All the art I have posted I believe demonstrates an understanding of several techniques, most of which I was introduced to from the beginning of my National Diploma in Art & Design. Artist research also provided me with a better sense of how to form outcomes, for example during the making of my Clay Head sculpture I was reading books detailing how Giacometti and his perception of people and form translated into his art. This lead me to not only observe my subjects facial proportions and getting the angles precise but also take into account his expression and emotion while creating the piece.
I've also found research prior to creating art helps me judge the standard my work is on. Although direct comparisons to professional artists is not a good idea as they have more experience in the field than I do, it does give me something to aim for even if just as a personal target I could ask myself "Would my art be good enough to be in the same exhibition as this". This type of ambitious mentality along with my realistic approach to giving form to my ideas is what I believe gives me the right state of mind to develop as an artist in my own right naturally. I feel studying art at this level will further enhance my growth as I will be surrounded by dedicated lecturers and students which will only keep me dedicated to my passion.

Portraits - Monochrome Self Portrait

Using various shades of black, white and grey I aimed to build up tone in an attempt to distinguish my features and bring form from the darkness. My application of paint would vary from solid sections of colours to patches of mid-tones.

Suitcase Project - Large Scale Suitcase Drawing

Tone became an important factor as I closely examined how the lighting played a part in the objects inside the suitcase. For a composition this size it was crucial that I captured the proportions of the suitcase in relation to the objects as accurately as I could before even filling any of the items. To make my marks more expressive I drew the entire composition using either charcoal or graphite on the end of a stick the length of my arm, this also made sure I didn't get to close and personal with the drawing as it required an overall view to be precise.

Autobiography - Large scale portrait

Here I concentrated solely on the tonal qualities of my subject who adopted a military like stance so I could aim at capturing the emotion he projected.

Portraits - Life Drawing (seated postion)

In this composition I began to explore not only the body in more detail but also the varying tone it held. My lines were more considerate as the angles of the models limbs required deeper analyzation before attempting to capture it. Tone was established through quickly altering between using the side and point of the charcoal stick.

Life Drawing - Standing Subject

Composition where I appreciated the proportions and figure of the model. Although my marks were fast across the canvas I was constantly looking back at the subject even realizing mistakes and refining it as I go.

Suitcase Project - Conceptual Design Sheet

This was at a point towards the end of my assignment where I needed to make the transition from thoughts and research in my sketchbook to actually deciding how my ideas will take shape. My theme was a visual biography but this really helped me envision how I would present it. I experimented with a collage of family photographs with a stencil of myself which proved to successful enough to be carried into the creation of my final piece.

Still Life - Objects

A collection of objects where I used quick lines and altered between using cross - hatching to not only establish a sense of light but go some way to capturing the surface qualities. To distinguish between the actual object and the shadow created by it I introduced water to spread an equal amount of colour to a certain area, once it dried I would further work into it but on a smaller part of the area to attain the really dark elements, this means with no more than fine liner and water I was able to build different levels of tone that captures the visual information admirably.

Still Life - Kettle Composition

Using gum strip, newspaper cuttings and grey paper to present 3D qualities to what started as an observational drawing of the suspended kettle. But what was crucial about this piece was the negative space around the point of interest, it was here where most of my effort was focused, the gum strip in particular worked really well as it gave an approving contrast to the diverse tone from the vibrant ink washes. The outcome proved to be a good example of how I could implement different perceptions of tone through different materials.

Portraits - Clay Head

Working with 3D forms it was important to strike a balance between expression and consideration. Initially I focused solely on capturing the proportions of my subject using a plastic knife to lightly map out the position of the features and then took what were slabs of clay and moulded them onto face. Cutting into the face is when I really began to establish a likeness using the lines I made earlier as a guide. Although I was aggressive when constantly restructuring areas such as the chin and cheekbones it was necessary to slow down the pace and concentrate on the subjects gaze when working on his eyes, consequentially leading to a clear expression of 'focus' as he holds his stare. 

Portraits - Clay Head Sketch

These demonstrate an understanding of the sculptures form which was helped by working on the heads for six sessions. The sketches, in contrast to how I created the heads, were more fluid with the tip of my pencil rarely coming of the page, while the tone, produced through cross - hatching and heavy mark making, was centred largely around the prominence of the eyes.

City Life - Building Painting On Site

This piece was done on site. Because I was painting outside I felt an urge to get all the information on the canvas as fast as possible leading to constantly changing between my tools. Because shellac produces a warm colour it was up to me to add black and white accordingly to build personality to certain sections. A key aspect to this compostion was refining with sticks of charcoal that were very rigid and sharp in some area but this was mostly directed towards the outlines rather than the interior as I tried to seperate what was a congested layout.

3D Suitcase - Bracelet Sculpture

Examining how Giacometti perceived the human form encouraged me to look past the actual shape of the bracelet I was portraying and instead embraced its fundamental virtues, this brought me to the idea of essential and elementary form from which I broke down the structure of the item and rebuilt only what was relevant. Once placed together the four 'reconstructed' bracelets bring up other elements that I initially didn't consider such as geometric abstraction and a sense of movement which is highlighted by the gradual shrinking or enlargement; however you wish to see it, of the sculptures. I believe the space in between and around the four structures to be engaging as depending on the angle you view it different shapes and formations appear.