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Kieran Stewart – BA3b – Project Summary

Images:

Little White Lies Competition - ‘’Personal Shopper’ Magazine Cover

BLISTERS 2017 Competition - ‘I am Legend’ Illustration

JEALOUS Internship

‘Daniels’ Screen Print

MDF Laser Cut - ‘Walter’ Panels

Defective MDF Outrider Laser Cut Case

This past unit has been an extremely rewarding, yet challenging journey. It’s acted as a catalyst in the creation of my multi-faceted practice. I’ve also pushed what I do & why I do it, whilst experimenting and constantly searching for new and intriguing approaches to tackle my work with.

After working in collaboration with UEA for the ‘Ampersand’ project, I now know that I want to be a freelance illustrator as well as a ‘Popular Artist’ and have taken measures (specifically on my website) to distinctly separate these practices.

Freelance work has its benefits as it allows me to work for or collaborate with professionals/clients that I wouldn’t usually communicate with; expanding my creative network, as well as allowing me to respond to briefs which could be extremely varied in nature. Editorial work, poster design and book illustrations for example are dramatically different from one another, yet as an illustrator I may have the opportunity to work in all 3 industries, possibly even more.

These new & varied projects force you to adopt new working methods, to adapt what you usually do. It can push you to learn new techniques/processes/styles out of necessity, which is definitely what happened to me in ‘Ampersand’.

Creating a publication to display Mintys’ prose with my accompanying illustrations to was a new and exciting prospect for me; creating a graphic novel/zine from scratch. It allowed me to tweak my drawing methods, where I found a new black & white style (appropriate to the flavour of the content) which balances abstraction and detail. I had the opportunity to explore the symbiosis of image & text, test inventive text layouts and appropriate fonts, combining into a final outcome I was extremely pleased with.

I also had to make amendments to my illustrations frequently in quick turnarounds, so that the creations were a blend of both mine and Mintys’ ideas, it being a collaborative project. We both had to be considerate of each other��s worries, needs and sense of authorship.

Working with my UEA collaborator, Minty, also had the highest of highs, and lowest of lows. When we were effectively communicating, ideas were flowing and my artwork was progressing daily. However, when he stopped responding for 2 weeks and I was relying on him creating a written narrative, I realised the importance of having contingency plans. Therefore, I had to create my own written narrative, which in hindsight I actually prefer. Thankfully collaboration resumed and we created a joint effort, however it was a crucial bump in the road which has taught me a lot, specifically in terms of problem solving.

Other avenues which have allowed me to explore the potential of freelance work have been competition briefs, specifically from companies such as Little White Lies, Talenthouse and Print Club London – BLISTERS 2017. With this, I have created work ranging from poster illustrations, product branding/labels and magazine covers, giving me an insight into the variation on offer, and expanding my knowledge and skill sets through application and experimentation. The ‘Personal Shopper’ magazine competition made me explore tailoring my work to a specific audience, and provided me the opportunity to venture more into fashion illustration which was extremely enjoyable and out of the norm.

It’s a difficult process to undertake in terms of dealing with rejection on a regular basis (I didn’t win any of the competitions I entered), however I learnt a lot along the way, and have become a better illustrator as a result of it.

In regards to my creation of Popular Art, I feel I have made significant progress in my image making capabilities. I now strive to make bold, colourful symbolic and iconic images which explore various themes, and I’ve been greatly inspired by the likes of Drew Struzan and Bob Peak.

My recent development of creating digital drawings which then translate to physical, printed outcomes, is a brilliant method considering it can allow for undos, changes to the drawing can be easily made, alternate colour schemes to be tested, a range of brushes and tools to be used, & no mess in the studio, however it does have its drawbacks. Creating work digitally has led to me having less physical work; apart from final outcomes, as it can sometimes seem costly and unnecessary if you have all the files stored digitally or presented online through a website. Also it can sometimes result in drawings being unfinished, partially constructed sketches or composition roughs which are left to the side. It can even make final artworks feel unfinished if completed but then left in this ‘digital limbo’ until they are printed in some way. Hopefully in the future I will realise more drawings through print, more frequently.

Linking to this, my internship at JEALOUS has probably had the biggest impact on me throughout year 3. I was able to experience a live working environment, in the companionship of professionals who inspire me. I also met a lot of current artists which are successful in the industry, one of which being Charming Baker.

Working there taught me of the reality of the industry, that it is a job. It made me realise that whilst I wouldn’t want to work as a professional screen printer, where you have to print other people’s work/designs for a living, I do wish to create screen printed items, either by my own hand or by collaborating with the creatives I’ve met.

Watching the printers working informed my own work, specifically my ‘Daniels’ and ‘Wolverine/X-23’ screen prints. My screen printing was vastly improved from the previous term, and is purely due to the fact that I could watch printers at JEALOUS problem solve; when prints had specks, bleed, or when the ink dried in the screen, and then integrate these techniques into my own working process. Seeing the work created by popular artists such as Matt Taylor and Daniel Danger also enticed me to be more creative in my colour choices, and distance myself slightly from my comfort zone of black and white imagery. This is most obvious in the aforementioned screen prints, and my ‘I am Legend’ BLISTERS 2017 imagery.

Alongside my screen prints, I’m pleased that a decided to revisit and pursue laser cutting, resulting in my 3D layered prints. It’s a method of creation which is unique to me, and challenges me through the fact that each layer needs to be specifically calculated, considering in advance whether each layer will sit right, below the previous. It’s also interesting to see how designs which were creating for print, can be repurposed and translated into laser cuts.

My MDF ‘Walter’ laser cut and accompanying case has been a mix of both success and disappointment. The panels themselves are elaborate, detailed and impactful, however the case it was supposed to be displayed within is rudimentary and defective. I am certain however, that this can be amended & recreated in the run up to the Graduation Show.

Overall, the unit has allowed me a chance to realise and pursue my varied practices under guidance, within the confines and safety of an education environment. I now have an opportunity to display my work in the degree show, and have a head start for when I develop these practices in the real world after university.

[kstewartba3b]

Bob Peak - Poster Artist

A Fistful of Dollars

Camelot

White Palms

Apocalypse Now

His active creative career mainly spanned between the 1950s-80s

Even though I’ve completed my drawing intensive illustrations inspired by Alien and LOGAN, and have moved on to refining laser-cutting designs for the ‘Walter’, when continuing research I stumbled across the name of poster artist Bob Peak in the book ‘The Art of Drew Struzan’.

From the small amount of work I’ve initially found from Bob Peak, I am profoundly inspired by his work. Points I’ve taken note of so far are:

His grainy and textural, confident, expressive marks. Could I utilise this kind of draughtsmanship in my own illustrations?

My personal favourite is the ‘Fistful of Dollars’ illustration. The stark contrast between the rugged western figure and the clinical white background is astounding, and I really wouldn’t have expected it to work so effectively. The attention to detail is incredible, and I feel the portrait captures and emphasises the character and their traits, which means its an effective commercial poster from the get go.

The contrast between soft markings and what I imagine to be sharp & clean ink pen drawing.

Exotic and original drawing/painting compositions.

His Camelot poster advertises his artful blending of subject, characters, scenes and items of importance

Bold use of colours which lend to specific moods, atmosphere. He is able to impose certain emotions onto the audience.

Interesting pairing of text with the imagery. The title is usually embellished and creative, in conjunction with simplistic and clean bulk text.

A range of drawing styles, which are used specifically for appropriate materials. This reminds me of myself slightly, though not to the same degree.

In his magazine illustration, Cosmopolitan ‘White Palms’, he utilises bright & vibrant colours, paired with clean and considered lines. He somehow replicates the textures of the clothing in an almost effortless way. This in comparison to the dark and brooding Apocalypse Now poster, is a stark and surprising difference in art style, showing his creative flexibility.

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Website/ Online Portfolio Evaluation

https://www.kieranstewartillustration.com

Successes:

Brief and concise explanation/personal statement, which provides context but doesn’t overload the audience with information.

Clear separation of Kieran Stewart and Outrider. Freelance/Self Initiated separate to my TV/Film Popular Artwork.

The KS monogram works effectively as the website icon, and links directly to both of my business card designs.

Clean and impactful aesthetic, layout is easy to navigate.

Not too much repetition of artwork, showing every design process or variation I’ve made. It’s clearly an edited body of work, majority comprised of recent Year 3 work.

The site scales to your internet browsing window.

There is a correspondence section to allow communication between myself, fans, artists and potential employers.

I figured out how to add titles to the images within the scroll bar, meaning they now have titles/project context, as opposed to being a mass of images with no information or meaning.

Improvements I’d like to make in the future:

Rather than click scroll, I’d like to have a smooth scroll between images.

Currently, the imagery on the sire is extremely refined/edited due to it being displayed on the scroll bar. Hopefully in the future; if I learn more about Squarespace or hire a web designer, I could have one standpoint image per project situated along the scroll bar, where a user can click on the image which then takes them to a page on that project, with a detailed description and thumbnails of both developmental work and the final outcomes.

More effective/visually appropriate thumbnails at the bottom of my images. Currently the default is white text, however if there is white space on the image, it adds a shadow to the bottom to invert the text out of, which sometimes looks jarring.

[kstewartba3b]

Unexpected Item in the Bagging Area - NUA Degree Show Shop

As I’m planning on selling my work at the Degree Show Exhibition/Shop, I attended the meeting on pricing, packaging and marketing today within the ideas factory. This informed me of the deadlines involved for submitting work for the uni shop/catalog, and how I should go about pricing and presenting my work for public consumption.

Overall, the team seemed extremely excited to include my work in the exhibition shop, especially due to the prints being a large format and screen printed by hand, in comparison to a lot of small items they receive. The T-Shirts can also be sold in the shop. One shirt (likely my own that I’ve kept) will act as a display model, likely presented in conjunction with one of Blairs photoshoot images to visualise the product in context, as opposed to on a mannequin.

As a result of presenting my ideas/products to the student union and marketing departments, I now have these considerations in mind:

I need to include a copy/description of my work, saying how it's unofficial and unaffiliated to any companies that might have links to the franchises my illustrations are based off of. I don’t want to infringe copyright, I want to navigate around it. It is inspired by/ referenced from LOGAN and Alien, it doesn’t fully represent them. They describe my ideas and views. I can create this description and edit it with the university team.

Outline how all of these items are limited editions in their current form, never to be printed again. This, my transformation of source material, and educational use will also limit copyright risk. If there are issues, which I’m doubtful there will be, I can always make licensing deals, which could even lead to future work.

I need to consider how I will package my products. 

For the T-Shirts, I could package them within branded tote bags or paper packing bags. The packaging could then include the shirt edition number, the shirt size, and my contact details. I will likely use KS instead of Outrider as branding materials to match with my business cards and website at this stage. Would I screen print the KS monogram onto the bags? Digital Print? Stencilled Spray Paint? I have mocked these up using Photoshop to give an indication of the potential final packaging. If this costs too much or won't work, we can just wrap the items in tissue paper instead and bag them.

The prints, ‘Daniels’ and ‘Wolverine/X-23′ can be left oversized, ready for purchase. In terms of presentation in the shop, Xenia mentioned wall hanging, possibly with magnetic clips. Upon purchased they could then be rolled into a (A1) packing tube, for protection in travelling home.

Could I create stickers to also be sold? They’re cheap to produce and can bring in a lot of revenue. 

Could I make a little A4/A5/A6 catalog/publication of my work? Made out of varied & vibrant coloured card stocks, black halftone printed images from my work this term. This could then function as a takeaway physical portfolio, to be viewed in tandem with my website. Could also act as advertising which I’m getting paid for, if they give them as gifts. Any spares I could then give away to professionals/businesses in industry.

In terms of pricing, divide the price you want for it by 0.75 to achieve your price with the 25% commission.

When talking with the sales team, they believe I could sell the Xenomorph T-Shirts for £26-30.

Screen prints in the shop could be sold for £30 plus, and the first edition prints in the exhibition to be sold for more, as they’re top quality and I’ll be including the cost of the frames.

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‘Outrider’ Laser Cut Case: Redesign in Progress

Changes made:

3 more panels inside, all the same height as the front panel. These will adhere to the already existing panels, within the box standing upright, flat against the surface. One panel on the back, one either side. This means they can act as shelving for the lid to rest on when sliding in, and the back panel is slightly taller still to act as a stopper.

Testing the inclusion of a large base which encompasses the original base and the side panels. Had to add an extra 3mm either side to account for the side panel widths. It will hopefully stop the side panels from sinking when the glue is drying. Also more secure with the weight of the ‘Walter’ laser cut assembly panels inside.

Other considerations:

As the MDF didn’t work effectively as a case material, what shall I use instead? Currently, the options stand as some other form of wood;which isn’t engineered, or resin/fibre based, or acrylics, as long as it is durable and resistant to scratching. Perhaps the black acrylic which engraves to white will serve as a bold and clean material choice. This material is the ‘colour reveal laminate’, as indicated above.

My other thought is regarding the ‘Walter’ panels themselves. If I’m scrapping the MDF for the case, should the material of the panels also change? As well as this, as I’m scrapping the stand idea, should I laser cut small holes in the panels (which are consistent in place throughout all panels) to act as an anchoring point to a wall, using screws or nails? Or is it sufficient to provide just the panels, and allow the consumer to decide whether to frame it, or drill and wall mount it?

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Portrait & Image Business Card Design

In conjunction with my other business cards (the simplistic landscape black & white monogram cards), Glyn outlined that it was a good idea to have an alternate set of business cards which contained imagery of my work, as they’re more likely to leave a lasting impression, and if the cards are forgotten and found again, the consumer is more likely to realise/remember what it is I create.

I decided to go with my Westworld ‘Turn the Other Cheek’ imagery from Term 1 of Year 3, and this is due to the fact the illustration is bold and vibrant, and doesn’t have too many fine details (unlike my recent work) which could get lost in printing on such a small scale, the business cards only being a size of 59x88mm including bleed. 

I also maintained the same font type as I had used in my other business cards for continuity, but removed the titles Phone Number and E-Mail due to the width restraints of portrait.

Using MOO, I have purchased of these 50 cards; in addition to my previous amount, and opted for the premium card stock to give them more weight and durability. They should arrive on the 24th of May which is after hand in, but far in advance of the graduation show.

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Edited & Final Degree Show Proposal

As you can see, I have revisited and revised my Degree Show Proposal form to further assist the curation team in imagining the set up of my space. 

This iteration of my proposal is also more helpful in providing the team a template which they can use to calculate its feasibility, and to make an inventory of necessary materials from.

It’s more specific about the final pieces I will include, naming the prints on show, and specifying they are A3 images which will be framed in A2 format due to purposeful spacing left. I also outlined that it is definitely now 2 screen prints on show, not 3 as previously mentioned, and that if space is available, a t-shirt could be on show, with a more obvious illustration of this.

I have also mentioned the possibility of the Wolverine/X-23 print having a rotational wall hanging, which wasn’t outlined in my proposal before. I’d rather risk mentioning the possible design now, and it not working out and being scrapped, rather than it going unsaid and surprising the curation team.

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‘Wolverine/X-23’ - 180 Degree Rotational Frame Attachment Plan

For exhibition, I want to outline to the public/audience that my Wolverine/X-23 screen print is a dual portrait print, where you have the control to display the work at whatever portrait orientation you wish. Therefore, I thought it would be an excellent idea to highlight this through the fitting/creation & use of a 180 degree rotational frame.

The sketches above outline the idea and workings of the piece. The basic concept is that the frame fitting allows you to have the piece locked in one portrait position, where you can then unlock the attachment, spin the frame 180 degrees, then lock it again, so that X-23 is positioned at the top instead of Wolverine. 

Some concerns are whether the frame needs to be pinned/drilled/nailed into the centre of the back of the frame? The backing of the frames I currently have isn’t very thick, could I instead brace the attachment against the edges of the frame?

I’ve never seen any pre-manufactured fittings like this before; although rotational wall mounts for TV screens, projectors or monitors have something vaguely similar.

I enquired in the unis’ 3D workshop, however Steve said that I couldn’t fabricate the attachment (or get them to do it) as I hadn’t had a workshop induction previously. This leaves me in a difficult situation, and may be left with the only option of getting the attachment fabricated privately.

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Edited Artist Statement

‘Popular Art’ that I produce under ‘Outrider’ is appropriated & synthesised from TV & Film, then translated into prints and apparel. In order to source material for my illustrations, there is a constant and calculating process of identifying new & emerging trends, as well as origins of nostalgia.

These current exhibition pieces are inspired by the films:

Alien: Covenant LOGAN.

My illustrations are a celebration of TV & Film, but are further transformed and augmented by drawing from imagination, which acts as a form of personal commentary. Through imagination I often visually explore the hidden, the unknown or the untold.

At its most simple, I strive to create impactful and iconic imagery, which captures an atmosphere, a narrative, a personality, a likeness, in a new and intriguing way. As was as visualising the hidden, I enjoy investigating relationships. These relationships are either between:

Characters - Where I try to depict their connections to each other through drawing and composition.

A character and the audience - Where I investigate communal values. What is the concept of a ‘fan favourite’? Why do people feel nostalgia for certain characters, what qualities make a character so loved (or hated)?

Through my illustrations I wish to spark recognition, understanding, nostalgia and emotion if you’ve seen the film/tv show before. If you’ve never seen it before; or it’s unreleased, I endeavour to spark interest, to engage and inspire you to motivate you to investigate for yourselves. 

In terms of displaying this information in the exhibition, could I use clear vinyl with black text attached to the wall? Acetate?

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‘Walter’ MDF Layers GIF

Obvious, front-on images as opposed to more artistic and dynamic shots. However, as I’ve grouped the photos together through a GIF/animation which outlines the construction and ordering of the ‘Walter’ laser cut in its physical form, it makes the ‘simpler’ photos more engaging and acts as an informative tool.

This was achieved by using a mounted camera and carefully placing the layers one above the other, taking a photo each time, making sure not to, making sure not to move the layers too much when placing subsequent layers. I then reversed the GIF at the end so it traverses from base layer, constructed, back to base layer again in a continuous GIF.

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Photoshoot: Laser Cut Box & ‘Walter’ Print

Where the assembly of my laser cut box had failed, I decided to obtain shots of the box which would mainly mask the areas that had issues. Therefore I tried to focus on the areas which had the detailing such as engraving, and in regards to the front of the case this worked extremely effectively. I loved the engraving offset by the stark dark lines above and below, paired with the distorted perspective of the circular slot, and it almost creates a work of art in itself. 

However, we had severe issues with photographing the lid engraving. The camera/lighting picked up some laser burn which was mainly invisible to the naked eye, and resulted in the images coming out inadequately. The engraving which was meant to come out precise and distinct, instead appears fuzzy and rough, which is a real shame as it was one of my favourite features. When I revisit the casing in the future, likely after hand in, I will likely re-shoot the outcome.

In terms of the laser cut ‘Walter’ panels, it was exceptional to have them within an isolated environment where we could control all of the factors effecting them. I was easily able to change the cameras point of view, the severity of lighting; as well as the angle/direction of the lighting, and the placement of the layers. 

The images above show dynamic shots; ranging from up-close to afar, and each tries to highlight different aspects of the outcomes. For example, close ups of what I feel is the most interesting and emotive characteristic of the outcome, the eyes. The angled shots were captured to describe to a viewer how intensely light and shadow can effect the piece.

Lighting from the right plays of the surfaces in such a way that it makes evident all the minor details visible, even the lines of the laser burn, but further impacts the lower levels/panels by blocking them with intense shadows, distorting and transforming the image.

In the next post, I have also obtained and evidenced clearer, front-on images of the outcome.

Unfortunately, I was not able to photograph my coloured card/paper laser cut, as it is currently in the process of being framed by ‘Norwich Frame Workshop’. They will be fitting it into a black box frame, with plenty of space between the artwork and the glass. It will only be available for pick up on Friday, therefore I won’t be able to take images of the work effectively prior to hand in.

[kstewartba3b]

Photoshoot: Screen Prints

Clear and clean shots of my prints ‘Daniels’ and ‘Wolverine/X-23′ prints. Significantly better picture quality and lighting than my previous efforts when documenting my working processes using my phone camera.

These will serve as records of my work, promotional photographs to be presented on my website/social media, but could also serve as product photos for catalogues or online sales pages, specifically the uni shop for the graduation show.

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Photoshoot: Xenomorph T-Shirts

On the Friday, I was able to collaborate with Photographer Blair to shoot my outcomes from this term. I started off with my T-Shirts, as I had managed to get friends Nicky and Maryanne to agree to model for me, and didn’t want to use up more of their time than I had to. Nicky modelled a size Medium, Maryanne a Small. We took a significant number of shots from the day, however these are the images that me and Blair considered most effective, which he then proceeded to edit. This applies to all of my shoot write-ups.

In terms of set/backdrop, we chose a black background as it’s easier to shoot with. A black background eliminates the majority of issues of resulting shadows from light set ups, also the white background being dirty and marked would deteriorate from the outcomes when used in conjunction.

I asked for both models to wear what they would in day to day life, as I wanted my apparel to be appropriate for all kinds of person, and to apply to a range of clothing combinations. For example, Maryanne wearing black jeans and white converses, Nicky wearing blue jeans and a Nike cap, varies the aesthetic, scenario and context.

Shooting my outcomes, it offers a glance of the T-shirt in context; worn and used as opposed to lying cleanly folded. The models fall within the age group I’m targeting (16-35) which is beneficial in terms of marketing. The fact it was a shoot including both Maryanne and Nicky also highlights that the clothing is unisex. This applies in terms of the shirt design or function; which do fit unisex, but also to the subject matter. Sci-fi/horror like Alien films may perhaps be stereotyped as a more dominantly male interest, which is far from true.

One issue we did one across when shooting is that the shirt wraps around the body slightly, meaning that we had to angle the model so that the Aliens head was more visible. In hindsight it may have been best to slightly reduce the size of the Alien illustration, but I do prefer this size due to the distinction of its halftone line detailing and general weight and alignment. 

Also, I originally wanted a shot of the shirt folded, but the table we tried to shoot on was covered in glitter and I didn’t want to ruin my merchandise. Therefore we tried shooting it on a small stand, but there wasn’t enough room, resulting in the awkwardly cropped T-Shirt image,

Overall I’m extremely pleased with the shoot and think it accurately depicts the product I have created. The black background plays to the advantage of the dark subject matter, as well as the shirts strengths of being black and white with a bold and identifiable subject upon it. Also, I have now provided an audience close up shots alongside partial body portraits to give a clear overview of the item itself.

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Laser Cut Case - Assembly & Evaluation

Alongside framing, I also had the opportunity to assemble my laser cut box within the 3D workshops. I assembled the case using wood glue and taping, utilising corner joints. The process was relatively simple, and consisted of making sure that all of the panels were aligned throughout gluing, and then firmly taped together to maintain and hold their shape.

However, when left to dry, the left hand side panel slipped downwards, and has ultimately effected the finish on that side, as it now doesn’t act as a wall against the slide lid, and pushes past the base of the box. Alongside this, the box itself doesn’t function as effectively as I’d like. The lid has trouble sliding in due to the abrasive/frictional material, and once fully slid into the position, the far end of the lid can droop downward as there is nothing for it to rest upon.

In light of these issues, considerations I have made to improve the design in the future are:

Attach materials to the inside panels of the box to act as an stoppers which the lid can rest upon. These must be the same height as the front panel, so it all rests at the same height.

In the future I would line the box with foam/material to hide the construction gluing, and to protect the contents. It could also act as a base black so that you can see the cut-through details on the bottom layer.

Make the finger/slide hole greatly reduced in size.

I don’t like the material, MDF, when used as a container. It has a rough and unclean texture to it when handled.

However, positives of the design are that the etchings at the front and top look skilful and cohesive in connection to each other, and effectively brand the product. The box also allowed the laser cut layers to fit inside it with plenty of spare room, meaning my measurements were considered and accurate.

It’s hardly ideal for this to fall through and set back my preparation for exhibition, but I was lucky that I used a cheap material for prototyping, as the design is unsuitable/ineffective and would have been both expensive and wasteful if production started with quality materials. I now have the knowledge to improve on these aspects, and then create an improved display format in the near future.

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Framing - Quality Control, Testing & Experimentation

As my box frame had arrived, I decided to test out its display function and possibilities prior to hand-in & exhibition. In regards to the glass of the frame, I have left the protective film/sleeve (and sticker) on the panel whilst testing, as I want the finish to be clean and scratch free for hand-in/ exhibition. 

This display method was originally intended to be paired with my multi-layer paper laser cut, however I also explored how my screen prints would look contained within the same format.

In summary, the box frame was extremely effective as it provided the extra space required for the layered laser cut to fit within the frame as opposed to a regular frame. Pairing the mount board; which was cut to size of A3, with the back cover of the frame, meant that I could carefully position and stabilise the layered laser cut so that none of the edges (which show construction and page separation) were showing. 

One slight issue I had was that on the top right edge there was a slight gap where the page corner had bulged out, however this would be more carefully addressed when actually framing, this being a quick mock-up.

After this, I then explored framing my screen printed outcomes. If using the same frame throughout all outcomes proved effective, I could then keep consistency to me exhibit, and frame all outcomes in the same style box frame.

When framing the Logan prints, the illustration looked decisive and polished when paired with the black mount board, especially considering the levels of black contained within the image itself. The framing method also worked for the print when rotated 180 degrees to highlight the other display method.

In regards to the ‘Daniels’ print, when paired with the black mount board it acted as a solid and all encompassing border, although I feel it detracted from the from cut off on her left arm. Alongside this, the mount board slightly cuts off my signature so that only half of it is visible, and the edition total unknown. Could this be amended by using the same frame but a smaller mount? However, I also tested the same print without the use of any mounts, and it was refreshing to see the original white spacing that was there throughout its creation when printing, and gives the detailed illustration room to breathe, offset by the white. Luckily the A2 cutting for my ‘Daniels’ print is precise, and there are no gaps, otherwise it would definitely need a thin mount. 

Generally speaking, I feel that black frames suit my subject matter and visual identity, and white frames wouldn’t have delivered anywhere near as much impact. Personally, I feel that a black frame (with bold artwork within it) is much more likely to obtain someones attention from across the room.

EDIT: 

I will now be using neither black nor white mounts, I will just allow the white space resulting from the A3 on an A2 page to sit within the frame, as it looks more effective and natural. I have tested this with the ‘Wolverine/X-23′ print; as I had with the ‘Daniels’ print, and thankfully due to the moulding of the frame, it covers any potential spaces I was originally concerned about. These works will be framed without mounts for hand in.

[kstewartba3b]

Dragon - Vector Files for Future Laser Cutting

Visual Key:

Black - Laser Engraving (Rastering)

Red - Sections of Material Cut Through. Shows through to block panel underneath, or reveals deeper details on resulting layers.

I decided upon vectoring the dragon from the Game of Thrones triptych first, mainly due to it showing a more dynamic angle of subject matter than I’ve explored in my laser cuttings previously. I also felt it would be a challenge to fully render textures such as the horns and scales in vector form as opposed to digital drawing. All of the above line work was formed using the curvature tool by hand, on Adobe Illustrator. To give a sense of depth within the image, I cut through the top layer, describing the body of the form, which also hides any resulting irregular shapes due to cut-through beneath. This then leads through to a head layer with engraved details of horns & jagged scales, alongside cut throughs of the eye socket, nose, mouth. The final layer details the inner mouth/jaws, the eye, and hints at the rest of its colossal body.

The coloured version/concept acts as a visual guide to illustrate how the said cut-throughs and engravings will function, referencing to a final outcome. Appearance could vary according to the materials used in conjunction with cutting and etching.

Each layer has been meticulously considered and crafted, and must be my most detailed vector art (intended for laser cutting) to-date.

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Child of the Forest - Lines GIF