Mdes illustration online journal: January 2015

Monday, 26 January 2015

Semester III: The dress

21/01/2015

Blog Entry 2 (Semester 3, Realisation):

In my last blog I expressed concern about the hand being used in imagery in tandem with the body, and how I could possibly ensure that the hand retains focus. I decided to revisit methods I has used during Concept to overcome this issue and refine one of these attempts somewhat. I am still not satisfied with the sample I have done so far, and have thought of a possible better solution, which involves possibly being slightly more drastic.

I decided to also revisit a sample which I had done late on in the Concept module, which was to place my embroidery in tandem with the body without actually depicting the body, by putting the embroidered image on a garment. By putting imagery on a garment it is possible to ensure that the image of the hand is in tandem with part of the body as it will actually be worn on the body.

The dress has connotations, which attach this garment especially to the female, especially since the 19th century the dress has been considered feminine. Moving Toward Modesty argues that the dress of the 19th century was uncomfortable and impractical for the human body (Moving Toward Modesty, 2009). It is arguable that people still go to extreme lengths to make themselves appealing in present day, this notion could possibly be a strong theme for my imagery on garments.

Semester III: Beginning of Realisation

19/01/2015

Blog Entry 1 (Semester 3, Realisation):

Now I am embarking on my 60 credit module, I feel that it is important to revisit areas of last semester during the Concept module in order to make a solid start. At the end of last semester during the Concept module, I did come to some conclusion about certain aspects of my practice. Last semester gave me the freedom to experiment and research my project theme as a wide subject with the intention of finding the best way to convey the idea of imagery of the hand commenting on the human condition, now however in order for this project to be successful I need to use the research I have already done to narrow down my original concept. I feel that because my dissertation aimed to be with my Concept project, it would also be good practice at this very early stage of my Realisation module to revisit it.

By the end of the semester In had narrowed down the subject of the hand into a few ideas, which I thought might best communicate my original idea. After handing in however I was able to fully reflect on the semester as a whole and realise that the concepts discussed and researched in my dissertation, especially how images of the hand have the power to convey gender as a complex social commentary, could be a stronger basis on which to build my project.

As the idea that pose or gesture of the hand can convey gender, especially femininity is most interesting to me, I feel that beginning my project with this as a starting point is most suitable. I intend to also look at how images of the human hand can create a stronger of different commentary in tandem with areas of the body, for example covering the face is more suggestive when the face is suggested than simply the hands being in the same position without the body part to work in tandem with. A concern I have currently is that when the hand is presented in tandem with the body, the hand can become encompassed by the rest of the composition and loose focus, this is a problem I will need to solve.

Sunday, 4 January 2015

Semester II: Bibliography

01/01/2015

Blog entry 27:

Adler. K. and Pointon, M. (eds.) (1993) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

BBC News (2012). Fighting may have shaped the evolution of the human hand. [Online] BBC News. Available at: http://www.york.ac.uk/integrity/harvard_other_accordian.html [Accessed 4th November 2014]

Berlin Painter (480 B.C.) Herakles and Iphikles attacked by snakes. Pottery, Paris: Louvre

Berman, P.g. (1993) Body and body polotic in Edvard Munch’s Bathing Men. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Clarke. K. (1956) The Nude. In Nead. L. (ed.) The Female Nude: Art, Obscenity and Sexuality (1992) Routledge.

Carrier. D. and Morgan. M.H. (2012). Fighting may have shaped the evolution of the human hand. [Online] BBC News. Available at: http://www.bbc.co.uk/news/science-environment-20790294 [Accessed 4th November 2014]

Deepdane Painter (Attributed to) (470-460 B.C), Perseus and Danae. Terracotta Red-figure Pottery

Eakins. T. (1898) Salutat. Addison Gallery of American Art, Andover, Massachusetts. Oil paint, 126.4 x 101.0 cm

Fabbri. P.(2011) Beyond Gombrich: the recrudescence of visual semiotics. Princeton: Princeton University Press

Gill, M. (1989) Image of the Body. New York: Doubleday Dell Publishing Inc.

Gombrich, E. H. (1993) Gombrich on the Renaissance, Volume 2: Symbolic images. 2nd Ed. London: Phaidon Press Ltd.

Harter, J. (1985) Hands A Pictorial Archive from Nineteenth Century Sources. Ontario: Dover Publications.

Hatt, M. (1993) Muscles, Morals, Mind: the male body in Thomas Eatkins’ Salutat. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Havelock. C.M. (1995) The Aphrodite of Kindos and her Successors: A Historical Review of the Female Nude in Greek Art. 1st Ed. Michigan: University of Michigan.

Hawkins. B.W. (1863) Frontispiece to Evidence as to Mans Place in Nature. In Huxley. T.H. Evidence as to a Mans Place in Nature. (1863). In The Zoological Relations of Man with the Lower Animals. (1861) 1st Ed. (p67 – 84.) London: The Natural History Museum.

Hunt. W.H. (1853) The Awakening Conscience. Oil on Canvas, 762 x 599mm, Tate Gallery, Britain

Jones, A.G. (1993) The ambivalence of male masquerade: Duchamp as Rrose S’elavy. In Adler, K. and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Masters, M. (1997 – 2014) Does Petting a Cat Release Endorphins? [Online] The Nest. Last updated: 2014. Available at: http://pets.thenest.com/petting-cat-release-endorphins-10269.html [Accessed 9th November 2014]

Matloff. G.L. Johnson.L. and Bangs.C. (2007) Art or Science? In Living off the Land in Space: Green Roads to the Cosmos. Pp 161-168, New York: Springer Science.

McNiven. T.J. (2007) Behaving Like a Child: Immature Gestures in Athenian Painting. In Constructions of Childhood in Ancient Greece and Italy. Pp 85-99, Athens: The American School of Classical studies at Athens.

Moore. G and von Minden. D.L. (eds.) (2010) The History of Fingerprints. [Online] Webservant. Last Updated: 15th September2014. Available at: http://onin.com/fp/fphistory.html [Accessed 4th November 2014]

Munari. B. (1958) Front cover of Speak Italian: The Fine Art of Gesture, Black and white photograph.

Munch. B. (1907) Bathing Men. Ateneum. Oil on canvas 206 x 227cm. Helsinki, Finland

Nead. L. (ed.) (1992) The Female Nude: Art, Obscenity and Sexuality. Routledge

Nicol. K. (2012). Karen Nicol’s Gallery. [Online] Available at: http://www.karennicol.com/pages/gallery1.html [Accessed 4th November 2014]

Nochlin. L. (1978) Lost and Found: Once More the Fallen Woman. Pp 139 – 153, New York: College Art Association

Pollitt. J.J. (1990) The art of Ancient Greek Sources. Cambridge.

Popova. M. (N.d.) The Fine Art of Italian Hand Gestures: A Vintage Visual Dictionary by Bruno Munari. [Online] Brain Pickings. Available at: http://www.brainpickings.org/2012/12/13/bruno-munari-speak-italian-gestures/

Praxiteles (4th Century B.C.) Capitoline Venus or Aphrodite of Knidos. Marble Sculpture

Prud’hon, P.P. (1800’s). Bust of Female Nude. [Painting] France.

Ray. M. (1921) Marcel Duchamp as Rrose S’elavy. Photography

Raynes. J. (2007) Figure Drawing & Anatomy for the Artist. 2nd Ed. London: Bounty Books.

Sagan. L.S. Sagan.C. and Drake. F. (2006) Illustration on the Pioneer Plaque. original artwork created 1972 and 1973, NASA.

Sappho Painter (Attributed to) (500-490 B.C.) Mourners around the bier. Attic black- figure plaque, Louver Museum, Paris

SIOM Educational videos. (2010). Range of Motion in the Hand and Wrist. [Video]. Available at: http://www.york.ac.uk/integrity/harvard_other_accordian.html [Accessed 4th November 2014]

Stillfried. G and van der Smagt. P. (2010) Movement Model of a Human Hand Based on Magnetic Resonance Imaging (MRI). Venice: ICABB.

Taylor. B. and Gargiulo. A. (2014) Learn Italian Hand Gestures With Male models. video and photography, created for Swide. [Online] Swide. Available at: http://www.swide.com/art-culture/learn-italian-hand-gestures-with-dolce-and-gabbana-male-models-video/2014/01/22

Taylor. T. (1999) Muscles of the Hand and Wrist. [Online] Inner Body. Last Updated: 2014. Available at: http://www.innerbody.com/image_skel13/ligm27.html [Accessed 4th November 2014]

Webster. M. (2014) Visual Dictionary Online: Hand. [Online] Visual Dictionary Online. Last Updated: 2014. Available at: http://visual.merriam-webster.com/human-being/anatomy/skeleton/hand.php [Accessed 4th November 2014]

Young. R.W. (2003) Evolution of the Human Hand: The Role of Throwing and Clubbing. Journal of Anatomy. January 2003, 165 – 174.

Zavaglia. C. (N.d.) Gallery. [Online] Available at: http://www.caycezavaglia.com/embroideries/xmyy2yq10qw4svjtp41c9qdz1kfali [Accessed 4th November 2014]

Semester II: Critical Evaluation

01/01/2015

Blog entry 26:

A Critical Evaluation of my Concept Project:

Images of the Human Hand: A Gesture to Humanity?

Towards the end of last semester during Personal Practice and Methodologies module, my project pointed me toward hand gesture or positioning used in imagery to convey the idea of experiencing the divine. I decided for this semester in my Concept module, to open this topic out in order to give me more scope, by choosing to focus on researching the hand as an entity, which in the visual world can be a powerful tool to comment on the human condition.

Last semester, I made the decision to break my project down into separate areas in order to give myself clarity, I found I did not do this as successfully as I had hoped; however I found that some elements worked well. It taught me that I could refine this methodology for this semester and make it work better. I decided to break my project down into several areas: Research, making visuals, blog and drawing from life. My research book allowed me to take a wide variety of ideas and research them more closely to understand how much potential they might have for my Realisation project. I selected my preferred ideas and worked them up to different extents in my main sketchbook in order to understand further whether these ideas were viable choices to take forward. This book was also used to experiment with my chosen media and materials. I used my blog to research the work of others in order to find out more about how mediums, materials and topics have already been addressed, I also conducted this research to find out more about what is current in my field of study. My drawing from life book was a place where I was able to purely practice drawing the form of the hand along with using the time to understand how to visually represent the capabilities of movement of the hand, and consider gesture.

Due to my research into paint last semester, I had found a particular paint and process that I preferred, however over the summer I found that working in stitch created interesting visual results. I did not want to disregard a medium that could possibly give me interesting results, especially when stitch had potential to add a tactile aspect to my imagery and convey the hand’s capability to ‘feel’. I made the decision to combine my preferred paint method with stitch. I tried a number of hand and machine stitch methods, starting with cross-stitch. I found a way of convert my paintings into cross-stitch patterns online, but quickly found a number of issues with this process. I found that the time taken to complete even a single pattern would be far to long to refine progress in the time allocated for the Concept module. I also found that the converted patterns, when finished did not always fully represent the original image they had been taken from, for example the black and white painting I created a pattern from, instructed me to use purple threads. Once I had tried a number of stitch methods, I found that a process called free machine embroidery, which I had used before at college worked best, not only as it was a faster process, but also I was able to use this stitch method on fabric, which I could also paint on with gouache.

Whilst studying my stitch and paint combination, I found that through my research, there were a number of ideas, which would be difficult to take forward due to their being pre-existing connotations or potential difficulty in understanding a potential message as certain aspects such as gesture are easily lost in translation. My dissertation on how the hand can act as a semiotic or political signifier to comment on the human condition, was most helpful in the elimination process due to the research for my essay teaching me about how the hand has been used in different points throughout history to convey emotion, cultural hierarchy and even concepts such as femininity. A number of my original concepts to research felt like they could possibly have potential, however when I researched them further I found that it would be difficult to base a whole project on them. For example I researched the concept of being unable to use the hand due to accident or injury, this interested me and I was able to obtain a set of Christmas cards, which had been painted by members of the Mouth and Foot Painters Association. These artists had lost the use of their hands from injury or birth defect and I felt that a topic such as this might have a lot of scope. When I attempted to create visuals for this idea in my main sketchbook, I found that to visually represent this in the best way possible had already been done by the association’s paintings themselves.

With the aid of my critical analysis of who I wanted to be as a practitioner through my blog, I was able to consider how my realisation project could echo my plans for the future. Although I was to some extent aware of the face that my work has both fine art and illustration connections, I have been considering where I am place within the art world. I feel that after my research I do not want to box myself in, to creating only one outcome, which would only reflect one part of my artistic journey. I have found a number of artists, whom both exhibit their fine art pieces and use them in illustration; this is something I intend to look more closely at during my Realisation project.

In my main sketchbook, I was able to develop and eliminate further concepts about the hand in a number of ways. As the Concept project developed, I found that a small number of ideas stood out in significance to me, the most prominent of which being stories attached to or about the hand. The face we as humans attach myth and folklore to the hand as well as use the hand to tell stories is representative of how prominent the hand is in everyday life for many people. Another idea, which to me held significance, was the concept of left-handedness and the connotations this subject has held throughout history. It might be possible to merge my ideas together next semester more research has been done.

In conclusion, I have decided to further develop my preferred method of paint and free machine embroidery to create visual imagery on my topic of stories about the human hand. I intend to use my findings from this semester to inform

my practice for the Realisation module and examine my topic further I order to develop my outcomes.

Semester II: Project Proposal Form Draft 2

01/01/2015

Blog entry 25:

MA / MDes Visual Communication

PROJECT PROPOSAL FORM

Name: Helen – Marie Kelly

Stage: Diploma

Date & Draft Version: 17/12/2014 Draft 2

1. Working Title:

Images of the Human Hand: A Gesture to Humanity?

2. Rationale for the project proposed: Provide a concise, logical rationale for the project, 200 words.

My Concept project is based on imagery containing the human hand acting as a semiotic or suggestive comment on the human condition. The project is broken down into several interlinked areas to ensure clarity of methodology. The Project focuses on researching a wide range of material with the goal of finding successful ways of conveying the hands potential to convey complex comments on the human condition to an audience. Whilst using research to create visuals with a combination of paint and stitch, in order to find the most successful way of creating visuals with a tactile element, I have also been exploring how human concepts such as thought and emotion and even stories can be conveyed through visually representing the hand in illustration. An example of the research I have been undertaking includes finding abstracts from fictional texts to create compositions which feature the hands of characters in positions which are intended to convey the mood of the scene or emotion of a particular character, along with researching how nonverbal communication can give insight into aspects such as culture and other such subjects. I intend my Realisation project to be based on stories attached to or heavily involving the human hand, such as myths and folklore, as I feel it provides a complex commentary on the importance we as humans place on the subject of the hand.

3. Audience: Describe the audience that the project is aimed at. Ask yourself, who will benefit from the process or outcome of the project proposed, whose needs will you meet, who are you communicating with, who are you seeking to persuade or inform?

At Present, audience is not clear due to the way research is being undertaken. As an artist I am aware that I do not want to work as a children’s illustrator, therefore I can come to the assumed conclusion that my work may be aimed at adults. Furthermore the subject of this project will possibly produce outcomes, which implore the audience to construct some of their own theories on the work and will possibly take an adult’s understanding to fully appreciate.

Having said that I do not wish to illustrate for children, I am always willing to take myself out of my comfort zone and push my work forward. For example if I find that my subject of stories about the human hand, lends itself better to children’s illustration, I will not completely disregard it.

An audience for this project could be publishing houses or galleries.

4. Theoretical Framework: Summarise the theoretical framework of your practice enquiry.

This project exists to question what it means to be human through images of the human hand and the importance it holds. I want my project to provoke thought about something many take for granted.

My dissertation is designed to aid research undertaken in the concept module, through questioning the meaning of human hand in art. In chapter one, I have explored how images of the hand as singular entities or part of a composition can comment on sophisticated and complex meanings derived from the human condition. For example how the gesture of a subject or character’s hand can change how an audience view of said character’s emotion or situation. Chapter two takes a specific topic, gender and explores more deeply into how the human hand conveys this through positioning and movement in art. I have chosen gender because I feel it is an important key to commenting on the human condition. Although there can be distinct differences in male and female in the animal kingdom, human gender rolls are very different and in some ways more defined. Although arguably concepts such as culture and religion would provide equally complex issues when considering hand gestures and the human condition, gender is a topic that in my concept module I have not explored in as much depth: as the aim of my dissertation is to aid my research, I feel that I should focus on an area that will supply something different to that which I have already researched.

Abstract from my dissertation:

This study explores the human hand in art as a signifier of the ‘human condition’. The dissertation argues that the hand is a significant factor in understanding what sets apart the human being from the rest of the animal kingdom. Imagery portraying the human hand is considered and subjected it to analysis. Scientific research is used in tandem with certain theories to provide support to the argument. The research revealed that images of the hand are commonplace, and can hold complex and sophisticated commentaries on the human condition in a variety of ways.

5. Methodology: Set out the visual methodology you will employ in researching the question you have set yourself. Construct a time-based structure for your visual research and practice.

My methodology for this project is to break down areas of practice into separate areas, which feed into each other:

The Research Book involves encompassing a broad compilation of ideas and theories based around the subject of the hand researched with a view to creating visuals from ideas that I feel have scope enough for my masters project. This book will include my own thoughts along with a range of material by others including scholarly opinion. Research varies widely from a scientific standpoint, such as exploring evolution and the musculature of the hand, to different meanings attached to the human hand through aspects such as stories and much more.

The Main Sketchbook is involved with exploring stitch and paint as a means to intertwine the notion of ‘feel’ and give the work a tactile nature with the preferred painting method I chose after my research in Personal Practice and Methodologies module. The Main Sketchbook uses ideas/ theories from the Research Book as an initial standpoint, on which to build in order to ascertain the scope of certain aspects and to in turn allow ideas to grow and possibly allow new ideas to form, which can then be more closely researched in the research book.

With the combined idea development and research from the two aforementioned books, I have by the end of this project to been able to select certain areas, which I feel have commented well on the human condition and have the most scope to take forward for my Realisation project. At this stage the idea I intend to take forward to my Realisation project is ‘stories about the human hand’, this will include researching myths and stories we as humans have attached to the human hand to portray its importance. I may also include how the human hand itself can be used to tell a story or convey a message in the form of story telling.

The Blog involves researching the work of others to aid understanding of how mediums and materials can be used, which may inspire how physical work is created in the Main Sketchbook. The blog will also question and explore who I am as an artist and aspects such as how work can be presented as possible outcomes, this area will focus deeply on what it is I want to achieve as an artist during and after my study at university. The blog will also provide a place to fully explain the thought process at certain points during the module.

A smaller but significant area is the Drawing from Life book, which deals purely with practicing visually representing the form of the hand, which in turn can lead to ideas to research more closely. This book has also allowed me to consider hand gesture and movement in a more simplified way.

6. Deliverables: Please list the outcomes that you envisage resulting from the project.

Throughout my concept module I have found it difficult to rest on many aspects of what I intend to take forward, due to the wide subject area I decided to research, however now that I am at the end of my concept module I have been able to make certain decisions which will allow me to move forward, and through consideration narrow down what my deliverables might be.

Possible deliverables:

Framed stitch and paint images as fine art pieces telling certain stories about the human hand (small samples of which have been made for this project in order to ascertain whether it is possible).

A sequential set of illustrations, which tell a story about the hand – this I feel should comment on how the hand is important to the human condition.

7. Identify any exceptional practical requirements that the project will

necessitate: Please list anything beyond the usual provisions of the programme.

8. Bibliography: Reference all resources including images following the Harvard system.

Adler. K. and Pointon, M. (eds.) (1993) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

BBC News (2012). Fighting may have shaped the evolution of the human hand. [Online] BBC News. Available at: http://www.york.ac.uk/integrity/harvard_other_accordian.html [Accessed 4th November 2014]

Berlin Painter (480 B.C.) Herakles and Iphikles attacked by snakes. Pottery, Paris: Louvre

Berman, P.g. (1993) Body and body polotic in Edvard Munch’s Bathing Men. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Clarke. K. (1956) The Nude. In Nead. L. (ed.) The Female Nude: Art, Obscenity and Sexuality (1992) Routledge.

Carrier. D. and Morgan. M.H. (2012). Fighting may have shaped the evolution of the human hand. [Online] BBC News. Available at: http://www.bbc.co.uk/news/science-environment-20790294 [Accessed 4th November 2014]

Deepdane Painter (Attributed to) (470-460 B.C), Perseus and Danae. Terracotta Red-figure Pottery

Eakins. T. (1898) Salutat. Addison Gallery of American Art, Andover, Massachusetts. Oil paint, 126.4 x 101.0 cm

Fabbri. P.(2011) Beyond Gombrich: the recrudescence of visual semiotics. Princeton: Princeton University Press

Gill, M. (1989) Image of the Body. New York: Doubleday Dell Publishing Inc.

Gombrich, E. H. (1993) Gombrich on the Renaissance, Volume 2: Symbolic images. 2^nd Ed. London: Phaidon Press Ltd.

Harter, J. (1985) Hands A Pictorial Archive from Nineteenth Century Sources. Ontario: Dover Publications.

Hatt, M. (1993) Muscles, Morals, Mind: the male body in Thomas Eatkins’ Salutat. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Havelock. C.M. (1995) The Aphrodite of Kindos and her Successors: A Historical Review of the Female Nude in Greek Art. 1^st Ed. Michigan: University of Michigan.

Hawkins. B.W. (1863) Frontispiece to Evidence as to Mans Place in Nature. In Huxley. T.H. Evidence as to a Mans Place in Nature. (1863). In The Zoological Relations of Man with the Lower Animals. (1861) 1^st Ed. (p67 – 84.) London: The Natural History Museum.