Semester II: Project Proposal Form Draft One

05/11/2014


Blog entry 13:

As it is an important part of my Personal Development Plan, I have decided to put the first draft of my Project Proposal Form on this blog, as it works to show the stage I am at with my project when taking certain aspects into account.

PROJECT PROPOSAL FORM

Name: Helen – Marie Kelly

Stage: Diploma

Date & Draft Version: 10/11/2014 Draft 1

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.

A Project based around the human hand as a semiotic or literal representation of what it means to be human. The project is broken down into several interlinked areas to ensure clarity of methodology. The first area is contained within the Research book, which deals in initial idea development. The second is contained in the Main Sketchbook, which is utilised to take ideas further from research to understand how far ideas can be pushed and to create visual imagery, which has the goal of creating an understanding how mediums and materials are working. 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. The third area of the project is the Personal Development Plan in the form of a blog which outlines thought processes at different points during the work, explores the work of others to further aid the practice and explores more deeply how it is possible to present work when working as an artist/ illustrator.

The Project focuses on researching a wide range of material with the goal of finding successful ways of conveying empathetic responses from an audience. Whilst using research to create imagery, the main sketchbook is also currently being utilised for the exploration of how emotion can be conveyed through the human hand in illustration. This is being done by finding pieces of text 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; these texts mainly consist of adult publishing.

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.

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 answer the question of what it means to be human through research around the human hand and to create a feeling of the human condition as a uniting factor. I want my project to provoke thought about something many take for granted.

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:

Currently at this stage the Research Book involves encompassing a broad compilation of ideas and theories based around the subject; these will include my own thoughts along with a range of material by others. 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 from a human perspective and much more.

Currently the Main Sketchbook is involved with exploring stitch as a means to intertwine the notion of ‘feel’ and give the work a tactile nature. The Main Sketchbook uses ideas/ theories from the Research Book as a 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.

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 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.

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

Currently I would find it impossible to envisage a ‘final outcome’ as such due to the working process; however I envisage this project resulting in a body of work, which explores and pinpoints how the human hand as a visual can comment on humanity to take forward to the Realisation stage.

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]

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.

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.

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.

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]

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

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

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

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

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 4^th 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. 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: Second tutorial and illustrative signifiers

03/11/2014


Blog entry 12:

Since the last tutorial I have indeed looked further into how free machine embroidery and paint can be used to add a tactile aspic to my work. I have also considered how stitch and paint can be factors used to contrast with one another. I found that from my samples, I prefer using thread colours which are similar to the skin tones of the paint, this creates a more subtle texture and I feel further bonds the image of the hand with the concept of 'feel' (sample shown below).

During my second tutorial I explained an idea I had about using the hand as a signifier in illustration, which I now intend to take further. I feel that the hand in an illustrative composition could act to tell the audience more about certain characters and their feelings/ emotions.

I feel that working over my paintings with stitch is working well and I intend to submit this to further investigation.

Semester II: Myths about the Human Hand

03/11/2014


Blog entry 11:

Due to ill health I have been away from study for three weeks, although this could be possibly problematic, I have been able to take much into consideration. I am aware that I need to firm up my ideas in order to have a clear idea of what I want to do next semester.

I have been researching more on the human hand in my research book and have been building up ideas I feel have potential as visual experiments in my main sketchbook. An interesting idea I have come across whilst conducting my project is a certain myth about the human hand. This myth is that the wedding ring finger or left ring finger contains a major blood vessel which leads directly to the heart. I find it interesting that we as humans place so much importance on the hand, that we feel the need to attach such stories to it. In this case the story is heavily involved with the concept of love and the heart as a signifier to love, it is interesting that the symbol of the wedding ring in the context of the ring finger has provoked people to strengthen the ideal that the heart is associated with love. Through marriage and the placing of the ring on the left ring finger, the myth is suggestive that the ring acts as a form of protection to the blood vessel thus the heart itself. This can be likened to the concept of chivalry and the man protecting the woman.

Although I am going to research a plethora of different concepts to do with the human hand this is currently the idea I feel is strongest.

Semester II: First tutorial methodology beginning to work for me

07/10/2014


Blog entry 10:

Before my first tutorial of the semester, I have been looking into combining stitch with paint. I have used calico as my preferred fabric, as I am able to paint on it with gouache (my preferred paint method which I found through my research on paint last semester) and stitch onto this material with ease. I also find that calico is relatively cheap to buy and can be obtained in large quantities. Calico has several different weights or thicknesses, I have chosen a mid weight calico on which to work for many of my samples due to it being thick enough to hold the paint, stiff enough to paint onto with relative ease and thin enough to stitch through with ease. The only issue with painting on fabric, especially with a water based paint is that fabric absorbs the water, making the painting process longer.

I am currently working on a cross stitch pattern, which I have converted from a painting online. Although I enjoyed cross stitch during the summer, I am beginning to question wether this process is going to take to long to make it a viable option on which to base a project. Another issue I have found with cross stitch is that it is impossible to envisage what the outcome is going to look like until it is finished making it somewhat of a gamble. The original painting is in black and white, however the cross stitch pattern has instructed me to use a number of purple threads, this makes me wonder how different the finished cross stitch will look when compared to the original painting, this may make choosing a colour palette very difficult.

I have experimented with a number of stitch methods and found that I prefer a method I used in college known as free machine embroidery (as explained in more detail in blog entry 9). This method is done by changing the regular foot on my sewing machine to a specialised embroidery foot and dropping the dog teeth, which pull the fabric through the machine. By making these changes to a domestic sewing machine, I have allowed the fabric to be sewn in any direction, essentially allowing me to draw in stitch.

Ordinary/ common sewing machine foot

Metal embroidery foot

Dropping the dog teeth (Love sewing, 2013)

During my first tutorial, Richard suggested that I should explore stitch and paint combinations further in order to ascertain whether this process could work for me. He also suggested that I could possibly use research for my dissertation to firm up my ideas for this project. I now intend to move forward with my research into the human hand and its capability to comment on the human condition, along with experimenting further with my stitch and paint combination.

At this early stage I have made the decision to already disregard some of the ideas I first worked up in my research, for example I have decided not to take the idea of the skeleton of the hand further due to the pre-existing connotations of horror and halloween which are already deeply ingrained.

Semester II: Free Machine embroidery

06/10/2014


Blog entry 9:

As I intend to create a tactile aspect to my visual imagery on hands, I have chosen to use stitch. I have tried a number of hand stitch methods, but as is the nature of hand stitching it can take a long time, which as a practitioner, especially as an illustrator, can be an issue when working to deadlines.

To use stitch, but create faster results, I have decided to go back to my roots at college. During college I was taught a practice called Free Machine Embroidery. This technique is done by using a domestic sewing machine: The usual sewing machine foot is replaced with a specialised foot called an embroidery foot. The dog teeth, which pull the fabric through the machine in a forward motion, are dropped down to allow the fabric to move in any direction. By being able to move the fabric in any direction essentially allows me to draw in stitch.

With free machine embroidery there are a number of technicalities which need addressing such as lowering the tension, however I have learnt these prior to starting this course, so I am not going into something blind. This project will allow me to develop and perfect a visual technique.

Along with the tactile texture of the free machine stitch, I will be using the paint techniques I developed last semester, this combination should create interesting and unusual visuals. As the masters projects are designed to create work which has something new about it, I feel that this combination is a step in the right direction.

Semester II: My methodology, a project broken down into sections

06/10/2014

Blog entry 8:

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

Research book:

Currently at this stage the Research Book involves encompassing a broad compilation of ideas and theories based around the subject; these will include my own thoughts along with a range of material by others. 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 from a human perspective and much more.

The research book is intended to look at every possible and appropriate aspect of the human hand in order to ensure that I have not missed any possibly useful information about the hand that I could use to define my project.

Main Sketchbook:

Currently the Main Sketchbook is involved with exploring stitch as a means to intertwine the notion of ‘feel’ and give the work a tactile nature. The Main Sketchbook uses ideas/ theories from the Research Book as a 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.

The Main Sketchbook is for visual development from initial ideas documented in the Research Book. This allows me to develop ideas along with the media and materials whilst I don't loose sight of researching a wide range of aspects. As I develop selected ideas further I am able find out the scope of any singular idea as well as getting new ideas to research from the natural development of visual work.

Life Drawing/ Drawing from life book:

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.

Blog:

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 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.

Semester II: Ghada Amer and the suggestiveness of stitch

06/10/2014


Sr 2, Blog entry 7:

(Apologies for the lateness in updating this blog, many entries were done first on word, and due to technical issues I have been unable to upload them.)

Ghada Amer's work deals with subjects such as gender and sexuality, and mainly looks at representation of the female nude throughout art history. Much of Amer's work is in stitch, which allows her to represent visuals which could be perceived as sexual in a more suggestive manner.

By using simple line imagery combined with seemingly erratic threads, Amer has been able to draw attention to certain areas of the composition, and leave other areas concealed. This technique of leading the viewers gaze is an  interesting way of suggesting or hinting about a topic without having to be covert, in this case to ensure that the imager is to some degree censored.