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.