights that careful choice of material for an end product should be considered. NOT SUCCESSFUL
240 The spoon has produced some very interesting marks where the circles are quite evident. I like the way the holes create the dark areas against the paper. SUCCESSFUL
SCRATCHING – UP AND DOWN
242 SPOON 243 KEY
242 On number 242 slower marks using a spoon were quite defined in design and fairly uniform. Mostly triangular in shape, however when applying harder fast marks were erratic. Control is lost in the second one, but I was very happy with the slower mark making. I think the dullness of the paper didn’t reflect the light as it possibly could have.
243 Slow and fast methods on number 243 using a key was easy to use and showed similar features. The slower marks seemed elongated and where the key has scored the paper, there is a distortion in the direction of the ruched paper. However, the faster marks did similar things, with the edges more serrated. Different direction raised areas showing light and shadow equally and feel it draws the eye around the markings.
244 SCISSORS 245 KNIFE
On number 244 Scissors by their very nature are straight when cutting, but by using the point was able to produce some interesting results. Slow marks were extremely effective and quite pleasing to the touch. The marks created were mostly small and instead of ruching the paper just lifted it and there was a dotty effect where the tool skimmed the paper. Going fast and increasing weight showed a more markedly amount of larger marks. Whilst looking at it, I felt a little uncomfortable that angry hard marks were used. Overall the first example was better than the second. The light wasn’t as intense and created more of a shadow throughout.SUCCESSFUL
Number 245 used a knife with the faster marks being more successful, as they seem to skim the surface, leaving little ridges, with few triangles.
246 KEY 247 SCREWDRIVER
A key was used on number 246 but do not feel this was successful, as the marks had no definition. UNSUCCESSFUL
Number 247 used a screwdriver and when applying slow and light the screwdriver produced slow and light long marks and tended to skip over the paper in places. When doing it fast and heavy tiny marks interspersed with a few larger marks. This was almost like the paper had been punctured. Both somewhat pleasing. With regard to the light it was brighter than the shadow but still felt a little dull.
248 KNIFE 249 KNIFE
248 Another experiment with a knife was used on number 248, with the slower marks being better than the fast. There is movement within the marks made, by doing them at an angle and up and down. Light was more noticeable whether the paper has ruched interspersed with shadow. Other shadowing is evident where the paper is scored UNSUCCESSFUL
Number 249 with a knife going fast ripped the paper, but slower speed and lighter pressure shows smaller elongated scoring of the paper. Light has an equal amount of light and dark in the peaks and troughs of the concertinaed marks. SUCCESSFUL
250 SPOON 251 KEY
On Number 250 a spoon was dragged across the paper, but didn’t work. It left no defined marks. Similar lighting to the previous exercise was determined. UNSUCCESSFUL
An Allen key was used on number 251, again unsuccessful as didn’t show any definition. UNSUCCESSFUL
252 SCREWDRIVER 253 SCREWDRIVER
252 A screwdriver was used on lined paper with the slower marks being the more effective. The triangle shapes are small in design, whereas the faster marks were mostly small with a couple of larger ones. Where the tool has touched the paper, has left a fairly uneven edge. FAIRLY SUCCESSFUL
253 The smaller screwdriver scored the paper, with small tiny dots, similar to stitch work. There is evidence of a few small triangles. Shadow is created where the paper is breached. SUCCESSFUL
254 ALLEN KEY 255 KEY
Number 254 I attempted to use an Allen key slowly and softly was difficult to do and had to apply a little more pressure than previous exercises and in doing so ripped the paper. But by doing it fast was unsuccessful and overall not happy with it. It may have been because of the grip I had. The softer marks generated a more linear mark with subtle pleating and was easier to apply. The fast hard mark gave a serrated concertinaed ‘triangle’. It showed how pressure is quite important in design. Although light is created in the ruching, it is not as marked due to the colour of the paper but the paper is light on one side and shadowed on the other
On 255 slower marks using a key kept the triangle shape, showing indented rough-edged lines. However the hard marking somewhat lost the triangular shape and broke the concertinaed form of other samples into a broken ruffled edge. Overall quite successful. Light is reflected on the ruching but again colour is an issue.
257 SPOON 258 SCREWDRIVER
257 proved successful using a spoon. The up and down movement on the slower light pressure, produced connected triangles. And had small, medium and large triangle. The fast marks tore the paper so didn’t work. Light is found in the usual ruching, however there is light showing on the scored marks/ UNSUCCESSFUL
Number 258 used a screwdriver, and gave some very interesting texture overall. Both sets of marks had similarities. In places it was like it was stitched. SUCCESSFUL
259 SCISSORS 260 SCREWDRIVER
Number 259 using scissors has drag marks, but otherwise not appealing.
Number 260 The results with slow marks applied with a screwdriver produced an interesting raised surface. I like this as it reveals the waxed paper underneath. The surface of the paper reminds me of raised stitch work or little ribbon bows and has fairly clean lines, whereas the harder faster marks jump erratically across the page with no defined marks as such. There wasn’t a great deal of light on the printer labels, although brighter than the main background. Both sets of marks showed an almost stitched feel. SUCCESSFUL
On 261 I was pleased with both of these marks using scissors and surprised by how they could be utilized in a different way. Slow marks were generally uniform and of equal size. Fast marks were quite random, with ‘dots and dashes’ and triangular shapes that aren’t as defined as usual. There are equal amounts of light and shadow but is limited.scissors were used and enhanced by using on graph paper. SUCCESSFUL
262 CORKSCREW 262
262 The children’s book was not easy to score with the corkscrew and even on the softer marks had to give much harder pressure. Where the paper has separated has an interesting quality, where it reminds me of a jigsaw, and slotted back together. The hard/fast results don’t give clean lines but again does tend to ‘knit’ back together. It’s interesting to see how the page of a book changes the feel of the picture. The light was concentrated on the edge of the cut.
262 A Key was applied to the surface using slower marks and appeared to produce bigger holes in the page and was not particularly effective. Harder marks scored the paper tearing the fabric of the paper, revealing the inner page under the illustration. Not very successful. The light here was fairly random on both techniques. Where the paper was only scored shone brighter than where the paper ripped.UNSUCCESSFUL
263 SPOON 264 WOODEN SPOON
263 Using a spoon up and down on the magazine page resulted in smaller triangles, and it was interesting to see how the light had been created on the concertinaed paper. The faster mark didn’t work. SUCCESSFUL
on 264 I used a wooden spoon handle, which just destroyed the paper. The inner whiteness of the paper is revealed and is jagged. Its interesting where the glare is when photographing as makes the centre of the page the focus. However when looking at the raw image, the focus is the picture on the wall. SUCCESSFUL
265 SPOON 266 SCREWDRIVER
265 Using the spoon in an up and down movement shows interesting marking I like the way the direction is defined in a sweeping motion. It gives a nice texture. QUITE SUCCESSFUL
266 The screwdriver worked very well on the slower marks, giving a serrated edges that appear to be stitched together. The lighting on this is a darker around the ‘stitched’ marks. SUCCESSFUL
The faster marks tore at the paper, giving triangular shapes. NOT SUCCESSFUL
267 KEY 268 KNIFE
267 Using the key produced better results on the slow marks, which were a lot smaller and more defined than the faster marks. UNSUCCESSFUL
268 The knife marks just cut the paper and didn’t really produce anything interesting. NOT SUCCESSFUL
269 SCISSORS 270 TIN OPENER
269 Scissor marks were effective texture and quite like the shape by the slower marks. The fast ones gave the same shape as many of the samples, which is triangular. The lighting only shows light and shadow on the ruched areas. SUCCESSFUL
270 The tin opener didn’t produce very interesting results. UNSUCCESSFUL
271 SCREWDRIVER 272 CORKSCREW
271 When using a screwdriver, the paper tore leaving elongated marks using faster strokes, but smaller ones on the slower method. The paper tended to serrate on the edges revealing the paper underneath.
272 The corkscrew scored the paper in places and produced longer marks than the faster mark making. UNSUCCESSFUL
273 SCRUBBING BRUSH EDGE
273 The edge of the scrubbing brush didn’t change from slower or faster marks, they were similar. Both had serrated edges, that almsot knitted together. SUCCESSFUL
PROJECT 5 EXERCISE 1 PUNCTURING
274 MEDIUM KNITTING NEEDLE 275 SMALL KNITTING NEEDLE
Larger holes were created in 274 with the surface breaking inwards. Light is created where the surface has broken leading to a darker spot where the hole is created. SUCCESSFUL
275 the smaller knitting needle created smaller more defined holes. In this example the dark holes are almost gone, leaving lighter ones. SUCCESSFUL
276 PIN 277 NEEDLE
276 The pin marks were very effective and inspired by parchment pricking. It was easy to apply and very controlled. I decided to turn the paper over to see what would happen, resulting in flat and raised areas, some inward and some outwards. Light is reflected on the raised areas, but darker ‘marks’ were made where the paper is pierced.
277 The needle is similar in application, but the holes were larger. SUCCESSFUL
278 SCREW 279 SCREWDRIVER
278 The screw did not give clean holes, due to the serrated edge. The marks were random when applied quickly. UNSUCCESSFUL
279 The holes created by the screwdriver were again random, and did not pierce the paper in certain place, whether slow or fast. Shadow is created where there is a crease in the paper. UNSUCCESSFUL
280 KEBAB SKEWER 281 SCREWDRIVER
280 Where the paper was penetrated, it didn’t give a true hole. I think this may have been because of the angle of the kebab skewer being pushed into the surface. This left an elongated hole. Again creases show shadow. FAIRLY SUCCESSFUL
281 The screwdriver created small holes which was more controlled that some of the other tools used. Shadows once again on the creases. FAIRLY SUCCESSFUL
282 SMALL KNITTING NEEDLE 283 SCISSORS
282 The surface of the wallpaper is very textural and the holes created work well overall. There placement add a sense of movement. Lighting is apparent on the texture of the paper, otherwise nothing noted. SUCCESSFUL
283 Holes created slowly was easier to manipulate and arrange. Whereas the quicker marks had no defining marks. FAIRLY SUCCESSFUL
284 KNIFE 285 LARGE SCREWDRIVER
284 The marks using the knife are not too successful, being very random and not defined. The only interesting thing was a number of marks, that only score the paper. UNSUCCESSFUL
285 The large flat head screwdriver made large holes, but on some of them the surface is creased. The creases create shadows on the paper, revealing an unusual surface. FAIRLY SUCCESSFUL
286 SCREWDRIVER 287 KEBAB SKEWER
286 The holes using the screwdriver are depressed, which reveals a circle of light. This is the first time this has occurred and is quite an interesting feature. SUCCESSFUL
287 The holes created by the kebab skewer pierce the paper leaving a inward serrated edge. Where the semi circle is created, the light is concentrated on the one side whereas with the quicker marks, the light is random. FAIRLY SUCCESSFUL
288 SCALPEL 289 PENCIL
288 The scalpel was very successful both using quick and slow actions. I turned the paper over to see the difference the scalpel would have on the surface. This resulted in raised lines, as opposed to the flatter lines that are created when piercing the paper. The quicker marks were not as defined, and reminded me of seed stitch. shadows were created by the holes otherwise not marked. VERY SUCCESSFUL
289 The pencil again was successful. The marks when controlled and slow create a defined hole which has light to one side. The faster marks that were made, were random and in places destroyed the fabric of the paper. Light was evident where the paper went inwards but to one side only.
290 JOSS STICK 291 LIGHTER
290 The Joss stick was highly successful. The hole was determined by the way the flame burnt the paper. Where it burnt it, i blew the flame a little and really pleased with the results. When held up to the light the holes created an interesting array of light. SUCCESSFUL
291 The lighter wasn’t as controlled as the joss stick and there is a marked difference. The holes are heavily burnt at the edges, and fairly brittle. Nonetheless, they is an interesting element. Similar light when held to the light. FAIRLY SUCCESSFUL
292 LIGHTER 293 JOSS STICK
292 A lighter was applied to the paper and could only be applied in one way. This wasn’t as successful as the previous exercises. UNSUCCESSFUL
The Joss stick proved a success. The holes all were random in size, but the placement on the graph paper gives a pleasing composition. Lighting is only present where the paper has been scored. SUCCESSFUL
293 The joss stick provided an interesting medium for making holes. There was a sense of control enabling a uniform pattern to be made. SUCCESSFUL
294 SERRATED EDGE KNIFE 295 PENKNIFE
294 There wasn’t a difference between fast and slow actions, except a couple of holes are more open than the others. UNSUCCESSFUL
295 The penknife showed a serrated edge, which is surprising as the blade was flat. The faster marks, opened the cut, whereas the slower marks appear not to have cut the paper, almost stitching it back together. Did not photograph well as too fine. SUCCESSFUL
296 PENCIL 297 LARGE NEEDLE
296 Faster marks with the pencil appear bigger than the slower marks. Obviously this is due to the quick heavier pressure. The holes appear to crease the paper, and there is visible light through the paper.
The slower marks seem to knit back together. SUCCESSFUL
297 The needle when applied slowly again seems to knit back together and are more controlled. And a pattern is more easily attained. Whereas the quick action is applied, is random and no definition. SUCCESSFUL
298 KEBAB SKEWER 299 PENCIL
298 The skewer was not a success.
299 A pencil is used to create holes in the printer labels,but this wasn’t easy to do, as the waxy paper was a little tough to penetrate. The faster marks were not very clean having jagged edges. However light was generated where the pencil entered the paper. UNSUCCESSFUL
300 JOSS STICK 301 SCREWDRIVER
300 This wasn’t easy to use as there could only be one speed. I like the way the Joss stick burns through the paper and cant be controlled, so is very organic.
301 Using a screwdriver was hard to do and had to use a lot of pressure to pierce the book page. Using text is something that I would like to incorporate in my work. SUCCESSFUL
This didn’t photograph well. However the marks made produce tiny dual holes and marked the paper well. There is a slight raising of the paper in areas where the hole penetrated the paper.
I was happy with the marks made that were quite controlled, although only slow and slow pressure were used, as the stick went out when attempting to go fast.SUCCESSFUL
Another experiment with a seam ripper was successful with the slower marks being more uniform. The faster marks tended to be random and control was lost. SUCCESSFUL
The magazine page was resistant to hole making, however those that worked produced a jagged edge revealing the inner paper.
The screw had a similar effect to the previous sample
The screwdriver produces larger holes that weren’t defined and were longer in size. UNSUCCESSFUL
The magazine page did not produce well with the seam ripper. UNSUCCESSFUL
The pink paper worked fairly well with the knife. The paper itself is soft and where the knife has penetrated the paper has knitted back together. SUCCESSFUL
PROJECT 5 EXERCISE 2 STITCHING
Some stitching samples were made but they were fairly time consuming and I wasn’t sure where I was going with it.
Brown paper is stitched with string in random patterns. The paper and material used compliment each other. The magazine page is stitched in complimentary threads. I have selected the areas to be stitched and feel the placement was a good choice. By using a picture, gives new possibilities with colour ideas.
Stitches were applied to the surface using different shades of blue. The stitches were different on both pieces of paper and so was the composition. BOTH SUCCESSFUL
Another example of complimentary stitch work. When stitching on the plastic, showed that the stitching had to be precise as both sides are seen.
Another example of stitching using plastic.
The lines of the paper and the stitching are very balanced and feel comfortable when looking at the composition. The holes made by the needle are placed well and add to the surface design.
Using ribbon was not easy to use as it ripped the paper. It felt very messy. NOT SUCCESSFUL
In summing up my work so far, i have learnt a lot about how important the mark making exercise is to the design process, as previously explained my initial reaction wasn’t too receptive to the ideas given in the course book. However, after attempting the exercises, I was pleasantly surprised to see the results. Some of them worked and some did not.
Pleating was initially discounted from the exercises to be tried but when researching found this to be quite diverse and very different to the preconceived idea I had. This change of heart was mainly down to research undertaken. Where I discovered that pleating in clothing now has changed drastically from the old fashioned pleating of the past.
I found this quite easy to do and got carried away with the process.
When scratching there was an overwhelming theme of triangular shapes within, where paper had been scored. But I found them to be of very different shape according to which tool was used. When photographing, highlighted things, either by poor lighting creating shadows. Many of which I decided to leave on the blog, one to serve as a reference for not what to do but also to show that the shadow can be a useful element when designing. The embossing I found not to be successful when photographing, but also I didn’t like the technique although attempted.