Originally I wanted to have four sections in the animation. However, I decided to cut out the part I used video animation for – the eyelid dropping down onto her eye. I felt that it didn’t go with the rest of animations and that it was a bit un-needed. I could have gotten lost in the animation as there are so many possibilities, so I decided to have 3 sections and stick with it. When I still had the eyelid part in:
Without eyelid part, just 3 sections:
After the crit, I realised that the transition from the first animation to the second was too quick and abrupt. After playing around with this on Premiere Pro I found one that was a bit smoother and added some more blinking to make it flow better.
For the third layer, my favourite combination was another lighter blue layer. It gives the print a bit of an electric feel and I love the lighter greens it creates! I think it shows that they were a young, vibrant pair and they lived boldly and did what they wanted.
It’s interesting how I went from nostalgic grey and wanting the old-style photos effects to this bright, modern style.
I love how this one has turned out! Especially the new light green that the blue and yellow has made, the only thing I would like is if the new blue was a little brighter, a bit more like my photoshop test but other than that I quite like it.
I really like this one, however I still feel like it needs another layer!
I had to do some more trials again to see if the ink was the right transparency to show the colours underneath it, which took a while and I had to add extender to make it the right colour.
For the second layer, the prints took a different turn and I decided not to go with the book of memories, because what I was creating began to have a more modern spin on it. Some trials of colour in photoshop:
The prints definitely needed another layer to lift the ink and make the image brighter. I really wanted to do a wash of yellow as I particularly liked how this made even lighter greens on my photoshop trials.
I like how each print isn’t centred, I think it throws the viewer off slightly and makes it unlike a conventional portrait, which is what I wanted.
I also looked to artists Sara Andreasson and Gary Hume for colour and stencil inspiration:
Doing the yellow wash quite a task! I had to roll out the ink on the table and then roll it onto my large piece of acetate –
I did some practices beforehand to make sure it was the opacity I wanted:
I really liked how different areas are lighter than others, it gives a nice consistency to the ink.
I really liked this image of her, so I decided to take a photo-etching workshop to generate more imagery like this.
I think that repeating her in this way almost desensitises the viewer to the fact that she is a human and she does every day things.
I also like the fact that this image is all over the internet on the online newspapers, but I cannot find who took it, it looks like it was taken by a random passer-by. I think this makes it even better because although I’m altering its medium, I’m not actually altering the image itself, it’s just being changed into a different form.
Practicing how I would lay out the images for the crit!
In the beginning I looked into prints like this, as I really wanted that nostalgic kind of fuzzy background of people.
I also considered prints like this, which look like they’re from the past because of the shaded mark-making, it reminds me of an old photo.
So, I started off making my first monoprints using my sketches and also internet images of Basquiat & Suzanne:
I began by painting ink onto acetate and then running it through the printing press. I chose two bold, dark colours to begin with for their faces because I wanted them to stand out the most.
I really liked the effect the paintbrushes had, which gave a different kind of faded/hazy effect but in a somewhat modern way.
I had this idea of making something like a nostalgic scrapbook, something through the eyes of Suzanne and having drawings and maybe some prints on each page to convey different memories.
I read that he would ask her to wear his clothes and even his painted stained overalls to a party once ! These were the types of memories I thought of portraying with notes beside them, such as ‘why did you ask me to wear this to the party?’…
My drawings/sketches of Basquiat
In the book ‘Widow Basquiat’, Suzanne talks about how when she was younger she had an angry, abusive father. She said how she used to have many bruises from him, and in this way it made her learn more about her body and its strengths/limitations. Basquiat was hit by a car when he was younger and his mother gave him the book ‘Gray’s Anatomy’ to read while he was recovering in the hospital, so he knew a great deal about his body and about bones. Suzanne writes in the book ‘Suzanne knows her skeleton.’ and in a part where she is talking about Basquiat and the accident she writes ‘he also knows his skeleton.’ I thought this was an interesting link that they had between them.
Using paint strokes to show his presence (top), and then two versions of himself in the bar where he met Suzanne (Night Birds).
Suzanne hands Basquiat a Remy Martin, the most expensive drink, the first drink he orders from her.
Trying a new technique of how to make quicker images of figures, separate parts and drawing circles on photoshop, then collaging together. I was drawn to images such as the one below – making very simple figures to have in the background. This is where I started thinking about the other mediums I could use such as monoprinting. I enjoy the simplicity of them and think it would combine well with Jean-Michel’s portrait as he would be the figure that stands out.
I like these digital images, however I don’t think they show Basquiat in the way that I want to show him. I want to find a way that shows his connection with Suzanne a bit more.