Inspiration/Theme
Aspects I used from Ms. Ringgold's Black Light Series #12: Part Time, 1969, oil on canvas, 59 3/4 in x 84 in is symmetrical balance, and the concept of depicting people specific culture through artwork. The yellow muted tones in the plaid was inspired by third class carriage. Since materials were limited, I used one of my dad's old shirts. While he wasn't too pleased with his shirt being cut, it came out nicely in the mask. Daumier's theme of class difference is present in this upcycled Corona Mask.
Process/Experimentation
This was my original idea for the mask. I was going to use a black base with plaid lining to mimic Ms. Ringgold's uses of inverse colors. This was good up until I realized that lining the mask in plaid proved difficult and looked sloppy. So I went back to the drawing board.
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This was my second mask idea. This is the mask design mostly present in the final product. When completing the mask, I realized that sewing the two sides together would lead to a weird dip in the middle, so I changed it into a "V" shape.
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Here, I redrew all the aspects of traditional Scottish clothing that I wished to incorporate into the mask. I included the plaid from the quilt. The strap from the bag pipes, and the decorative buttons.
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Here I drew a side profile of how a mask would look on a person. This allowed me to determine where to end the band, and where to adjust for he nose.
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The front view of a person with a mask helped me to better visualize the mending of the two sides, and the extra fabric for the nose.
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Here you can clearly see the two templates used to create the mask. The darker template is called Large 1, and is used for the outside layer of the mask. The other template is Large 2, and it is the inside layer.
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Here is a clearer picture of how i cut out the layers. I folded the shirt so that I cut two pieces at once. This was the only plaid fabric I had, so it is not exactly representative of Scottish culture.
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Here you can see the two layer stacked together. You can also see where i started applying the ribbon to the mask. Instead of using a special fabric glue, I moved the ribbon meeting place to more of the center of the mask to sew it on.
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This is where I pinned the layers together to sew them. You can also see where I created elastic pockets on the sides. When sewing them together the inside parts have to face each other so that the stitching appears nice from the outside.
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After sewing, I turned it inside out. It is easier to observe the clean stitching form this view. After wards, I ironed the mask, and sewed done the folded edges so that they appeared crisp.
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After words I attached the elastic to complete the mask.It is easy to observe why the inside layer had to be smaller. The smaller layer allows for the mask to have a 3 dimensional shape.
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Compare and Contrast
Similarities:
Black Light Series #12: Part Time, 1969, oil on canvas, 59 3/4 in x 84:
The Third Class Carriage:
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Differences:
Black Light Series #12: Part Time, 1969, oil on canvas, 59 3/4 in x 84
The Third Class Carriage:
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Reflection/IB ACT Questions
Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork:
- My theme of identity and relationships through culture and my color scheme were directly influenced by my inspirations.
- Faith Ringgold's approach to displaying the cultural aspect identities and relationships is displaying caricatures in such a way that their positions imply societal concepts.
- Generalizations a made while creating this mask were what fabrics are representative of Scottish culture.
- My central theme for all of my projects is identities and relationships.
- I made inferences on what designs would effectively represent Scottish culture.
Bibliography
Faith Ringgold. (2020). Retrieved October 15, 2020, from https://www.faithringgold.com/