high key and low key lighting

www.digital-photo-secrets.com/tip/3558/using-lighting-style-to-create-mood-high-key-and-low-key-lighting/


High-key lighting is about an image which is very bright, with a range of light tones and whites. The picture will not have much blacks or mid-tones. In high-key photography, the mid-range tone will look very brighter, closer to a -white tones. This style of lighting was originally developed for films and television, back when the technology was not very good at capturing high contrast ratios. Today high key is purely an artistic decision – photographers and filmmakers choose it when they want an image or story to be upbeat, "optimistic" or youthful.

High-key images can usually have small amounts of black. These very small areas of black and middle tones will stop the image from looking washed out. The small point of black – on the model’s pupils, for example, a shadow under her hair – will show the difference between a high-key image and one that is just plain overexposed.

Studio lighting for high-key photography

To set up a studio lighting for high-key photography make sure you have a key light and a fill light, with your key light make it two times the brightness of the fill. The background should be lit independently–with two lights positioned three to five feet away at 45-degree angles. These background lights should be at least one stop brighter than your subject lighting. This will result in the blown-out background that you’re looking for in a high-key image.

High-key images can also be "obtained" in the studio with a pastel-colored background, though white is more common and generally simpler to work with. As for your model, you can certainly achieve a high-key effect regardless of what she’s wearing, but you may find yourself more satisfied with your work if she’s dressed in lighter colors or in white.

This is an example of a high key lightening. I was only able to use one light becausse when I turned the second light on the shadows completely disappeared!











High-key lighting focuses on light tones and whites; low-key lighting is about the shadows, deep blacks and darker tones, with very few whites and middle tones. The mood is opposite, as well – while high-key lighting is hopeful and "optimistic", low-key lighting is somber, mysterious and moody, dramatic or even "ominous" depending on the subject.

High-key images are flatter with less contrast than an image that qualifies as mid-key, which is most of the images that photographers produce. Low key images, on the other hand, tend to have a lot of contrast, with the primary impact coming from the shadows.


Studio lighting for low-key photography

A low-key studio set up is very easy than a high key one.All you need is a single light source and a dark or black backdrop. You may find having a reflector on hand can be helpful, too, all you will need is a single light source. As a general rule, keep the light off of your back drop and on your subject, but other than that you have a lot of freedom as far as where you choose to place your light source.

A low-key image is not the same as an underexposed image. Underexposed images will be flat, with no good highlights or whites in the image. This is in fact the opposite of what you want in a low-key image. While the image does indeed rely on the shadows for its impact, low-key images need to have high contrast , which means a good white as well as plenty of deep blacks.

power dressing

this HTML class. Value is http://www.fashionpa

this HTML class. Value is http://www.fashion-e

Power dressing was very popluar in 1970s and 1980s. The fashion which was strong over the decade was the wide shoulder.  The 80s fashion were tailored look. It was diffcult to go anywhere without a jacket that could make the outfit they wear a complete suit.

This style was infulenced by several movements including media were infulence on 1980s fashion through the popularity of TV dramas like 'Dynasty' and 'Dallas'. These that wear the costume in dramas has made faashion real everyday 80s life.

Power dressing,  New Romantics, stretch dressing and sportswear made woman feel like they could be anybody they choses to be.
These four looks are "predominant" in the fashion and costume history of the 1980s.

Lavish use of both fine and costume jewellery was worn day and night on the show and it begin fashion. Big, almost huge gilt fashion earrings several centimetres across drew attention to faces drowning in shoulder pads. Some people who coould not afford fine jewellery could wear fake or real stones. 'Diamante', pearls and gold chains were meant to tell the rest of the world you had arrived.

Big was best and fashion hair styles of the 1980s grew bigger to match the look.  Mousse and gel was essential to create the style. The effects of excess mousse were so horrifying on waking up that it became normal to wash hair daily. As the 80s grows the TV series 'Dallas' created hairstyles that began very big it was like opening flowers.

Get Big Shoulders and Get Noticed

1980s Fashion history shows that as the fashion for female identity in the workplace took hold, so shoulder width grew.  Lots of  large shoulder pads were used to support the wider cut of sleeves.

Big Shoulders of the 1980s, Quite mannish suits and appliqué shoulder padded knitwear for women were both softened with ties, bow ties and floppy scarves tied in artist bows all often worn with long boots.

To soften the masculine effect of the sleeves of the jackets and blouses which were worn women use to pushed up or rolled up to reveal attractive satinised contrast jacket linings which was a way of accessorizing it.

presentition

I have used this presentition method with two curved boards because it makes the entire work appear like it is in a box. It makes the audience the chance to walk around the garment if they want to see the back. I have put the entire garment onto a fashionable manniqque because I wanted the viewers to see how the enitre garment could look like when a person wear it. It also made it easier for the viewers to be able to see the back of the garment. I have decided that putting the top on the mannqiue overlapping each other was right because it show another way people could wear it and doing the top this way with the belt around it make the gamrent look very casual but yet fashionable with its flowing skirt that could make anyone very comfortable when worn.

I have float matted the photographs because again I wanted viewers to see vairous way of wearing the top as it could have been diffcult to put together on the manniqque. float matting the photographs makes it appear professional and shopcihated and gives it a more dimensional look. Deciding to put the photographs quite up kee it away from people touching it which could result in the pieces getting grease and dirty, although it could be hard for people to reach it, it is also easier for them to see the images clear. Foam board was used for the images mount because the material was easy to cut and it is lightweight keeping it from falling and hutting someone badly. It aslo provide a more contemporarylook.

Presenting the work like this was very effective because the pictures in the corners places the eyes to the dress making it the first thing that the viewers see.

This is a student work who has done a 3D piece and placed it on a cube so that it could stand taller.  It is a perfect eye level, because anyone can be able to see it and touch it if wanted to.

The white background makes the colour of the animal stand out as it draws your eyes to it

 This is the how the space of the rooms looks like without any works up. It is erriy and plain. 

Brief

The breif was to create a final outcome of our own choosen themes that could presented to to the public for the end of the year.

Yarn Bombing

http://knitthecity.com/

The colours are very vibrant. The shapes are very gemoterical. All the colours are contrasting and very lively. It looks very fun and extremely trendy. Putting these type of art pieces on objects or public area makes the old things become exciting and eye catching.   Having these bright colours makes you as the viewer think about candies and it   quite take you back to your childroom. It is like these artists are trying to remind people to never forget about their sweet childhood. This time of artwork looks placeful and fun it makes me quite motivated to do something like this around my home area.

The presentition for this type of artwork is really good because placing this in the envoirment on objects makes everyone to be able to see it anywhere. Plus it is free and avaliable to the public. This type of presentition make the enviorment look bright, colourful and a beautiful place that could seem to attract people from various places to come and see. 

Yarn Bombing is becoming big. It is a street art that involves covering public spaces with knitted textiles.

Heat press for tops

I have chosen not to make it sewing top because My idea for my design was to make traditional fabric clothing they wear in movies and villages but try to make it more sttylist and more modren. SO I just made strips of long cloth organza fabrics. But this time instead of sying it I dceided to use heat press, visiting a technique I learnt about a year ago.

1. using printing papers and brush I coloured the papers, making sure to use different brush strokes. I aslo drew in my african pattern.
2. Took one of the colour papers to the heat press which was set to 180 degrees. So I moved it to the other side by using the heat press handle then placed my design underneath a silicon paper, put my design on the fabric making sure thhe colour is facing the fabric, I covered it with  the silicon paper like a sandwhich and brought the heat press around and pulled on the holder at the front all the way down and waited while it count from 30 secounds to 1, then beep.
3. Removed the cover along with the silicon covering the fabric and took out my design carefully and quickly as it was very hot
4. I repeated step one and two but this time I decided to add different recyled materials onto my cloth to make the deisgn look enviromental friednly and quite funky
5. I have used disyrees dyes to coloured in the papers. The colours came out really vibrant and bold which I wanted because when you think about AFrican you think about the hot weather. The sun is bright, organe and firry. 

Health and Saftey

make sure the lid is clamped shut correctly

Beware of stem when opening

do not touch the hot plate use the handle 

keep face hair away from the machine, if you do not your hair and face could burn.

SKIRT MAKING

Because I have not made clothes for a very long I did not want to do something which I know I will struggled with really hard, I dceided to just make a simple skirt which I knew how to do by watching videos by a textiler person on youtube. At first when I said I was going to make a skirt I was really worried an panicking wondering how I could do that. After watching the video about making simple skirts for beginner I begin comfident that I could do, all I need to do s practise it first.

The skirt tester how I did

1. I folded the piece of fabric evenly in half and pins them so that it could be stiff and not move when I am machining it. I marked with pencil and ruler with a straight line of where to sew in a perfect straight lin as I was new to this and I needed a line to guard me through
2. settled my fabric on the sewing maching and pressed my foot on the foot pad quite carefully and slowly. One because I wanted to take my time to do this, I did not want to rush through it
3. machined all the way down on the line in straight stitches
4. After insstead of using zig-zag to stop the fabric edges from fraying after you cut tiny pieces away to make the edges quite neat, I decided to use some of my decorative experimental stitches at the edge, to make the farbic decorative and stop the fraying
5. At the bottom of the skirt I folded it once really small and the second folding I did it quite medium. Reason for this is I want the edges to be crisp and neatly tidy I pined the fold to keep it in place and machined in straight stitches at the edge of the folds

folding the fabrics with stitches at the edge. I have used a matching colour of my fabric so that people can not see the stitches clearly but the design

1. I repeated the same technique for the top of the skirt but this time on the second fold, I made thhe fold quite big so that my thick easltic could fit through. Make sure when you are folding the top and the bottom you start from where your stitches you did earlier on the fabric. Because your folding will be even
2. Machined around it then stopped at the middle leaving a medium gap through so that the easltiic could go though.
3. Then using safety pins I clicked it at both sides off the small ealstiic I cut then I began to punch one end in gently

 when the elastic was pulled further to the other end it started to come out as seen in the picture

 Then I cut the ealstic edges. Overlapped them together and sew straight down on them then pulled the creases of my waist line over the easltic so that it could be hidden inside the skirt.

 This is the skirt done with me wearing it alone with the tops. I have decided to put a blue belt ober it because I want to stylist the whole outfit to show people that they can wear it like this also if they want to illstruate their waist and look quite causal but yet fashionable and elegant.

patterns print

• Before I could print out my designs on my fabric, it was lay out on to a silk screen. Then I tape around the designs with masking tape so that the tape areas can not be printed out. Also I had to cut some of my designs at the edges because when I did th first print on y fabric, the ink were coming out onto the fabrric. It was sumdge and came out in thick blocks. 

• then I  folded the fabric evenly in half and lay the fabric onto a printing board because I did not want any inks getting onto the table.
• Collected some newprints and alarge screen printing roller at first, which I put on the table beside me
• Placed the silk screen over the fabric flat. I mixedd up my inks by adding tetile medium into a plastic cup, add acrylic paint, getting a tea spoon I mixed both liquids together till it was quite running 
• spread the ink unto the screen with a clean spoon then tool the roller and began to roll the ink from down to the end of the tape all the way up to the end of the tape. 
• I repeated that movement for two times, pressing really hard on the screen. After removed the screen and placed at the side. The first ink came out really well and bold. So I puut a newsprint over it so it does not sumdge on the fabric or on my clothes
• Then placed the screen back over the fabric and repeated the same technique again however when I removed the screen to see the second print, I was hugely disappionted because the patterns did not come out well. The lines, some disappeared and were sumdge fill with small block of inks. I annoyed that and carried on printing knowing that no one could notice it till they come closer. And I could remove it with soap and water later on.
• But as I contianous doing the print, the patterns printed on the fabric began worst. So I looked at my screen and realized that the ink on it were dry as I was working quite slow, so I needed to wok faster. Another reason was the inks were going through the tapes that were removing from the board each time I rolled the ink up and down. Plus I did not make the ink runny enough in the cup
• So I washed my screen very clean and removed the tapes. DRied it and went to mix new inks. This I added more textile medium into the acrylic which made it very running, making it to be soft and not get dry quicker. Then retaped my screen cutting quite a lot of my designs as the patterns were very massive going off onto the screen. Cutting some of the patterns with tapes made it easier to print for me
• Collected a roller which were medium this time and repeated step four, this time once and pressing onto the screen really hard
• the prints came out right then I carried on printing placing my patterns randomly onto the fabric to make the material patterns appear busy. Then I allowed the fabric patterns to dries out first.

             Health and Safety

• do not sallow the ink
• wear gloves and apron so that ink does not get on your clothes or hands, as it is really hard to remove
• if printing on table spread nwesprint on it so that the ink does not go on it because you do not when removing te ink, there could still be stain marks
• when done with screens wash off the inks quickly because if you do not, it could get dry making it harder to remove the inks

E-Portfolio

https://www.flickr.com/photos/88307969@N08/sets/72157654065273235

Issey Miyake

Issey Miyake was born on April 22 1938 in Hiroshmia Japan. Miyake uses new technology to create innovative textiles with both Eastern and Western influences for his clothing line, pleats.

Miyake uses continuous thin, straight lines over each other that looks like cross-hatching patterns. Miyake have used section of monochrome colours with limited palette of vibrant colours. The use of vivid colours makes all the colours to stand out really well.

The outfit look very loose, comfortable and very comfortable and I like how he did not use too many vibrant colours that could hurt a person eyes. I like how the skirt is flowing with the layers. Miyake have decided to put his clothes which he make onto models to be represented in fashion shows. This is an effective way of presenting a work because the audience get to see how the whole outfit could look like on their body if they buy and wear it. Losts of people get to see it, however it could be those who will have the time and money to sit in a room watching models presenting clothes for hours. Some audience will not do that because of the long time, not having money to waste on things like this and how crowded and loud the music could be could a disracted from other audience to find it hard to pay attention.









http://www.style.com/fashion-shows/spring-2015-ready-to-wear/issey-miyake

Photographs Ink

http://uk.complex.com/style/2012/08/the-50-greatest-fashion-photographers-right-now/bruce-weber

Different ways I folded my fabrics

These are different ways I folded my experiment fabrics.
The requirements which I was used were strings, threads and rubber bands.




Because I wanted the dye to coloured and stay in the fabric I have used cotton instead of organza cause organza fabrics do not hold dyes well, as it will not stick. However because Organza fabrics are very soft and shinny, leaving it for the colours to show very vibrant I have decided that I could also be using this material but for the top.

I fold this first cotton fabric like a accordion. Folded it again in the other direction like an accordion. I then put on the table, and began to bind it together with strings at first.

Using strings or rubber bands cab stop the dye from going inside the area you have covered. The larger the shape and the more rubber bands you used, the more white you will be able to see. The smaller the shape and fewer rubber bands or strings, the more the indigo you will be able to see.


This technique is called Arashi which is Japanese and the meaning is; "storm." It is well know as the pole-wrapping technique. I did this by folding my fabric in half and then folded it again but this time diagonal like the image at the left side. After that I added rubber bands.

This technique was used for my final piece.







Instead of wrapping the fabric around a twin, pipe, I wrapped it on a plastic bottle about 6-7 on the bottle, scrunched the fabric down then wrapped both rubber bands and strings on it to keep it tight. Tightening before scrunching will it very hard to control and move the fabric.







I carried on wrapping, scrunching and tightening the fabric above while adding the rubber bands first then the strings. The pattern will be on a diagonal with thin lines of white, where the bottle is binding the fabric.

Kumo shibori is know as the pleat and bind technique. It involves binding the fabric in very close sections, which results in several spider like designs. It is just one of many ways to experiment with this technique. You should start by folding the fabric into an accordion. Pinch and bind into equal sections. 

So the exact same thing with the opposite side, in staggered sections. Carry on binding with rubber bands, working your way towards the center.






Carry on bind the fabric with rubber bands or strings till you can not go any further. This was one of my favorite technique I used mostly.


















http://honestlywtf.com/diy/shibori-diy/
http://artcraftdesignreferencesite.blogspot.co.uk/2009/06/tie-dye-designs-patterns-colors.html

Tie and Dye health And safety

• Make sure when you are dying you do it in a clear area. If on the table or floor make sure to spread plastic on the floor. If you do not do this it could dry out quickly staining the table and the floor. Using plastic mainly it will not stain it but could protect whatever surface you are working on. 
• Do not breathe in the dye powder. To prevent you from breathing in the dyes powder or chemical wear a nose mask 
• Make sure you wear gloves so that you do not put dyes on your hands that could stain it. When I was using the dyes I did not wear gloves cause I forget and the dye stains were left on my hands after I washed it. It do come off but it take days to go away. All when you get the dyes on your hands when it is diluted go and wash your hands immediately!!!
• Wear eyes protections to stop you from splashing the dyes into your eyes. If the dyes get into your eyes rinse it with running water for 15 minutes. 

http://www.bestdye.com/health-safety.php

Yayoi Kusama

Yayoi Kusama is a painter, sculptor, film-maker and a performer however she is best known for her works featuring repeating motifs and psychedelic imagery that bring themes of psychology, feminism, obsession, sex, creation, destruction and intense self-reflection. Kusama was born in 1929 in Matsumoto city where she started painting at the age of 10 to escape a childhood of neglect and expressing her early experiences with "hallucinogenic" visions. Her use of "apparitions" consisted of dots and patterns within her works embraces her surroundings, showing issues of mental illness which have carried on strongly, influence her works.

http://www.artnet.com/artists/yayoi-kusama/biography

2008Jo Applin. Resisting Infinity, Yayoi Kusama. London: Victoria Miro Gallery, 2008 (cat.)

The title of this work is Standing on the Riverbank of my Home town I shed tears which was created in 2009. The medium is painting, acrylic on canvas. The artists have used quite bold colours which seem to be contrasting with each other. The dark colour in this piece makes the piece to appear very dramatic and stands out really well. There are use of thick lines, where some part of the lines are continuous. Curved lines are also represented, looking wobbling and flowing. 

Although this work look childlike and simplicity which will make other people think that it is fun and playful which I first thought about when I saw it first
but looking,  closely at the red colours within the painter it look to be between light and slightly dark. The idea of using this colour immediately shout out danger, passion, sexuality, sensitively, love, will power, rage, anger, leadership, courage, longing, malice and wrath. Combining the different shades of this colour and looking at her bring up it shows that, although she paints to escape her horror childhood but no matter what she is still deeply hurt and confused. We begin to understand that these pains have scarred her forever as we start to feel compassion and sorrow for her. Kusama uses of dull yellow in the art works makes the piece colour look quite decayed and incorporating it show she is bringing awareness to the audience that although that she is sick but she is a very strong woman who is caution. 


Seeing this beautiful, soft painting full with colours it is dark and mystery, holding a very deep meaning with its black colour representing something evil power and death. It starts to make a a person feel scared at its spooky, disturbing message. Although the dull yellow, black and red seem to be telling a story of her horrifying childhood the use of using a light blue which sees like a river shows that as time past she is healing and is beginning to get over with her past. The eyes are almond with out of scale dots at the top and on the lashes. Using different sizes of wobbling circles could have been she did it so that they could all fit on the canvas and make the material look busy. 

I really like the use of her colours that attract people to her art works and think that they are just pretty and does not involve a lot of working but when you really study it hard you will understand the difficult thought that went thought and emotions that went through it. 

http://www.artnet.com/artists/yayoi-kusama/5

Although Miytake represent his work on fashion shows Kusama represent hers in gallery which are proably on canvas. Her work seem to be open to wider range of people to go into the gallery to see. The place will be quiet giving the viewers to try and think really hard about what is going on into the painting instead of Miyake presentitions. 

Inspirations

http://pixshark.com/manish-arora-logo.htm

https://www.facebook.com/manisharoradesign

http://www.studentartguide.com/articles/fashion-design-sketchbooks

http://www.versace.com/en/world-of-versace

http://mds.isseymiyake.com/im/en/work/

http://rankin.co.uk/portraits/

Blood Swept Lands and Sea of Red

There were 888, 246 poppies displayed in The Tower of London which was representing each British that have lost their lives during the first world war, where in the end there would be a sea of red where they could then disappear.

Paul Cummins was the ceramic artists who came up with this idea and created the piece while Tom Piper was the one who stage the poppies. Piper had the idea to create the weeping window, a cascade of poppies that spilled from a window, and the wave, which swirled out of the moat to form an arch over the entrance to the tower. The ceramic poppies are embracing around the building in waves of a flowing leave. All the poppies were handmade by Paul Cummins. Cummins got an inspiration to create this powerful visual artwork when he went through the first world war archives in Chesterfield records office, then found an unkown solider who died at Flanders that contain the line "The blood-swept lands and seas of red, where angels fear to tread."


   
The poppies flowing from the window
The piece was display around the 5 August to the 11 of November 2014.

Tom Piper, when staging this artwork he decided to make it look fluid and bring an organic feel to it, so that people could see it as blood, water or life force.

http://www.theguardian.com/world/2014/dec/28/blood-swept-lands-story-behind-tower-of-london-poppies-first-world-war-memorial

"This article was amended on 31 December 2014. An earlier version referred to the Weeping Window as the Weeping Willow."

http://www.britishlegion.org.uk/remembrance/ww1-centenary/poppies-in-the-moat