#k00281262 seminars

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3D Studies Seminar

This afternoon, I watched Elaine's seminar on 3D studies.

3D studies involves exploring the physical and tactile elements of the world around us, such as form, structure, texture, volume, weight, space and location. It is relevant to all specialisations and materials.

I really liked Ruth Asawa's piece as an example of form. The form of these wire sculptures reminded me a lot of my cocoons, in particular the wire process used to create them.

Ruth Asawa, "Architecture of Life" (2016)

In the video shown of Richard Serra, I found his "verb list" to be a fascinating way of going about work. It reminds of how important physicality is in art. The process is, to me, as important as the end product. As artists, it is important to continually evolve and create new strategies of approaching work, so we don't rely on just repeating the same thing over and over.

In the video of Junko Mori, I was pleasantly surprised by how spontaneous she is- I always think metalworking is a very heavily planned process. It was refreshing to see how materials led she is, and how she is constantly looking at nature to inspire her.

It is important to bear in mind the relationship between 2 and 3D study. Each one informs the other.

In Part 2, I really liked seeing Frank Gehry's sketches, especially how imperfect they are. I can be a bit hard on myself for my own sketchbook being messy and ugly, so it's important to remind ourselves that a sketch should be functional over beautiful.

In general, I think I am much more of a 3D worker rather than 2D, so I found this seminar really interesting. I think it's important to remind ourselves of the vast array of techniques and processes available to us, as well as the way materials can inform our practice.

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Form Development/Clay Seminar

This afternoon, I watched the form development/clay seminar. Though I've worked a little bit with clay in the past, it's not a material I'm hugely confident with, so this seminar was a nice overview.

Clay can be used for a variety of processes, and how you work with it changes based on its stage of dryness. Ceramics incorporates elements of art, design and craft, and the ceramics department in LSAD actively encourages students to explore an inter-disciplinary approach.

The different techniques applied to the surface of a piece transform how we see the form. Form development can also be figurative. Form can be developed using a number of different techniques, such as 3-D printing. This can be useful for creating plastic prototypes that can be later made from clay. Installation can be a useful way of creating narratives through clay. As with all media, ideas development and research is really important.

Though I'm not particularly interested in pursuing ceramics for semester two, this was still an interesting seminar in terms of exploring the possibilities of form. No matter the material, certain elements remain the same, such as the importance of scale, surface, ideas development etc. As I am interested in sculpture, I, too, am concerned with the transformation of my ideas from two dimensional drawings to three dimensional forms.

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Creative Recording Seminar

This afternoon, I watched Paul Tarpey's seminar on Creative Recording/Visualisation. I learned about how photography and video can serve as an art form in their own right to capture a temporal moment.

I've always been interested in performance art. I like its ephemeral nature, I like how conceptual it is- I like anything that makes you stop and think "does this really count as art?". Therefore I found it really interesting to learn about the dynamic between performance and creative recording as a way of documenting very temporary moments.

Use of focus is important in photos- whatever is in focus draws our eye.

I'm really not a fan of Vito Acconci, having heard of his pieces "following" and "seedbed" before, they make me quite uncomfortable in a way I don't enjoy (and this is coming from someone who generally likes unsettling art). I will admit, though, that I did really like the visual effect of his example of work on movement. Though it looks like a scrapbook or just some journal sketches, it is art in its own right.

Overall, I really enjoyed this seminar. Photography and video are media that I do not have much experience with yet, but would like to learn more about, as I feel they have huge potential for my project and endless scope for exploration.

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Relief Print Seminar

Today I watched the seminar on an introduction to relief print. I found it interesting as someone who really did not know a lot about print to be given this overview of the discipline's place in the art world.

Print is everywhere in our lives, from posters, to clothes, to record covers. I thought the commercial roots of printmaking were interesting, especially the comment on how even today, porn and fashion are two of the biggest drivers behind consumerism.

There is such a vast array of printmaking techniques, though most fall under one of four categories: intaglio, relief, screen print and lithography. The particular seminar focuses on relief. Most print processes in principle are very simple: you make a mark on one surface, and transfer it to another. Crucially, printmaking allows you to make multiples of an identical image for distribution.

The variety in print means that everyone is bound to find a printmaking process that suits them. However, the basics elements of a good print are universal: composition, shape, structure, colour etc. These, of course, also apply to any area of art or design.

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Composition Seminar

Today, I watched the seminar on composition, and I found that I learned a lot. Composition is of course something I've heard of before, but I now feel I have a better grasp on how to apply its principals to my own work.

I learned the definition of composition:

Composition: the arrangement of visual elements (e.g. line, shape, space, colour pattern).

Composition involves consciously putting things together, though much of it is also intuitive. The elements that make up a piece include:

Line- the path your eye moves along within a piece

Shape- the area defined by edges within a piece

Colour- hues of various values

Texture- surface quality/feel of an object

Value- lightness or darkness of an area or shape

Form- the three-dimensional quality of an object or shape

Like how musicians make different songs using the same chords, we as artists can use the same elements to create very different compositions, or similar compositions to create very different images. A good composition combines elements of balance, emphasis, harmony, movement, depth, space, pattern, proportion, tension, unity, variety, contrast, coherence, and use of positive and negative space

I learned the Importance of experimentation, trying new compositions, and thumbnail sketches, as we explore the relationship to subjects with their environment. Every decision you make has an impact. You can choose the size and shape of the surface you are working on in accordance of what you're trying to say.

Observation is important. As you observe structures in both natural and man made forms, you can help develop your intuitive sense of composition. The world is composed- everything we see is made of structures. It's all about training your brain to see them. What happens in the world around us inspires us to replicate what we see. Patterns and structures can strike a familiar chord in viewers, and we as artists can utilise this to get a certain reaction from our audience.

It is extremely important to study art and learn from it. Even world renowned artists have to learn from somewhere. This shows the real value of peer learning.

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Typography Seminar

This afternoon, I watched Lorraine's seminar on typography. To be honest, I was not very enthusiastic going into it. Graphic design is not something I'm passionate about, but I found myself pleasantly surprised by how much I learned from and was inspired by this seminar.

I thought it was fascinating that the idea of punching letters into objects dates as far back as the second century BC, and that many of today's serif fonts can be traced back to ancient Rome. I also thought it was very interesting how Renaissance typesetters would utilise italics to maximise the space used on the page.

It is so interesting to consider how we are constantly surrounded by typography- it is embedded in our daily lives.

I did not feel hugely inspired by the examples of influential typographers, but a few did jump out to me more than others. I liked the examples of Paula Scher (below, left)'s work- the use of maps reminded me of Sylvia's suggestion to me to use OS Maps in my work. Perhaps Scher is an artist I should look into more when the time for me to expand into maps comes. I also enjoyed the work of Claes Oldenburg (below, right)- I had never fully considered the idea of typography being a thing that can be done through soft sculpture. Maybe this is an avenue I should explore myself?

Overall, I enjoyed this seminar more than I thought I would, and now feel inspired to think about using text and typography if it becomes relevant to my work. If not, I at the very least now have an appreciation for the endless examples of fonts around me!

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Colour Seminar

This evening, I watched Sylvia's seminar on colour.

I learned how important it is to bear in mind how many different factors can change how we see colour- whether it's printed or on a screen, what lighting the object is in, the weight of the pigment etc.

I also learned that the Pantone colour system, which I had heard of already, is standardised. This is amazing as it allows consistency between artists and designers worldwide, so that their colours can match exactly. It is interesting how different colours have different connotations, as can be seen in Pantone's colour of the year 2020 Classic Blue- a calming, tranquil colour, expressing hope. 2021's colours are in huge contrast to this- a florescent yellow and mid-tone grey are flat and uninspiring, accurately expressing the mood for the year at the time.

I learned that pairing any colour with a flat grey will give the other colour an almost metallic effect. This is an interesting tidbit to keep in my back pocket in case I might need it!

I found it interesting how colour is important culturally, and can especially have important meaning in contested areas such as Derry. I didn't know that Irish postboxes were painted green in 1922 as a symbol of Irish independence, and I found this very interesting.

I had never heard of Yves Klein, but I do like the colour IKB. I have unfortunately heard of Anish Kapoor before, and the Vantablack controversy. I think copyrighting colours is a bit silly, to me it seems like a bit of an ego boost for the artist involved. Art should be about sharing materials and growing from each other, not hoarding a colour for our own. I just don't think it's fair for one artist to be able to buy a colour. For this reason, I am a big fan of the "pinkest pink" by Stuart Semple, in particular that it is sold for no profit.

As an aside, I do enjoy that Sylvia put a list of recommended reading at the end of the seminar, as it is a goal of mine this semester to expand my horizons by doing some more reading (and a goal, in general, just to read more).

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Exploring Ideas Seminar

This afternoon I watched the exploring ideas seminar with Michael Canning. I found it very helpful, and will use what I have learned as I move forward.

Part 1: Generating Ideas/critical thinking

My main takeaway from this part of the seminar was that it's important not to be intimidated by the ideas development process. It is a continual (always ongoing!!) process of research, recording, sharing and reflecting. It is important to share your ideas, because it can help in the critical thinking process. As well as this, your ideas can inspire your peers, just as theirs can inspire you. We must all critique ourselves. It is important to continually reflect on our work and make critical decisions (critical here not meaning negative, but rather an intellectual response).

I also learned the importance of active observation. Drawing is an act of observation, so it is important to draw. This is something I have been meaning to do more myself. I have found that my sketchbook is a bit big (A3) to be carrying around with me everywhere, and this has put me off drawing. So, this weekend, I bought myself an A4 sketchbook, which will hopefully result in a bit more productivity in terms of sketchbook work.

Consider what materials are suggested by your ideas the medium informs the message, the message informs the materials. You can often form an idea by associating two unrelated concepts in unexpected ways

Part 2: Creativity and productivity

"The best way to have a good idea is to have lots of ideas"- Linus Pauling.

In other words, being prolific is key to generating a higher number of robust ideas. In art, there is very little gap between quantity and quality of ideas, as more ideas gives us more places to form connections. A cluster of small ideas can have great strength, and so we can't have good ideas without being extremely productive.

It is so so important to work consistently, and sustainably, and to feed ourselves with interesting stimuli.

How to have lots of ideas:

Expect to have ideas- you're allowed to have good ideas! You're smart enough to have them!

Quantity is important- you do not need to strive for quality at the start.

Expose yourself to new experiences. New things will inspire you to create new connections.

Capture ideas immediately- you need to make record of your ideas before you forget them. This is one I especially need to focus on myself, as I find that I often have an idea in the shower or something, but by the time I'm in college the next morning, it has completely left me.

Ideas come in bursts. Don't worry if ideas come slowly, just make sure to record them when they come.

In conclusion, to have good ideas, we must look hard at the world around us, think hard about the world, and draw connections.

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Moving Image Seminar

Today, I watched Yvonne Sweeney's Seminar on Moving Image, and I found it really engaging. Animation is something that I find myself shying away from, as it's a medium I know nothing about, and so I find it very intimidating. It was refreshing to be given a gentle reminder of the variety of low-tech means of capturing moving images.

I think that the points for consideration that Yvonne made at the start were interesting, for example the consideration of scale, which is something I never would have thought about in relation to videos before. I like her points on engaging with the audience, and how low-tech, tactile means of animation such as flipbooks can be interesting as they require the audience to physically engage.

I learned a lot in this seminar about all of the different types of animation. I like the simplicity of a thaumatrope, and this is something I would like to experiment with. I also really enjoy the look and feel of cutout animation, I think it has the potential to be really fun and quirky. I still find myself a bit intimidated, though, as it is a very involved process. I think I might have to invest in a tripod or something. We shall see.

Overall, I really enjoyed this seminar, and I feel I got a lot out of it considering animation is really something I know very little about.

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Tumblr Seminar

Today I watched Sharon LeGear's Tumblr seminar. I think it was a good refresher on the importance of Tumblr and why we use it- that is, to communicate both with the tutors and with each other as students, so that our work can be assessed but also so that we can inspire and learn from one another.

It is also important to be reminded that Tumblr is a living portfolio- it should be curated to best communicate our thoughts and ideas.

I thought that Foster Huntington's Burning House Project that Sharon showed as an example of an art project that began on Tumblr was extremely interesting. Though, for now, my project concept is a bit too personal for me to consider getting direct participation from my peers on Tumblr, I do think it is an innovative idea, and one that proves the importance of intercommunication in art.

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Research Folder and Ideas Development Seminar

This afternoon I watched Sylvia's seminar on research folders and ideas development.

In terms of artist research, I thing it is important to note how Sylvia mentioned the "cross fertilisation of art and design" to inform our work. We must always look beyond the disciplines that we work in ourselves, and be inspired by all kinds of different artists, in order to create the most complex and well-rounded ideas.

I also think it was interesting how she emphasised the importance of including our own personal opinions on the artists we research. It can often be too easy to accidentally slip into just writing a biography, but this doesn't do much to inform our practice. Reflection on what we like and why we like it is key to fully understanding our artistic influences.

In the ideas development section of the seminar, I found the examples very helpful. I can put a lot of pressure on myself to have perfect sketches and a beautiful notebook, so it's always nice to be given the gentle reminder that the ideas behind the drawings are more important. In the video where she goes through examples of past students' work, I was reassured by how broad and varied their work was. I don't feel like I'm heading down an exact path with my ideas, so I was comforted by the fact that these students didn't necessarily, either. Instead, they built upon all of their work and experimented.