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Assignment 5 Assignments

Assignment Five : Rethinking and Realising

This assignment is an open brief but challenges me to produce a body of work that explores a starting point of my thoughts through different stages of development, materials and processes.

Keywords from the brief:

  • Think unconventionally
  • An open-theme example is improving my drawings
  • Consider sizes, shapes, forms and materials
  • Have an idea, test it, develop it unusually and take it somewhere further.
  • A minimum of three finished pieces
  • Document what you do as you go along
  • This project should take 90hours
  • Write a final reflective statement

Previously, in assignment four, I created 3D clay sculptures and hand-painted backdrops around the theme of imagination, focussing my work on the story of Alice in Wonderland. These artworks included 3D clay sculptures of Alice and the white rabbit, which I photoshopped into hand-painted backdrops. These can be seen here:

Assignment Four

For this new project, I intend to elaborate on the artwork done in assignment four, with a focus on the sequel to Alice in Wonderland, Through the Looking Glass which was first published in 1865. As a result, new challenges will arise, hopefully leading to fresh and different artworks. I’m excited to explore the numerous characters and places depicted in Through the Looking Glass and incorporate them creatively into my illustrations. By delving into this story, I hope to boost my creativity and create a collection of visually appealing and thought-provoking artwork.

Project Proposal: Exploring “Through the Looking Glass”

Brief

Building on my previous work inspired by Alice in Wonderland, this new project will focus on the sequel, Through the Looking Glass. My aim is to develop and refine my creative process by exploring different characters, settings, and themes from the book. The emphasis will be on thinking unconventionally and pushing the boundaries of my artistic practice.

Project Goals

  • Expand on previous themes: Using my prior experience with clay sculptures and painted backdrops, but take the ideas further by exploring new materials, forms, and scales.
  • Create at least three final pieces: These should reflect the development of my ideas and demonstrate my experimentation with either different materials and techniques or both.
  • Document the process: Keep a detailed record of my work at each stage, from initial sketches to finished pieces.
  • Reflect on my practice: Write a final reflective statement that evaluates my process, challenges, and outcomes.

Initial Ideas and Research

First, I downloaded the book ‘Through the Looking Glass’, which I learnt was free to read on Google Play (Google.com, 2024). Due to my dyslexia, I found it helpful to listen to an audio version of the book too (Reads, 2024). While reading the book, I took notes on specific paragraphs that I felt would create interesting pictures.

Fig. 1 Annotations (2024)

Once completed, I reduced the selection to thirteen possible illustrations.

Fig.2 Possible ideas (2024)

I then produced a list of these thirteen ideas, explaining the story for each one, and asked friends and family which three they would most like to see in a book.

Fig.3 Asking friends (2024)

It was interesting as ideas numbered two and eight were the favourites and I selected number one as I was keen to make that particular illustration.

Brainstorming & Thumbnails:

Next, I began creating a series of sketches and notes on the characters, scenes, and themes from  Through the Looking Glass that resonate with me and focused on how I can reinterpret these elements in unexpected ways.

Brainstorming slideshow

  • Brainstorming Alice meeting Humpty Dumpty
  • Brainstorming Alice meeting Humpty Dumpty
  • Brainstorming Alice stopping for a rest to find a gold crown appear on her head

Thumbnail Slideshow

  • Alice Composition idea
  • Alice sat in a mossy field with flowers
  • Composition ideas for Alice meeting Humpty Dumpty
  • Working out the composition and perspective for Alice and Humpty Dumpty meeting each other
  • Humpty Dumpty Character Design

Research

Graham Rawle

Studying the methods of other illustrators and artists is essential for discovering artistic movements and strategies that can inspire my work. To this end, I explored Graham Rawle’s book The Wizard of Oz: An Interpretation, a creative reimagining of the classic story. I began by watching a short animated film by Pete Mellor and Graham Rawle that showcased Rawle’s unique visual style.

You can watch the video below.

After viewing it, I purchased a used copy of his book on eBay to delve deeper into his interpretations. As I spent time examining his artwork, it became clear that Rawle painstakingly assembled numerous elements to craft a surreal interpretation of the story. By merging tactile handmade materials, he has created a work that is both imaginative and captivating. Many of the characters, like Toto, were intricately handcrafted before being combined and edited in Photoshop.

During myresearch, I discovered an interview Rawle did with an editor from The International Wizard of Oz Club. It was fascinating to learn that Rawle had been drawn to the narrative for many years before embarking on his reinterpretation and that he uncovered backstories for each character. This undoubtedly deepened his passion for the project, much like my exploration of Alice in Wonderland.

I was excited to see parallels between his work and my previous creation of 3D sculptures integrated into painted backgrounds for my own interpretation of Alice in Wonderland. This has strengthened my confidence in my creative process and fueled my enthusiasm to continue exploring unconventional mediums.

History of Through the Looking Glass

After studying Graham Rawle’s work and techniques, I decided to delve into the origins and inspiration behind Through the Looking-Glass. As I mentioned in my previous assignment, Lewis Carroll was not just an author but also a brilliant mathematician. He had a fascination with reflection, symmetry, and binary logic, which, for many years, scholars have been analysing alongside his mathematical workings. This, along with his relationship with Alice Liddell, likely inspired the creation of Through the Looking Glass.

During my research, I was excited to learn Alice Liddel’s grandparent’s home was located in Cheltenham, Gloucestershire (not far from myself), where Carroll visited her for a short time. This home still features a large ornate mirror, which is believed to be the mirror that inspired Through the Looking Glass. This is shown below.

Fig. 4 Alice looking in the mirror (2024)

Next, I studied some of the original illustrations by John Tenniel for the book. His artwork is incredibly detailed, with intricate line work that vividly brings Carroll’s fantastyl world to life. Tenniel captures the whimsy and imagination of the story, conveying emotion through the characters facial expressions and body language. This is evident, for instance, when Alice encounters the bewildered Queen and helps her by fixing her messy hair and retying her shawl. This illustration can be seen in the Pinterest folder below.

After looking at his work, I’m hoping to be able to create something that is both original and distinctive, like Gramham Rawles and John Tenniels artwork combined. 

Visuals

Alice meets Humpty Dumpty

This illustraton it is based on the following paragraph from the book.

‘And how exactly like an egg he is!’ she said aloud, standing with her hands ready to catch him, for she was every moment expecting him to fall.‘(Google.com, 2024)


After producing thumbnails and experimenting with various compositions, I started to build a 3D model of Humpty Dumpty, I went to my local recycling centre to check if they had anything I could use for this project. I was excited to discover a Styrofoam egg and an old vintage doll. Both I thought would be good for this project.

Fig. 5 egg (2024)
Fig. 6 Vintage Doll (2024)

After I bought them, I started sculpting the egg with floral wire for the arms and legs, and I then added plasticine to finish sculpting the area surrounding the egg. When I was done, I added finishing details like a tissue to his pocket and a cravat I created out of some leftover cloth. A slide show of my work in progress is shown below.

Slide show of working process of making Humpty Dumpty

Next, I began drawing and painting the background on an A3 sketchbook. Mixed media was used for this such as watercolour, crayon and pastel some applied with brushes or sponges.

Slideshow of working process of backdrop painting

  • Pencil sketch layout
  • Starting the painting
  • Painting ready for enhancement in Photoshop

It was now time to use Photoshop to improve the painting and add the characters. This last picture features the vintage doll dressed as Alice alongside phrases from the book “Through the Looking Glass” collaged on top.

Fig. 7 Alice meeting Humpty Dumpty (2024)

The result was a unique and fresh retelling of the classic story. I was pleased with how the many elements blended to create an appealing and eye-catching image.

Alice becomes queen

This next illustration is based on the following extract from the book.

The Eighth Square at last!” she cried as she bounded across, and threw herself down to rest on a lawn as soft as moss, with little flower-beds dotted about it here and there. “Oh, how glad I am to get here! And what is this on my head?” she exclaimed in a tone of dismay, as she put her hands up to something very heavy, and fitted tight all round her head.

“But how can it have got there without my knowing it?” she said to herself, as she lifted it off, and set it on her lap to make out what it could possibly be.

It was a golden crown.(Google.com, 2024)

After creating the thumbnail sketches I began considering how to make Alice. I thought of the exercise I had previously completed which was about working small and started trying to make Alice using Fimo clay.

Fig.8 Fimo Experimenting (2024)

However, I found this difficult and didnt have the right modeling tools for working at such a small scale. Instead I decided to make Alice out of air drying clay. Below is a slide show of my working process.

When the sculpture was finished and had dried, I coloured it with acrylic paint and sanded it with a nail file. Finally, I built a plasticine crown and incorporated it into the figure.

Fig. 9 Painted Alice (2024)

Next, I started drawing a background of a beautiful grassy field in my A3 sketchbook using acrylic paint, pastels and crayons.

Fig. 10 Field painting (2024)

After this had dried, I finished the image by adding the clay sculpture in Photoshop and making some final editing. Whilst editing, I wondered if encorporating the vintage doll somehow would be effective.

Fig. 11 Alice doll in field (2024)

However, I didn’t think it worked in harmony with the hand created elements so went back to my original idea. Below is the finished image.

Fig. 12 Alice sculpture in field (2024)

Finally, I created a book mockup for the illustraton.

Fig.13 Mockup (2024)

The final resulted in a unique mixed media artwork that I think has brought the story of Alice and the crown to life in a creative way. The combination of traditional and digital art techniques have added depth and dimension to the overall piece. The use of different mediums allowed me to experiment with textures and colours.

Alice falling down the rabbit hole.

The final image was going to be based on Tweedle Dee and Tweedle Dum. However, there was a change of plan that happed by accident. For research purposes and to hopefully give me more inspiration I researched a book called ‘The story of Alice’ by Robert Douglass and found the only book available was based in a libary twenty minutes away.

Fig. 14 The Story of Alice (2024)

Reseving the book, I drove to the libary with my younger son to collect it. When entering a member of staff was walking around with a VR headset on. Finding this amusing and unusal for the setting I laughed and said what are you doing. He mentioned he was setting up games for a class he was holding for children during the summer holidays. Thinking of my son I asked is there other oppotunitys available at the libary and I was shocked to disover the libary has the following available to use.

  • 360° immersive film
  • 3D design, print, scanning and prototyping
  • Coding & micro-computers
  • Virtual & Augmented reality
  • Advanced digital design & animation
  • Full Adobe Creative Suite
     
  • A design studio for digital design, 3D modelling & animation
  • Oculus Quest virtual reality headsets
  • 3D scanners & printers
  • Podcast recording equipment
  • 360° cameras & editing software
  • Micro-computers & programmable robots
  • Project & Digital Skill support from our Lab Tech teamwhole Adobe suite, camera equipment and 3D laser cutters.

Hearing this I was excited and mentioned my project and showed him some of my work. I had an idea of animating my illustration of Alice falling down the rabbit hole but didn’t know how. He then showed me this could be achieved by scanning and photographing my model and then animating it in a program called Blender.

Therefore, I went back to the libary with my model of Alice and used their 360° cameras & editing software.

Fig. 15 Photograhing Alice (2024)

Next, I used these photos of my sculpture to create a 3d model in Blender and began learning how to create an armature for the model.

Fig.16 Rigging Alice (2024)

It did feel like I had bitten off more then I could chew as the programe is completely new to me and very complicated! However, I am determined to complete my idea as I think it will be not only taking me out of my comfort zone, but learning new skills, developing my artistic ability and creating something exciting and original. However, I know it is going to take me many hours to learn.

Perservering with Blender, I managed after many attempts to attach the completed rig of armature to the model of Alice.

Fig. 17 Armature Alice (2024)

However, when trying to pose the model in different position it was not working correctly as parts of the model were stuck which can be seen in the images below.

Fig. 18 Armature Problems (2024)

This meant I had to go back through every bone in the armature in edit mode and highlight the mesh that needed to be attached to the bone. This was a very tidious and difficult process.

Fig.19 Fixing mesh (2024)

Yet, after many hours I managed to attach all the bones ready to be posed and ready for animation.

The next stage, is to add back the original textures to the model. Which are ready to be synced to the model.

Fig. 20 Alice Fusion (2024)

Once this is achieved I will create an animation of Alice falling in Blender, which I have done a short test and am confident in creating. Below is a short clip of me experimenting with the animation side.

Finally, combine this with the background image below which will be rolling behined. I anticapte this to be completed in After Effects. Unfortunetly, this is a slow process and a giant learning curve for myself so it hasn’t been completed. However, it is my intention to have it completed for assessment.

Fig. 21 Rabbit hole (2024)

Reflective Statement

This project has been both challenging and a rewarding experience, blending traditional methods with advanced digital techniques to re-tell “Alice in Wonderland” and “Through the Looking Glass.” From the beginning, I was eager to explore the possibilities offered by the advanced technology available at the library, particularly in animating my illustration of Alice falling down the rabbit hole. However, the journey took me far beyond digital exploration, as I also experimented with sculpting and mixed media illustrations.

3D Modeling and Animation

Learning Blender, a program entirely new to me, was perhaps the most daunting aspect of the journey. It is evident it has been a steep learning curve as I struggled with rigging and weight painting my model of Alice. There were moments of frustration, especially when the model didn’t respond as expected during the posing phase. However, each challenge presented an opportunity to deepen my understanding of 3D modeling and animation. The satisfaction of finally seeing the armature function correctly was a significant milestone, reinforcing my determination to continue.

Experimenting with the animation itself, although time-consuming, provided a glimpse into the possibilities ahead. The short test clip I created gave me confidence that I could eventually bring my vision to life. Also, the prospect of combining the animated model with the background in After Effects is exciting. This experience has tested my patience but most importantly, expanding my artistic abilities and I am excited to see what else I can create.

Humpty Dumpty and Alice Sculptures

Aside from my work in Blender, I undertook a hands-on project to create a 3D model of Humpty Dumpty. The process of sculpting Humpty Dumpty, using floral wire and plasticine, was both challenging and fun. I hope my attention to detail, from the tissue in his pocket to the cravat made from leftover cloth, added a personal touch that brought the character to life.

Next, I experimented with mixed media in my A3 sketchbook to create colourful backdrops. The use of watercolors, crayons, and pastels allowed me to explore different textures and effects, which I later enhanced in Photoshop. This combination of traditional and digital media allowed me to refine and perfect the background while maintaining the handmade feel of the original work.

Creating Alice was another important moment. Initially, I struggled with sculpting in Fimo clay due to the small scale, but rather than giving up, I adapted by switching to air-drying clay where I was able to mold and paint Alice more effectively.

Integrating these elements into the final image required careful thought. While the vintage doll initially seemed like an interesting addition, I ultimately realised that it didn’t harmonise with the hand-crafted elements. Returning to my original idea, I was able to create an image that felt more unified and true to my artistic vision. The creation of a book mockup allowed me to see how these illustrations might function in a published format.

In reflection, this project has pushed me to think creatively, adapt to challenges, and blend various artistic techniques to achieve a final result that I am proud of. The experience has been invaluable in helping me grow as an artist, and I look forward to applying these skills to future projects.

Reflection on verbal tutor feedback

“Completing my project based on Through the Looking Glass and receiving feedback from my tutor was both a nerve-wracking and a rewarding experience. I often feel apprehensive about how my work will be received and whether I’ve done enough to meet expectations. However, I was delighted to hear that my tutor was blown away by my efforts, particularly in handmade crafting, the stunning illustrations I created, and my integration of technology. She also recognised my initiative in learning Blender, expressing eagerness to see the animation I am currently working on. My tutor has also encouraged me to start marketing myself, and playfully adviced me to display my sculptures at home rather than sell them. This feedback gave me a renewed sense of confidence in my abilities. Hearing her say, ‘ If you don’t have confidence now you never will, well done Gemma,’ and that she was impressed and blown away by my work was incredibly affirming, and it’s a reminder to trust in my creative instincts moving forward.”

Continiation of Blender animation after tutor feedback.

Knowing my animation hadn’t been finished due to the complexity of the software was frustrating, especially given the effort and time I had invested in it. Throughout the process, I learned new skills in 3D modeling, animation, and video editing, and I was eager to see a completed result I could be proud of.

Determined to finish, I continued working on the animation. After many late nights and setbacks, I was finally able to complete it and share it with others.

To bring the character of Alice to life, I first adjusted the model’s mesh in Blender to ensure smoother movements. I then created keyframes in Pose mode, meticulously positioning each part of the model in various poses across frames. This involved detailed adjustments to ensure that Alice’s movements appeared natural and expressive.

Next, I tackled the challenge of installing a camera in Blender to record the animation. This part of the process took several attempts, as setting up a dynamic camera angle that captured Alice’s descent effectively required careful placement and experimentation.

After exporting the animation, I moved on to After Effects, a new software for me, to create a scrolling backdrop. Learning After Effects was initially daunting, but with time I managed to create a background that complemented the movement of the character. Finally, I added music to enhance and bring the animation fully to life.

While the very short animation is not perfect, I believe it captures my creativity, dedication, and willingness to take on new challenges to improve my skills in both illustration and animation. I hope you enjoy watching.

References

Alice in Wonderland: Which places inspired Lewis Carroll’s classic? (2015). BBC News. [online] 10 Aug. Available at: https://www.bbc.co.uk/news/uk-england-33694931.

Douglas-Fairhurst, R. (2015). The story of Alice : Lewis Carroll and the secret history of Wonderland. Cambridge, Massachusetts: The Belknap Press Of Harvard University Press.

Frank Joslyn Baum (2008). The Wizard of Oz (Collecter’s Edition). Atlantic.

Frodelius, B. (2008). Wizard’s Wireless: Interviews With Artists Inspired by Oz. [online] Frodelius.com. Available at: http://www.frodelius.com/wirelesstelegraph/rawle.html [Accessed 1 Sep. 2024].

Google.com. (2024). Through the Looking Glass, And what Alice Found There – Google Play. [online] Available at: https://play.google.com/books/reader?id=i2MCAAAAYAAJ&pg=GBS.PA1.

http://lenscratch.com/author/aline-smithson (2009). Graham Rawle – LENSCRATCH. [online] LENSCRATCH. Available at: http://lenscratch.com/2009/02/graham-rawle/ [Accessed 1 Sep. 2024].

Reads, N. (2024). – YouTube. [online] Youtu.be. Available at: https://youtu.be/X_BFCpGm2sY?si=4Re6S9T65DDT4t00 [Accessed 15 Aug. 2024].

Robinson, M. (2014). Charlton Kings house where the real Alice in Wonderland lived is on the market. [online] Mail Online. Available at: https://www.dailymail.co.uk/news/article-2591691/Five-bedroom-three-storey-house-real-Alice-Wonderland-lived-market-time-three-decades-1million-complete-looking-glass.html [Accessed 1 Sep. 2024].

Sutherland, J. and Gundry, D. (2004). The Project Gutenberg eBook of THE LIFE AND LETTERS OF LEWIS CARROLL (REV. C. L. DODGSON) by S. DODGSON COLLINGWOOD. [online] http://www.gutenberg.org. Available at: https://www.gutenberg.org/files/11483/11483-h/11483-h.htm.

Illustration list

Fig. 1 Fowler, G.(2024) Annotations [Photograph] In possession of the author: Forest of Dean, Glos.

Fig.2 Fowler, G.(2024) Possible ideas [Photograph] In possession of the author: Forest of Dean, Glos.

Fig.3 Fowler, G.(2024) Asking Friends [Photograph] In possession of the authr: Forest of Dean, Glos.

Fig. 4 Fowler, G.(2024) Alice looking in the mirror [Photograph] At: https://www.dailymail.co.uk/news/article-2591691 (Accessed 31/08/24)

Fig. 5 Fowler, G.(2024) Egg [Photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 6 Fowler, G.(2024) Vintage Doll [Photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 7 Fowler, G.(2024) Alice meeting Humpty Dumpty [Mixed media Illustration] In possession of the auth0r: Forest of Dean, Glos.

Fig.8 Fowler, G.(2024) Fimo Experimenting [fimo sculpture, photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 9 Fowler, G.(2024) Painted Alice [Clay sculpture, Photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 10 Fowler, G.(2024) Field Painting [Acrlic painting] In possession of the auth0r: Forest of Dean, Glos.

Fig. 11 Fowler, G.(2024) Alice Doll in field [Mixed media] In possession of the auth0r: Forest of Dean, Glos.

Fig. 12 Fowler, G.(2024) Alice sculpture in field [Mixed media] In possession of the auth0r: Forest of Dean, Glos.

Fig.13 Fowler, G.(2024) Mockup [Digital mockup] In possession of the auth0r: Forest of Dean, Glos.

Fig. 14 Fowler, G.(2024) The story of Alice [ Photograph of libary book] In possession of the auth0r: Forest of Dean, Glos.

Fig. 15 Fowler, G.(2024) Photographing Alice [Photographs] In possession of the auth0r: Forest of Dean, Glos.

Fig. 17 Fowler, G.(2024) Armature Alice [Blender photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 18 Fowler, G.(2024) Armature Problems [Blender photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig.19 Fowler, G.(2024) Fixing mesh [Blender photograph] In possession of the auth0r: Forest of Dean, Glos.

Fig. 20 Fowler, G.(2024) Alice Fusion [ Jpg] In possession of the auth0r: Forest of Dean, Glos. Alice Fusion (2024)

Fig. 21 Fowler, G.(2024) Rabbit Hole [Watercolour painting] In possession of the auth0r: Forest of Dean, Glos.

Categories
Coursework Part Five: Personal Project

Exercise 3:​ Creating Connections

Brief

Up to now you have been reflecting on and collating what you have produced in this unit. Now take the 10 images you uploaded in the last exercise and print them off – you could print off several versions at different sizes to give you lots of visual options. For this exercise you are going to mix up and combine selected elements to create new images. If you are comfortable with software you may decide to complete this exercise digitally.

Lay out your printed images somewhere so that you can look at them together. This is similar to the ‘Cut Ups’ exercise in Part Two but this time all of the imagery is of your own making. Arrange your composite drawings to create connections between them. You could choose to group elements from different drawings together to see what happens, or elements from a few of your photographs. Or you could mix up part of a drawing with part of a photograph and part of a painting. You might like a figure in one image and a landscape in another – put them together to see what new story or narrative they create. Be as experimental as you can. When you have made 10 new composite images upload them to your blog and reflect on the process in writing on your learning log.

Visual Skills 2: Visual Exploration p129

Keywords from the brief

  • Take the 10 images you uploaded in the last exercise and print them off
  • Mix up and combine selected elements to create new images.
  • You may decide to complete this exercise digitally.
  • Arrange your composite drawings to create connections between them.
  • Be as experimental as you can.
  • Reflect on the process in writing on your learning log.

Here is a link to my last exercise that contains the ten selected images.

Exercise 2:​ Creative Audit

To see all the images I had chosen up front, I first made an online mood board of them. I then started experimenting with different compositions and digitally segmenting certain areas of each image. Here are the finished drawings made from different portions of the earlier pictures.

One

For the first image, I combined a character I drew for the exercise Slow and a background I painted for Assignment 4. It excited me, as I could see possibilities for a new story. To show my idea, I then wrote a paragraph for the story and made a mockup.

Fig. 1 schoolboy down the rabbit hole (2024)
Fig. 2 schoolboy down the rabbit hole mockup (2024)

Two

For the next illustration, I experimented with a different composition. I did this by combining the background from  assignment four with the two clay sculptures. It was interesting to focus on the fleeing rabbit instead of the earlier detailed drawing.

Fig. 3 Fleeting Rabbit (2024)

Three

For this illustration, I combined the drawing of a house from the Slow exercise, where I created a comic, with the background and white rabbit drawing from Assignment 4.

Fig. 4 Rabbit going home (2024)

Four

This drawing incorporates elements from assignment 4’s background with the painting I completed for an exercise in part three.

Fig. 5 Bats (2024)

Five

This drawing incorporates elements from assignment 4’s background with a character I drew for the exercise: Slow. I then added the text ontop of the painted shape.

Fig. 6 Take time to make your soul happy (2024)

Six

This drawing incorporates elements from part two and part four. The alice clay sculpture can be faintly seen in the water.

Fig. 7 Wizard saving Alice (2024)

Seven

This drawing incorporates elements from part two and and assignment four.

Fig. 8 Wizard capturing the rabbit (2024)

Eight

This drawing incorporates elements from part three and four.

Fig. 9 Reds Secret (2024)

Nine

This image incoperates ellements from each part of the unit. It reminded me of some of the dreams I have had in the past.

Fig. 10 Am I dreaming (2024)

Ten

This illustration incoperates elements from part two and four.

Fig. 11 Stop (2024)

Reflection

The process of combining different elements from various past images has allowed me to explore new perspectives and create unique visual narratives. By digitally segmenting certain areas, I was able to play with composition and create unexpected connections between the original artworks. Overall, this exercise has pushed me to think outside the box and experiment with my creativity in a new way. The final images show a blend of colours, textures, and shapes that were not originally present in the individual images. From all of the new illustrations my favourites are number one, seven and eight as I think they could be used in childrens books.

List of illustrations

Fig. 1 Fowler, G (2024) schoolboy down the rabbit hole [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 2 Fowler, G (2024) schoolboy down the rabbit hole mockup [digital artwork] In possession of the author: Forest of Dean, UK.

Fig. 3 Fowler, G (2024) Fleeting Rabbit [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 4 Fowler, G (2024) Rabbit going home [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 5 Fowler, G (2024) Bats [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 6 Fowler, G (2024) Take time to make your soul happy [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 7 Fowler, G (2024) Wizard saving Alice [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 8 Fowler, G (2024) Wizard capturing the rabbit [Digital illustration and clay sculptute] In possession of the author: Forest of Dean, UK.

Fig. 9 Fowler, G (2024) Reds Secret [mixed media] In possession of the author: Forest of Dean, UK.

Fig. 10 Fowler, G (2024) Am I dreaming [collage] In possession of the author: Forest of Dean, UK.

Fig. 11 Fowler, G (2024) Stop [collage] In possession of the author: Forest of Dean, UK.

Categories
Coursework Part Five: Personal Project

Exercise 2:​ Creative Audit


To think about my final assignment I looked back through all of my artwork created for this unit and identified the works that I think are particually successful.

 To do this I reviewed my sketchbooks, as well as the finished pieces and  read back over my reflective statements and notes in my learning log for each part of the course and made notes.

Part One – What was involved 

  • In Part One of the course I considered my workplace, working process, concepts and ideas key to visual thinking like flow, and play and how they can be used to develop thinking and making processes.
  • For one of the tasks, I illustrated my ideal studio, which I liked not just picturing but also creating humour by including my son and pets in the illustration. 
  • For the assignment, I created an A2 playful illustration by making purposeful markings of varying sizes and shapes from one corner of the paper to another with various mediums. Once finished, I chose sections representing distinct feelings and created additional images.

What I learnt during Part One 

  • To not be afraid of making mistakes 
  • That random mark-making can be an effective method for conquering the blank page and generating fresh ideas.
  • Doodling on a page allowed me to select little portions and create fresh illustrations with emotional significance that I could envision being utilised for various items.

Part Two – What was involved 

In part two I developed these concepts and ideas to examine several approaches to generate ideas and visual thinking through controlled, randomised and accidental working methodologies. These included:

  • An exercise called Composing Pictures. This involved collaging existing works into something new. This included a successful, political collage. 
  • Creating collages from daily tabloids 
  • Creating a word poem by the use of a word processing application and then creating illustrations for each word and eventually combining them all into one coherent image.
  • Assignment 2 I created a video presentation of my work during the unit.
  • Playing the word association game by creating mind maps to help generate new ideas. This led to a successful illustration of a Wizard where I tested my technical skills. 
  • Choosing a word and making a list of all the different manifestations that a word can take. Then I made each manifestation into illustrations.
  • Multi-dimensional thinking strategies.

What I learnt during Part Two

I have explored many concepts and attempted various methods to develop new ideas during this section of the course. I have learned a great deal from this. I am inspired to make illustrations that evoke emotions or convey a message somehow because of them.

It has also taught me not to be afraid to do new things, even if I don’t end up with the greatest piece of art, since it will lead to other opportunities and further my artistic development. 

During part two, I created a comfort zone illustration by writing down topics that make me uncomfortable and comfortable and categorising them into different coloured circles. I concluded that I should repeat this exercise to evaluate if my skills and weaknesses had changed.  Below is the original.

First, I edited the original, deleting all unrelated topics, and then created a new one focusing solely on my illustration concerns and skills to see if anything changed. 

I was pleasantly delighted that several topics have now moved into my comfort zone rather than the danger zone, proving to me that I have grown as an artist over this course and gained more confidence than I thought possible.  

Part three

  • In part three I examined various technical, stylistic and creative processes and explored and experimented with the ideas of duration, scale and movement through creative making. These included:
  • Paper folding where I learnt skills in Origami and tested my perseverance.
  • Created a comic based on my own experiences with the struggles of Insomnia.
  • I created rapid portraits of facial expressions using plasticine and found my love of sculpture again.
  • Continuous line sketches 
  • Assignment three I created an animation about a ballet dancer struggling with the torments of bullies. 

What I learnt during Part Three

  • To make time to play and have fun experimenting 
  • I have found my love of working with clay again.
  • I have strengthened my hand and eye coordination by practising continuous line drawing.

Part four

In Part Four I selected one of three possible themes to develop my own visual research, experimentation and creative process culminating in a body of original artwork. Working with the theme ‘ Imagination’ This assignment brought my observational skills, innovative strategies and making methods together to fully develop my ideas and concepts into a coherent body of artwork. 

The assignment was based on my interpretation of some of the scenes from Alice in Wonderland 

What I learnt during Part Four

  • The importance of asking for feedback on my work 
  • I enjoy creating work from my imagination 
  • This assignment has proved that I want to become a children’s book illustrator because of how much I have enjoyed it. 
  • I have developed a unique artistic style. 

After I selected 10 pieces of work I have made in this unit I think are particularly successful. These are shown below including a link to an animation I made.

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By doing this, I have identifyed what has worked during the course and can see how I can build upon the work I have produced so far.

Additionally, to help me visualise my work altogether I have produced a small vitual gallery. This can be seen by clicking on the link below.

Virtual Gallery

Categories
Assignment 3 Research & Reflection

Reflection on part 3

Part three of this course has been enjoyable but very challenging. I have had to learn many new skills, such as animation, paper folding, painting on a large scale, and working at speed. The workload has been intense, but I have enjoyed pushing myself to try new things and expand my artistic abilities. Despite the challenges, I have found immense satisfaction in seeing my skills evolve and improve and watching my projects come to life. 

Animation is a new skill that I have learned in this part of the course. Previously, I once attempted a small gif; it only consisted of four panels and was not very good. Therefore, I am proud that I stepped out of my comfort zone, tried again, and learned new skills that I would like to develop further in the future. I am excited to continue growing and improving in this area; the only worry is how time consuming it is. 

Working on a large scale was also a challenge that pushed me to be more resourceful and creative in finding solutions. It was the first time I had ever painted a landscape scene. I have always thought it would be too difficult and have avoided even trying. However, I was surprised and happy with the end result, and it is even framed and now hanging in my kitchen. 

Finally, one exercise that I found very challenging was Exercise 4: Small. Attempting to make characters out of oragami was very frustrating at times. Yet, after persisting, the end result produced some aesthetically pleasing results in the form of book covers. These projects have reminded me of the importance of trying new things and stepping out of my comfort zone. 

In exercise 4, I combined different elements from different projects that I felt had a successful outcome at the end. To make them work, I had to crop and adjust different parts of the illustrations. Again, in assignment 3, I combined the work produced from exercise Fast and exercise Big. Using different elements allowed me to push my creative boundaries and think outside the box when it came to completing the assignment. Overall, I have learned that taking risks and experimenting with different techniques can lead to innovative and unique outcomes in my art projects. I am excited to continue exploring new methods and styles in future assignments to further develop my artistic skills.

During this course, there have been many artists that I have researched, and there are two that I will remember, which are Marina Abramovic and Tehching Hsieh. Both of these artists have pushed the boundaries of performance art and challenged traditional notions of endurance and time. Reading about them both shocked me and intrigued me. However, I do not want to produce art like they have; it is not something I personally would want to do, but what I have learned from them is to persevere, take risks, and keep challenging myself to push past my comfort zone and explore new possibilities. 

Categories
Assignment 3

Assignment Three

Brief

Your assignment task is to undertake a more sustained and focused project that goes through various iterations and processes of making, addressing the theme of ‘movement’ in either the production of the work or in its content. This idea of ‘movement’ could produce an artwork that moves quickly or slowly, or moves from being large to small, or from colour to black and white, for example, or indeed any combination of all those qualities. The important thing is that you are documenting a process of making and change.

Using the material you have already produced for the exercises, you will combine elements of your work to produce ONE of the following options. The content is up to you, but it should take about 4 days to produce from beginning to end:

  1. Animation: This could take many possible forms. You could develop a ‘flick book’ approach, a stop-motion animation, or a digital animation or gif.
  2. A ‘zine’ or small book.
  3. A short film or video.
  4. At least three character illustrations with suitable backdrops and details of character traits.

Keywords from the brief

  • A project that goes through various iterations and processes of making, addressing the theme of ‘movement’
  • moves quickly or slowly,
  • The important thing is that you are documenting a process of making and change.
  • Using the material you have already produced for the exercises, you will combine elements of your work to produce ONE of the following options.
  • Animation:
  • A ‘zine’
  • A short film or video.
  • At least three character illustrations with suitable backdrops and details of character traits.

Mind map

To begin, I made a mind map of all of my likely ideas for this assignment to assist me in determining the best course of action for the project.

Fig. 1 Mind map (2024)

The first thought I had was to animate a comic I had created for a prior exercise. I used Skillshare to study how I could achieve this and discovered a great video created by Sarah Andersen, a webcomic artist and illustrator. The screenshot below is an example of her work. In the final panel, she animated the girl to dance.

Fig. 2 Skillshare (N.D)

Following this video, I attempted to create my own comic using my past work as a reference. However, after spending a significant amount of time attempting to animate various parts of my work, I discovered that when it came time to publish it, it would not load properly. Below is an example of a successful panel.

However, after being unable to get it to play properly, I decided to reconsider my assignment ideas.

Another concept I had was to make an animation about a young girl who enjoyed dancing but had never been able to pursue her goals due to poverty and perhaps bullying. I liked this idea because I thought there was no better way to demonstrate movement than through dance.

Research

Firstly, I researched into animation and found artists that are inspirational, such as:

Walt Disney

The first person that sprung to my mind when thinking about animation is of course Walt Disney. Having loved watching his timeless animations as a child such as Snow White and the Seven Dwarfs, made me want to know more about how he started in the world of animation so I followed this thought on with some research and watched the video below.

It was intriguing to see how he began his career as an animator by accepting a cartoonist position with the Kansas City Star and Kansas City Journal. Initially, he was contracted to create stick figure cartoons with cutout paper. Two years later, Walt worked with his colleague Ub. They collaborated to create a series of short animated films known as “laugh-O-Grams.”

What inspires me the most about Walt Disney is his perseverance in the face of hardship. Although the laugh-O-Grams were a success, he then went on to make short animated films like Alice’s Wonderland. Unfortunately, he ran out of money and was declared bankrupt. Many individuals would have given up at this point in their careers, but he persevered and founded Walt Disney with his brother. He continued with the Alice project, which was a hit, and later went on to make further animated features. As the short films grew successful, Walt and his brother established a new studio. However, he continued to struggle when a competitor named Charles Mintz offeredHowever, he continued to suffer until a competitor called Charles Mintz offered Walt Disney’s employees higher pay and took the majority of his workforce. It was then that Walt returned to a prior project about a mouse named Mortimer and transformed it into the beloved figure we know today as Mickey Mouse. I find it really encouraging that he pursued his passion for illustration and animation despite the difficulties he had in the beginning.

William Kentridge

William Kentridge, a South African artist, is also recognised for his charcoal animations. His approach for creating these videos involves drawing with charcoal on a sheet of paper, photographing it, then erasing portions of the drawing and adding other marks and gestures, and repeating this process until he has completed the stop motion animations concerning political subjects.

Below is a video of William explaining his working process for his animations

Ballerina

Considering the context of what I want my project to be about, I thought about an animated film made in 2016 called Ballerina that I once watched with youngest son. It is very poignant to the idea I have. The film is about two children who escape from an orphanage and go to Paris. In Paris the young girl pretends to be someone else to gain entry into the Opera Ballet School. The film follows Félicie’s journey as she navigates the many challenges while trying to pursue her dream of becoming a prima ballerina.

Below is a short trailer of the film.

I rewatched it to see the different ballet moves during the film and thought about how I need to understand the movement of a dancer for the project to be a success.

Next, I researched different dance poses within ballet and saved them into a mood-board to use later for reference material.

When it comes to creating a basic animation, I know what I need to do because I’ve already done some preliminary study on how to produce a simple animation using Adobe Photoshop. Also, this time, I’ll export the work as a movie file, so perhaps I won’t have the same problems as before.

Story plan

Next, I needed to come up with a story plan for my short animated video. I had already written about an idea of a dancer who struggled with bullying in my mind-map. As this is a subject matter that I have dealt with personally as a child it was something I felt passionate about. During secondary school I suffered survere bullying both emotionally and violently for many years. It made me think could I create something for other children to look at and find some inspiration to carry on with their dreams and succeed in life?

This is when I began writing out a story plan.

Story plan

Title

Twirling through turmoil

Characters

Main character – a shy, pretty, slim girl with a passion for dancing who comes from a poor background.

Class mates – Nasty, ugly, cruel children with no compassion

Teacher – A woman that believes in the young girl and gives her strength.

Beginning of the story

Emotional start about a young girl struggling to believe in herself after children teasing her.

Middle

Teacher asks the girl to stand up and talk about something she enjoys.

Sorting out the problem

The girl finds strength in what she believes in and stands up in front of her bully and shows them her passion of dance.

End

The class mates cheer the girl after amazing performance and want to be her friend.

Setting

In school

Next, I wrote out the story before starting to design the main character.

Draft story

As I write in my diary tears hit the page, I don’t fit in with the other kids at school.

All my life I have dreamed of being a dancer but it will never happen. I know that now I am just a weirdo and a loner. They laugh at my shoes and call me names, I feel alone.

(Next, is a page of insults that the bullies call the girl.)

Then one day at school, my teacher asked us all to stand up in turn and talk about something we enjoy.

(The girl talks to her self) Could I talk about dancing? Show them I can dance and that I’m not weird?

We were allowed 15 minutes to use the computers to find examples. my teacher called me up first I tried my best to ignore the whispers.

(Another page of insults from the bullies mocking her)

I felt sick as I scanned the room and looked at their faces.

“Well this is going to be boring” said one bully

(could use past images of faces from previous exercise)

“Look, Bean Pole is next, she is so ugly” said another bully.

“I can’t believe weirdo is going to talk.” said another.

My teacher gave me a big smile and a wink.

Although I was shaking and could hear them laughing I had to stand up for myself and what I believe in. I told myself it doesn’t matter if I don’t have the best shoes or the best clothes. I need to stand up not just to show my talent but to stand up to them.

(Illustration of lake)

I can do this! (she tells herself)

I began to stand up and my voice shook as I said ” I love to dance”

(This is where the animation begins of the girl standing up and dancing)

The whole class clapped and the whispers had changed

(A page of praise from the bullies)

From that moment my life changed for the better.

Putting it all together

For this story I wanted it to come across like the young girl was writing in her diary. So I decided to keep the layout and illustrations simple and mainly use black and white.

Using photoshop I selected the font Sugar Cream and typed out the main story.

Fig.3 Diary page 1 (2024)

Using Photoshop’s blur tool, I blurred parts of the letters to simulate teardrops hitting the page.

After I completed writing out the story, I began deciding which drawings I wanted to include in it. I attempted to choose places that evoked strong feelings and began illustrating in my sketchbook.

Fig.4 Sketchbook page 1 (2024)
Fig.5 Sketchbook page 2 (2024)

Looking back at through my work for this unit I thought the clay sculptures would be fun to add to the project and I decided to use them to represent the bullies.

Fig. 6 Clay model 1 (2024)
Fig.7 Clay model 2 (2024)
Fig. 8 Clay model 3 (2024)

For the part of the story that reads:

“I decided to shut my eyes and think of my special place. A place where I have peace and can be myself.“

I decided would be a lovely place to add my illustration of a lake that I had previously created for one of the exercises during this course.

Fig. 9 Lake (2024)

Next, using Photoshop I began animating the image of the young girl shown below.

Fig 10 Sketchbook 3 (2024)

Using this sketch as the first panel I then lowered the opacity and began a new drawing on a new layer slightly moving each limb. It was very time consuming and I now have even more respect for animators and the amount of work they put into their projects. Once all the frames had been finished there were a total of 107 frames to make up the video.

Fig. 11 Animation panels (2024)

Next, I had to work out how long it would take to read each panel and adjust the time accordingly. To give the animation more atmosphere and emotion I added music called Loneliness LongGrand Project from Pixabay.

Below is the final animation I hope you enjoy watching.

Reflection

This has been an incredibly hard assignment. I have spent a lot of time trying to technically understand how to create an animation. It took a lot of time researching online and watching many tutorials. I am relieved that I have finally completed it. However, I know I would like to go back to it and add more frames to make it flow more smoothly, make some adjustments to some of the drawings, and add more of an ending to the production. I am proud of the progress I have made, but I know there is still room for improvement. Going back to refine my work will hopefully only make it better in the end. I have learned so much throughout this process, and I am excited to continue learning more about creating animations and developing my skills. Overall, I am happy with the outcome of this assignment and am eager to see how I can make it even better. 

Refrences

Anderson, S. (n.d.). Bringing Your Webcomic. to Life: Create an Animated Comic! [online] SkillShare. Available at: https://www.skillshare.com/en/classes/bringing-your-webcomic-to-life-create-an-animated-comic/160113931/projects?via=watch-history [Accessed 20 Apr. 2024].

Enwezor, O. (2098). Swords Drawn: William Kentridge. [online] Frieze. Available at: https://www.frieze.com/article/swords-drawn-william-kentridge.

Ide, W. (2017). Ballerina review – city of light feet. The Observer. [online] 1 Jan. Available at: https://www.theguardian.com/film/2017/jan/01/ballerina-observer-film-review [Accessed 6 May 2024].

Project, G. (1AD). Loneliness Long. [mp3] Pixabay. Available at: https://pixabay.com/music/search/mood/sad [Accessed May 1AD].

The Art Newspaper – International art news and events. (2016). William Kentridge: an animated life. [online] Available at: https://www.theartnewspaper.com/2016/09/01/william-kentridge-an-animated-life [Accessed 6 May 2024].

Walt Disney. (n.d.). The Kansas City Years. [online] Available at: https://waltinkc.weebly.com/the-kansas-city-years.html.

Illustration list

Fig. 1 Fowler, G (2024) Mind map [sketch on paper] In possession of: the author: Gloucester

Fig. 2 Skillshare tutorial by Sarah Anderson, (N.D) [Skillshare screenshot] At https://www.skillshare.com/en/classes/bringing-your-webcomic-to-life-create-an-animated-comic/160113931/projects?via=watch-history [Accessed 20 Apr. 2024].

Fig. 3 Fowler, G (2024) Diary page 1 [sketchbook page] In possession of: the author: Gloucester

Fig. 4 Fowler, G (2024) Sketchbook page 1 [sketchbook page] In possession of: the author: Gloucester

Fig. 5 Fowler, G (2024) Sketchbook page 2 [sketchbook page] In possession of: the author: Gloucester

Fig. 6 Fowler, G (2024) Clay model 1 [Clay sculpture] In possession of: the author: Gloucester

Fig. 7 Fowler, G (2024) Clay model 2 [Clay sculpture] In possession of: the author: Gloucester

Fig. 8 Fowler, G (2024) Clay model 3 [Clay sculpture] In possession of: the author: Gloucester

Fig. 9 Fowler, G (2024) Lake [Acrylic painting] In possession of: the author: Gloucester

Fig. 10 Fowler, G (2024) Sketchbook 3 [sketchbook page] In possession of: the author: Gloucester

Fig. 11 Fowler, G (2024) Animation panels {Photoshop screenshot] In possession of: the author: Gloucester

Categories
Coursework Part Three: Making

Exercise 4:​ Small

Option 3: ​Paper Folding

Brief

For this exercise, you will develop a set of characters in 3D form using paper folding. You could use traditional origami techniques to develop your characters, or you could investigate more contemporary paper toys using your own designs, or you could make up your own form of origami!

Once you have made your characters, record and reflect on your results in your learning log, what did you find most challenging? Is this a technique that you have worked with before? Would you attempt this again and if so would you change your approach?

104 Visual Skills 2: Visual Exploration

Keywords from the brief

Develop a set of characters in 3D form using paper folding

You could use :

  • Traditional origami techniques
  • Contemporary paper using your own designs,
  • Make up your own form of origami!

Originally, when reading this exercise, I imagined I would make some characters using the traditional folding techniques of origami. However, this is an art that can take years to learn, so I decided to research paper artists to see what other techniques could be used.

Mary Chau

The first artist I looked at was Mary Chau, who is a paper artist practicing in Vancouver, Canada. Her work consists of intricate layering of paper to create detailed paper characters and scenes that come to life with depth and dimension. Below are some examples of her work.

Fig. 1 Two boys (2017)
Fig. 2 Fishing (2022)
Fig. 3 Family portrait (2021)

The next artist I researched was Shelly Hanmo.

Shelly Hanmo

Shellt Hanmo, a self-taught illustrator based in Indianapolis, is another paper artist who creates stunning sculptures with delicate details, textures, and vibrant colours. What I find great about her work is that she uses materials sourced from recycled materials, such as old calendars and paper bags. It was not until Shelly was eighteen that she moved to the US from China. Therefore, Asian influences can be seen in her work, especially in recreating Asian folklore illustrations.

One of my personal favourite stories growing up as a child was Hansel and Gretal. It was lovely to see her interpretation of the story through her creative paper illustration for the front cover of this book.

Fig. 4 Hansel and Gretel (N.D)

The attention to detail and vibrant colours truly bring the story to life in a way that I have never seen done before. 

Martina Aiko

Finally, the last artist I researched is a Swiss illustrator and author called Martina Aiko. Again, this artist works in a very similar style to the previous two, creating illustrations entirely by hand. Her work consists of mixed media and collage. Like the other two artists, her style and intricate designs captured my attention immediately. Below are some examples of her work. You can see the attention to detail and creativity that go into each piece. The illustration below made me laugh, and I resonated with the image as it reminded me of doing pilates in my lounge, where my pet chihuahua Leo, he will often come and sit on me while I exercise. 

Fig. 5 Yoga (N.D)
Fig.6 Me and Leo (2024)

Other examples of Martina work.

Fig.7 Open pool (N.D)
Fig. 8 Beehive (N.D)

After looking at these artists’ works, I realised that, as much as I like them and their craftsmanship, their work is not quite 3D enough to use as an influence in my work. However, it is something I would like to try myself in the future. Therefore, I would like to experiment with more 3D techniques and incorporate them into my artistic style. I am excited to see how it will enhance my work and bring a new dimension to my art. Although I am a little nervous of this project I am determined to push my boundaries and hopefully evolve as an artist.

Going back to the brief I had For this exercise, it stated to create a set of characters in 3D form using paper folding. Therefore, I decided I wanted to attempt to make a human character out of origami. I looked at various tutorials and then settled on the one below to watch and follow. In the video, it explains the steps and techniques required to create the origami character.

However, I was a little naive, thinking it would be fairly simple. I quickly realised that origami requires a lot of precision, patience, and attention to detail to create intricate designs. I don’t know if it is a lack of practice or if having dyslexia plays a part in finding origami difficult, but I found it extremely hard to master the art of folding paper into complex shapes. However, being stubborn, I spent several days attempting to make the above character. The reason I liked this figure so much is because it reminded me of Little Red Riding Hood, and I thought if I could make it, then I could make other characters from the story and possibly create my own unique versions of the classic fairy tale.

Below are all my failed attempts at making the character.

Fig. 9 Failed attempts (2024)

Although it is very frustrating, I am quite pleased with my determination and perseverance. Especially during half term when the children are at home and can be quite demanding, not only that I contracted COVID again. 

Fig. 10 Covid (2024)

Having to abandon the work for a few days because I was too sick encouraged me to attempt something else. Rereading the brief, I noticed that it did mention that I may create my own origami designs. That’s what I ultimately chose to do. Upon opening my scrapbook cabinet and discovering some red paper and cards, I decided to give it another go at creating an origami figure in my own unique way.

Fig.11 Paper fan (2024)

I started by making a paper fan, folding it in half, and then adhering the edges together. This looked like a skirt to me, so I covered a portion of it with origami paper that was decorated with lovely flowers and folded it into the paper.

Fig.12 Decorated Paper fan (2024)

I then sketched the upper half of a little girl on a white card and attached it to the paper sculpture. Once dry, I then created a red cloke out of soft hand-made red paper and finished it off with a bow from my Christmas stationery. 

Below is the final paper character. 

Fig.13 Girl paper sculpture (2024)

After being satisfied with the result I obtained earlier, I decided to try my hand at making an origami wolf. However, I underestimated the difficulty of the task again and ended up creating a sculpture that my husband thought resembled a cricket instead of a wolf. Nonetheless, I refused to give up and started again. 

Fig.14 Wolf attempt (2024)

In the meantime, my eleven-year-old and sixteen-year-old children saw what I was doing and thought it looked easy. They decided to try creating the characters that I had found too difficult to make. To my frustration, both of them managed to create perfect origami sculptures in just one hour, despite it being their first attempt. Below are their sculptures.

Fig. 15 Jake’s origami figure (2024)
Fig.16 Jake’s Origami Fox (2024)
Fig.17 Elliott’s origami figure (2024)

Jokingly, I said to them, “I don’t know whether to hug you or hit you.”

Not giving in, I decided to make one more attempt at making a wolf, and to my surprise, I managed it. I finally had a sense of accomplishment as I held up my completed origami wolf, or perhaps puppy?

Fig. 18 Wolf (2024)

My children and I all laughed together at the irony of the situation, but deep down, I was grateful for the lesson in resilience that I had unintentionally taught them. While writing this, my youngest son is sitting in the other room, creating more origami figures. The sound of him folding the paper brings a smile to my face, knowing that he has learned the value of perseverance and determination from our previous experience.

Here is a short clip of what he has just made.

I realised it was time to stop making new characters after investing so much time in this exercise. I did, however, think back on the exercise and contemplate how having this skill would help me in the future with my creative work as an illustrator. Maybe I could make an illustration with the figures. This inspired me to learn how to make a woodland scene in Procreate. I noticed that as I dug deeper into learning how to utilise Procreate, my excitement for the possibilities it presented for my artwork grew. It excited me to think of my characters coming to life in a digital format, and I was looking forward to seeing them in a colourful forest scene. Below is the forest scene I created using Procreate. 

Fig. 19 Procreate forest scene (2024)

It also occurred to me that they may look good in a paper-cut design, so I created one in Adobe Illustrator to see what it looked like. Below is the result. 

Fig.20 Paper-cut design (2024)

Finally, I had a little play with the different elements I have created including trees I painted in the previous exercise.

Fig. 21 Trees (2024)

and made various cover designs for a children’s book. Below are different experiments with cover designs.

Fig.22 Cover design 1 (2024)
Fig.23 Cover design 2 (2024)
Fig. 24 Cover design 3 (2024)
Fig.25 Cover design 4 (2024)

As I continued to experiment and play with different techniques, my excitement grew, and I created a final mockup design for an independent reader.

Fig.26 Mock-up book cover (2024)

The process of bringing my characters to life in different contexts was incredibly rewarding. I found that each design sparked new ideas. I am surprised and inspired by how far this exercise has pushed me as an artist.

References

Aiko, M. (n.d.). Martina Aiko. [online] http://www.martinaaiko.com. Available at: https://www.martinaaiko.com [Accessed 7 Apr. 2024].

Arts to Hearts Project. (2023). Captivating works of 10 Paper Artists that will leave you Fascinated! – Arts To Hearts Project. [online] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Calvin (2020). Watercolor Forest Tutorial in Procreate. [online] http://www.youtube.com. Available at: https://youtu.be/yP1r6noB6Q4?si=JWHERTrJBIXpGPKN [Accessed 7 Apr. 2024].

Canva (2024). Canva. [online] Canva.com. Available at: https://www.canva.com https://www.canva.com/mockups/mockup/d79fpdOoIVD.

Fowler, G. (2024). Origami Fidget Cube. [online] http://www.youtube.com. Available at: https://youtu.be/S_6Na5VsvgI [Accessed 7 Apr. 2024].

May, T. (2023). Shelley Hanmo’s paper collage creations summon Asian folklore and her love of music. [online] Creative Boom. Available at: https://www.creativeboom.com/inspiration/shelley-hanmos-exquisite-paper-collage [Accessed 7 Apr. 2024].

Origami, W. (2020). How to make a Paper 3D Human Girl Figure 【ORIGAMI】. [online] http://www.youtube.com. Available at: https://youtu.be/mHEZLeFOV5U [Accessed 7 Apr. 2024].

Illustration list

Fig. 1 Chau, M. (2017) Two boys. [Paper collage] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Fig. 2 Chau, M. (2022) Fishing [Paper collage] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Fig. 3 Chau, M. (2021) Family portrait [Paper collage] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Fig.4 Hand, S. (N.D) Hansel and Gretel [Paper collage] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Fig. 5 Aiko, M (N.D) Yoga [Paper collage] Available at: https://artstoheartsproject.com/paper-artists/ [Accessed 7 Apr. 2024].

Fig. 6 Fowler, G (2024) Me and Leo [photograph, landscape] In possession of the author: Forest of Dean. 

Fig. 7 Aiko, M (N.D) Open pool [Paper collage] Available at: https://www.martinaaiko.com/ [Accessed 7 Apr. 2024].

Fig. 8 Aiko, M (N.D) Beehive[Paper collage] Available at: https://www.martinaaiko.com/ [Accessed 7 Apr. 2024].

Fig.9 Fowler, G (2024) Failed attempts [photograph of origami attempts] In possession of the author: Forest of Dean

Fig.10  Fowler, G (2024) Covid [photograph] In possession of the author: Forest of Dean

Fig.11  Fowler, G (2024) Paper fan [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.12  Fowler, G (2024) Decorated Paper fan [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.13 Fowler, G (2024) Girl paper sculpture (2024) [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.14 Fowler, G (2024) Wolf attempt (2024) [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.15 Fowler, G (2024) Jake’s origami figure [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.16 Fowler, G (2024) Jake’s origami Fox [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.17 Fowler, G (2024) Elliott’s origami figure[ photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.18 Fowler, G (2024) Wolf [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.19 Fowler, G (2024) Procreate forest scene [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.20 Fowler, G (2024) Paper-cut design [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.21 Fowler, G (2024) Trees [photograph, of paper sculpture] In possession of the author: Forest of Dean

Fig.22 Fowler, G (2024) Cover design 1 [digital illustration] In possession of the author: Forest of Dean

Fig.23 Fowler, G (2024) Cover design 2 [digital illustration] In possession of the author: Forest of Dean

Fig. 24 Fowler, G (2024) Cover design 3 [digital illustration] In possession of the author: Forest of Dean

Fig.25 Fowler, G (2024) Cover design 4 [digital illustration] In possession of the author: Forest of Dean

Fig.26 Fowler, G (2024) Mock-up book cover [digital illustration] In possession of the author: Forest of Dean

Categories
Coursework Research Points, Part Three: Making

Research task: ​Paper Toys

Brief

Paper toys are essentially what their name suggests; they are toys made of paper. Find some specific artists who design paper toys and document examples of their work in your log. What is the purpose of paper toys? Who is their target audience? What is the draw to making paper toys as opposed to buying pre-made toys?

Visual Skills 2: Visual Exploration p106

Keywords from the brief

  • Find some specific artists who design paper toys and document examples of their work in your log
  • What is the purpose of paper toys?
  • Who is their target audience?
  • What is the draw to making paper toys as opposed to buying pre-made toys?

Seth

The first artist I examined was Gregory Gallant, a Canadian cartoonist better known by his cartoon name Seth. After seeing a few documentaries and reading about him, I realised that he is an artist who frequently writes graphic novels on the ordinary issues of life, such as people attempting to determine whether their lives have been successful.

Here’s one of the documentaries I watched in which he talks about his artworks. His large collection of projects caught my interest because he not only does commission work, but he also explores a variety of other artistic interests for personal enjoyment. These include a rubber stamp diary, a sketchbook, and he is developing a model city called The City of Dominion.

Throughout the documentary, I enjoyed his short animated film called The Creek. It reminded me of a local site called Soudley Ponds. In the 1930s and 1940s, villagers used man-made diving boards to swim during hot summer days. Today, however, it is a nature reserve full of fish and crayfish, as well as a place where people may take a stroll and view the stunning scenery.

I wanted to post a photo of people swimming in the ponds, but couldn’t find one. However, I was able to find some old images of the surrounding area and a woman describing what it used to be like on Facebook.

Fig. 1 Facebook post (2017)
Fig. 2 Old photos of Soudley village. (2017)

Below is an a photograph I took recently of Soudley ponds.

Fig. 3 Soudley ponds (2024)

Reflecting on Seth’s work, I think he is so successful because of his sheer determination and he is alway developing his artistic practice. Also, his written storytelling is as good as his artwork, which brings emotional depth to his graphic novels. The combination of the two enhances the overall storytelling experience. Looking at his artistic technique, he employs clean lines and a muted colour palette to create a vintage feel to his work.

Steve Monger

The next artist I have the pleasure of researching is one of my former tutors from one of my previous units at the OCA.  Not only is he an OCA tutor, but also a Graphics and Senior Lecturer at Bristol University. In his spare time, Stephen investigates photographic representations of location and is particularly interested in how photography might overlap and merge with other types of representation such as digital drawing and 3D modelling.

This leads me to the model making of buildings Stephen has produced using cardboard. Although part of his work included photography he also created many sculptures of building to show the viewer the different details that was otherwise inaccessible by the use of photography alone. Below are some photographs of one of these paper sculptures.

Fig.4 The making process of Pawnbroker (2008)
Fig. 5 The Pawnbroker (2008)

Thomas Demand

Similarly to Stephen, Thomas is a an artist who also builds realistic models of buildings. However, these are life-sized models of spaces and buildings using a selection of paper and cardboard. Interestingly, he then photographs these models and after destroys them so the photograph is the only record left.

Below is an interesting documentary I watched about Thomas’s work.

After watching it I was quite amazed at the sheer dedication and detail he puts into his art work, often taking weeks to construct them. What sets his work apart from other artists is not just the craftsmanship but also the depth of meaning within each piece. One example is called “Yellowcake”.

For this project, Thomas meticulously reconstructed the scene of the 2001 event involving the Embassy of the Republic of Niger in Rome, using paper and cardboard. It was at the Embassy information regarding Saddam Hussein’s alleged attempt to purchase uranium “yellowcake” was stolen.

Below is one of the photographs of his reconstruction.

Fig. 6 ‘Lemoncake’ (2007)

Through Demands craftsmanship and series of photography he invites viewers to think about the narrative and subsequent consequences of the event, which was the invasion of Iraq by the U.S. The fact that the alleged proof of Saddam’s attempt was later revealed to be forged adds a sense of tragedy to the narrative.

Looking at Demand’s interpretation of this event through his artwork offers people a different kind of engagement compared to a brief news report. I personally find it more thought provoking, intimate and memorable.

Amy Bennett

The final artist I researched is Amy Bennett, an American artist who has a unique approach when creating narrative paintings. This consists of constructing paper models and using them as reference material to observe and paint from. She often uses these models to create detailed and surreal scenes that explore themes of suburban life. By using these paper models, Bennett can explore different viewpoints and compositions before starting her painting. 

Each painting shows a different aspect of everyday life in a way that is both familiar and thought-provoking. In the video I watched below she states ” It’s a bit like being a fly on the wall, observing people and their interactions without them knowing.” (Bennett, 2011). This gives her paintings a vulnerability that is both captivating and intimate.

As a mother and wife, she has used the many challenges this brings, as well as the joys of life, as inspiration for her artwork. This can be seen in her work called “Nuclear Family,” which captures the complexity of love and relationships as well as the difficulties of family struggles. 

Below is a photograph of one of the paintings from the series “Nuclear Family.“

Fig. 7 Animals (2018)

Her artistic style often features bold colours, abstract shapes, buildings and people. These elements combine to create a unique and engaging image. Looking at these works reminds me of my own experiences as a mother and wife and has prompted me and I should think others to reflect on everyday life.

What is the purpose of paper toys?

The purpose of paper toys is to provide entertainment and creative expression for children and adults alike. Not only is it easily accessible but as shown in this research task it also allows for endless creative possibilities.

Who is their target audience?

It depends on the artist who is making the paper toys and their intention for them. The target audience could be any age. It could be designed for pure enjoyment. On the other hand, the target audience might be to engage viewers in a political or cultural matter. To spread important messages and spark conversations. The artist may also aim to promote social change and awareness through their work.

What is the draw to making paper toys as opposed to buying pre-made toys?

There are many benefits to making paper toys, which are: 

  • The pure satisfaction of making something with your own hands that can be played with or explored.
  • Making paper toys allows for customisation and creativity in design, as discussed in Amy Bennett’s research.
  • From an environmental perspective, paper toys are more sustainable than plastic alternatives and can be easily recycled at the end of their life cycle.
  • Personally I would appreciate a handmade paper toy skilfully made, more than a bought plastic toy because to me it would hold more sentimental value.
  • In some cultures paper toys hold significance values for example the long-standing tradition of origami that originating from Japan.

References

Bennett, Amy. “Amy Bennett.” Www.amybennett.com, 2021, http://www.amybennett.com/home.html.

Bennett, Amy . “Artist Amy Bennett.” Www.youtube.com, Anthony Paget , 26 July 2011, youtu.be/yodJPR5hGic. Accessed 28 Mar. 2024.

Brownstein, Bill. “Film Animates the Life of Comic Book Creator Seth.” The Gazette, Bill Brownstein, 8 Oct. 2014, montrealgazette.com/entertainment/arts/film-animates-the-life-of-comic-book-creator-seth. Accessed 26 Mar. 2024.

Chamberland, luc. “Seth’s Dominion.” Www.youtube.com, 13 Mar. 2024, youtu.be/EJMKBiJuO6I. Accessed 28 Mar. 2024.

Demand, Thomas . “Thomas Demand: Animations | Exhibition | DHC/ART.” Www.youtube.com, 18 Jan. 2013, youtu.be/M-itI67quhE. Accessed 28 Mar. 2024.

Hoffman, Eric, et al. Seth: Conversations. Perlego, University Press of Mississippi, 4 Feb. 2015, http://www.perlego.com/book/561986/seth-conversations-pdf. Accessed 28 Mar. 2024.

kurkdjian, guillaume. “Amy Bennett.” Wertn.com, 22 May 2019, wertn.com/2019/05/amy-bennett/.

Maher, Daniel. “Amy Bennett Looks at the Complexities of Suburban Family Life in Her Miniature Paintings.” Www.itsnicethat.com, 10 Apr. 2019, http://www.itsnicethat.com/articles/amy-bennett-nuclear-family-art-100419. Accessed 28 Mar. 2024.

Monger, Stephen. “About : Stephen Monger.” Www.stephenmonger.com, 1995, http://www.stephenmonger.com/index.php/info/about/. Accessed 28 Mar. 2024.

—. “Mr Stephen Monger – UWE Bristol.” People.uwe.ac.uk, people.uwe.ac.uk/Person/StephenMonger. Accessed 28 Mar. 2024.

Shane, Robert R. “Amy Bennett: Nuclear Family.” The Brooklyn Rail, 4 Sept. 2019, brooklynrail.org/2019/09/artseen/Amy-Bennett-Nuclear-Family. Accessed 28 Mar. 2024.

Tylec, Laurie . “Acquisition: Thomas Demand “Embassy I,” from the Series “Yellowcake.”” Www.nga.gov, 30 Oct. 2020, http://www.nga.gov/press/acquisitions/2020/demand.html. Accessed 26 Mar. 2024.

Wehr, Anne. “Thomas Demand.” Frieze, 1 Apr. 2008, http://www.frieze.com/article/thomas-demand-1. Accessed 28 Mar. 2024.

Illustration list

Fig. 1 Facebook post (2017) [Facebook, screenshot] At:https://www.facebook.com/ForestBygoneHistory/photos/a.10150369899392595/10154391365347595/?type=3 (Accessed 26/03/2024).

Fig. 2 Old photos of Soudley village. (2017) [Facebook, screenshot] At:https://www.facebook.com/ForestBygoneHistory/photos/a.10150369899392595/10154391365347595/?type=3 (Accessed 26/03/2024).

Fig. 3 Fowler, G. (2024) Soudley ponds [Photograph, landscape] In possession of the author: Forest of Dean.

Fig.4 Monger, S. (2008) The making process of Pawnbroker [Paper sculpture] At: http://www.stephenmonger.com/index.php/the-prawnbroker/ (Assessed 26/03/2024).

Fig.5 Monger, S. (2008) The Pawnbroker [Paper sculpture] At: http://www.stephenmonger.com/index.php/the-prawnbroker/ (Assessed 26/03/2024).

Fig. 6 Demand, T (2007) Lemoncake [Paper sculpture] At: https://www.303gallery.com/gallery-exhibitions/thomas-demand?view=slider#7 (Accessed 25/03/2024)

Fig. 7 Bennett, A (2018) Animals [Painting] At: www.itsnicethat.com/articles/amy-bennett-nuclear-family-art-100419. (Accessed 26/03/2024).

Categories
Coursework Part Three: Making

Exercise 3:​ Big

There were three options for this exercise, I chose option one, which was to produce a very large-scale drawing of a landscape.

Brief

For this option you should produce at least one very large-scale drawing of a landscape, either real or imagined. This should be at least A0 (84 x 119cm) in size (and ideally larger) either by sourcing some very large sheets of paper, or a roll of paper, or by taping a number of sheets of paper together.

You can choose to produce an observational drawing of a landscape or you can produce an imagined landscape using more abstract marks. You can use pencils, brushes and ink, or any mark-making implements using the medium of your choice.

Visual Skills 2: Visual Exploration: p95

Keywords from the brief

  • Produce a very large-scale drawing of a landscape real or imagined.
  • At least AO
  • You can use pencils, brushes and ink, or any mark-making implements using the medium of your choice.

There were a number of places I had in mind for this landscape project. Luckily, living in the Forest of Dean I am surrounded by stunning scenery. With this in mind, I ventured out on a walk and took photo’s of areas I thought would make a beautiful painting.

Below are photos from my walk.

Fig. 1 Edgehills Bog (2024)
Fig.2 Edge hills view point (2024)
Fig. 3 The Cyril Hart Arboretum (2024)
Fig. 4 Old oak tree (2024)
Fig. 5 Working forest, logs (2024)
Fig. 6 Speech House lake (2024)

During a research task titled Large Scale Image-making, I looked into various artists and how they used different materials and their unique approach to large- scale image making, This inspired me to be more experimental with the materials I decided to use for my own making. One of the artists previously researched, is John Vertue. This artist is recognised for his large-scale landscape paintings in black and white. With him in mind, I chose the final photograph above because it was in black and white and used it as a reference for my landscape painting.

Unfortunately, I am located in a small village with limited amount of shops and sadly, there are no local art suppliers. Knowing I would need good quality paper for this exercise I drove twenty five miles to my nearest Hobby Craft. Here, I purchased two A1 mixed media pieces of paper and some acrylic paints. Once, home I was eager to start work but was apprehensive because the paper is so large. I didn’t know where to put it, I considered putting them on the floor, but I didn’t think it would help with getting the scale correct and I thought the work may get damaged either by my pet dogs or children.

Instead, I taped the paper together using masking tape and then tapped it to my lounge window.

Fig. 7 Landscape painting set up 1 (2024)

Next, I began making swift marks with flowing motions from the whole use of my arm.

Fig. 8 Mark making (2024)

Sadly, the paper wouldn’t stay stuck to the window and the sunlight started to shine through making it difficult to see the work. Thinking about this more I took the paper down from the window and placed it on my drawing table in the other reception room. Continuing to work I regretted making such large dark brush strokes so soon and wasn’t happy with how the work was going. Therefore, I decided to leave the image and start again.

Fig. 9 Failure (2024)

However, I showed it to a family member, laughing at how bad it was and was surprised that they actually liked it and said they knew the place of which I was painting. This made me feel a little better and more confident to start again. Unfortunately, I no longer had good quality paper and had to settle with what I had in the house, which was a roll of printing paper. This time I cut the paper to size again taping two pieces together and stuck it to the playroom wall using masking tape.

Fig. 10 New paper, staring again (2024)

This time I was a little more cautious and decided to lightly sketch out a plan for the painting. Once all the landscape was planned out I began painting.

The mediums used to create the landscape painting were:

  • Acrylic paint
  • Selection of sponges
  • Charcoal
  • 2B pencil,
  • Pencil crayons
  • Chalk pastels
  • Oil pastels.
  • My finger
  • Different size brushes
Fig. 11 Painting process one (2024)
Fig 12. Painting process two (2024)
Fig 13. Painting process three (2024)
Fig 14. Painting process four (2024)
Fig 15. Painting process five (2024)

Final painting

Fig 16. Finished landscape painting of Speech House Lake (2024)

Reflection

What did you find most challenging?

There were a number of things I found challenging about this project. These were:

  • Working at a large scale (100cm x 100cm) and trying to figure out how to scale up each element correctly.
  • Using my house’s wall to place the sheets of paper was not ideal, and as my husband pointed out, it would not be advisable to do so again due to the marks left behind by charcoal dust. However, I was fine with using the wall because it was time for redecorating anyhow.
  • Working on thin sheets of paper was also problematic as it wasn’t a good choice when using mixed media. If I was to do this again I would make sure I purchase more of the mixed media sheets of paper incase of mistakes.
  • The photo I used for reference was not very good quality, so a lot of the painting I had to imagine and interpret in my own way. If I was to do this again I would either like to draw from life or have a better quality photograph.
  • Last but not least, I have never drawn or painted a natural environment other than a sea scene, thus this was the most difficult challenge of them all!
  • What made it even more difficult was trying to interpret the different elements in monochrome.

Is this an area of art practice that you have worked with before?

There has only been one time I have worked at a very large scale and that was twenty years ago when I worked for an aquatic shop as a tropical fish manager. At the time my boss wanted the shop to have a mural so I offered to paint it for him. This was a very large landscape scene, that showed rolling hills and rivers and covered the whole back wall of the shop. Unfortunately, they refurbished and extended the shop since then and it no longer exists. Sadly, I do not have any photographs of it anymore.


Would you attempt this again and, if so, how would you change or develop your approach?

Yes I would attempt this again. It was fun to be experimental and paint a landscape scene. I was quite surprised at the work I produced since it is my first time painting trees. Although it is not perfect, I am going to have it printed and framed to hang in my studio.

As said before, if embarking on a project like this again I would make sure I have quality paper and good reference photographs.

List of illustrations

Fig. 1 Fowler, G (2024) Edgehills Bog. [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 2 Fowler, G (2024) Edge hills view point. [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 3 Fowler, G (2024) The Cyril Hart Arboretum [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 4 Fowler, G (2024) Old oak tree [Photograph, Portrait] in possession of: the author: Forest of Dean.

Fig. 5 Fowler, G (2024) Working forest, logs [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 6 Fowler, G (2024) Speech House Lake [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 7 Fowler, G (2024) Landscape Painting set up 1 [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 8 Fowler, G (2024) Mark making [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 9 Fowler, G (2024) Failure [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 10 Fowler, G (2024) Failure [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 11 Fowler, G (2024) Painting process one [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 12 Fowler, G (2024) Painting process two [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 13 Fowler, G (2024) Painting process three [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 14 Fowler, G (2024) Painting process four [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 15 Fowler, G (2024) Painting process five [Photograph, landscape] in possession of: the author: Forest of Dean.

Fig. 16 Fowler, G (2024) Finished landscape painting of Speech House Lake [Photograph, landscape] in possession of: the author: Forest of Dean.

Categories
Research Points, Part Three: Making

​Research Task:​ Large Scale Image-Making

Brief

For this research task, I have been asked to look at a one-day conference called ‘The Embodied Experience of Drawing’, held in 2018, in Plymouth. After, I was asked to make some notes about the participants different drawing techniques and physical processes.

To do this, I watched a short video that observed the participants drawing and took screenshots of people’s different approaches.

Here’s a picture of one of the conference women, lying on her back. Taking different pens and pencils and making marks on the page without looking at it. The marks made will be limited by the extension from her elbow upwards.

Approach one

Fig. 1 Drawing approach one extension of elbows (2018).

The next image, is the same approach as above but allows a full extension from the shoulders into both arms. This creates a more flowing line work, especially with the medium charcoal as it makes bold expressive lines.

Fig. 2 Drawing approach one, full extension of arms (2018).

Approach two

With the next approach, this lady is sitting looking at the paper on her knees. Again using charcoal but this time using the motion of her arms to swish back and forth in front and behind her.

Fig. 3 Drawing approach two, drawing kneeling (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Approach three

In the next image, the lady is making marks by creating rubbings from various surfaces.

Fig. 4 Drawing approach three, rubbings (2018).

Approach four

In the next two images, the participants are using their whole bodies to create marks with what I think is graphite powder. This is a more physical approach than the previous ones and will make the most expressive marks.

Fig. 5 Drawing approach four, whole body 1 (2018).
Fig. 6 Drawing approach four, whole body 2 (2018).

Approach five

Finally, many artists were practising their observational skills by drawing still lifes.

Fig. 7 Drawing approach five, observation (2018).

From watching the video, I can see the purpose of the day was to explore the relationship between drawing and using various parts of the body or the whole body. It would be a beneficial exercise that will help to explore new ways of approaching drawing.

Next, I was asked to search for and record my thoughts on some of the listed artists in the OCA textbook who make large-scale images.

The following artists from the textbook appealed to me:

  • Emma Stibbon
  •  John Vertue
  • The Boyle Family

Emma Stibbon

Before starting the previous exercise, which was to create a large landscape scene, I began first, with this research task. One reason I selected Emma, is because Emma is a British artist known for her large-scale drawings and prints that often depict dramatic landscapes and environmental events. This is therefore an appropriate research task before embarking on the previous exercise and I thought I may find inspiration from Emma’s work.

Stibbon has visited remote and environmentally significant places all over the world, such as Antarctica, the Arctic, Iceland, and volcanic regions. Emma creates reference sketches of these natural landscapes, glaciers, volcanoes and polar regions while on location, which she then refers to when creating her finished pieces in her studio. The drawings and prints serve as visual records of her observations and encounters whilst on her expeditions. As she states on her website,

“Many of the environments and landscapes I depict are changing rapidly. As an artist, I feel committed to representing the impact of these changes, be they natural or human. My impulse is to draw, in an effort to act as a witness.” (Stibbon, n.d.)

Stibbon’s drawings and prints are full of detail and powerful compositions. She often works in monochrome, using charcoal, graphite, ink, and other media to create intricate pictures.

Her creations evoke awe; they make me feel as though I’m there, experiencing the moment she has captured.

John Vertue

John Virtue, is a contemporary British artist, known for his distinctive monochromatic landscape paintings, primarily in black and white. Many of his large-scale works consist of dramatic landscapes, often depicting urban scenes, coastal views, and rural landscapes.

Researching online, I found a very interesting documentary where Virtue discusses the makings of his artworks.

(The Culture Show: John Virtue, 2012)

He explains his work consists of abstract compositions from the way he perceives the world. In order to do this he is very experimental with the materials he choses to use, such as many different types of brushes, rags, his own hand, black ink mixed with shellac and titanium acrylic. (Virtue, J, 2012)

His artworks consist of bold brushwork, strong contrasts, and are full of movement and energy. What I find interesting about his work is there is a powerful sense of atmosphere and mood even without the use of colour.

Below are some examples of his work.

The Boyle family

The Boyle Family is a group of artists consisting of Mark Boyle, Joan Hills, and their children Sebastian Boyle and Georgia Boyle. It began originally with the mother and father in the early 1960s, when they started to visit demolition sites in London and gathered materials to use in their artwork.

To get a better understanding of who the family are and their artistic approaches I watched the following documentary.

(‘Boyle Family’ documentary, 2015)

The documentary is very informative and is interesting to see the artist’s approach and visions for their works and the many different projects they have embarked upon. It was also interesting to hear the objective of the works, Mark said :

“The objective is to teach ourself to see“.

I found this statement quite thought provoking as an artist myself, this is what I constantly strive to do, to see exactly what is in front of me and portray it to the viewer as I would like them to see it.

The Boyle Family, all have an innovative approach to art-making, which involves the replication of real-life surfaces and landscapes. They are particularly renowned for their “Earth Studies” series, where they recreate sections of the Earth’s surface in three-dimensional relief, capturing the texture, composition, and detail of specific locations.

Fig.8 Bergheim Mine Study (1974)
Fig.9 Rock and Scree Series (1977)

Another study which I found interesting is called “The Multi Human Being series”. Which was the study of different parts of the body. Mark himself took top layers of skin from different parts of his body and then created images from them using a projector.

Fig. 10 Skinchart for Body Work (1969)
Fig. 11 Skin Series, Left Heel Study (1969)
Fig. 12 Skin Series, Small Back Study (1973)

Overall, I find their work challenges traditional notions of what constitutes art and encourages viewers to reconsider their perception of the world around them. I also think, there is a fine line with some of their work. Is it art? or a contribution to science? Is it the study of our planet and everything that resides within it?

After researching these artists I chose Emma Stibbon to ask myself the following questions about her artwork:

How do they choose their subjects?

Emma has a strong desire to document the impact of both natural and human-caused events either on large-scale canvas or via printing methods. In her work, she captures the stunning scenery of the places she visits, but she also records the environmental changes that are taking place. For example, glaciers have broken down before her very eyes as she watched from her moving boat.

How do their creative and material approaches differ?

Emma’s creative approach differs from working in the field to working in her studio. Whilst in the field she often collaborates with scientists and geologists that give her information on why something is happening and she has to work at speed to capture the information.

When back in the studio, Emma can use her sketches and digital photos she has taken as reference for her large-scale artworks, and she can be much more experimental and spend longer on fine details. Often, she will incorporate materials taken from the environment she was in. Such as volcanic ash, which she then mixes into ink and uses in some of her artworks.

Below is an example of one of these artworks, this particular one is from a volcanic scene.

Fig. 13 Broken Terrain (2017).

The reason Emma includes materials from the environment she study’s are to create a metaphor in her artworks. Another example where she has done this is in her work, “Tidewater Glacier chalk on Blackboard“.

Fig. 14 Tidewater glacier chalk on blackboard (n.d.)

This image is created using chalk on a blackboard. The irony is in the possibility that the chalk could vanish in an instant, much like a glacier melting away.

There is something quite special about looking at Emma’s large-scale images. The places Emma chooses to draw are places that not many people will ever get to see in their lifetime and being able to look at these works allows each viewer to experience some of the magic that Emma must have witnessed whilst out in the field.

Why do they make their work at a large scale?

While watching the film below, Emma revealed why she does her art on such a massive scale. In the documentary, she stated:

“I sort of want the reason for the big scale is that sort of sense of encounter for the viewer. I really want the sort of sense about being immersed in something for an audience that might sort of see that in a space to give a sense of the physicality of being in front of it.” (Stibbon, E 2023)

It was nice to hear her say this. As I had previously mentioned, I felt the pieces were for the viewer to get a better understanding of the places she had been witness to. The vast scale allows the viewer to fully immerse themselves in the scene, which is similar to watching a film at the cinema.

(at home: Artists in Conversation | Emma Stibbon, 2023)

What hurdles have they encountered or initiatives have they had to develop in order to produce their work?

Whilst in the field, Emma is faced with many obstacles that hinder her such as the cold, seasickness, the wind, the fear of a volcano eruption and the many other elements that the places she visits throughs at her. Therefore, she has to work fast using sheets of carriage paper, inks and watercolour. These mediums are chosen for there ease of use and they are good at capturing the characteristics of the environment at speed. Emma, also said in a documentary that “The paper is a witness of the weather, and it is embedded into the media” (Stibbon, E 2023) Additionally, she will use a digital camera to record information for later use.

Reflection

It has been interesting to see the different style and approaches that theses three artist have used whilst creating their large scale works. Out of all of them, I have to say my favourite is Emma’s work. The whole process from start to finish is quite fascinating. Being able to visit remote countries, recording information whilst there and then coming home and capturing the scenes at such a large scale but with such realism is remarkable.

References

“Boyle Family.” Www.boylefamily.co.uk, http://www.boylefamily.co.uk/boyle/works/index.html.

Davies, Patrick. “John Virtue (Paintings).” Patrick Davies Contemporary Art, http://www.patrickdaviesca.com/artists/46-john-virtue. Accessed 18 Mar. 2024.

“Emma Stibbon | Artist | Royal Academy of Arts.” Www.royalacademy.org.uk, http://www.royalacademy.org.uk/art-artists/name/emma-stibbon-ra.

Gallery, Rabley. “Emma Stibbon RA – Broken Terrain.” Rabley Gallery, 2 Aug. 2020, rableygallery.com/shop/artists/emma-stibbon/emma-stibbon-ra-broken-terrain/. Accessed 18 Mar. 2024.

Robbins, Andy. “The Culture Show: John Virtue.” Vimeo, 6 July 2012, vimeo.com/45322786. Accessed 18 Mar. 2024.

Roberts, Cristea. “Emma Stibbon.” Cristea Roberts Gallery, cristearoberts.com/artists/33-emma-stibbon. Accessed 18 Mar. 2024.

Spira, Freyda , and Robert l. “At Home: Artists in Conversation | Emma Stibbon.” Www.youtube.com, 16 June 2023, youtu.be/l3PtnhGeVyI. Accessed 18 Mar. 2024.

Stibbon, Emma. “About.” Emma Stibbon, http://www.emmastibbon.com/biography.

Illustration List

Fig. 1 Drawing approach one extension of elbows (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 2 Drawing approach one, full extension of arms (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 3 Drawing approach two, drawing kneeling (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 4 Drawing approach three, rubbings (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 5 Drawing approach four, whole body 1 (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 6 Drawing approach four, whole body 2 (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig. 7 Drawing approach five, observation (2018) [vimeo, screenshot] At https://vimeo.com/267261033# (Accessed 13/03/2024).

Fig.8 Boyle M, Hills J (1974 )Bergheim Mine Study [Resin and fibreglass impression] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)

Fig. 9 Boyle M, Hills J (1977 ) Rock and Scree Series [Resin and fibreglass impression] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)

Fig. 10 Boyle M, (1969 ) Skinchart for Body Work [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)

Fig. 11 Boyle M, (1969 ) Skin Series, Left Heel Study [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)

Fig. 12 Boyle M, (1973 ) Skin Series, Small Back Study [Negative photograph] At:https://www.boylefamily.co.uk/boyle/works/index.html (Accessed 13/03/2024)

Fig. 13 Stibbons E, (2017 ) Broken Terrain. [Intaglio] At:https://rableygallery.com/shop/artists/emma-stibbon/emma-stibbon-ra-broken-terrain/ (Accessed 13/03/2024)

Fig. 14 Tidewater glacier chalk on blackboard (n.d.) [YouTube, screenshot] At https://youtu.be/l3PtnhGeVyI (Accessed 13/03/2024).

Categories
Part Three: Making Research Points, Part Three: Making

Research Task:​ ‘Fast’ and ‘Slow’ Art

Brief

Search for and record your thoughts on the production of both ‘Fast’ and ‘Slow’ artworks in your learning log. What are some of the arguments for and against this kind of real-time viewing? Research these artworks and artists for different approaches in different creative contexts:

89
Visual Skills 2: Visual Exploration

I started doing research on the list of artists provided in the brief by googling them online.

Koyaanisqatsi

The first person I researched was Godfrey Reggio, who directed a film called Koyaanisqatsi in 1982. The title of the film I did not understand so I researched what the word Koyaanisqatsi means and discovered it is taken from the Hopi which are the westernmost group of Pueblo Indians, situated in what is now northeastern Arizona. The word means “life out of balance”.

Next, I watched the film that is available at this link, https://watchdocumentaries.com/koyaanisqatsi/ and made notes whilst watching it.

Fig. 1 notes (2024)

The film is about a collection of visuals that capture a mix of natural landscapes, displaying all the different elements on our planet. It then transitions to scenes of human civilisation. From striking architecture to various technology advancements. The imagery I felt emphasises the profound impact of human activity. Throughout the film, there is a saddening emphasis on the damaging effects of pollution, warfare, and sights of abandoned structures. Sometimes parts of the film are sped up or slowed down which made it even more dramatic. Initially, I was apprehensive about how long the film is especially with it being only visuals and music. However, I found myself fascinated by the united relationship of the visuals and music.

Upon reaching the end of the film, I had a sense of sadness. It dawned on me how unknowingly, some of our actions over the years have brought devastation upon our world.

Next, whilst researching I found a documentary with Godfrey Reggio and Philip Glass explaining the making of the film.

It is an interesting video and it is clear Godfrey is a clever man with a high intellect. It was mentioned during the video “It is up to the viewer to decide on what they think about the film”. Godfrey also said “We live technology it is the air we breath, we are no longer conscious of its presents.” (Reggio, 2018).This statement is true and its is saddening to realise how we are so proud of our technological advancements but neglect to see the implications they are having.

Longplayer

Next, I looked at the work of Jem Finer’s project ‘L​ongplayer​’.

Researching the project Longplayer I discovered it is a unique piece of music designed to last 1,000 years, composed by Jem Finer, who is a musician and artist. It began playing by an algorithm played through a computer and was first played on 31st December in 1999 and will continue to play without any repetition until the year 2999. Apparently, the idea of the project was not about music but more about the experience of time. Longplayer resides in a lighthouse in Trinity Buoy Wharf in London.

Given the length of time this project is expected to last for causes various arguments for and against real-time viewing of Longplayer:

Arguments for real-time viewing of Longplayer.

Having music played nonstop for a millennium and considering the countless individuals who will have come and gone, who have heard and seen the music is quite remarkable. It’s a truly unique experience. Throughout the next millennium, viewers will be able to observe its progress. Experiencing Longplayer in real time might help people establish a relationship with time, as well as giving people space to reflect. It is evident from online research that people frequently travel great distances to visit Longplayer.

As can be seen in the video above, people are sitting about the bowls, enjoying the music, and even meditating there. As such, it provides a chance for people to join together and it makes it possible for people to gather, listen to the music, and converse about it. As a student myself, it is also a valuable educational tool allowing students to investigate and evaluate the artwork.

Arguments against real-time viewing:

Although I hope the project works, I don’t think the concept will last a millennium. People’s time will need to be dedicated to maintaining it. It’s also questionable if people will grow tired of the concept. One of the biggest issues I can see is the technical challenges that will come up. For instance, ensuring that it continues to play, adjusting to new technologies, and maintaining Longplayer.

Andy Goldsworthy’s sculptural practice.

Andy Goldsworthy is a British sculptor, photographer, and environmental artist known for his distinct sculptures and land art projects. His creations are often created in natural settings, including forests, riversides, and coastlines, and he frequently works with the environment, using materials sourced directly from the landscape such as rocks, leaves, branches, and ice. Through his art, Goldsworthy explores themes such as the relationship between humanity, nature and the passage of time.

Arguments For real-time viewing of Andy Goldworth’s artwork:

Goldsworthy’s art is about the concept of not lasting forever. People who viewing his work, with such a short time frame are reminded of the beauty of nature and its lifecycle and are given time to appreciate the natural world around them. Watching Andy work in realtime allows the viewer to understand his working practice and therefore gain an appreciation for his art. Also, stumbling across his work would create more of a sense of excitement. A friend of mine has been doing similar art whilst on her walks in the Forest of Dean, people are always excited to see and find her designs.

Below shows photographs of my friend Alisa Swanson’s artwork which I think is similar to Andy Goldsworth’s style.

Alisa Swanson’s artworks

Fig. 2 Snow circle (2024)
Fig. 3 Snowballs (2024)
Fig. 4 Patchwork sticks (2024)
Fig. 5 Animal face (2024)
Fig. 6 Coloured stems (2024)
Fig. 7 Moss (2024)
Fig.8 Leaf snail (2024)
Fig. 9 Pebbles (2024)
Fig. 10 Seaside circle (2024)
Fig. 11 Autumn (2023)

Arguments Against Real-Time Viewing:

Focusing on Goldsworthy’s real-time process may distract from the final artwork itself. Instead of appreciating the completed piece, viewers may become fixated on the artist’s actions.

From my own experience when I have had people watch me in real time create art work I have found it disrupting and distracting. Which possibly could affect his final artwork. The presence of an audience or observers may influence the artist’s decisions or alter the intended outcome of the artwork. However, this is a personal thought, and he may not feel this way when creating his works. Also, by watching him work there would be no mystery or excitement compared to stumbling upon it.

Marina Abramovic performance ‘The Artist is Present’​ 

Out of all the people and creations I have researched this one personally is the most bizarre. The artist Marina Abramovic, sat motionless at a wooden table in a museum located in New York City, in 2010. Visitors were invited to sit across from her one at a time. The visitors were free to sit with her for as long as they wished, and they were encouraged to make eye contact with Abramović during their time together. This performance lasted 8 hours a day for three months.

However, when I watched the clip below, it made me reconsider my initial impressions of the performance. It was truly emotional and made me think is there more about the whole process of this project then I first thought. As Marina sat ready to meet her first guest she was unexpectedly greeted by her ex boyfriend and they sat for a minute gazing into each other’s eyes.

After careful consideration, I now believe through her art she is teaching people to be present in the moment, quiet their minds and to find time to connect with themselves and others. As most of the time people are so busy in their own fast pace lives they do not experience times like these. I also think it shows dedication and endurance from Marina to do such a project. After the effects of Covid it would be good to see how the same experience would affect people if they took part in the performance in 2024.

 While I was researching, I discovered some of Abramovic’s earlier works. One was her performance in the 1974 production of Rhythm 0. This performance scared and stunned me possibly even contributed to a nightmare I had the following night of reading about it. Without getting into specifics of the performances, I can say that she is devoted to her work as a performance artist and is willing to push herself to the limit.

Tehching Hsieh

Again, I was surprised by the next artist and his dedication to his art. Tehching Hsieh, is a Taiwanese artist most known for his five ‘One Year Performances’​  These works are known as the following:

  • Cage
  • Time Clock
  • Outdoor
  • Rope
  • No Art

Time Clock

Below is a small documentary, discussing the work produced while creating the project, Time Clock. For this performance Tehching, punched a time clock every hour, for a whole year. Each hour he photographed himself which resulted in thousands of photos documenting the process. These photos were then sped up using film, that gave a better idea of the hardships he faced. Such as never having slept longer than fifty minutes, in a whole year. The philosophy of this piece was to document the passage of time. In his own words “You consume time until you die, every minute, every hour is different, you cannot go back, every time is different but also the same thing.” (Hsieh, 2014). In all of his performances he has pushed the boundaries of art and endurance, provoking viewers to consider the nature of time.

Next, I watched an interesting documentary of Tehching Hsieh, talking about all of the above works and his life story.

Reflection

From researching all of the above creators, a similarity can be seen between them all which is, their intention for the viewers to slow down and engage in a moment of shared presence, allowing for a deeper exploration of either the environment, time elapsing or the human experience within our world.

References

Berry, M. (2022). The Path of Performance: in Conversation with Tehching Hsieh. [online] http://www.youtube.com. Available at: https://youtu.be/DI7TjiHdEOQ [Accessed 11 Mar. 2024].

Blumberg, N. (2018). Andy Goldsworthy | Biography, Art, & Facts. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Andy-Goldsworthy.

Borges, D. (2023). Marina Abramovic and Ulay – a Minute of Silence / the Artist Is Present (MoMA 2010 Performance HD). [online] http://www.youtube.com. Available at: https://youtu.be/op_AGbEBMro [Accessed 11 Mar. 2024].

Cohen, A. (2023). Andy Goldsworthy: Co-Authorship With the Earth through Land Art. [online] TheCollector. Available at: https://www.thecollector.com/who-is-andy-goldsworthy/.

Lader, R. (2013). The Artist Is Present and the Emotions Are Real: Time, Vulnerability, and Gender in Marina Abramovic’s Performance Art» Writing Program» Boston University. [online] http://www.bu.edu. Available at: https://www.bu.edu/writingprogram/journal/past-issues/issue-6/lader/.

Levin, J., Eshun, K., Wertheim, C. and Wertheim, M. (2019). Longplayer. [online] Longplayer.org. Available at: https://longplayer.org.

Mramoeba (2023). Longplayer. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Longplayer [Accessed 10 Mar. 2024].

O’Hagan, S. (2010). Interview: Marina Abramović. [online] The Guardian. Available at: https://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-abramovic-performance-artist [Accessed 11 Mar. 2024].

Payne, C. (2009). LongPlayer Live. [online] http://www.youtube.com. Available at: https://youtu.be/NhEI3FEvxU0 [Accessed 11 Mar. 2024].

Qatsi, K. (2001). Koyaanisqatsi. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Koyaanisqatsi [Accessed 10 Mar. 2024].

Reggio, G. (1982). Koyaanisqatsi (1982) | Watch Free Documentaries Online. [online] Watchdocumetaries. Available at: https://watchdocumentaries.com/koyaanisqatsi/.

Reggio, G. and Glass, P. (2018). Godfrey Reggio & Phillip Glass on ‘Koyaanisquatsi’. Filmschoolarchive. Available at: https://youtu.be/PK03KKcdzl0?si=rRnSmHL67r0hbLLg [Accessed 10 Feb. 2024].

Royal Academy of Arts (2023). Marina Abramović | Exhibition | Royal Academy of Arts. [online] http://www.royalacademy.org.uk. Available at: https://www.royalacademy.org.uk/exhibition/marina-abramovic [Accessed 11 Mar. 2024].

Sheetz, K. (2019). Hopi | People. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Hopi.

Tehching Hsieh: One Year Performance 1980-1981 (201). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.

Tehching Hsieh: One Year Performance 1980-1981 (2014b). Tehching Hsieh: One Year Performance 1980-1981. [online] YouTube. Available at: https://youtu.be/tvebnkjwTeU.

Illustration list

Fig. 1 Fowler, G (2024) Notes. [Photograph] In possession of: Fowler, G: Forest of Dean, Gloucestershire.

Fig. 2 Swanson, A (2024) Snow circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 3 Swanson, A (2024) Snowballs. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 4 Swanson, A (2024) Patchwork sticks. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 5 Swanson, A (2024) Animal face. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 6 Swanson, A (2024) Coloured stems. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 7 Swanson, A (2024) Moss. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 8 Swanson, A (2024) Leaf snail. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 9 Swanson, A (2024) Pebbles. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 10 Swanson, A (2024) Seaside circle. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.

Fig. 11 Swanson, A (2024) Autumn. [Photograph] In possession of: Swanson, A: Forest of Dean, Gloucestershire.