Quick Logo? Never a quick logo...

Had to put together a website for University work. You can see it here. It's done in Wordpress and I'm still not that fond of Wordpress - or any other template driven web authoring process. (I know that Blogger would fall under that heading - but I don't care how the blogs look - much.
Template needed a logo. Instructions were absent, but a bit of experimentation established that it requires a square logo to fill the space.
Since I want to keep it simple, decided to just use text.
That was my downfall.

Trying out fonts

I was looking for something tall, narrow, sans-serif. Not to angular. In the old days of Letraset, that would have been Compacta, and I quite like that 60s font. I have a digital Compacta, so I tried that.
And when that didn't quite work for me, all the rest. Then, when they didn't work, online to Typekit and download every, and I mean every, font they have.
Set up the words "Stephen Spicer Art" in each one. Some are easily eliminated, but many are not.
Here's the first short list:

What's becoming clear is that I'm worrying about the shape of the uppercase "S". On Many of these fonts it's quite angular, and I want a more cursive one. (By this time I'm about 90 mins into this operation.) 

I eliminate some and then put the type into blocks as you can see below. I'm now nearly two hours into this and getting frustrated with myself for fretting about very small details.

I force myself to compare one with the other. Eventually I end up with "Interstate", no doubt inspired by the clear typography on US roads. It comes in 36 weights. 

I'm not a big fan of Adobe TypeKit fonts. You only have them for the length of your CC subscription. Since I'm planning to wind that down over the next year or so, it's not a good policy to base long term projects on. Still, I'm just using it for this time so it's OK. I'll no doubt rework it (and the website) if I decide to keep it.

Lightbulb moment

I can't make it work still. Close, but no cigar...  Then I realise that if I use the word "Artist", not art, then it becomes easy.

Illustrator

So type is set up in Illustrator. There's some tracking and kerning needed but it fits, and nearly three hours in I want it to end. 

Here's the type in Illustrator. Currently it's RGB black. You can see the type controls.

Next stage is to make it white and add a black outline for clarity. Except this won't be an outline, it will be an inline to preserve the shapes. If you compare the two following screenshots you can see how the true outline makes the letter spacing go awry.Once again, getting bogged down on detail...

Outline version note the P.

Inline option. Much better.

Now to add a bit of colour. Added the red to the name and tested. It's a bit overpowering and send the wrong message:

Swapped them over. Fed up with the time this has taken, but pleased that I care enough. Used this version - almost!

Have, for the moment shrunk it a little. Works well on mobile, still not that good on Desktop. But that's a problem for another day.

Collaborating with other artists

Collaboration, we are told, and it's probably true, is a good thing. It's hard for people like me, who are used to being a bit of a loner; but generally it can be observed that the product is better for it.
Not everyone's input is useful. Collaboration amongst equals - or close to equals is good, but you can't really do good work if there is a big gulf in understanding or skill sets.
I know that's open to a lot of criticism, but everyone has an opinion; however, often these are not fact based and today often parroting someone else.

TO BE COMPLETED

Doing the research folder

So for assessment we have to do a research folder/pdf. Last time I submitted three loose leaf folders. That works for me since most of my notes are sketchbook or scribblings. I don't type much, it takes too long and it's not vital enough. Besides which I agonises over the typography.
This time around it has to be a PDF, I have no problems with PDF. In fact I once certified as an 'expert' in Acrobat/PDF. Adobe said there's lots of work for people who really understand PDF, and there was only one other certified expert (ACE). Never got a single job out of it...

InDesign

I'm using InDesign to generate this. I've set up a book document to hold all the sections and each section is separate InDesign document. That way it's easy to see what you have done - or not done. At the moment there's about 150 pages, which will generate a huge PDF - I will have to use severe compression to get that down.

At the moment I'm sorting through pictures. I have about 1000 I've taken over the last six months, and I need some as evidence. There's more to come, these are just the one from the phone.

In case you're wondering the pictures are from a small show of automata at Broughton-on-the-Water. They have little red question marks because I've moved them and InDesign has lost the link.

Building the off-site, on line exhibition

It's here:

Entry page. Website here

Finished... For the moment...

That's it for the moment. Got to add text - hence the bog space, but other than that, done. My be I'll add some stars, or the moon --or ----or....

Fairground, working on drawing.

Got some colour in it now. Working on and layering colour. Going to scan it now, have decided to ink it i and use pencils. fence to ba added, but that is a operate file and will be added in photoshop Contrast not high enough when small. Which it will be.

One of three things on the go at the same time. Progressed from yesterday.Do a bit, paper now very wet, wait to dry, erase unwanted marks, do another bit. Derwent inktense watercolour pencils. Lots of layering. 

Here's the pencils

The rough for the client. Literally back of an envelope...

Walk-in Praxinscope

This is a speculative work that uses pre-cinema technology to generate movement from static objects on a grand scale. Effectively it is a walk-in Praxinoscope or Zoetrope.UYpon entry, the viwer finds themselve inside a mirrored room. In the middle there is a brightly coloured column that is covered in repeating patterns of flowers, insects, whatever. These are not flat, - rather they are 3D printed objects of great intricay.
When the machine starts, the coloum rotates, as do the mirrors, rotation is in opposite directions. At this point, observing the coloumn in the mirrors will show unexpeced movement from the sequential images. Sometime later the lights dim and first visible light and then UV lights strobe. This makes the movement on the column very precise and the combination of lighting reveals different colours and patterns.
This could be presented as a staged performance, or a walk-through. Alternatively, the device will work with a strobe, but without mirrors.

Significance:

Varrious artists have investigated and used pre-cinema ideas. There is a considerable body of work that I will reference in my research folder. I see this as the project shown, but perhaps on a far larger scale that will hold and excite an audience.

Project Plan 

No real project plan can be done realistically at the moment. However, it would be possible to build and explore a model as proof of concept and for testing. However, the main effect is scale; being inside rather than watching from outside.

Documentation/Examples

https://www.youtube.com/watch?v=B08T1A88IlQ
https://learn.adafruit.com/strobe-zoetrope
https://vimeo.com/198605915
https://vimeo.com/116709749
https://danielcwilson.com/blog/2018/08/optical-fun-zoetrope/

Ideas for a Haunted house...

The haunted house ( or something similar) is designed to be unexpectedly shocking. It uses a compressed air illusion to give the impression that the viewer has been touched by a ghost.
To accomplish this illusion the viewer looks through a porthole at a haunted seen. Various automata rise and fall until one see the viewer.
At that point the automata lunges towrads the porthole. At the same time, compressed air is blown at the forehead or hair of the viewer - which, if got right should feel like fingers. Disney use this effect in their dark rides.
This is just one of a series of peepshow/automata. They are based on vintage amusement arcade machines that appeared at the turn of the 20th Century. Finished machines are designed to be coin-operated. This gives the viewer a reason for stopping and fully viewing the work. Works will get darker and introduce play as they are invented and go on.

Documentation

Disney Alien ride that uses air and strobes: https://www.mentalfloss.com/article/577298/extraterrorestrial-alien-encounter-scariest-walt-disney-world-ride
Detailed story here: https://www.themeparktourist.com/features/20150310/30034/depth-retrospective-extraterrorestrial-alien-encounter?page=2

Hiding in plain sight - version two

This is similar to the previous project. Instead of a dark room, this is a black square on the floor. Angles are calculated to hide the figures so that upon first encounter, this appears to be just a black rectangle.  It is well lit, but due to the special black pigments used nothing can be seen. In fact, the space is full of human life sized models - it is an impression (implied, not explicit) of a refugee camp, or rough sleepers. There would be practical issues in mounting this artwork, health and safety considerations and expense. However, I am convinced it could be a significant piece of public art that is mysterious and thought provoking.

Project Plan 

This would probably be started as a model - something I plan to do next year. Without considerable sponsor ship, the large scale installation may not be possible. In the first instance I would propose a ceramic material on a 1/12th or smaller scale diorama. It could also become part of a machine.

Conclusion

I think to get these working would be a huge achievement. It absolutely depends on the availability of the materials. The specialised materials are unavailable as the documentation proves. However there are others which would be worth spending a little on to test.

Documentation

Blackest black, Vantablack: https://en.wikipedia.org/wiki/Vantablack 
Ultra black paint: https://culturehustle.com/collections/black/products/black-3-0-the-worlds-blackest-black-acrylic-paint-150mlHow the copy was developed: https://www.smithsonianmag.com/smart-news/artists-can-now-get-their-hands-worlds-blackest-paint-180964512/Kapoor buys up all the supply of blackest black: https://news.artnet.com/art-world/anish-kapoor-vantablack-exclusive-rights-436610

Hiding in plain sight - version one.

This is a speculative large-scale work inspired by new materials, wanting to do something big that was also illusory. This would be a large room or hallway. It is well lit, but due to the special black pigments used nothing can be seen. In fact, the space is full of human life sized models - it is an impression (implied, not explicit) of a refugee camp, or rough sleepers. People we often try to overlook and are therefore invisible to us or others.
There would be practical issues in mounting this artwork, health and safety considerations and expense. However, I am convinced it could be a significant piece of public art that is mysterious and thought provoking.

Project Plan 

This would probably be started as a model - something I plan to do next year. Without considerable sponsor ship, the large scale installation may not be possible. In the first instance I would propose a ceramic material on a 1/12th or smaller scale diorama. It could also become part of a machine.

Conclusion

I think to get these working would be a huge achievement. It absolutely depends on the availability of the materials. The specialised materials are unavailable as the documentation proves. However there are others which would be worth spending a little on to test.

Documentation

Blackest black, Vantablack: https://en.wikipedia.org/wiki/Vantablack 
Ultra black paint: https://culturehustle.com/collections/black/products/black-3-0-the-worlds-blackest-black-acrylic-paint-150mlHow the copy was developed: https://www.smithsonianmag.com/smart-news/artists-can-now-get-their-hands-worlds-blackest-paint-180964512/Kapoor buys up all the supply of blackest black: https://news.artnet.com/art-world/anish-kapoor-vantablack-exclusive-rights-436610

Icons for the lockdown

Two more icons. These done on scrap wood, which inspired the work. On the left, Ruth and the Cat, the cat being a source of comfort in these times. On the right, me with the world in a cage. Represents  how I feel. Not restricted, but actually quite free, it's calm out there at the moment. There's no sport on TV, there's no socials to go to. That of course may be hell for you and will form the subject of the next picture.

Triptych

This is a proposed work that has already been started. It arises from the series of “Icons for isolation” that have been produced to reflect on one’s personal experience of the current lock down. The illustrations here are not part of that proposal. This will be a new work depicting Hell, heaven and earth in the isolation. Some people are finding it hell, others heaven, while many are just carrying on.

Significance:

Sources for this are many. In particular reference is made to Russian orthodox icons and catholic alter pieces. What makes this unique is trying to show these non-religious icons in a reverential light without descending to parody. In this, the work will be of interest to other artists struggling with the boundaries of spirituality and secularism.

Project Plan 

Traditional techniques have been mimicked. The paintings are on wood, and much use of gold-coloured paint is used. Imitation gold leaf will add to the effect. The cross shape here is due to the scrap wood being that form already and inspiring these two images

Conclusion

This work is attracting attention on social media, and I plan to have a body of them for display at some time. They will also feature in a mobile exhibition, the details of which have yet to be decided.

Skyline

This is the final artwork for the sculpture "Skyline" - although that title may be changed in due course.

How it works

On insertion of a coin, the machine opens up the clouds, they are on cams so they rise and fall. The sun rises and sets, the moon rises and sets through similar techniques and using fibre optics.
Meanwhile a spinning wheel is illuminated with a strobe and this shows flying birds.
Environment
The machine is situated in a room. While it is working and while it is resting, it is projecting clouds and flying objects like birds on the walls and ceiling. Possibly there will be a fogging machine as well

.

Under the sea - automata/peepshow

This is a companion piece to the Forest. It's a peepshow, this time with a small eyehole (not really shown) that the viewer looks through after inserting a coin. The interior lights up and after a short while an Octopus comes into view. There is a mirror at the end that helps the illusion that the inside is much bigger than the outside. Fishes swim, coral glows.
This could be part of a larger sculpture where the box is in a suitable installation. (See Sky here, here, and here).

Sea, work in progress.

From my submission:

Goals and Objectives 

This is one of a series of peepshow/automata. They are based on vintage amusement arcade machines that appeared at the turn of the 20th Century. Into a person’s existance they should encourage delight, surprise and wonder. In the process of thinking about these I have also considered the environment. That figures in two other proposal here later. One is a room that is part of the installation, the other an run-down fairground where these machines deliver the unexpected. All of these are designed to be attractive to a large audience and to draw them in. Finished machines are designed to be coin-operated. This gives the viewer a reason for stopping and fully viewing the work. Works will get darker and introduce play as they are invented and go on. 

Significance:

There is a significant body or artists who are experimenting with the kinetic and with art that includes interactivity. My experiments will tap into that community. My ambition is to grow these into fully realised installations where the audience and the work can interact on many levels. 

Project Plan 

This project should be realised when technical facilities are available, principally a Laser cutter. In the meantime other media are being looked at: carved wood, papier maché, plastics.

Conclusion

The aim of this is to enhance my work in the field of interactive sculpture. Where that leads exactly is unknown. I am hoping for opportunities to scale up the work; however this will require space and finance currently unavailable. 

Untitled/Forest video/Documentation

This is a short clip of the automata in action. The machine recognises the proximity of a person and if they are moving. If it detects movement, then the creatures hide. This is indicated by switching off their eyes. After a random amount of time 20 - 120 seconds, if no further movement is detected then they slowly come on again, first red then white. Any movement will cause an immediate shutdown. The delay and the sensitivity can be adjusted.

Base unit, upside down. PIR sensor at the front behind the grill. This has the effect of limiting the range and the angle of the sensor. Since I got this bit back to front (and realised after I had glued it) this effect was a fortunate mistake. Sensor should have been mounted through the round hole. Putting it there when I realised the mistake would have entailed making the whole thing again, so I lived with it. 

The automata uses fibre optics for piping light to the creature's eyes. Illumination is in the base, using addressable LEDs and a Crumble micro controller. This controller is intended for school use and is easy to use. You can find out more here.

PIR sensor. 

Crumble controller soldered in place. On the left are the LED. Because of the construction mistake, the holes needed to be moved. At this point I would have remanufactured it, but time was running out.

Reflection

This was a long struggle. Technically, what should have been easy turned out to be a struggle with delays and mistakes. By the time of the January assessment, I decided to let things go. But after that the desire to get it finished kicked back in. Programming the Crumble is easy, soldering the surface mount LEDs something my eyes aren't up to.

Compromises were made and the device rolled out for an audience in late February. It was put in the Street in a dark corner and left for a day. Feedback was encouraging and the delay time dropped, otherwise people thought it had simply stopped working.

My own opinion was mixed. I thought I had achieved something, but the message (if there is one) and the ability to hang a 'fine art' label on it worrying. I am encouraged by reading books such as "Thingworld" and visiting websites such as https://refugeeweek.org.uk/events/shahre-farang/ which highlights artist Farhad Berahman's work with peep shows that I am finding a practice. 

I am also encouraged by the reaction from people who wouldn't naturally inhabit a fine art show; my work is intended to invoke feelings of wonder and delight, but also curiosity and ask questions. The work here doesn't do the last criteria very well; but maybe it does. Subtlety isn't my strong point.