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| − | http://marinkagrondel.tumblr.com/
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| − | my portfolio.
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| − | [[File:Schermafbeelding 2014-09-13 om 21.42.29.png]]
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| − | '''Jersey Dress, Lie van der Werff'''
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| − | Lie van der werff about the art work: she researched when objects loos their
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| − | function and their shape. What remains is a fragile part of the object itself.
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| − | How things become a shade of themselves. I think that is a very interesting
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| − | concept.
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| − | The artwork got me thinking about, jellyfish/ puppet man/ something that drips
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| − | (candles, wet fabrics or paper) paper-mâché? / different layers that together show
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| − | the object but as one it says nothing/ slime/ pink chewing gum/ Hanging flower,
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| − | but also it has kind of a hospital feeling, stait jacket?
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| − | ...
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| − | These are some ideas that I want to combine with the artwork to make my own
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| − | reproduction. A reproduction that shows the dress even more as a shade of itself.
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| − | Maybe even look like something whole different but it could still be a dress.
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| − | '''Replica'''
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| − | For The replica I thought of some different ideas:
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| − | 1 plastic f18 with a pink color (I know that this could work because I have done some
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| − | research in the second year) Or some plastic like stuff that is more movable or softer.
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| − | That it gets a skin/ flesh like feeling like the color of the dress.
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| − | 2 weaving with gum like material or plaster because it has the same color and hospital
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| − | feeling when you look at it, elastic could also work because the artwork it is just hanging
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| − | around and it looks like when you pull it it could jump up like elastic.
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| − | 3 felting of the dress.
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| − | I did a few experiments.
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| − | [[File:Untitled-1.jpg | 500px]][[File:DSC 0154.jpg | 250px]]
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| − | And found a lot of art and fashion that looks a lot like or has the same feeling as the artwork
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| − | of lie van der werff.
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| − | ....
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| − | 16 September,
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| − | Tools & Techs
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| − | After this class I got to thinking that I would definitely like to make my replica skin like.
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| − | I went to ceramics work station to ask for some advice about how materials would become
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| − | skin like. Latex is what comes closest to skin.
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| − | '''experiments:'''
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| − | -To combine latex with sand, plaster, wool.
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| − | -How thick? How much layers?
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| − | -How can I get a most like skinn feeling.
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| − | -what kind of paint do I use?
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| − | -What kinds of material can create a cool effect.
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| − | [[File:Foto 1-6.jpg | 500px]] [[File:Foto 1-2.JPG | 500px]]
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| − | [[File:Foto 1-5.jpg | 330px]] [[File:Foto 5-4.jpg | 330px]] [[File:Foto 3-2.jpg | 330px]]
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| − | [[File:Foto 3-3.jpg | 500px]] [[File:Foto 4-6.jpg | 500px]]
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| − | '''Research:'''
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| − | artist like,
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| − | '''Ron Mueck''',
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| − | How mueck works: Mueck made a number of test fingers, in order to see how the flesh colour was working, because he was attempting to gain the most realistic result. He then applied fibreglass over the dried coat of silicone, and then more resin, all the time seeking to make the sculpture stronger. The mould was then completely filled with fibreglass which was coloured so as to give the flesh tone, except for the face, for which a decision had been made to separately cast it out.
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| − | The reason for the face being silicone where the rest of the figure is fibreglass, is because silicone, being soft and rubbery, allows the hairs to be punched in separately, giving the impression that they have grown through the scalp, whereas the hair of the pubic region has been glued on because fibreglass is so hard.
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| − | The mould was allowed to set, which takes hours, and Mueck in fact allowed a day for the process. It needs to be just long enough, otherwise the mould becomes brittle. The breaking of the mould was one of the most difficult stages. When the figure emerged, the excess resin was rubbed off and any damage retouched with acrylic paint. Then began the process of creating the details, painting on the veins, blemishes, hair follicles, moles, wrinkles, nails, and so on.
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| − | In order to make the face, a separate plaster mould had to be made, and then a cast taken. The final challenge was to attach the silicone face to the fibreglass sculpture. This was an especially tense moment and all signs of attachment were hidden by paint.
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| − | When the cast figure came out of the mould, it was shiny, but a coat of matt varnish dealt with this issue. The application of the hair was a slow process, Mueck constantly working for maximum realism. The sculpture seems to belie the months of work that went into it, presenting almost like a ready made piece, but this sort of realism is impossible without extraordinary technique.
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| − | information:
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| − | manimalwork.com,
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| − | latex on body information and materials websites:
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