I screen printed these two designs, using images of garden tools that a boy may use when gardening with his Dad. Annoyingly, the one on the right has a shorter handle so it looks a bit strange! It took me a few tries to get the thickness of the line right when I started printing, but below is the one I was happy with.
For the second print, I decided to overlap the design to see what would happen. The first time I did it, I printed it too condensed, and it was difficult to tell what it was. So I tried again, more spaced out this time, and I was really pleased with how it turned out. The only criticism I have is the colour. I was having trouble mixing the colour i wanted (a mud brown) and just gave up with this purple brown – which I will never do again! It doesn’t suit my client, it’s too mature.
After a couple of tutorials, it was decided that three out of my four mood boards needed changing a little, as they mostly didn’t represent children (my target market) and the colours I chose were too mature for my targeted age range.
For my theme board, I removed the dark features such as the grey sky and the shed (which was a bit dilapidated) and added in new bright and vibrant images suitable for children. I did this while also keeping some of the features from the original theme board, such as the vegetables and the soil.
I kept my colour board mostly the same, just replacing the grey sky with a blue one and adding the watering can and a couple of insects. I also changed the colours, which are mostly the same colours but different tones, because before they were quite dark and not suitable for children. Now they are brighter, and in line with the sort of colours that Scion uses in their children’s ranges.
For my client board, I needed to change it to represent the boys I am aiming my products at, whereas before it represented their parents’ lifestyle. I kept a couple of images from the original, and I think this is a much better representation than the previous board.
This board didn’t change, but I added a border around the edge so it matched the others. The borders give the mood boards a more professional feel.
I drew a design for a screen featuring some vegetables that you would commonly find growing in a garden. As well as the potatoes and mushrooms you can see below, it also had a carrot and a pea pod. When it came to printing, I decided to cover those two with tape because I didn’t want to print that many vegetables at the same time.
I liked the slight overlap in the print featuring both the potatoes and the mushrooms, so I decided to keep doing it in the next ones.
The mushroom print is a little too busy, I think I needed a system where I could work out exactly where I was printing, as I couldn’t see once I had put the screen down.
I like this print, but the potatoes look a bit strange by themselves. I think this is because they are quite big with a lot of space inside them, so they either need more detail or something smaller like the mushrooms to go with them.
On Tuesday, we had a second session on colour theory (the first being the brief one we had at the end of first year). This one was much more thorough and at the end I could actually remember what most of the terms meant! After the lecture, we then had to go and mix our own colours, to complete a variety of exercises, using only red, blue yellow, black and white. Now I have something to reference to in the future.
Warm to Cold
Cold to Warm
Some of the colours haven’t been picked up very well by the scanner – I promise the warm to cold and cold to warm aren’t just red, blue and black! There are others that also aren’t as bold as in real life.
After much consideration and a discussion with Matt (a ceramics technical demonstrator), I decided to use decalle transfers for my final designs. This is because I want to ‘blur’ the first few images of the houses I lived in when I was very young, as I do not remember them. My discussion with Matt led me to understand that to achieve that in a glaze would take a lot of experimenting with opaque and coloured glazes. This takes a while, and the deadline does not really allow for me to do this, especially as I have no previous experience in this area of ceramics. Perhaps if I had longer to make my final plates then it would have been a possibility. Also, as I have knowledge of Photoshop (the programme where the decalle transfers are generated) I knew how to blur the images how I wanted them. I knew that as far as the generation of the images and the printing of them was concerned, I had complete control of how they would turn out (unlike if I chose to do underglaze painting).
Below are my scanned in drawings that I edited in Photoshop, I’m going to leave the final images until they’re on the plates!
In the print room, I decided to keep my bee motif going. I wanted to try lino printing because I haven’t done it for a long time, but remembered that it gives a texture, which is what I wanted. My first few were not great because I put too much ink on the lino, meaning that it spread into the bits I had carved out.
The photo above is of my best prints, which I have mounted. I like how with lino printing, no two prints are the same, because it relies on the amount of ink put on the lino, and the pressure the printer puts on it when using the roller. The most successful out of these three is the bottom one, as the background is evenly textured and the outline of the bee is very clear. I also did some yellow prints but the bee didn’t show up very well as the colour of the fabric was too similar to the yellow.
On Thursday, we learnt how to glaze ceramics. I glazed my pieces from the wet on clay workshop where we used slip to decorate leather hard terracotta clay (which I forgot to take photos of before they were fired!) To glaze the tiles, I dipped the side with the designs on in the liquid glaze. They will now be fired again, which will make the glaze transparent. I’m looking forward to seeing the finished tiles.
We also did on glaze painting, on terracotta tiles that had already been biscuit fired. I dipped it in the liquid glaze and left it to dry for half an hour so it was slightly dry when I went to paint on it. I then returned to it, and painted on top of the glaze.
I have continued with my theme on my workshop tiles, creating imagery that represents parts of houses. They are not specific parts of houses that I have lived in, but still relate to my theme.