Bibliography

Arbus. D, Hermaphrodite and a dog in a carnival trailer, Maryland, 1970

Arbus. D, Two Female Impersonators Backstage, NYC, 1961

Arbus. D, Man in Boots

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Butler. G, The Next Big One, Eureka Magazine,  2012

Butler. G, Syria, The Times, 2012

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Chadlonius, Suicide King

Fairey. S, Nico

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Fairey. S, Two Sides of Capitalism

Fairey. S, Your Eyes Here

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Gibbon. J, War Mart, ‘Wine’

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Kruger. B, Untitled (Your Body is a Battleground), 1989

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Kugler. O, Burkina Faso, 2012

Meyer. R, Beyond the Valley of the Dolls, 1970

Meyer. R, Faster, Pussycat! Kill! Kill!, 1965

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Butler, J. (1990) Gender Trouble: Feminism and the Subversion of Identity. London: Routledge.

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Stefan Sagmeister

2/01/2015

I met up with some family relatives over Christmas and one of my cousins-once-removed, showed me the work of Stefan Sagmeister.

Sagmeister has done a series of photo prints using green and red printed on to the same page. When a a red sheet of plastic is placed over the top of the image, the green does not register, leaving a different image.

Image behind red sleeve.

Image out of red sleeve.

Before and after red sleeve.

This may be a good technique to show the duality of the trans-gender subjects I will be using in my project.

I pair of glasses with two red lenses, much like the 3D glasses you can buy, could be left by my work (during the show). When you put them on you will see a different image. It may produce an interactive quality to my work which I find appealing.

Flat Colour Experiment

2/01/2015

I used one of the photos of Oliver to reference an image using pro markers. This was to see how flat the colour would dry.

It was different not using black for shadow but I'm happy with the results, although I don't think I'll use this technique for any fore-ground subjects.

My Emulsion Prints

2/01/2015

I had a go at emulsion printing after looking at the work of Julia Boyd.

I like the results and I'm trying to figure out how I could use this technique in my work. It will more than likely be a background filler or part of collage.

I have to think more about the base emulsion coat that I print on to. I think the best result is where I let the brush marks stay on the page and not cover the whole area of the paper.

Shepard Fairey

2/01/2015

First post of the new year and what better way to start off with than the American artist/illustrator, Shepard Fairey.

Fairey's work uses flat colour to create the various shadows and tones on his subjects. The colours he uses complement the image and give the pictures a contemporary aesthetic.

The message of his work is akin to the very best graffiti art: It's gutsy, eye-catching and more importantly relevant!

Toxic Dept Mural

Nico Canvas

M16 V.S AK47

Two Sides of Capitalism (Bad) Mural

Your Eyes Here Canvas

As stated in earlier posts concerning the use of flat colour, especially in posters, I think the visual nature is very captivating. Some of the deeper tones on closer inspection are quite similar to some of the techniques I use in my work. The mix of illustration and graphic design is very appealing and again, the use of red, white and black is incredibly eye-catching.

Julia Boyd

18/12/2014

I t must be the time of year or something! I've discovered another artist today who's work has given me more inspiration!

Julia Boyd is a photographer based in Australia. The pieces of work that captured my attention are her emulsion prints of some of her photographs.

This technique leaves a ghostly image of whatever print you use during the process.

Boyd. J, 2012

Boyd. J, 2012

Boyd. J, 2012

Boyd. J, 2012

I first came across this when I saw some work a fellow student had done at university. It did not register at the time as I was too involved with my own work, but sitting through a recent presentation, another student also displayed some emulsion prints and something clicked in my creativity.

I'm definitely giving this a go. Printing has seemed like too long a process for me to use effectively in my work, this technique looks like it might fit the bill though!

Can't wait!

Michelle Thompson

18/12/2014

I've been looking at the work of Michelle Thompson, a prominent UK illustrator. She has worked with many top clients from The Guardian to The LA Times.

Working in a range of media from paint and inks to collage using her own photos and those collected from outside sources. This technique offers a broad range of creating imagery in an interesting and contemporary manner.

I hadn't really considered collage for my work until studying her illustrations.....but I think I might be hooked!

Plot Magazine - Transgender

The Globe and Mail - Just Like His Father

At the Bottom of Her Valley of No Love

I absolutely love her work! Some of my work does involve moving my own illustrations around using Photoshop, but I never really used a mixture of my illustrations and photographs.

I think it's time to have a go.