Lucas Simoes

Cut-out portraits.

This artist manages to relate my first two workshops together with the use of sharp edges and boxy shapes, and the hand processes technique, reverse appliqué. i love the idea of cutting away and working down to create 3D shapes rather than working up. This could be used well as a drawing technique because it is a bit flatter than the metre by metre drawing I have done yet still has a tactile element and hint of 3D which relates well to my project.

Andreia Chaves

Andreia Chaves

This work has the same ethos as my own project of finding beauty in chaos. I love the intricate design and the natural, organic shape which is created from something to unnatural as a perfect cube.

Alba Prat

I find this work inspirational for this project because Prat is not ashamed to go completely sculptural. It's so different from a body form, yet is completely complementary of it. I am also inspired by the use of such a synthetic material because is is so necessary for the work she is creating and because I am nervous of using it is my own work.

Drawing workshop 10th November

 1 metre by 1 metre drawing before de-construct workshop.

 Staring to scrunch and flatten fabriano so it turns leathery and folding the shapes up further to create smaller shapes.

 Continuing the process with more shapes. I love the contrast of the two. The de-constructed shapes appear darker, even creamy because of the many more shadows and facets created by scrunching.

mixing the two different drawings together to show the difference. The whole drawing has shrunk and become a lot more compact. I like how these so shapes relate to my earlier scribble drawings of force and tension.

Drawing Workshop Task 2

The purpose of my sketchbooks this term has been to show the journey I have taken my project on. To do this I feel that I have used the sketchbooks in the right way for how I work. They have been a place for new ideas, development and review; rather than somewhere I present all the ideas once they have been realised. Through doing this my skills in experimentation and willingness to push myself have been highlighted. This is especially true in moving away from the small book which I feel comfortable in, to a much larger one.    


 I thought I would get lost on such a large space, but it has pushed me to work bigger to fill the empty page. It also made me work more cleanly and neatly which has always been a challenge for me, but complements my project well.
     When flicking through the sketchbooks, it is easy to see the intent of my project and the direction it is headed. This I feel has been helped by the short amount of time allocated to us to explore our themes - giving me a stronger focus. In the coming weeks I intend to move out of the sketchbooks more. This is not necessarily to work bigger, but to experiment with many differrent scales, relating to my theme of rocks and the vast differences in scale inwhich they occur.

I don't want this to cause large gaps in the sketchbook and the story of the journey so I want to flick between the two different ways of working frequently.
     Most of the work presented in my sketchbooks has been future ideas, and I would like to document more the process I am taking through photography and observational drawing.
This will aid the flow of my thought processes, but also improve my observational skills and force me to be constantly looking back at what I have done and review every sample. Because of this constant look to the future, there are large jumps in my sketchbooks where I have suddenly changed course, and I intend to go back and smooth them over to explain the reasons behind the seemingly erratic jump into different ideas.
     To some extent, a certain 'style' of working has come through so far in the sketchbooks, but i would like to wok on this further. It is important for me to start focusing on skills I have which are standing out and something which unique to my personal work.

2nd Workshop, 3D construct

 1 metre by 1 metre drawing. Didn't really have a major plan just started making and saw what happened which created a beautifully organic shape and it sort of grew as it was being made. It is meant to link all my concepts together; rocks, encrusting, forces and tensions in a material and in rock formation.

 Linking in to work about force and tension in the body when drawing. Looking at muscles and strain.

 Containing force and tension. Restricting line using masking tape.

 Using restrictive drawing techniques to describe tension in the hand.

 Didn't make the connection between my 1 metre by 1 metre drawing and the body. But once I realised it could be a strong idea, I photocopied older drawings and worked them on to the body.

Ripped paper to plan garments. Like the strips, could work with material.

Starting to work 3D drawing onto the body. Don't like the gaps inbetween each rock shape. Maybe look at some way of creating a seamless material which still creates the sharp angles.

1st Workshop, Hand processes

 Things which look really different yet are actually very similar. The three drawings above are of rocks in the Manchester museum. They have completely different aesthetics yet have the same atomic structure.

Linking the hand processes workshop with Sleuths, Spies and Lies. French knots in the pattern of the atomic structure of a Ruby.

Linking with the surface pattern and encrusting of minerals on rocks.

Charcoal creates a beautiful representation of surface reflections on minerals. 1st drawing workshop really helped with this.

Changing the tension in fabric by using the force of additional thread. Linking the tw workshops together in a less obvious way.

Hand processes workshop: didnt find as inspiring as I thought I was going to, or learn as many different techniques as I had expected to. It was more about my own development, very self directed in techniques I was already familiar with. It did however aid the direction of my project into the next workshop. And i'll use these techniques in further work rather than focusing on machine stitch.