Our first try at the Riso with the collage bit went okay but there wasn’t much control over the whole process as we simply plonked the images on there. So we decided to re- do the layout by cutting the images out and sticking them down on a paper that was the right size of the the magazine. Some images also needed a bit of cleaning up and bettering the contrast and blackness because they didn’t come out good enough on the Riso.
Layout process and outcome
We also did some experiments with layering of the cover, duplicating the coloured bit of 7NT which turned out really nice! Makes it more analogue and Riso-y.
Also, cutting the paper to the right size before Riso printing is definitely the right way to do it I noticed. It’s extremely difficult to get it right after printing plus the ink smudges everywhere, whereas when you print it on ready cut paper it might be a bit off sometimes but it’s kind of nice and charming and part of the process.
Deciding the theme for my project would be “light” but not yet knowing what to do with that, I looked into some artists that has worked with light like Picasso and his light drawings and Cerith Wyn Evans’s huge sculptural light installations that I went to see at Tate Britain last year and really liked. Picasso’s drawings/photographs are so amazing but making something similar without it feeling like I’m just copying would be really difficult.
Picasso drawing with light, Cerith Wyn Evans sculpture at Tate Britain
The concept I will be developing is my first one which focuses on manipulating the bench in shape and has a more darker and experimental feel. I made a lot of collages, cutting the bench up and stacking the benches on top of each other thinking primarily of the postcard series and how I could make an image and then cut it into 4, making the postcards go together as a whole instead of 4 individual designs. Nothing really worked out though and after a riso workshop (seen below) I realised why. With the bench in that small size, it just looked too dainty and cutes-y and that doesn’t fit my concept at all.
Riso prints, Lisa 2018
Working more on my ideas for the three concepts I got very into doing something that incorporated nature in some way and started sketching ideas that included the material more- so birches, leaves and oak trees but it wasn’t really working. It kind of felt too light and dainty but in the same way too messy as well. So I looked a bit at the designers that my furniture student found inspiring: Konstantin Grcic and George Nakashima. Nakashima makes pieces that focus heavily on the material used, so a tabletop could actually look like it was just chopped down from the tree.
Ben Branagan, Inca Starzinsky and Sophie Smallhorn- 3 practitioners I discovered today and not being able to decide who to write about I decided to do all three.
Ben Branagan is a south London based artist and designer making really interesting collages using found photography or pictures he’s taken himself, cutting out and overlapping images to create a sort of surreal vibe where you are looking into several dimensions at once.
My first project of studio Give and Take will revolve around three words: may, child and old. These words need to be investigated thoroughly and communicated visually as 10 gifs and 3 posters. Apart from that, I am also starting a drawing journal in which I will draw something everyday to form a collection of observations and thoughts in a way.
Screenprinting! Starting to create my design for this I took inspiration from these two sketches I quickly did a couple of days ago in a sudden rush of inspiration where I tried to make the Zero expression more contemporary in a way, or pop-y but still keeping the zero vibe.
Zero poster sketches, by Lisa
My first attempt seen below too the right worked okay, I imitated one of my letterpress results from a previous workshop, but it didn’t vibrate enough so second attempt seen to the left was an experiment in creating more fluid lines that more resemble some of the tests I created with my blue and black Klein experiments. Way better results! More alive and with more movement so that’s what I went for, for the final print in two colours.
Ideas for screenprint, by Lisa
So far, I’ve only thought about the contents of my book and how I will create the layout. The cover, to me, wasn’t something I gave any time considering. But after the markmaking workshop I had this week it’s definitely something I am going to think about more. The cover is in a way how the book introduces itself and similar to how you reflexively smile to a person you’ve just met while shaking their hand, I want my book to smile at you and for you to smile back. The cover also sets the tone for how the rest of the book will be and it has to be interesting and want to draw you in. For example, when I buy books the cover plays a huge part. If the cover is too ugly I’m probably not even going to pick the book up. Basically, the cover is important.
Some outcomes from the workshop
What my app idea is lacking and what I have been struggling to come up with is how the user will interact with it. I have gone through so many ideas (help!) yet none of them have really involved any interactive aspect and has mostly felt like a presentation of my findings and work. To tackle this problem I am now thinking about letting the user build their own picture of a place from the pictures I have taken in the form of collages. You will be able to save these collages to a gallery and make several different versions from the same picture.
Three examples of collages made from places I have visited and collected conversations, work by Lisa
A poem for the Riso
You look like something taken out of a sci-fi film from the eighties
bulky, beige, pink and mint.
Spitting out paper faster than I can blink pausing your rhythmic drumming
only when it is time to change the ink.
Colouring my fingers blue
Riso printer I want to love you
but right now
I’m finding it very hard to.