Briefing:

In this assignment i will need to produce 1 high quality image of my 3D product along with object its self that i will choose to shoot, by doing this it will demonstrate factors of high levels of skill with the use of various materials, processes and technical skills. The image will be contextualized as well as supported by a solid amount of research that will be critically analysed. throughout the course of this assignment i will need to show the developments of my skills and ideas, (from the start of this assignment to the end) this will all be recorded in the from reflective prctices, examples and annotations using a blog. 

David Hockney- Examples of his images

My initial response: In my opinion judging these images as a collective not as individual photos, i can clearly observe a distinctive theme/structure as to how the photographer has constructed these particular images. In addition to the fact that these images look as if they have been taken which was then printed and physically stuck together, which also gives the indication that when the images were taken it clearly was before technology further advanced. However i do personally think there is one aspect that remains inconsistent with all these images is that the contents of each image shows no relationship to each other which leads me to infer that there was no real narrative behind each image describing as a collective of images or looking at them as individual images. 

After researching the photographers images, the joiners that Hockney produced, gave me the impression that regardless of the fact he had created a new style of imagery combining both art and photography skills there was yet any evidence to show in his images some sort of explanation as to why he choose to take photographs and then construct those images in the form of a joiner; i can infer from this that it was not so much the content of what a joiner image contained that the public thought Hockney's work was special, it was the fact that he was successful in creating an reflectional piece of imagery that had somewhat mirrored the work of Pablo Picasso.

Furthermore looking more closely in particular of one of his early joiner images Hockney created was the image of his mother in a graveyard. With regards to the use of colour a majority of the image was built up of greys, dark greens and in some areas of the image blacks. In my opinion because of the colours hockey chose to use in that image i think that it would somewhat mimic the reality status of age of his mother that could possibly be connected the reason as to why he chose to shoot his mother in graveyard i can only assume that has done this show a connection between his mother and the background; point being that due to the fact of Hockneys mother's visual age is clearly old, he maybe inferring the fact that the inevitability of his mother dying is fairly likely to be soon (at that time period of when the image was taken). From my interpretation of this aspect, David Hockney has made the connection of a graveyard to his mother because thats where she will be in the upcoming years that she has left due to her elderly age, hence why he shot his mother in a graveyard to represent the harsh reality of an individual however death is very much a part of life; vice versa.

The facial expressions of the main subject (in this case his mother) briefly describing hockney's mother appears to deeply in focused about something in addition to her visual appeal seems very sad, aswell as the fact she doesn't seem to be paying attention when Hockney was taking a picture of her, this would suggest that she maybe just as aware as Hockney of the genral outcome of her being very much near to the end of her life, hense why she has no interest in looking at Hockney when he captured this image. 

Additional Research 
I have yet found and critical reviews regarding Hockney's images of his mother that would allow me to further develop my interpretation of joiners and narrative behind his images that was produced.  

Planning construction of 3D Object

Planning construction of 3D Object 

For the 3D construction of my object, I plan to create a model of my detached house out of cardboard and other various materials that will form the base of the roof, in addition i will take images of my house at different angles to represent the 3D effect which will be then be stuck together on the bases of my house. 


Stage 1 
I used a flat cardboard to form the base, which was then folded much like a cube shape.

Stage 2   
once folded the sides of the cardboard was then sellotaped together.

Stage 3 
The digital images created using the concept of "Joiners" is then printed and stuck on using Sellotape in the apropriate position on the box. 



finaloutcome 

Hockney research

David Hockney Research-

Early Work 

Hockey's early paintings incorporated his literary leanings, and he used fragments of poems and quotations from Walt Whitman in his work. This practice, and paintings such as We Two Boys Clinging Together, which he created in 1961, were the first nods to his homosexuality in his art. 

We Two Boys Clinging Together

Because he frequently went to the movies with his father as a child, Hockney once quipped that he was raised in both Bradford and Hollywood. He was drawn to the light and the heat of California, and first visited Los Angeles in 1963. He officially moved there in 1966. The swimming pools of L.A. were one of his favorite subjects, and he became known for large, iconic works such as A Bigger Splash. His expressionistic style evolved, and by the 1970s, he was considered more of a realist.

A Bigger Splash

In addition to pools, Hockney painted the interiors and exteriors of California homes. In 1970, this led to the creation of his first “joiner,” an assemblage of Polaroid photos laid out in a grid. Although this medium would become one his claims to fame, he stumbled upon it by accident. While working on a painting of a Los Angeles living room, he took a series of photos for his own reference, and fixed them together so he could paint from the image. When he finished, however, he recognized the collage as an art form unto itself, and began to create more.

Hockney was an adept photographer, and he began working with photography more extensively. By the mid-1970s, he had all but abandoned painting in favour of projects involving photography, lithographs, and set and costume design for the ballet, opera and theatre.

The "joiners"

In the early 1980s, Hockney began to produce photo collages, which he called "joiners", first using Polaroid prints and subsequently 35mm, commercially-processed colour prints. Using Polaroid snaps or photo lab-prints of a single subject, Hockney arranged a patchwork to make a composite image. An early photomontage was of his mother. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims—discussing the way human vision works. Some pieces are landscapes, such as Pearblossom Highway, others portraits, such as Kasmin 1982, and My Mother, Bolton Abbey, 1982.

Creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realized it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique. Frustrated with the limitations of photography and its 'one eyed' approach, however, he returned to painting.

Later Work

In the late 1980s, Hockney returned to painting, primarily painting seascapes, flowers and portraits of loved ones. He also began incorporating technology in his art, creating his first homemade prints on a photocopier in 1986. The marriage of art and technology became an ongoing fascination—he used laser fax machines and laser printers in 1990, and in 2009 he started using the Brushes app on iPhones and iPads to create paintings. A 2011 exhibit at the Royal Museum of Ontario showcased 100 of these paintings.

(In a 2011 poll of more than 1,000 British artists, Hockney was voted the most influential British artist of all time. He continues to paint and exhibit, and advocates for funding for the arts.)