Final Outcome Preparation

At the beginning of the week I found myself at a slight dead end as the deadline of the project is looming and therefore that means a final outcome. Although experimenting with animation was a good way of creating narrative and understanding my journey through the visuals, I found that I couldn’t really take the process any further as it was not doing my drawing justice. Therefore, it was a matter of brainstorming what ideas needed to be present within the outcome and finding a process which would run parallel with this concept.

I discussed with my tutor the black and white colouring which has ran throughout my project and how my imagery will take on a new strength if the blacks were truly black and the whites truly white. This is how I created the colours when I originally painting the images with Indian ink, and therefore I feel this intensity need to run through to the final outcome with high contrasts present. The black with is created through photocopying is produced from a carbon dust and this is why the colour produced is so rich, but also darkroom photographic black is similar in contrast. Therefore, I am going in a full circle back to photograms for a final outcome.

It is important to consider the scale of the series of photograms so as to emphasis the message of each individual print to the audience. I am aiming to complete at least 10 16×20 inch black and white photographic photograms with layered acetates to combine my Indian ink drawings within one composition.

The finish of the outcome must be professional so as it can form a section of my portfolio, therefore testing imagery on a smaller scale is necessary. I began by printing onto acetate a range of my visuals so as I could work freely within the darkroom, composing multiple layers within the frame. I then tested and marked down each exposure and shutter speed within the darkroom itself so as I can recreate the same settings in the final run. I realized that I could not create a perfectly contrasted print as when I printed the white was slightly grey and therefore the black backgrounds were also off colour. This was not a massive issue for the first test run as I now know that I must edit the digital versions before printing them onto acetate for the final images.

After I had a series of photograms completed at 8×10 inches in size, I went to photocopy a selection in the library so as I could enlarge in imagery to test how the visuals appear. The photocopiers in University only print A3, but with a bit of folding I reached approximately A2 size with gave me an indication of the scale for the final outcome. When observing them in a grid format, it is clear that there cannot be too much repetition between the prints, but also the images with large spaces of white are the most aesthetic otherwise darkness can take over the details.

My next step is to look into purchasing the materials and getting acetates printed for the negatives. This is not a cheap process as the darkroom paper has already cost me £60, ad printing the acetate at university will be £16 a sheet at A2 size! As a result, I am looking to experiment with paper negatives which will take longer to expose in the darkroom but may create the same effect. I did experiment with this in the darkroom on a smaller scale with some paper prints that I had printed at staples, but I couldn’t quite figure out the exposure when layered. This is something to experiment with further and try different exposures or even different enlargers so as I can create the cheapest but best quality imagery.



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