In this class we randomized the different materials to complete our drawings. We also put together three drawings from the group to complete a larger model.
Our group used steel parts, which made our group’s work all very tangible. What impressed me was that the other group used water and straws as materials. They had to show it on the spot.
For the last free piecing time, I tried to put together a flat pistol with parts. If I had enough time I might have tried a three-dimensional one.
Summary：
In the class we did brainstorming and word association related exercises. At first we used the word apple as a starting point to keep associating words and those who couldn’t think of any were considered out of the competition. Afterwards the teacher introduced us to Visual Thesasurus, a website that helps people to make associations. I used this as a basis to create my initial final work-related mind map.
In addition we have put together a character with practical blocks. The character I put together is called T. It has a simple construction and is huge and therefore genderless. It looks like an irregular staircase of flesh and it is difficult to see it in its entirety at first glance. It must ask the person who sees it a question. It asks, “Where do you think I begin and where do you think I end?” Those whose answers displease it it will eat, making pieces of flesh similar to itself before spitting them out. It uses the spat out pieces of flesh when it wants to change its body. The intelligence of this being seems to be very low, so it holds little logical dissatisfaction with most of the answers. t will grow bigger and bigger before disappearing at some point.
In this semester- personal design：
Summary：
Note of target customer：
Adding Value/ benefit purpos？/ inspiration identify for anything
It is the combination of these factors that delivers value.
target customer is important, people should make sure who is you customer.
How buy it？/ Write something about customer/ Consumer Profiling
She was born into a relatively wealthy family and her parents, as well as her grandparents, were well educated. Her parents would acquire works of art, which gave her a subtle influence in her life. She likes fashionable brands and does not hate old fashioned luxury goods. Although she likes fine things, she also seeks to have fun. Loves gorgeous or storytelling pieces.
Task：Important parts of the mind map
Draft of words：
Style: as all the main studies this semester are in the modernist art style. Therefore I wanted this mind map to have a cleaner and more impactful expression like modern art. I drew on one of the artists I studied, Paula Scher, who is a graphic artist who uses text directly as a visual representation.
I thought that a mind map should be more visually expressive and communicative. This is because mind maps are essentially an aid to reinforce the weight of thought and assist in the extension of ideas.
Mind map：
Summary：
With the idea of research gone, I started to draw the first draft. According to the research, I mainly drew drafts and tasks with structural and spatial changes. I also drew drafts of pearls and snakes, which were extensions of my research. One part mainly discusses the changeable relationship lines and feelings, while the other part shows more of my thinking and experiments on the form of jewelry.
- I chose to use a structured flare, silk thread and blue stones as a butterfly collar. I think the butterfly is like a dream and the pattern on the butterfly is like the eye. It is not only the human who peers into the dream world, but the dream world also peers into the human. And this sight is like a human exploring the self in the subconscious, hence my choice of patterns with reflective stones.
- A complete wire necklace, this is my attempt at a completely structured piece. The quest for fluidity stems from the cold beauty of the metal and simple yet intricate structures like the platonic lines.
- Happy Snail World. Because snails are soluble in salt. Add something easily and they lose their sense of borders. are ephemeral with form but easily changeable. I think of the world as being like a snail with a fragile shell. Now even though they have their own form, a similar colourful spurt comes out when they come across something specific.
- structure and the eye. This is a similar but simpler kind of my understanding of dreaming and thinking to the first one. It is a simple room but the structure of everything is distorted. Yet it is still centred on the eye, on the exploration of what is always being sought.
- The twisted Catbbit is a furry, rusty, spring-like thing. Only about the size of a hand, the thing bounces and walks.
- the earrings of a snake’s egg. It is broken snake guts and the egg is mixed with egg white and blood-like fetus almost slipping out of the membrane. It is not clear whether it is dead or alive. In an indistinguishable boundary.
- The horned viper bracelet, which I intend to make using bright green origami, is used to show the particular texture of the outer spines of the scales of the horned viper. It has an otherworldly and dangerous feel to it. 8.
- Gold ring made of pig-nosed snake. A whole ring made of gold wire. It is not small in itself, but it is light and lovely because of the white space created by the braiding. It goes well with a lovely snake like the pig-nosed snake itself.
- The chain on the pearl. I wanted to make this intricate structure. It was simply an experiment to see how the different structures would look when they overlapped.
- White gold red-eyed cobra. A cobra made of pure pearls, with a long body and a snake’s head with presence. The classical white-gold pearl texture brings a sense of heft.
At the moment, I’m just doing the first drafts, and will continue to build on the research and the first drafts.
Intent：
Materials choose：Pearls & Metals
There are a number of main reasons why I chose pearls.
Symbolically, pearls sometimes symbolise water. And as water is fluid, this versatility fits well with the multilateral relationship I wanted to express in my final work.
Also the pearl comes about because a grain of sand or whatever falls into the shell and the shell wraps itself in secretions in order for the sand to make itself uncomfortable. This is how the pearl is formed. This kind of object that comes into existence later because of a need is like a rule for me. Because there is a need, humans have created rules. Along with time the rules also want to try the pearl in the back shell gradually with yo a clear outline.
Not only is shape important, but I think the circle is the most magical shape of all. It represents infinity, transformation, reincarnation, circulation and so on. It’s like the rules of society are constantly changing and cyclical. Not only the needs of man, but also the laws of nature. But there are many round materials, and the pearl was chosen because of its natural imperfection. The world is not perfect, and therefore neither are people nor rules perfect. Otherwise relationships would not change, they would not feel loose at times and too constricting at others. The natural imperfection of pearls therefore perfectly matches the material I have in mind for my work.
Shape selection:
I searched for images of snakes in order to determine which type of snake I would like to favour for the final working snake. These were also the models that I would use for my sketches. Although the necklace was originally inspired by and named after the blue-eyed Lucy strain of the ball python, the ball python is a bit more bulky. However, the ball pythons are rather bulky in shape. The decision to use the Colubridae was made through observation. This snake does not have a clear symbolism, unlike the cobras, and its long, slender body and even proportions are more in keeping with the image of the snake and the pearl chain.
Draft:
I have created 20 drafts of snake related jewellery belts etc. As well as structure-related jewellery objects, and drawings. Finally, I also made a few drawings to record my own thoughts and feelings and my state of life.
All these things have their roots in Identification – structure, and it goes without saying that the structure-related jewellery paintings are a very direct link. The snake related ones are derived from the final work on the changing space and the changing objects such as snakes and prey. And finally about the structure and documentation of life, these are the first few that I started with when I was working on the 20 drafts. I believe that everything is inspired by life, so I wanted to write down the feelings I encountered in my life first. This will then lead to the most straightforward structure-related pieces, and the more developed snake-related decorations.
About snake：
- This pearl snake necklace is strung entirely with pearls and embellished with two rubies. To give the snake more dimension, the thread used to string the pearls is of a harder but less permanent crease material. The main source of inspiration for this connection is the cobra, a reference to the way the cobra stands up on part of the Egyptian crown. While people generally like to use gold and silver for snakes, I wanted to experiment with pearls, an uncommon pairing. I thought this blend might be a classically expressive piece.
- This is a double ponytail hairband made of metal. The double ponytail is something that is very important to me as a symbol of my desire to follow my heart. I used to have them when I was a child, but my father said they didn’t fit and didn’t look good. I think he was just saying that, but I really never used it again. It wasn’t until I became more self-conscious around the age of 18 that I wore it again. It was only after trying it that I realised it was just a haircut, but it was more fun to do it because I wanted to do it than anything else. Afterwards I realised that this kind of haircut seems to have been worn by very young and cute people, usually with cute bows and ribbons and lace. So I wanted to create something other than a cute hairpiece. I thought that snakes and metal might be a good match. That was the reason for creating this piece. I also chose red because it has a sense of power and life, and it is also a more powerful and present colour than green.
- The necklace with the snake’s egg is still inspired by snakes. I think the birth of a snake is also well worth recording. The birth of anything is very life-affirming. Especially the snake, whose egg is ivory-white and slightly longer than an egg and looks very clean. At the same time there is this blood-tinged mucous membrane inside, which gives a real sense of being alive. Snakes are variable and you never know what they are going to look like until they actually break their shells. I therefore see it as a symbol of vitality, which I wanted to document in the form of jewellery. In terms of the illusion of a visual-auditory connection, it seemed more interesting to have the sound of life breaking apart as an earring, as if it could be heard, rather than a necklace, for example. So in the end I chose the earrings.
- The Tree Viper Snake Bracelet is a bracelet I wanted to make from cardboard, inspired by Japanese origami. This layered look is very fine. The colour of the paper can be as bright and beautiful as the tree viper’s outwardly curved scales. It even has a childlike and light feel to it. It is the most different part of the piece that I have tried compared to the previous ones.
- Gold wire woven pig-nosed snake ring, my draft of this design is a ring woven with gold wire. This craft can be seen in Chinese European Turkish jewellery and furniture. I think it is very present and expressive, but has a lighter and less heavy expression. It suits the pig-nosed snake, which is a relatively small type of snake among snakes and has a very cute face. Also the golden weave is a similar design to the head of the snake I envisage in my final work. So I drew it out as an experiment to make sure the final design was suitable for this kind of expression.
- The belt of the snake, which draws on the golden ratio. It is engraved in sterling silver. This piece was the last of the snake related pieces. The intention was almost entirely to express the graceful curves and flexibility of the snake. It was therefore decided to make the snake coiled in the golden ratio. The simplicity of the material also helps to make the pattern of the belt a real point of interest.
- When it comes to things related to structures one thinks of churches, and this painting is inspired by church windows. Like the shapes of the mountains and the sun, the simple black and white is reflected in the windows. The irregular geometric shapes are at once like the landscape outside the window, like the window flowers on it, and like the broken glass itself. I find it fascinating that the structure allows for endless speculation. And this work is about capturing that conjecture in a partly figurative matter.
- Baboon’s Face, which is a geometric drawing of my baboon’s face. The difference between the realistic style of the drawing and that of the baboon may not be immediately apparent. But I did exaggerate to the maximum and show my perception of a baboon. The huge head and the forward leaning jaws. 3.
- Geometric collage bag, inspired by Picasso’s violin collages. I think geometric shapes and collage are expressive. So I wanted to try to make a handbag in this form. In fact it’s more like a poster for a handbag. I wanted to represent a state of irrational heterogeneity in which different structures are put together. 4.
- For the structured necklace, I would like to make it out of clear glass or acrylic. Maybe just glass from a wine bottle. The structure is a state of superimposition. The superimposed combination of one’s own lines and the lines of the human body into a new visual experience. It is created to change a structure. I think I could also try experimenting with changing the material to concave lenses etc. afterwards.
- Downward Drop Crown, which is a drop-like crown. I wanted to show the danger of right. Beautiful and dangerous. A heavy right and the very few people who bear it, so that it appears fragile. But a right that is separate is not a right. I wanted to show my understanding of rights with this fragile structure.
- presbyopia, which is my visual fantasy of growing old. I don’t think getting old is scary because there is no dead old age is the way to go. It’s just interesting, unlike nearsightedness where you can’t see things up close when you’re old. It’s like aging and becoming distorted. I wanted to use this distorted presbyopia to show my delusion about the process of growing old, especially how my eyes feel.
- The boots, the colour scheme is inspired by the common colour scheme found on Bauhausist posters. That is, yellow black red and white. I wanted to try and create a shoe in this colour which is full of structure. It was more like incorporating the Bauhaus style into this creation. At the same time it adds my own personal touch, which is a tight, irregular and irrational structure. One can feel it in the heel part of the shoe.
- Waking Dreams, which is my structural representation of what a waking dream looks like. I see dreams as a means for people’s subconscious to peer into themselves and the world. At the same time realistic feelings and fantasies are the triggers for dreams. So the dream is a piece by piece and incomplete. At the same time it is very confusing and yet seems to have doors and windows. It seems to lead to something unknown. At the same time the dream is coming to an end when one realises that one has really seen the irrationality of the dream. I then wanted to show this moment of feeling. This structure and consciousness that is about to shatter.
- An old photo installation, this is a white room. The room has a number of movable mechanisms. The mechanisms have small grey and white balls of different colours. People who pass through this room are sure to leave their mark. When they leave the room they will have a look. The change of the little balls is the trajectory of people’s movements. I think it’s like an old photograph, a fine pixelated record of the emotions and tendencies of things released in a moment. That’s where my inspiration comes from.
- a drowsy view, I wanted to convey that feeling. In the trance the world is gradually becoming darker. The lights reappear in front of the eyes from other angles. The rotation of space remains fairly intact, a sign that consciousness is still present. But the black lines before my eyes are again oppressive, making it too inconspicuous. This exhaustion is the emotion I wanted to record from the previous period.
- illness and me, which may be the new self-portrait may have taken inspiration from Frida’s self-portrait. I also wanted to try to draw myself in relation to my illness. My illness is neither curable nor life-threatening. It’s both mentally draining and not to the point where I can just rest in bed. It’s really interesting. Whenever this illness strikes I feel their life force like rolled up grass, wild flowers in full bloom. Like ribbons dotting my life, moving forward with time. And I would get the emotions I only get when I’m sick, uncertainty and confusion and stagnation.
- The glass is broken and this is the installation I want to make. This is my observed emotion and not my own. Some people’s emotions don’t come out all the time, they accumulate. Knowing that an outburst, like a broken glass is bound to destroy something. They seem to restrain themselves, but then they seem to be less than unknowable. At the end of the day it’s just tragedy and welling up of emotions.
- happy snail paradise, I see snails as a symbol of boundary breaking. Just a sprinkle of salt and they melt into water and don’t maintain their form. Whereas people and many things cannot do that, we all seem to be limited by something, or can only observe the world within this limitation. This is very safe and reasonable for the mind. But I think it must be fascinating that even the boundaries of existence can be blurred. This is exactly what I wanted to show.
- coral bunny. This is a rabbit with furry coral antlers. It was the first character I designed this semester. Coral bunnies are non-threatened creatures, but are rarely observed and no scientific classification has yet emerged. It has a beautiful head but runs fast on its feet and no one can see its lower half yet.
Two drafts will be developed down：
Develop 10:
Five wrap-around jewellery pieces developed from the pearl cobra necklace：
Original version：
5 structural device related dispersions：
This is the most satisfying of the snake ornament sections that I have selected from 20 drafts. After drawing this cobra pearl necklace I realised that jewellery that could be wrapped around the body seemed to go well with animals and snakes. So I did five more drafts of the same theme.
- This is the pearl + wireworm pairing. It is a version that replaces the snake. Because the wireworm has the ability to suck up nutrients, it just doesn’t look good and really looks like wire. So the chain was changed to cover the pearls to give it that binding feeling of sucking up nutrients.
- Silver wire necklace. This is a design that completely emphasises the wrap and the fit. I think silver wire is perfect for being worn in the traditional ethnic jewellery and costumes of a large part of the peoples of this planet. Silver is a soft material and the slim wire will fit very well around the neck. It emphasises the beauty of the body’s curves and the simple curves of the silver wire.
- The blue snake armlet. I think this would be an enamel texture. It is a reference to the Egyptian and Greek style with a strong sense of coiling. The reason for using enamel is that I wanted the representation to be closer to the snake itself. Unlike the pearls, which are not really similar to the snakes themselves, the enamel has a bright colour and a strong texture. The colour of the enamel is bright and shiny, which is very much like a tropical snake. The main reason for this is to give a more realistic representation of the snake’s scales and bright colours.
- The butterfly necklace, the metal part of the necklace is relatively simple and touches the decorative part of the jewellery by choosing to use a thin chain without presence. This is to maximise the butterfly itself. This time I abandoned the snake and chose the butterfly as the animal. This time I chose to model the butterfly on the very present blue shimmering butterfly and therefore chose blue stones for the accent of the wings. It is more like a human and a snake than before where it was the snake that bound the human and struggled. Here it is more like the dead man and the butterfly that parasitises him to suck the remaining flesh and blood. (Butterflies themselves use dead bodies.) If there is a model, then I would like it to be a beautiful line of corpses. Not only is the elemental relationship line of the animal replaced in this development as well.
- pearl snake necklace + gold silk version. Instead of the original pure pearl material, I chose to add the classic pearl with gold wire. I did this to try and add a sense of strength that snakes are supposed to have, and the texture of the pearls altogether would look too soft on the outside even with the hard thread supporting it on the inside. In terms of the image, the traditional snake image was used instead of the original cobra image. This is because the cobra, although also a well known snake, was often used in Egyptian iconography. It is a symbol of many things, even mythology. I thought it was important to streamline the expression, so I chose to replace it with a more classic but less explicit symbol of the snake family.
Original version：
These five drafts are very closely related to the original version. The first and second of these are both graphic classes of the work as drawn by the person experiencing the installation and looking back at it. Only one is the original, which is also in black and white like the old photograph. The other version is a colour version.
Both are rooted in the original version: An old photo installation, this is a white room. The room has a number of movable mechanisms. People who pass through this room are sure to leave their mark. I think it’s like an old photograph, a fine pixelated record of the emotions and tendencies of things That’s where my inspiration comes from.
I have since developed two more versions of the same concept in jewellery, also to record my own unique trajectory. It is made of a very soft material, so that when one wears it, it is influenced by the state of the skin and the texture of the force that affects its subsequent shape and trajectory. This means that even if the same ring is worn differently by different people, it will not be the same for the same person at different moments. These two pieces are also in two colours, but the contrast seems to be better in black and white.
The final piece is based on the movable mechanism that connects the wires and balls in the device. At first I just wanted to draw a plan to see it, but then I realised that it was very much like a labyrinth so I made it complete. I thought the human trail was like a maze, so I drew it. I had been painting in both black and white and after comparing them I finally chose black and white for the last piece. Because I wanted to record, and the tracks are a thing of the past. So in the end I chose black and white with a mechanical feel and a composite past st
Design sheet：
Cover sheet：
Power point：
Viola 