3D Modelling | Body support challenge

First off, this particular challenge didn't
go exceedingly well for me or for a
number of my peers. Nevertheless, the
task itself was a enjoyable and helpful
lesson.

The challenge was to create a design
that would support your body weight
off of the ground using only corrugated
card and masking tape. You also had
to be suspended at least thirty
centimetres off the ground.

Due to the nature of the task I had to
vigorously test my structure multiple
times throughout the process. However
I found that this would only worsen the
structure of my design as the card would
warp under constant weight as well as
the tape would become alleviated and
useless.

As a result the images are a compilation of tested and
tried design that slowly deteriorated under pressure
and alleviation. 

The final design was completely
collapsed as the materials could not
withstand the weight of my body. (Above)

Nonetheless, the challenge was a valuable experience
about having to work spontaneously under numerous
changing conditions. The task was also a really good
laugh as a number of people were unable to create
body support structures and so there was a great
sense of team effort together with humour.

3D Modelling | Water bottle challenge

The introduction to the 3D Modelling
cycle was an activity that started with
a simple task. This was to hold a water
bottle at least twenty centimetres off of
the table surface with only paper and
masking tape.

Although this challenge seems simple
we were instructed to make interesting
designs. These could take inspiration
from well known structures and
architecture or even be a brand new
style of design.

Therefore, I heavily focused mine on the
design of the Renzo Piano's London
Bridge tower, more widely known as the
shard.

I created my structure by replicating the
sides of the shards design that slowly
decrease width further up the structure.
However, in my design I knew that the
design would have to hold a water
bottle at the top. As a result I only
decreased the width of the sides
until it was the minimum size for the
bottle to stand on top. The remaining
length of the sides was then folded
back into the structure to improve
the structures internal frame. After
this I fixed a top platform for the
bottle on the top of the structure
that I taped to ensure it was
structurally sound. 

Overall, the design was a full twenty five
centimetres off of the table and was able
to hold a small water bottle on top. 

Afterwards, I experimented with how
exterior light sources and small models
could give the illusion that the structure
I'd created was to full size scale. (Above)

Other experiments with lighting as well
as camera angles to give the perception
of the design scale looking realistic. 

Cropped image gives a sense of larger
scale and tourist style photography as if
the structure was in a real environment.
(Above)

However, Geoff the tutor for the 3D
modelling cycle had other plans. Using
a two litre water bottle Geoff tried and
tested everyones designs for stability
as well as strength. Needless to say
my design crumbled under the pressure
of the heavier bottle.

This was for a number of reasons
but most significantly due to the
water bottles size being much
larger than what  the structure
was designed for causing it to topple
and loose it's structural integrity leading
it to folding in on itself.  

Nonetheless, the structure turned upside
down makes a great looking vase
although fails to suspend the heavier
water bottle off the table by a minimum
of twenty centimetres.
Although, the structure suspended the
original intended bottle and therefore I
was fairly successful.

Still Life

During the fashion cycle we also delved
into the medium of still life and were
introduced to some of the techniques
used in this area.

This was the first time I had tried still
life with a nude model. It was quite
odd I can't lie however as the day
continued it became more of a
pure art study rather than feeling
awkward.

The lecturer that orchestrated the exercise made sure
that we explored multiple mediums on paper. For
example; pastel, charcoal, fine liner and pencil.
Working primarily on A2 paper sizes the style of
art was very fluid and spontaneous. Our lecturer
motivated us to work innovatively experimenting with
ways to mark the paper. For example using your
weaker drawing hand, not moving your hand
away from the paper, closing your eyes
and fixing charcoal to the end of bamboo
to force your hand a particular distance
away from the paper. All exercises were
interesting as well as difficult in there
own ways for instance working with
your eyes closed forces you to work
primarily on instinct rather than visibility.
These exercises therefore made you
rely on particular aspects of your body
you wouldn't use normally or depend on as
much.

A piece that combines the mediums I explored during
the activity with the subject of the work in multiple
poses. The profiles used in this particular example
are; pastel, fine liner, charcoal and pencil.

I chose each medium specifically for the pose created
by the model to capture the posture and movement of
his actions. Additionally, the speed of the sketches
was a matter of minutes for each exercise. This was
so that multiple pieces of experimentation could be
achieved as well as not becoming tied down by one
individual piece. Therefore, the outcomes were fast
observations that hopefully visualise the model in
his natural form.
  

This is the exercise that constricted me
to use a bamboo stick with a piece of
charcoal taped on the end with my
weaker drawing hand. The activity was
a challenge as perception was changed
both in distance as well as angle.
This made shading and detail on the
piece particularly difficult not even
mentioning the brittleness of the
charcoal.

Nevertheless, the experience of this
activity was helpful to understand
mark making of still life. Similar to
Giorgio Morandi cross hatching
technique used to define structure
and shadow in still life.

Overall the introduction to still life for me
was very rewarding. The skills I tried such
as cross hatching with charcoal are
important mark marking techniques that
I will develop further in future briefs. Other
mark making techniques for example
with bamboo were fun to test but will
probably be left at that. However,
even these were also important lessons
into perception and mark making
even though it's odd medium. 

Fashion | Final design & Photography

Final design of Roy Lichtenstein inspired
headpiece (Above).

Continuing the theme of pop art and
more specifically Lichtenstein's work
I invested in some coloured card to
manipulate on the day of fabrication.
This was to ensure a professional
looking design as well as save myself
a lot of colouring in (Above).

Heavily influenced from Lichtenstein's BLAM piece I
made certain source imagery was around whilst
fabricating my model. 

I continued to check that the head piece
fit the mannequin head. Its just a shame
the models head (my head) was slightly
larger (Above).

Using other coloured material card I tried
to cover any aesthetically lacking areas
of the head piece.

This resulted with the back of the piece
being covered with a quantity of coloured
card. Although, the design looks uneven
and mediocre I continued the process
to experiment the boundaries of the
medium along with making certain the
head piece was a 360 degree fabricated
item (Below).

The back of the head piece (Above).

The final design (Above).

After designing my artist influenced
headpiece I went around different floors
of the building and took images of my
design in action.

It is worth mentioning the amount of
people that came up to me and said
"BLAM!" The irony...
At least I got the spelling right (Above).

Taking the stairs to level 2 wearing my
pop art inspired hat (Above).

Lounging on the mezzanine floor.
Modelling or fashion is definitely not my
cup of tea (Above).

Just about inside a lighted area of the building on
level 2. It was actually underneath a table with a
charging docking station. I really love the colour
of the photo as it was the only environment I
could find natural light that closely related to
Lichtenstein's pop art style (Above).

Ready to go home, just outside the O2.
The fashion cycle was a fascinating
insight into an area I hadn't explored
before. Overall, the experience of
working collaboratively, working in
3D, developing a number of designs etc
was often a demanding task. However,
it was extremely enjoyable teaching me
a number of lessons about evolving
ideas, working on your feet and
not to always rely on masking tape.
Nevertheless, fashion is not to be my
area of expertise and so I'll be
leaving it to more qualified people.
(Below).

Fashion | Concepts inspired by Roy Lichenstein

The next part of the fashion cycle was to create a 

number of body art designs in the style of your chosen

artist. Using secondary sources such as magazine

cut outs and printed images of models the task was

to create a number of designs on multiple models.

 

During the process each of our completed

designs would be tagged onto the front 

wall to slowly build up a compilation of

each persons work (Above). The variety

of media as well as artists was incredible

ranging from black and white media to

vibrant full coloured media.

Two examples of the initial concepts

I produced. Using different types of

materials such as glossy paper and

sticky notes I tried to re-create

Lichtenstein's iconic pop art style.

(Above) 

Examples of other peoples work pinned to the wall.

I particularly like the 3D effects people pursued to

dynamically change there designs (Above).

Later designs I created taking inspiration from

work pinned to the wall experimenting with 3D

forms through folding and scrunching (Above). 

A particular design I really took inspiration

from.I love the sharp edges of the folds

and scrunches creating an awesome design.

I also love the material used a sit gives

a reflective glossy appeal that counters

the model and the background nicely.

Subsequently after designing

multiple body form pieces we

had to brainstorm ideas that

we would go on to fabricate out

of paper based materials.

Therefore, I decided to base

my designs very heavily on

Lichtenstein's work  because

of it's bold pop art style. Finally

I decided to create my design

of a head piece that took the

typographical style of Lichtenstein's

work as well as the vibrant colour
of the explosion depicted in the BLAM!
painting. Additionally, I loved the idea of
having an explosion in the style of
Roy Lichtenstein erupting from
someone's head.

Fashion | Artist focus & Initial collaborative design

Blam! Week one was a challenging, puzzling and
overall unknown experience that I now know and
goes by the name of Fashion design.

This fashion cycle saw us concentrate on
3D works of art centred on design for the body.
Therefore, our first task was to choose a piece
of 2D painted art that we personally admired.
Next as part of a small task we had to create
particular aspects of our chosen piece in 3D.

The outcomes are depicted below.

I decided to focus on designer, Roy Lichtenstein, due
to his impact on the artistic arena. Particularly pop art.
Additionally, I chose the piece Blam! (inserted at the
top of the page) as it's dynamic, lively and colourful.
Consequently, I hoped it would make a good
starting point to form 3D aspects from. 

As a result, the type and cartoon themed style
of Lichtenstein's work made a solid starting point
for the task at hand and created some interesting
initial designs.

Although, some of the shapes as well the
congested explosion of the piece was in itself
difficult to realise in 3D.

Following this smaller task the second
half of the brief was much larger in scale
specifically working on body mannequins.
Working in groups of three the task was
to create an organic body piece from
large scale objects other students had
created. After each team had designed
an item we moved onto another
mannequin with a different assortment
of materials and objects.

Therefore, multiple body pieces were
designed in a single time teaching us
how to work collaboratively under
pressure as well as not to become
attached to a single idea or design
due to the quantity of work that needed
to be produced.

Nevertheless, the process of creating
body sculptures on the mannequins
was fascinating and also brand new
to me personally. Looking back at
the exercise I chose and inserted
images of different designs created
during the task with my team that
I believe are the most inventive as
well as appealing designs we could
conjure up.

The items and materials available varied
significantly over the project. A number
of techniques such as scrunching,
folding, bending and cutting into
materials also greatly altered the
aesthetics of the items. These can be
seen in the pictures above with the
diversity of shape and form created
for each particular design.  

Passport | Identity

As a evaluation of the recent exhibitions
and work I explored to do with identity
Ravensbourne briefed us to complete
a passport/handbook that summed up
our identity in a creative way.

Enjoying work that leans toward
typography and visually bold
design were therefore the bulk
of areas I featured in this handbook.

However, I also hope I have showcased
a diverse range of work and the
admiration I have for contrasting bodies
of art.

Above: A compilation of passports halfway through
the given brief. 

A quick snapshot of the final piece.
It features a collection of work from
ex-students at Ravensbourne as well
as work from early 20th century
institutes for design such as AIGA
(American institute of Graphic Arts).

Above: The final page to my passport
conveys a vibrant assortment of colour.
I used this as a background to the
stencil I cut out on the exterior cover
of the handbook. This cut out is in the
design of my initials LN hopefully
revealing my name in a dynamic
fashion. This can be seen below. 

Sketch pieces including fine liner media
incorporated in the pieces above and
below.

Above: The uncle Sam poster is a piece
I have always been fascinated by. I love
the techniques and design of 
propaganda but have never been 
fortunate enough to respond to the 
uncle Sam poster specifically. As a 
result i jumped at the chance to 
feature him in my passport as a 
significant part of my identity.  

Above: Examples of in your face
advertisement in the 1980's. This type
of inflated graphic communication was
well known in America and remnants of
this style of design can still be seen
in modern advertisement today. 

Above: All the fight club rules written
over a typographically rare display of
rustic colour with modern techniques.
The rules are purposely hidden to relate
to the films most iconic saying.

Above: A twist on the previous design
of the greatest superheroes now dawns
the face of the greatest super villain in
a mega bit minimal design. The
purposely torn and rugged page
emphasises the identity of the joker and
is an interesting medium of graphic
design.

Above: An experiment of mixed media
confined to a small area on the page to
culminate in a response that is
remarkably bold but also bare.

Above: The conclusion of the task set was everyones
identity being summarised and displayed for others
to view in an overwhelming assembly of passports.