3D Printed Characters

Back in semester 1, which seems like a lifetime ago, I was stuck for what to make. I had been doing a lot of research but did not have much work to show for it. My tutor had told me just to make and the ideas would come, so I found myself in the DJCAD MakeLab. I had enjoyed 3D printing in the previous year so decided to give it another go seeing as they had just bought new, larger 3D printers. I printed my friend Kate’s head in real-size, placed it on my studio wall and dripped shaving foam down it. This work proved quite popular with passers-by and drew people in as much as the shaving foam covered wall itself did, it is also the logo for this website. The 3D print even helped me to become a finalist in the DJCAD artwork competition for the advertisement of the degree show.


I could not ignore the popularity of this work, but I could develop it to see if it could be a possible contender for my degree show. As drawing people into my space is a big task for me I felt like these 3D prints might just do the trick. I decided to test out how successful the work would look on a foam covered wall rather than a plain one which proved quite popular as well.


To develop this I 3D scanned the heads of the 3 girls that are in my fashion film and printed these. I hope these prints bring my film to life in my exhibition by immortalising the nostalgic yet futuristic characters and allowing them to fill my ’empty’ space just as they fill the urban void in my film.


I plan on displaying these 3D prints in among my framed embossings showing the life that lies between the empty land. They will be displayed at the height of the characters and in the order that they first appear in the film.


New Things and a Change of Mind

After continually working on developing my blind embossing and my film I needed a change of pace, at least for a little while. I started doing more research on urban voids in Dundee to see if I could come across something that I had not before. After finding my way onto the governments website a found a file that is very relative to my project, a map of Dundee that highlights the cities derelict and vacant land.


At first I was a little frustrated about not finding this map sooner due to having to scour the city myself to find these bare areas of land. However after thinking about it, I am glad I did not have this map. Finding the land by myself was a big part of my process and my concept, I was looking for and uncovering what I and other members of the public usually ignore. Being told where it is took away the challenge of finding the land for myself and noticing the unnoticed. It was difficult when I set out as I often did not know where to start but it made it even more spectacular when discovering this forgotten land.

I did want to use this map though as I could not ignore it relevance to my project. I decided to use the map as a template and mark out the shape of Dundee along with the empty land it holds. I decided to laser cut this design onto mdf and turn it into a blind embossing, just like my framed prints. I love the marks made and it really shows the abundance of forgotten land in a fairly small city which does not just lie in the poorer districts, but all over Dundee. The sites that I chose to look at when making my series of urban void blind embossing are also from all around Dundee and I will show this when displaying them in geographical order, highlighting that even those living in affluent areas can forget about their empty land.




After framing my aforementioned urban voids blind embossing, I was unsure on the colour of the molding. I had opted for natural wood but, when imagining my completely white space, I felt like natural wood but stick out too much and the viewer would be concentrating on the frame rather than the print. To solve this, I framed another print using off-white paint so as not to make the print look less white to compare against the natural wood frame. I found this to be a lot more successful and tested how the frame would look against a shaving foam covered wall. I feel like you can see the frame enough to know it is not trying to blend into the space and it will still draw people in to see what is inside the frame. I just have to work out how to properly photograph my framed prints without glare and to get the detail from the embossing.



I have also been considering what to do with my digital drawings of urban voids that I used to create my blind embossing. I wanted to develop these images as I enjoy the aesthetic of them and was interested in where I could take them. I printed these images on acetate and decided it would be interesting to see how these would look as screen prints on canvas. All white screen prints are very hard to make as they are difficult to see, as I found out at the start of 4th year. to solve this I mixed burnt umber with white ink to create an off-white colour that still keeps in with the same white tones but is visible. I created one print on canvas and left it as is, and printed one more which I then sprinkled dried shaving foam that I scraped off from my studio wall (you can find out more about this technique here https://laurendailly12.wordpress.com/2017/02/22/foam-canvas-development/). My plan is to screen print all of my urban void images and perhaps try to sell these at the degree show.

After researching the jute mills that once stood at the site of my fashion film, I decided to research what used to be at the land of my other urban voids in the same era. I was surprised to see how many of these areas were home to jute and textile mills, while some held no buildings at all.

I printed the maps from the 1900s onto jute to bring the history of this land alive and to fill the urban void.

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After hanging my foam canvases on top of the jute I wanted to find a way to relate the two textures together. I have always loved the swirling shape that shaving foam creates when directly sprayed out of a can, so I decided to mimic this shape with jute. The completely different materials are made strangely alike by creating a relationship between the two through form.

I decided to try this out with the previously printed jute as well to see how this would alter the relationship. I love how the material bares the image void while the white shaving foam creates the feeling of the void, both of which join together to produce the concept of my degree show. The history of the void will be uncovered.


A Fashion Photo Album

Fashion is a big part of my life. Fashion is self-expression, it is self-confidence, it is self love. It is also my job and is the field I hope to progress in once I leave University. It was therefore important to me to bring fashion into my current project and my degree show. ‘She Town’ my fashion film about urban voids in Dundee features costumes that I made from Tyvek. This allowed me to combine fashion and my love for unconventional art mediums to highlight the emptiness of the setting, the reason being the material of the costume itself that led to the closure of the jute mills that once stood there.

The photographs from my film are just as valuable to me as the film piece itself. I love the whiteness of the costumes against the empty setting and how the characters appear as voids in the landscape. The photographs are alien, but also relatable due to the recognisable setting. As I hope my film and blind embossing provoke the feeling of nostalgia from what once stood in the urban voids, I decided to create a photo album of the photographs from my shoot. Photo albums often store memories that when looked at, take the viewer back to time or place different from now, I hope this fashion photo album will do the same.

I covered the photo album in jute to relate to the history of the land and to bring back memories of what once stood there from the first touch and site of the album.


While creating my fashion illustration sketchbook, I took a liking to painting white acrylic on top of my photographs. I found that this brought the photographs to life while acting as a void itself on the image. The texture was also not unlike shaving foam that I have been working with on the walls of my studio and that also features in both my film and my photographs. I used this paint to animate the photographs and react with the characters as if the paint is a character itself.


I also included the photographs of my costumes hanging on the gate at the setting of the film. This highlights the importance of the costumes in this project and the fact that the work is both art and fashion. I hope that this album provides both a new and nostalgic experience, just like my fashion film, and brings this forgotten land back to the attention of the viewer.


Exhibition Inspiration and Degree Show Space Allocation

The allocation of my space for the degree show really brought home that there is only 2 months left of uni. Not just this, but in less than 2 months I will be displaying my work to thousands of people for the first time ever. I am desperate to make my space visually enticing to compete with all of the amazing artists and designers who will also be displaying their work at the degree show. However, I will be enticing my audience with the notion of emptiness. My allocated degree show space, shown below, is perfect for my concept. I imagine an all white  space that feels empty so having a contained space with 3 walls is the perfect way to create this. I want the audience to feel the void and on closer inspection, discover that there is so much more there than initially thought.


I have been researching exhibitions that concentrate on the unseen, a classic example being Yves Kleins’ The Void in 1957. People waited for hours to enter an empty gallery in which Klein claimed to hold his artistic sensibility, which cannot be seen or felt but is there all the same. I also came across the multi-artist exhibition Invisible: Art About the Unseen 1957-2012 at Hayward Gallery. The gallery contained all-white canvases including Tom Friedman’s’ 1000 Hours of Staring, a blank piece of paper. Andy Warhol displayed a plinth on which he once stood, showing the presence of the artist and also the absence. I hope to create a space that shows the unseen, the urban voids that are overlooked and the memory of this land that has been forgotten. It is up to the audience to come into the space, to look and to feel.


I recently visited Edinburgh with my uni friends to see the RSA contemporaries exhibition featuring last year graduates from DJCAD and other Scottish universities. I found it funny how I was not only looking at the work itself, but how it was displayed; whether it was framed, the colour of the frames, how they displayed video work etc. I do not normally concentrate on these aspects when visiting a gallery but as I am nearing the end of my degree and close to degree show set up these thoughts were very much on my mind. It was amazing to see the different mediums used and the interesting ways they were displayed. I enjoy how Alison Wright’s photographs above how been displayed in a scattered manner while Lucy Wayman’s mop sculpture interacts with its audience as they walk between it just like Tamara Richardson’s plastic sheets.


As I too will be presenting a film, I found it fascinating looking at the different ways these graduates presented theirs. Below left shows Clara Hastrup’s film shown as two projections with a seating area for its audience. This was an amazing film for the senses and I loved that the audience were given a specific area to watch the film. Natalie Howlett uniquely displayed a video projection on a cut out of the woman who was being projected which added to the clinical and unemotional feeling of her work.

After trying out projections for myself, I decided that a monitor would show my film in a more successful way. I was paying close attention at the RSA for how their monitors were displayed. Elaine Ang presented her film on the floor which changed the relationship between the viewer and the work as they looked down on it. I am planning on building a frame for my monitor as the ones available to me are all black and this might ruin my all white space, so seeing this framed film piece was a handy experience.

Framing was also something I was focusing on when at the RSA, especially Eleanor Elks Herrmannsen’s white frames. After taking part in the framing workshop and making a wood coloured frame, I decided that a white frame would be more successful in my space. I have made one frame white to compare against the wood coloured frame and I have found the white one to work better with my prints.



While in Edinburgh we visited a few more exhibitions that were currently showing. One of my favourites was Mark Wallingers exhibition that is showing in two parts, one in the Fruitmarket Gallery in Edinburgh and one in the DCA, Dundee. This picture is from the fruitmarket gallery, the artist makes his mark while also writing his own name.


The DCA provided me with lots of inspiration on how to display film. Projections, hung on a wall, multiple monitors in a round, monitors propped on their side. I just have to work out what is best for my film and the space that I am in but it was amazing to see how successful artists like Mark Wallinger show their work.


While visiting a 3rd year illustration student exhibition in Duncan of Jordanstone called Chaos & Order I was intrigued by not just the work, but the presentation of this work. They had a few display tables containing sketchbooks, drawings and other bits and pieces. The display table I have been working with (shown here https://laurendailly12.wordpress.com/2017/02/09/film-as-a-piece-of-art/) is a lot more robust and I feel like these ones would work better in my ’empty’ degree show. I am currently trying to gain access to these tables but I am also in two minds. I do not want to clutter my exhibition as I want it to feel empty so I am not yet sure if I want to have a display table in my space. There is still lots to think about but I have found it very rewarding taking time out to view exhibitions and gain an insight into successful ways to showcase artwork.