digital portfolio pdf

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INTERIOR DESIGN

FIRST- H A N D OBSERVATIONAL D RAW I N GS:
Here I have created two observational portraits of my sister. At the start of my project I wanted to look at how people without deformities could
mould there face into looking slightly deformed. I created the image on the left to show how my sister normally looks and the image on the right to
show how moving different areas of skin can manipulate the way a person looks. I chose to work in black and white to add a high level of contrast
within the images, the lack of colour allows there to be more focus within the drawings. I am really pleased with the way both drawings came out
however, I feel I needed more practice drawing before drawing the hands, in the image on the right, as I struggled to add dimension when trying to
make them look 3D.

JOSEPH LEE ARTIST RESEARCH:
NEW ENGLISH
48x36in
oil, pastel
2018
IDENTITYCHRIST
oil, oil pastel
2018
I have created this image of my brother in the style of some of
Lee’s work. I thought it linked well with my theme as the
textures and mark making he has added blurs out most of the
features of the face, leaving the placement of the tones and
key structures of the face. This technique links to my theme of
distortion as it gives the impression that the model is trying to
hide something weather that is emotions or something
physically. Insecurity can make people feel as if they can’t
show that part of their body and can make them feels as if
they are deformed. The thick textures created using palette
knifes and dense smudges of paint almost act as a mask by
not allowing any detail or true definition of the face to be
shown through. I do like the way this painting came out, the
colours harmonise together and by using lots of paint in small
areas of the hair it differentiates the hair form the skin. If I
were to create a piece of work in this style again I would like
to apply the colours in different stages and let the paint dry
before adding another colour in other areas, there are a few
areas where the colours have blended more than I would have
liked which makes it look slightly messy.

D E V E L O P M E N T I N S P I R E D B Y
J O S E P H L E E :
This image was created as a piece of development
that I could use to help me plan and produce my
final outcome. I have used two different styles of
collage and mark making using a palette knife. Both
of these techniques have been used by the artist
that inspired me to create this piece of work. To
practice using oil paint I decided to paint skin tones
over a photograph I had taken of my sister as it
helped me match skin tone and learn how the paint
applies to paper, and the brushstrokes needed for a
blended finish. I then used a sample of white mesh
fabric and used watered down acrylic paint to add
tone and small amounts of detail like the colour and
shape of the eye. After this had dried I cut it into a
range of different sized pieces and collaged them on
parts of the face. I also decided to add some texture
to the surface of the skin by placing strokes of
acrylic paint with a palette knife. I tried to keep this
image as realistic as possible by using natural skin
tones and not applying fabric or marks of paint to
the entire face. My idea for this piece was to use
the mark making and layers of mesh fabric to cover
elements of the face almost like a mask covering
insecurities. As my theme is distortion I not only
wanted to look at natural distortion, from both birth
and accidents, but also ways in which people may
feel abnormal through insecurities which I think is a
big topic in this day and age through mainly from
the use of social media.

DEVELOPMENT OF PALETTE KNIFE TECHNIQUE:
These three images were created to experiment the placement of the palette knife markings on my final piece. As using palette knifes was a new technique for me I
wanted to practice the direction and placement of each stroke so that I could become more comfortable with this skill, and to get a better understanding of how I
wanted my final piece to look. I printed off a picture of my final piece before I had put the palette knife markings on and worked into them using acrylic paint. This
helped me to decide where I wanted the mark making to cover and also the colour scheme I wanted. I tried a range of bright colours and also a range of skin tones.
Overall, I preferred the skin tone colours over the brighter colours, this is because I thought the more mellow tones allowed me to convey the meaning of the painting
more and didn’t draw attention away from that. This was a very helpful exercise to do and I’m really happy with how it turned out. After completing these images I
become more confident in this technique and had more clarity in how I wanted more final image to look.

FINAL PIECE INSPIRED BY JOSEPH LEE:
After studying Joseph Lee and his work I decided to create a painting inspired by him using
his two techniques, one being thick marks created using palette knives and the other using
skin toned fabrics to build texture across the face. These techniques have linked well with
my theme, deformity, as they both cover areas of the face. The covered areas suggest that
the model may be trying to hide something, whether that is facial distortion or insecurity
making her feel as if she needs to hide herself.
This image is a slightly distorted painting of my sister, it was created from a first hand
reference and was composed using oil paints, acrylic paints and mesh fabric. I first started
by creating a realistic painting of my sister using a variety of oil paints, I then used watered
down acrylic paint to make washes over mesh fabric. When doing this I tried to use
different skin tones to create highly tonal areas of the fabric. If I were to do this again I
would give the mesh time to dry slightly before applying other tones to ensure the colours
didn’t blend too much. After the mesh and the painting had dried I cut the mesh up and
stuck it across different areas of the face. Finally, I used acrylic paint and a palette knife to
create thick marks across my image. Within these markings are many pink, golden and
purple hues. I used this colour range as I thought they would harmonise with the different
skin tones across the face.
In my work I have developed atmosphere through isolation and aggression. I have created a
sense of isolation in my work by having the model alone and with a neutral grey/blue toned
background. I have also shown aggression through this image with the thick, sharp, palette
knife markings giving the impression that they might be cutting into her skin. These feelings
link well with my theme as they show the emotions someone might feel if they were trying
to hide or cover there insecurities or natural deformities.

M A RK GILBERT A RTIST RESEARCH:
Tuba K.
oil on canvas,
34x34 inches
Henry E. (Pre-op I)
oil on canvas,
18x18 inches, 1999
Joe
charcoal on paper
36x24 inches
1996
Reference images I used to help me when studying bruises.

EXPRESSIVE CHARCOAL DRAWINGS INSPIRED BY MARK GILBERT:
Here are two drawings I created
inspired by Mark Gilbert, using
charcoal and chalk. Although most of
Gilbert’s work is created using oil paint
on canvas, he also has a range of
sketches produced using charcoal. I
created these images to experiment
using different mediums, and to
produce expressive images focusing on
the harsh mark making and drastic
contrast between the light and dark
tones.
These pieces of work link to my theme
because they show a different side to
deformity. They show the physical
strain your body can go through, for
example, tiredness. The lack of colour
can could also hint at the emotional
strain that injury or natural deformities
can have on a person, and could link to
the loneliness a person is feeling.
I love the way these images came out, I
think they capture the rawness of the
images. In the future I would like to
recreate images like this but using
coloured chalk, I think this would help
add to my ability of using colour to
create dimension and life-like drawings.

DEVELOPMENT TOWARD FINAL PIECE INSPIRED ARTISTS’ RESEARCH
I have created these images to help me practice the mark makings I will be using and also to see how
the colours in the image harmonise with different shades of blue as a background. I decided to use
blue as the background when creating these experiments as Mark Gilbert’s work revolves around
injury and natural deformities in the surgery industry, therefore the background correlates to
different tones of the NHS blue. The image to the right shows the different tones of blue the NHS
uses.
When producing these paintings I wanted to practice creating the marks of the bruises and use them
and the areas of the bruising to help give dimension to the eye. I also used these images to help me
map out where I wanted to add Lee’s techniques. I feel that by adding some of the skills I learnt from
Lee’s artwork will help bring a level of contrast and stronger meaning to the work that I will create.

PRACTICE FOR MY FINAL
PIECE:

FINAL OUTCOME NUMBER TWO

JOHNSON TSANG ANALYSIS AND
REFERENCE IMAGES:
Johnson Tsang
Johnson Tsang is a 62 year old, self-taught artist from Hong
Kong, who is best known for his porcelain and stainless steel
works which he infuses with kinetic energy. His work shows
extreme variety, however the work that has influenced me
most are his realistic human faces which are contorted to
express extreme emotion. The main influences of Tsang’s
work links realism with surrealism however, a lot of his
inspiration has stemmed from his time as a policeman. Before
Tsang persued his dream to be an artist he was part of a police
force, he has stated that from his experience as an officer he
find that the darkness and violence of crimes he has
witnessed has left an unforgettable mark on his creative
perspective. The main influences of his work links realism and
surrealism. Despite the fact that Tsang is self-taught and has
no other experience in the industry, in 2002, Johnson started
to represent versatile splashes with ceramics. He created the
Yuanyang series, which were then collected by the Hong Kong
Museum of Art and the Yingge Ceramics Museum of Taiwan.
In addition, he has won both the Korean International Ceramic
Biennale in 2011 and the Taiwan Ceramics Biennale in 2012.
Self-centered
L27 W22 H15cm
Porcelain
Wall mounting
Lucid Dream II
Drifting Senses
L28 W18 H16cm
Porcelain
Wall mounting
Lucid Dream II
War Zone
L27 W21 H24cm
Porcelain
Wall mounting
Lucid Dream II
Against the Wall
L30 W22 H14 cm
Porcelain
Wall mounting
Lucid Dream Series
In the War Zone is piece of work it is an image of a sculpture of a face which
has been dented in the top of the head, and due to this has cracks across the
face. The sculpture is made from porcelain and the composition focuses on
the head and neck of the model. The key focal point of the image is the dent
in the left of the forehead. My eyes were initially drawn to this area as it
shows high levels of texture and tonal details. My favourite part of this image
is the way the dent in the forehead gradually cracks different areas of the face.
In regards to my theme, I think this could signify the emotions of people
suffering from deformities chipping away at the person they are. The use of
monotone is also key in this sculpture, I like the way he has thought out the
photography of this image and where the light hits the sculpture tp create the
shadows on the left hand side. This adds definition and depth to the image.
I have chosen to study Tsang’s work as I think the way he manipulates his
faces is really interesting. I think my work relates to his as he looks at how he
can distort faces to show emotions. His work can also link to the works of the
other artists I have studied. When talking about how my other artists link to
my theme I spoke about how using different techniques made it seem like the
model is masking there emotions or trying to cover there deformities, or areas
they are insecure about. However, what I like about Tsang’s work is that
because he essentially makes masks of people’s faces I interpret his work in a
way that I think he is using the masks to show that he is emphasising the way
they look on the outside and covering who they are as a person. This could be
showing that when people look different others don’t see them for who they
are, they just judge the appearance.
When using Tsang’s work to influence my development I want to explore
different mediums, like clay, and I want to use his work to help me develop
this idea of hiding behind a mask.

DEFORMING CLAY MASKS EXPERIMENT:
Here are a few of the initial clay faces I created using a plaster mould. The main reason I made these was so that I could build on my technique and get a feel for how I
wanted them to look. I was very pleased with how these masks turned out however, some of the other ones I created were overly manipulated and ended up not
looking like faces.
These were extremely helpful towards the development of my skills and ideas. After the masks came out of the kiln I realised that I needed to spend more time
making sure all the edges are clean and the faces are smoothed out as there were a few unintentional bumps and small lumps of clay that I didn’t remove.

DEVELOPMENT:
This image shows a range of clay masks I made and moulded together. I decided to
do this so that I could show a range of different distorted faces and see how they
would look when they are placed together.
I really like the way each face is bonded to the other faces differently and how the
way each face has distorted is now amplified when being joined to other faces.
However, after making this, again, I have realised that I did not make this neat
enough. For example, there are small lumps of clay that should have been removed
and from where the faces have been pushed together, the appearance of the outer
layer has bumpy rather than being smoothed out. Although this could add to the
distortion I think it takes away from the emphases of the distortion of the face.
The images above show some initial ideas towards my final piece. Here I
looked at how I can incorporate the skills I have learnt from studying
Lee and Gilbert and how I could link them to my current artist.

DEVELOPING THE ILLUSIONS OF DEFORMITY ON CLAY:
The image on the left shows ideas I had toward the application of colour and different mediums onto the clay masks
that I created. I looked at a different ways to convey distortion like, underglaze, acrylic paint applied with a hog hair
brush, acrylic paint applied with a palette knife and wrapping acrylic washed scrim around a mask. I liked the way the
underglaze turned out, I think it showed an illusion of bruises however, I think the colours I used were too bright. I think
I would have preferred the outcome if they were darker tones. I did find that the areas that I used stippling motions
turned out a lot better than the areas I used brush like strokes.
I am very pleased with the way the top right mask turned out, I used a hog hair brush to stipple dark reds and yellows. I
think this technique worked the best when trying display bruising.
With the palette knife mark makings, on each mask I tried to link it to Lee and Gilbert. On each mask I used a similar
base colour to the background of my previous final pieces, and then applied similar colours that were incorporated in
those final pieces on top using a palette knife. I really liked the way these turned out, but next time I would like to use
longer, thicker, sharp marks and less small smudged marks.
With the final two masks I decided to stain pieces of scrim using watered down acrylic paint and then write different
words that I had found in my research and use water to blur the letters. After wrapping them around the face I saw
that it was a simple way to convey a lot of meaning behind the masks. The scrim acted as a barrier between the masks
and either the feelings one gas with deformities may feel or words that describe how other people see deformed
people.
This image shows the development of opaque materials to use as an over
lay over my final piece. I started by staining scrim with watered acrylic paint
and then writing words I found in articles with soluble pens and then
washed the top with water to blur the words.
The second option I tried was printing printed out words onto a bandage
using PVA glue. As much as I liked the way this turned out, it wasn’t right
for my final as the PVA glue was so thick it glued all parts of the bandage
together so that it was no longer opaque.

These images show my final piece inspired by Johnson Tsang however, it
has not yet been mounted at put together.

PHOTO OF FINAL OUTCOME
NUMBER 3:

FINAL OUTCOME NUMBER 3:
The image on the previous slide shows my final piece inspired by Johnson Tsang. Unfortunately, it hasn’t been assembled yet so this
photograph shows roughly what it will look like. Once it has been put together it will be mounted to a wall and the layers of scrim will be
hung in front of the faces.
I created this piece of work as a way of linking all the skills and techniques I have learnt from all three of my artists. This piece also links
with my theme of ‘deformity’ by not only showing facial disfigurements, like bulges or dents in the masks, but also deformities through
injury, like bruising. It also hints at other areas of deformity that I have spoken about in previous pieces of work, like, the palette knife mark
makings acting as barriers, and trying to cover either physical deformities or the emotions felt from living with these deformities.
I decided to arrange the masks I had created the way I did because I wanted to create a gradient with the base colours that I had used. At
first I tried arranging them randomly but I thought it made the piece of work look slightly messy and when I looked at the board of masks I
didn’t focus on what was on the masks. When I looked at the board all I saw was lots of different painted faces therefore, I decided to
arrange them in a way that looked more subtle and didn’t draw peoples attention away from the meaning behind the masks.
My favourite part of this piece of work is the scrim that hangs across the faces. I think that the scrim is very symbolic within this image.
When making this, I looked through some articles I had found and picked out powerful words, for example, anxiety and mockery. I also
thought about how I can make these words look bold, so I decided to sew a few words on to make sure they stood out. The reason I find
this part of my final so symbolic is because I feel the scrim represents the outer layer of a person. People quite often judge or say rude
things to people who don’t necessarily look ‘normal’ and the words on the scrim show that they are almost being branded with these
words.
Overall, I really like the way this image turned out, I love the range of colour and how each element of this image compliments others. If I
were to recreate a piece like this I would want to experiment with other mediums and how they apply onto clay. I would also like to have
added more of then sewn words. This is because I think they add meaning to my work. They show the way that people with deformities get
treated.