Elyse Shapiro Studio Progress Mar 26- Apr 1

Studio Progress Update for Week of March 26^th- April 1^st

This week in the studio, I spent the majority of my time creating the lighting fixture structure by altering the shape of the metal. In the cold shop, I first took 6 foot aluminum poling and morphed it into the shape of a circle, varying the curve to match the diameter of the different stencil lengths.

After I had altered the metal to the proper circumferences, I sawed off the excess poling and prepared to weld the aluminum together.

After welding, I needed to make the metal appear as if there were no weld. To do this, I ground down the joint and proceeded to sand the area down to level. In order to make the metal appear uniform throughout, I then also sanded down the remaining surface area of the metal to match the welded area. When I had finished, the metal appeared as such:

I also spent time cutting down the polycarbonate to its proper size and sanding the piece of polycarbonate the would serve as the top for the first two lighting fixtures. This began to be problematic as I hoped to connect them to the metal using rivets. During the bending process of the metal, the gap for which the polycarbonate would be placed had been smashed. This required me to use a hand drill and increase the size of the gap by removing excess aluminum.

In-studio hours:

· Monday- Bent 6 foot aluminum poling for lighting fixture 1 and 2 12AM-4PM (4 hours)

· Tuesday- bent aluminum for lighting fixture 3 and began to cut polycarbonate to fit stencil requirements8:30AM- 4:30PM (8 hours)

· Wednesday- Sanded the polycarbonate and cut to fit exact size, hand-sawed all excess aluminum and prepare to weld 4PM- 10PM (6 hours)

· Thursday- Welded aluminum and began to increase size of gap in aluminum by drilling 1PM- 7 PM (6 hours)

· Friday- Begin to grind down and sand metal for aluminum structure 1 PM- 1 AM (12 hours)

· Saturday- Finish treatement of material and begin to execute full construction of final pieces (3 hours)

· Total: 39 hours

Elyse Shapiro Studio Progress Mar 19-25

Studio Progress Update for Week of March 19^th- 25^th

This week in the studio, I spent the majority of my time developing the design and cutting the stencil for my third and final lighting fixture. This last stencil will display the skyline of downtown Detroit. The area is clean and beautiful so I cut it with extremely fine lined details. This first image is the stencil prior to being cut. I will cut the lighter area of the stencil and the darker part will serve as the vellum beneath the stencil cut.

The second image is of me, cutting the stencil in my studio. In addition, the dress I’m wearing is also of my own creation; the material was hand-printed and sewn using a personally customized pattern.

The next image is of the third stencil mid-cut. The stencil is cut entirely by hand using the print out on top of the black paper as a guide.

The final images are of the stencil once it has been completely cut. After many, many hours of work, the stencil is complete and ready to be applied to the vellum layer. This is the completion of my final stencil cut for my IP.

In-studio hours, week 7:

· Monday- Cut stencil 3 10AM-4PM (6 hours)

· Tuesday- Cut stencil 3 8:30AM- 4:30PM (8 hours)

· Wednesday- Cut stencil 3 4PM- 10PM (6 hours)

· Thursday- Cut stencil 3 1PM- 7 PM (6 hours)

· Friday- Finish cutting stencil 3 1 PM- 3 PM (2 hours)

· Total: 28 hours

Elyse Shapiro Studio Progress Mar 12-19

Studio Progress Update for Week of March 12^th- 19^th

In the studio this week, I began to collect all of the materials necessary for my to execute the actual structure for my imagery. I have decided that rather than using ZAP-A-GAP as in the past, I will hand drill holes into the polycarbonate and insert rivets at a rate of one rivet per 2 inch gap. This will ensure the polycarbonate does not crack and still doesn’t create a cloudy or foggy clear adhesive give away. These rivets do not bother my in my stencil cut designs and I think they even serve to make the pieces look more industrial and relative to Detroit. Also this week, I organized the vellum and stencils for lighting fixtures 1 and 2. Upon comparing the pieces’ imagery, I am currently working to choose an appropriate size and image source for the third and final lighting fixture. My ideas thus far revolve around themost significant abandoned building known throughout Detroit. Examples of these include Central Station, theaters, hotels, office buildings, schools, and miscellaneous churches and executive buildings. In the upcoming week I will complete the image and begin to cut the stencil at a

very eager rate. Time is running out!

Examples of buildings of inspiration within Detroit that may be encompassed within my last stencil cut:

Redo of sketch for structure, including rivet placement for construction:

In-studio hours, week 10:

Monday- Create proper size and structure for piece 3 (3 hours)

Tuesday- Work on idea for lighting fixture 3, research significant abandoned buildings in Detroit (7 hours)

Wednesday- Bend metal in cold metal shop for lighting fixture 2 (4 hours)

Thursday- Research best places in Detroit to make a trip to on Monday. (4 hours)

Total: 18 hours

Elyse Shapiro Studio Progress Feb 20- 26

Studio Progress Update for Week of February 20th to 26th

This week in the studio, I spent the majority of the week slaving over my cutting pad with an X-ACTO blade at hand. I spent a great deal of time developing different textures for the various graffiti pieces found throughout the Detroit area and compiled together to form a fictional, all encompassing building. After countless hours in the studio, I decided the stencil was finally complete, but that required me to strongly alter the initial “stamp” image. The “stamp” imagery that is intended to be printed on vellum had a lot of extraneous details that had the potential to be disturbing to the viewer. I am eager to finally get the vellum printed for the second lighting fixture and apply the two layers together to see their cohesiveness.

In-studio hours, week 7:

Monday- Cut stencil 2 10AM-3PM (5 hours)

Tuesday- Cut stencil 2 8:30AM- 4:30PM (8 hours)

Wednesday- Cut stencil 2 6PM- 10PM (4 hours)

Thursday- Cut stencil 2 and edit torn spots 1PM- 7 PM (6 hours)

Friday- Work on vellum for stencil 2 1 PM- 3 PM (2 hours)

Saturday- Work on and finish vellum for stencil 2 10AM- 4 PM (5 hours)

Total: 30 hours

Elyse Shapiro Studio Progress Feb 13-19

Studio Progress Update for Week of February 13th to 19th

This week in the studio, I completed the imagery by getting the inner layer printed onto vellum. This was then placed beneath the polycarbonate, stencil, and a layer of mylar. The image below was placed onto a light box, but the construction of the lamp are still in the works. This is also the imagery that I used in the design of my postcard image. Following the completion of this image, I began to design imagery for my next lighting fixture. I decided the new imagery would be largely revolved around the idea of graffiti in Detroit because the reaction to these images was so strong in my most recent review. I spent the majority of the day wednesday in Detroit walking around the east side and taking pictures of graffiti on various buildings. Then, I compiled the most interesting and, in my opinion, stencil-worthy graffiti tags onto a an imaginary building in Detroit. I used images of various windows I also spotted on my visit to ensure they looked realistic and native to Detroit. After completing my design, I printed and assembled it together, and have began to cut that into black paper.

In-studio hours, week 7:

Monday- Apply stencil and vellum and photograph for postcard, work on bending metal in the cold metals studio (4 hours)

Tuesday- Brainstorm ideas for future imagery, prepare first stencil cut for review (4 hours)

Wednesday- Go to Detroit to photograph graffiti on the east side of the city (6 hours)

Thursday- Cut stencil in studio (9 hours)

Total: 23 hours

Update Monica Ross 2/13/2012

This week I got Sherri Smith in for voice acting. I'm making a master file to load in final sound and completed frames.I'm going to be building it up for the critique next week. I was away for the weekend and so I have to make up a lot of work this week. Last week I was in the studio for 3 hours on Monday,6 on Tuesday and Thursday. This is a mere 15 hours... The weekend really took a lot of time away.

I'm a little less worried about finishing my project. I've decided to take out a loan so I can get March off work.I'm sure I can complete the project with that extra time.

Elyse Shapiro Studio Progress Feb 6-12

Studio Progress Update for Week of February 6th to 12th

This week was very important to my project in terms of vision and structure. After going through a great slump with the progression of my IP project, I have made some major decisions that will alter the nature of my pieces due to the material. I am no longer utilizing textiles in my pieces, but rather have decided to focus on the the true passion behind this work- stencil cutting. By minimizing the materials I am working with, I have decided it will be more successful if it is less complicated. For my new lighting fixtures, I have decided to cut stencils of Detroit, but have narrowed my subject matter to the remaining infrastructure of Detroit today; this will allow the imagery to be more cohesive from piece to piece. I have also decided to cut color from my pieces. They will be cut into thick black paper, and have a layer of vellum printed beneath them. The vellum will serve as a distribution tool for the light source within, while providing more detailed information for the imagery when the light is turned on. Though there is no color in the pieces, I feel that the black and white imagery will be complementary to the imagery it is intending to portray.

As I begin to work on my first piece, I have decided to take imagery I collected from photographing the Packard Plant in Detroit. As with my initial imagery, I have decided to fabricate the actual images to make them more rich and provide additional sides and views of the plant. Once compiled in photoshop, the imagery looked as follows:

Once compiled, I created this image using photoshop. The area that is orange is my guide when cutting the black paper. I printed the imagery and attached it, not following the lines but using them as an idea of where to begin.

Atop of the imagery as I was cutting it is the detailed stamp layer that will be printed on the vellum. Below, you can see the details that will be printed on the vellum and placed beneath the stencil cutting. This is important to me as I cut the stencil layer because I can see where the most pattern, detail, and grain lay.

After countless hours of cutting, the final image is completed. The image has a lot of additional details that were previously non-existent. The image is highly stylized but I think is quite compelling.

I am eager to see what the imagery looks like placed on top of one another, and am looking forward to better creating a more functional and industrial looking lamp. The metal will now be visible, and rather than getting messy with glue, I am interested in experimenting with sandwiching the two layers together between the polycarbonate and a mylar piece. Once screwed in, I hope the pieces will be secured and clean looking with no visible adhesive materials. Another decision I have made regarding the structure is to attempt to use nails/ studs/ rivets to secure the polycarbonate to itself, rather than zap-a-gap. This will make the pieces appear more industrial, but cleaner and more thoroughly put together. The studs will be placed periodically at a short distance and will be taken into consideration of where they lay within the stencil cutting.

In-studio hours, week 6:

Monday- Project reconstruction and idea sketching session (4 hours)

Tuesday- Go to Detroit to photograph closed schools on the east side, the packard plant, and other interesting abandoned buildings (7 hours)

Wednesday- Compile imagery for first lamp shade, develop stencil layer and stamp layer for vellum. Begin to cut stencil (8 hours)

Thursday- Cut stencil in studio (10 hours)

Friday- Cut stencil in studio (7 hours)

Saturday- Complete first stencil cut, remove old imagery from polycarbonate barrel, work on potentially creating old stencil cut into new imagery on black paper (6 hours)

Total: 42 hours

Monica Ross - Update 2/5

I am still scanning and editing my papers from this week, so nothing to show yet outside of this small bit.
Sherri is going to be voice acting for one of my leads. Still waiting to hear from Jan, we'll see.

I was in the studio from 8:30am - 4:00 pm on Tuesday and Thursday this week. As well as Monday from 11pm - 6am, and for a couple of hours this weekend after work. All together = 24 hours this week in the studio.

Next Sunday I'll post everything I scan tonight and tomorrow after I condense it all into video.

progress

This week has been spent putting together the questions from the interview. The first half went really fast but the second half became harder and harder to put together. Might have been because I have been listening and watching the same thing in a circle, over and over again. I was able to find my own footage of the other artists Yos spoke of, so I was able to overlay them along with pictures of the famous parties that he DJed at. There are a few mistakes I have to touch up and tomorrow I believe I can do a full render and have a ready interview to show on Tuesday for class.

I also met with Prof. Ellis and we discussed a few options that I looked into for designing my site - certain content management systems that would make the site versatile and updatable. I was debating wordpress but he also mentioned to me text pattern, another CMS. He also recommended to me another way to handle my events listing - instead of arranging them by popularity, simply call on an API to show how many people are attending the event. This information would be drawn from Facebook.

He also suggested I think about whether I should employ user comments to make my website a social platform as well. I am still on the verge with that.

Video Editing: 9 hours

CMS research: 1 hour

Image Pooling: 1 hour

3 Week Update - Monica Ross

So. I was sick the first week, and worked mostly from home. 2 all-nighters. 13 hours each = 26 hours put into the first week.

Last week I came into the studio on Tuesday from 10:30 am - 4:00 pm, then 6:30 pm to 10 pm. Thursday from 9:00 am - 4:30 pm. Equals 16 hours for that week.

This week, I went into the studio from 9 am to 4:30 pm on Tuesday. From 8 pm - 7 am Wednesday (I'll be here until I go to work). Worked a bit at home on some frames. Slow working this week so far just because I trashed a scene that was really weak. 18.5 hours in studio this week so far.

Progress is alright with my project. The scenes are coming out just fine. I wish that I had time to go and do more solidified linework. Also, at this rate, I don't know how scanning/editing/coloring is going to fit into my schedule. As well as writing a script and recording actors...
I'm starting to consider making this more of a trailer than the whole piece? Or making it a silent-no-dialog animation short(er)? I think reality of time and effort is setting in, and I am reluctantly realizing that something has to give if I want this to be a certain level of quality. If I make this a smaller project, I'll also have time to experiment and edit as I go... making this more the process I was hoping for.

A minute of animation is drawn out in scattered scenes. Scanning and editing is proving to be the most time consuming part of this process, which is why I want to get my lines right before I go through and take the time to scan all 500 ish frames. :c

Elyse Shapiro Studio Update for Jan 16-22

Studio Progress Update for Week of January 16th to January 22nd

Finished "Row of Occupancy" color for inner layer of lighting fixture 1. Design is intended to be placed behind and shine through original layer. When combined, the imagery looks as follows:

Up close of two layers "Row of Occupancy" and "Row of Abandonment" combined. The "Row of Occupancy" is intended to display the once- glamorous buildings in their holistic and ideal state. For example in the picture below, the building that is a victim of arson in the original design is back to its original infrastructure.

Below is an example of the "Row of Occupancy" without the "Row of Abandonment" on top of it. This shows the attention to detail I executed while creating the design on illustrator.

In-studio hours, week 3:

Monday- Printing test print for outer layer 1 of lamp. Printed first with dye, washed out, and then reprinted with textile paint. Need to continue running tests to find the most aesthetically pleasing design (4 hours)

Tuesday- Work on inner layer design for lighting fixture 1. Entitled "Row of Occupancy" is colored illustrator file to lay beneath the "Row of Abandonment" design printed fabric (6 hours)

Wednesday- Continue to work on "Row of Occupancy" (3 hours)

Thursday- Continue to work on "Row of Occupancy" and research lazy susan modem, in addition, met with Professor Rodemer to ask for tips (he has worked with kinetic art on countless occasions) (5 hours)

Friday- Finish "Row of Occupancy" design (3 hours)

Total: 21 hours

Studio Update Jan 8-15

Elyse Shapiro- Studio Update Week of January 8-15

This week in studio, I spent the majority of my time printing the outer layer of lighting fixture 1, also known as the “row of abandonment.” After putting so much work into the stencil and illustrator files, I have put the image onto two photoscreens and printed them with dye on white material. This was less successful than I would have liked due to the fact that some details are lost printing on material with threads so far from one another. To combat this problem I am going to attempt to print the same design with textile acrylic paints which do not absorb into, but sit on top of that material.

Another project/ piece I worked on this week in studio were the preview prints of the doily pattern that I have created (pictures above). I have tested the prints of this on a few different fabric types and colors. By contrasting the pattern on some and blending some on the others, I was able to see a good difference in thread count and color palate. I plan on printing the “row of abandonment” on the opposing side.

The new thing that I am creating is the inner lay

er of my first lighting fixture to stand behind the row of abandonment. This inner layer will be created on illustrator and from unique colors from Detroit. The second row has been entitled “row of occupancy” and resembles the homes in their once holistic state. The former glory of these buildings will only be seen when the light within the fixture is turned on.

In-studio hours, week 2:

Tuesday- In fibers studio, creating photo screens for screen printing and creating stencil for repeat in test doily print, 8:30-2:00 (4 ½ Hours)

Wednesday- Printing outer layer 1 with black on white material with dye, 4 PM- 8 PM (4 Hours). Work on layer 2 of lighting fixture on illustrator, 9 PM- 2 AM (4 Hours)

Thursday- All day in fibers studio printing large doily prints for experimental outer layer, 10 AM- 8 PM (10 Hours)

Total: 22 ½ hours

Elyse Shapiro- Studio Update

Final lamp structure- fabric has been pleated and adhered to the aluminum poling using carpet tape and zap-a-gap permanent glue. The structure will also have a top and base which are currently not completed.

This is the view of the inside of the lamp from above, it will be covered with a clouded polycarbonate. The lightbulb is a compact fluorescent bulb.

The fabric was sewn to a supportive strip to make application more accurate.
View of the lamp with light turned on from above.
Image from side.

Studio Update

On the inner layer of the lamp structure, I have cut and applied the vinyl to the polycarbonate surface. The polycarbonate is being held in place by the aluminum poling, which has been morphed into a circle and welded together. In addition, bolts will be placed periodically along the metal rim of the lamp to ensure it is secure.

I began the process of screen printing the outer layer of the lamp with acrylic paints on polyester lining. Unfortunately, having to use the acrylic paint with the synthetic material rather than dye, the paint sits on the surface of the material rather than blending with the fibers. Because of this, it made the material far too difficult to see through; there is no way the viewer would be able to clearly see the detail from the inside of the lamp through it.

Rather than using the polyester, I decided to print on thin muslin that is easier to see through. This way, I will not be able to permanently alter the shape and texture of the material (like polyester), but I can use different pleating techniques to have a similar effect. This image is taken prior to the extender being washed out, so the color is diminished significantly. One of the muslin types is bleached, while the other is natural and I think I prefer the natural. I will continue trying to print on this material in the upcoming week.

Studio Update

This is the new sketch I have done to demonstrate how the two layers of the lighting fixtures will come together. As you can see, the inner layer has the vinyl printed imagery on the plexiglass surface. The structure is being held together by metal poling and bolts. The light blue layer represents the textured, printed outer layer.The outer layer will be printed and take the form of the model beneath this. By applying heat in the molds, the synthetic materials will remain in the same shape after release from the mold. Because they create a rounded surface, it will be easy to sew the pieces together and apply them onto the metal using carpet glue. This is the pattern I have created for the outer layer of the first piece. It will be printed in a light color on white polyester lining and then morphed into the shape above. After being attached it will look as if it is just a magic fabric sphere until the light within is turned on.

This pattern is intended to mock and relate to the inner layer's gravel/ cement texture. This layer will end up being less dominant when the lighting fixture is ignited. By keeping the lines thin and light, it will allow the light from within the first layer show through without a problem.

Studio Update

Over the past few weeks, I have struggled to find the best materials to make my vision come to fruition. The first goal in the completion of my first piece is to situate the materials on the inner level of the lamp.

The inner layer will now be plexiglass held together by metal poling with my imagery printed on. I have decided to have my stencil cutting re-cut onto vinyl and then applied to the plexiglass. The image I have finished cutting is the following:

I have spent a great deal of time in finding the best way to utilize the metal in my piece. I have purchased metal poling that will be used as follows:

One of the biggest issues I am facing is how best to bend the metal pole I have purchased. Due to the accident in the past week in the metals studio, the machine I am interested in using is out of commission. I am currently looking for other ways to alter this into a circle so it can be welded together.