End of the line...?
Well folks, here we are. After 12 long, arduous weeks of frankly fabulous work, I've got my final display ready for Weston's summer art show. Mounting the pieces was quite meticulous, but I managed to get them looking pretty good with the help of a few chums. Using a craft knife to get some of the air bubbles out of the vinyl worked well - just a small incision to allow somewhere for the air to escape to, and then simply pushing the air out with a finger. Nice and easy, and doesn't look half bad.
Here's the completed Spy vs. Spy piece. I also added a small information plaque to give some background info about both pieces. This was very easily done via the use of Microsoft Publisher's text box tool, applying a 4pt stroke, bevel-design border, and spray-mounting each printed-to-paper design onto some foam mount board (the same stuff I used for my spray-painted scissor stencils, which I dotted around the piece).
I had to think carefully about the position of the scissor stencils so that they looked like part of the final piece, without detracting from the main portion of the piece itself. I did this by observing the angles in the scissor designs (which had been graciously rounded off using a small craft knife and cutting mat), and matching them accordingly with the lines in the piece. This was very easy as the Spy vs. Spy piece has only right angles thanks to its "border", and I am very pleased with the final result.
I repeated this process with the deforestation piece, which was slightly more difficult because of the more natural shapes creating complicated angles. The tree was particularly hard to position because of its tight die-lines around the complex shape. However, I am very happy with how this turned out, and my tutor was totally right about not having a white background around the finished piece layout (like the Spy vs. Spy piece), because I think that this isolates each element of the piece, making them stand out more.
The position of the scissor stencils in this piece I think works well because they follow the natural downward curve of the piece, which leads the viewer's eye and makes the piece "flow" better visually. I took particular note to place the all-grey stencil next to the tree's grey shadow, leading to colour consistency with the shadow. Conversely, placing the darker scissor stencil with the oil-soaked ten pound note also helps to maintain consistency through colour coordination in my view.
And here are the final two pieces together. Adding the scissor stencils really made these two pieces feel like a single, cohesive display, which I think is greatly beneficial to the final outcome because it makes the two main pieces look bigger than they actually are. It also adds to the sense of a running them, and I think that from some angles, gives the effect of flies - a connotation of this being that the issues I have tried to communicate in my pieces are becoming old and forgotten - "food for flies". Damn, that's a good project title - probably should've used that!
Anyway, there we go - done and dusted. Now it's up to the Great British art critics to tell me what they think - hooray!
Here's the completed Spy vs. Spy piece. I also added a small information plaque to give some background info about both pieces. This was very easily done via the use of Microsoft Publisher's text box tool, applying a 4pt stroke, bevel-design border, and spray-mounting each printed-to-paper design onto some foam mount board (the same stuff I used for my spray-painted scissor stencils, which I dotted around the piece).
I had to think carefully about the position of the scissor stencils so that they looked like part of the final piece, without detracting from the main portion of the piece itself. I did this by observing the angles in the scissor designs (which had been graciously rounded off using a small craft knife and cutting mat), and matching them accordingly with the lines in the piece. This was very easy as the Spy vs. Spy piece has only right angles thanks to its "border", and I am very pleased with the final result.
I repeated this process with the deforestation piece, which was slightly more difficult because of the more natural shapes creating complicated angles. The tree was particularly hard to position because of its tight die-lines around the complex shape. However, I am very happy with how this turned out, and my tutor was totally right about not having a white background around the finished piece layout (like the Spy vs. Spy piece), because I think that this isolates each element of the piece, making them stand out more.
The position of the scissor stencils in this piece I think works well because they follow the natural downward curve of the piece, which leads the viewer's eye and makes the piece "flow" better visually. I took particular note to place the all-grey stencil next to the tree's grey shadow, leading to colour consistency with the shadow. Conversely, placing the darker scissor stencil with the oil-soaked ten pound note also helps to maintain consistency through colour coordination in my view.
And here are the final two pieces together. Adding the scissor stencils really made these two pieces feel like a single, cohesive display, which I think is greatly beneficial to the final outcome because it makes the two main pieces look bigger than they actually are. It also adds to the sense of a running them, and I think that from some angles, gives the effect of flies - a connotation of this being that the issues I have tried to communicate in my pieces are becoming old and forgotten - "food for flies". Damn, that's a good project title - probably should've used that!
Anyway, there we go - done and dusted. Now it's up to the Great British art critics to tell me what they think - hooray!
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