13 May 2011

Bibliography



Bibliography:
Books:
CARTER, A., 1996. Burning In Your Boats: Collected Short Stories. London. Vintage.
CARTER, A., 1994. Nights at the Circus. London: Vintage.
CARTER, A., 1979.  The Bloody Chamber. Great Britain: Victor Gollancz Ltd.
CARTER, A., 1981. The Magic Toy Shop. London: Virago Press.
EDWARDS, K., 2007. The Memory Keeper’s Daughter. Great Britain: Penguin.
GREER. G., 1970. The Female Eunuch. Great Britain: MacGibbon and Kee Ltd.
Mc EWEN, J., 2006. Paula Rego. 3rd Ed. London: Phaidon Press.
MUTU, W., 2008. Wangechi Mutu, A Shady Promise. Italy: Damiani
TOMLINSON, J., 2002. Goya: Images of Women. New Haven: Yale UP.
WARNER, M., 1995. From the Beast to the Blonde. Great Britain: Vitage.
YEN MAH, A., 1999. Chinese Cinderella. Australia: Penguin Books

Internet:











www.habitat.co.uk








Conclusion

I am very happy with the way that my project is going. I have found a medium that suits my style of drawing, and works well as a final piece. Before, I use to struggle finding  something that complimented my work. I believe the aquatint has definitely added atmosphere and mystery to my images because of the ghostly tones and shadows it creates. The process has allowed me to produce a series of large images that relate well to the story, and to each other. I have quickly learnt and understood the process of etching and aquatinting. But I have also tried another method, of using material and fabric to etch onto my plate, improving the aesthetics of the prints and helping to create a suggestion of situation and a scene.


I would like to do one more etching. I think it will look something like this,


I want to use this bird woman...


With the hands


A grave


A girl taking a bow


feathers



with tissue paper background
This is mainly based on the quote of the book,

'The dead woman took worms from her eye sockets; they turned into jewels. The girl put on a diamond ring.
'I had it when I was your age.'
They went to the grave.
'Step into my coffin.'
'No', said the girl she shuddered.
'I stepped into my mother's coffin when I was your age.
The girl stepped into the coffin although she thought it would be the death of her.'


In the quote, it seems like the mother is preparing her for marriage. Carter often suggests that marriage becomes the death of a woman- like in 'The Magic Toy Shop', the aunt, who was once lively, lost her voice and became 'dumb' once she married and became controlled by her husband. Also within the 'Bloody Chamber', there are references to this theme as the husband, who murdered his previous three wives, remarries a young girl, planning to do the same. It is also referred to in Warner's 'From the Beast to the Blonde' book, 'The heroin escapes one type of sexual ordeal for another, finds her way out of the woods into the kitchen and the bedroom'. 

I want the girl to seem as if she has followed orders and is taking her last bow. 'Last curtain call'- I like this idea as it links to the idea of a stage and a puppet show. It is an important theme, as it shows that pattern of events are likely to happen again. Opinions of how women should be are passed on from mother to daughter. They must follow the pattern of growing up, to get married, become a house wife and a mother. That is all that is expected of them. Even though Ashputtle has had a hard upbringing due to her parents, we can assume that she will most likely do the same to her own daughter, and so on. It relates to Germain Greer's writing in her book 'The Female Eunuch'. She writes how sexism and opinions on how women appear can only change when the women themselves take action to stop it. This is why in my last etching, I included a pregnant woman with a cage belly. Although she seems caring and to have good intentions, she is imprisoning her daughter.

If I could have improved my way of working, I would have started etching onto larger plates sooner, so that I might be able to produce more final images. I would have also done more than one aquatint practice. Although I now know how to use aquatint quite well, it still takes me some time to stop out a whole plate, even when I use  a quick ink-wash drawing to help. If I had had more practice, I would probably be more confident to work quickly.





This reflective diary project ends tomorrow, but the final major project work is on going until the 27th. From here on, I plan to...
Finish my print box by tomorrow and start printing my portfolio, work on my last etching, choose and frame and hang my final etchings and also, hopefully,  start stitching into my dress and photogram it.

Deadline?

7:00 am
Bloggers been down all yesterday night and this blog is due in today! It’s still down now.  Cant edit my about me, edit spelling mistakes, add dates to my contence page, add my C.V,  add today’s post or conclusion, or bibliography or change my background till it’s working :( Friday 13th! Gunna write up yesterdays post and copy it on here when I can

22:00
It's back!

Thursday 12TH May
Got two more prints of the third plate today. I tried to wipe the ink back more. There’s not too much of a difference though. Will have to stay like this.
Sarted making a box for my prints with Katherine too. It’s going really quickly actually. I brought the grey board for it today; Katherine already has some book cloth I can use to cover it in. So far I’ve cut and covered the base and the sides.  Should be finished early tomorrow.  I just wanted to make the rest of my prints (that I’m not framing as finals) more presentable.





Also, I  asked Charles’, Johnny’s and Derek’s opinions on my new frames. Been  wanting to check them with someone all week. If I needed to take them back and find new ones, I didn’t want to leave it too late. They said that if I wanted to float mount my work, I could replace the backing glass with a wooden board to be able to do this. But they said the frames are design to give the appearance that the image is floating. They said I can just leave it. Feel like I’m cheating a bit if I don’t float it myself.  I have looked for  large frames on 3 occasions now though, and these Habitat frames are the only ones I’ve seen that are the right size.


Blogger still isnt letting me change my background. I wanted either of these


an eery lacy pattern





or inky water splatters


Will try again later. Other than that.... I think I'm doneee!

3 down...

Cleaning of the varnish and the aquatint with white spirit.


 After I inked up the plate and removed the excess.












Print  of the plate.



Turned out better than I thought it would. I seem to say this about all of them! I think I've captured the light and the uneasy feeling it gives well. I am annoyed that the top frame (with the male figure inside) gets a bit lost. This is because I've made the aquatint print really dark towards the top of the plate. It doesn't ruin the print to have it like this, just would prefer it if it was slightly more visible. I'll try a few more prints and try to wipe off more ink in this area. I do however like how the frames below this one have worked. They're slightly hidden by the aquatint tone. They are not really obvious and more mysterious. I like how its not the first thing you see. Like when you look at an image, and might notice something new the second time you see it. I'm also glad that the light around the candle has worked ok. I haven't had any practise at painting candle light. And using varnish to paint it made it harder to make it believable. 


10 May 2011

aquatint done!

Mon:


Here's a plan to show where our individual spaces will be at the degree show.





That's me! (In the corner)


I've now aquatinted my third plate, and started to stop out the individual areas of tone. I apply varnish to the whitest area of my design first. I then put the plate into the acid bath for a desired amount of time ( in this case 10 seconds), depending on how dark I want my next tone to be. (The longer I leave my plate in the acid at this stage, the darker the next tone will be)





(I like to work with all my references- such the etching work of those I've mentioned in this blog - sketches, ink washed drawings ect around me)




After 10 seconds in the acid bath, I move the plate straight into a water bath to stop the acid biting into the plate any more., My plate can now be dried and I can start stopping out, then etching the second lightest tones. (which I started today- Tuesday)


I had a presentation document tutorial with Alexandria today too. This blog has to be handed in on Friday! She got me thinking about all the reasons to why I might be doing the work I am now. I realise now how long ago my interests now started. Like, in Alevels I chose to write an essay on Botticelli. I was really into his work at the time. I liked all the symbolism he used, and random elements within his paintings made me wonder why he included them. I also realise now that I did a shadow project in A levels too, because I liked the tension and mystery shadows in paintings created.




Tues:
 Carried on aquatinting (only managed to get my first tone done yesterday due to the tutorial and closing times.)




 ..And again..repeat the process for the 3rd tone. I hope this shows why my plates takes take so long to prepare.



This is my plate at the end of the aquatint process. I am just about to put the plate into the acid to etch the last tone. Throughout the process, I left the plate for longer and longer at each stage (10 secs, 10 secs, 20 secs, 40 secs 50 secs, 80 secs, 120 secs 240 secs ect- according to my tone chart- quite scientific really!)





9 May 2011

Week Summary : week 16. 9th- 15th

  • Aquatinting of third plate- beginning to stop out.
  • Presentation Document tutorial with Alex.
  • Degree show spaces.
  • working in the mac room for portfolio/ D+AD images.

8 May 2011

Frames again.

Got the frames. They're different to what I thought. They don't have a back to them. Its a bit like a window where you put your image between the glass. Couldn't tell they were like that on the website image. Don't Know if I can float mount them. Might have to make a back for them. Could look quite nice as they are though, without floating. Cost £152 for four. Better look good!