“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.”
Tag: OCA
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:
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.
Once completed, I reduced the selection to thirteen possible illustrations.
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.
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
Thumbnail Slideshow
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.
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.
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
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.
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.
Next, I started drawing a background of a beautiful grassy field in my A3 sketchbook using acrylic paint, pastels and crayons.
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.
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.
Finally, I created a book mockup for the illustraton.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Four
This drawing incorporates elements from assignment 4’s background with the painting I completed for an exercise in part three.
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.
Six
This drawing incorporates elements from part two and part four. The alice clay sculpture can be faintly seen in the water.
Seven
This drawing incorporates elements from part two and and assignment four.
Eight
This drawing incorporates elements from part three and four.
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.
Ten
This illustration incoperates elements from part two and four.
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.
When I finished Assignment 4, I was concerned about what my tutor would think of my work. For as long as I can remember, I’ve felt like my work isn’t good enough. However, after receiving feedback from my tutor, I understood that my concerns were unfounded because the tutor provided great feedback. This event led me to be more confident in my abilities. I’m more motivated to keep working hard on this course. It gave me a huge boost of confidence and assured me that I was on the right course with my studies.
The concept of imagination that I chose for the assignment is so broad that it encouraged me to think outside the box by employing mind maps and primary research. For the first time, this led my work to reflects my personal style.
Reflecting on my visual approach to the task, I would proceed in the same manner that I would with the research. Visiting Oxford helped me engage with the story on a different level. Throughout the journey, I imagined myself as Alice in a variety of settings, including visiting the river she would have taken boat rides on, seeing the fields she would have played in, and the inspiration around Oxford that led Lewis Carroll, all of which helped me channel those ideas into my artwork.
The final images’ strengths are that they demonstrate perspective, movement, attention to detail, and expression against a complex background. The illustrations’ flaws could be improved by working on more refined facial expressions with the sculptures I produced, as well as paying closer attention to detail with the sculptures. This might be accomplished by adding whiskers to the rabbit and more detail to the fur. This could be accomplished by researching human or animal facial anatomy to create more realistic depictions.
The work’s scale was suitable for assignment four, but going forward, I’ll need to make sure I set up the right size at the start of the project to prevent it from unintentionally becoming distorted in any way. For example, if I want my work to be used as book illustrations or merchandise.
Categories
Assignment four
Before beginning assignment four I reflected on the ways I have approached making throughout this unit and broke them down into categories so I could continue thinking about strategies to help me stay open minded and be creative.
Approaches
- Identifying keywords
- Brainstorming
- Research
Methods
- Thumbnail sketches
- Generating ideas
- Drawing ideas up
- Choosing ideas
- Creating visuals
- Final artwork
Conceptual strategies
- Word association
- Word processing
- Words to pictures
- Considering viewpoint, composition, and content
Ways of making
- Painting
- Sculpture
- Paper folding
- Working small
- Working big
- Collage
- Mixed media
Brief
For this assignment there are a choice of three assignment titles that I can develop for this themed project. The university has deliberately made the themes expansive and open so I can interpret them in many ways. These three theme titles are:
- A Place
- Imagination
- The Word
Brainstorming
To begin I read the brief for each of the named projects and decided I didn’t want to do ‘The Word’ project as I felt it led me to a more graphical approach and this is not my speciality. Therefore, this left ‘A Place’ and ‘Imagination’ to decide between. To help me decide on the one that appealed most I created brainstorms for each topic. These can be seen below.
‘Imagination’ brainstorm
‘A place’ brainstorm
Generating ideas, concepts and images.
After creating these maps, I reviewed my past work with my instructor and explored the possibilities shown in the maps. In the session, I realised that my true fascination lay with the concept of imagination. In my mind map, I had listed John Tenniel and I thought to myself what could be more inspiring than John Tenniel’s enchanting illustrations of “Alice in Wonderland” and the dreamlike story itself, penned by Lewis Carroll and first published in 1865?
Also, after some research, I discovered that all works produced during Lewis Carroll’s lifetime are copyright-free around the world. Although I had no intention of copying anyone’s artwork, I didn’t want to incur any legal problems by using their works as inspiration.
Reflecting on some of my work, I recognised that part of it may have been influenced by Alice in Wonderland. Here are some of these pieces.
Below is an exercise where I created illustrations based on Pareidolia.
Below is a an illustration I created for an exercise in Illustration Sketchbooks called Interpretation and communication.
Below is a video of a zine I created made for a previous assignment in the unit Illustration Sketchbooks.
Desk research
To begin with I decided it would be best to read the book before looking at any previous artists works as I wanted to use my own imagination to picture each character. To do this I listened to the following audiobook and made notes while listening to it.
Notes
Fig. 7 Notes (2024)
Chapter One really appealed to me because I felt it set the scene for the whole story and established the atmosphere. It felt quite magical and surreal. When reading the chapter again, I highlighted parts that I thought would make for an interesting illustration.
Next, I got out my sketchbook and began sketching out what I thought the white rabbit looked like in my imagination.
Before continuing I thought it was time to look at other artists work for inspiration.
Multiple artists have created illustrations for Alice in Wonderland, each with their own unique artistic expression. However, I wanted to create something distinctive. Researching, I was inspired by the following artists: Annie Montgomerie, Mary Rose Young, Tenniel, and Rackham.
Annie Montgomerie’s anthropomorphic animal figures are particularly unusual and lifelike. Each figure has its own intriguing story and particular appeal, conveying a sense of nostalgia, uniqueness, and cuteness. Each doll is constructed from vintage items such as broaches, children’s shoes, jewellery, and buttons. Below are some examples. My personal favourites are the chimpanzees as they are my favourite animal.
Mary Rose Young is a local artist in the Forest of Dean that I once worked for when I was sixteen, employed to paint designs onto her pottery. However, researching her lately, I discovered she has since made some new designs that are inspired by Alice in Wonderland. What I like about them is their bold colours and whimsical patterns that capture the imagination.
Below are some examples.
Last but not least, I could not leave out the old illustration masters such as Tenniel and Rackham. Their illustrations continue to be timeless and influential in the world of art and literature. Their work has inspired countless artists and continues to captivate audiences of all ages.
Below are some examples.
John Tenniel
Arthur Rackham
Visual research in the world
Through my research, I discovered that the character Alice is based on a real person named Alice Pleasance Liddell.
Wanting to learn more about what inspired the story, I did more research and discovered that the author of Alice in Wonderland, Charles Lutwidge Dodson (pen name Lewis Carroll), moved to Oxford and enrolled at Christ Church College, where he studied mathematics while also living in the city. Lewis Carroll became friends with Henry Liddell, the Dean of Christ Church College, and all three of his daughters when he was studying there. Lewis entertained the girls with stories, and Alice Liddell encouraged Lewis to write down one of them, resulting in the well-known story Alice in Wonderland.
After researching online and reading the story, I wanted to discover what inspired Lewis Carroll. Therefore, I planned a day trip to Oxford with my husband to see the sights that inspired his magical story. As I went over the college grounds and toured the city, I could almost envision the author himself telling wonderful stories to the Liddell sisters. It was a fantastic day that brought the famous narrative to life in a completely new way.
Below is a map I downloaded from the internet to follow on the excursion.
To start the strip we visited Alices shop this used to be Alice Liddell’s local sweet shop.
Fig. 17 Alices shop (2024)
Illustrations of the interior of the shop also appeared in the book Through the looking glass.
Opposite the shop is Christ Church College which we entered and paid to do an audible tour.
Below are exterior photographs of Christ Church College.
Fig. 20 Exterior photos of Christ Church (2024)
We then entered the interior of the building and visited the Great Hall, which is still used today by students for the meals. Hanging near the entrance to the hall was a painting of Lewis Carroll.
Whilst in the hall I pondered if the great hall with its long magnificent tables may have influenced Lewis’s imagination with the Mad Hatters Tea party?
Halfway into the hall on the left hand-side was a fireplace, next to it sat brass andirons shaped like two ladies with long necks. I would imagine this inspired Lewis’s writing when he wrote about Alice’s neck growing longer and longer when she eat the left part of a mushroom.
After visiting Oxford my son said “would you like to borrow my book?” I had forgotten I had given him Alice Adventures in Wonderland a few years ago. Pleasantly surprised the book contains both coloured and black and white illustrations by John Tenniel.
Above the fireplace in the Grand Hall is a stained glass window that features characters from the book including a portrait of the real Alice. You will have to look carefully to see each character. This window was added to the college in the 1920’s to celebrate Carroll.
Next, we moved on to the adjacent cathedral and I asked a tour guide if the cathedral had any significant influence on the story. Pleasantly surprised the man showed me to the garden of which was a small door. This was the door that Lewis Carroll used as inspiration for in the book.
“A little door about fifteen inches high: she tried the little golden key in the lock, and to her great delight it fitted! … she knelt down and looked along the passage into the loveliest garden you ever saw.”
(Carroll, 1982)
The tree behind the wall is also considered to feature in the book when Alice meets the disappearing Cheshire Cat.
This Leeds me to my favourite inspiration that Lewis used and it is hidden well. Situated within the Cathedral high up on one of the pillars was an engraving which looks very familiar could this be the Cheshire Cat inspiration?
Next, we went to the Oxford Museum near Christ Church Cathedral and discovered artefacts belonging to Alice Liddell. These were a key presented to Alice at the opening of the Emery Down and Bank Women’s institute, Lewis Carroll’s pocket watch and Alice’s pocket watch.
Fig. 26 Pocket Watch (2024)
Finally, we attempted to visit the botanical gardens, which Lewis Carroll would frequently visit with Alice, but they were closed. However, we did walk along the river and see where Carroll used to take the three daughters on boat rides and tell them stories.
Visiting Oxford and seeing the influential elements that Lewis Carroll drew upon for his story have been worth seeing and have inspired my own imagination. I am eager to explore different visual interpretations of my own work and see how they compare to the original source material.
Making
Looking back at my sketchbook of the rabbit I drew, and refreshing my recollection of the artists I had studied, I decided to try to create something unique. To do this, I began compiling a list of everything that had inspired me, from colours to shapes to textures, and considered how I could combine them in new and unique ways.
Looking back over my sketchbook at the rabbit I drew and refreshing my memory of the artists I had studied, I decided to try to create something new. To achieve this, I made a list of my inspirations, including colours, forms, and textures, and brainstormed ideas. After, I also thought about designs for the Mad Hatter’s hat, which reminded me of a project I worked on in college when I was sixteen. This was to make a hat for the Mad Hatter’s Tea Party.
Could I expand on this notion now? Other ideas were the Cheshire Cat’s fading smile and tail, the Queen of Hearts’ fondness of red flowers, the talking caterpillar, the card soldiers, and Alice frequently changing sizes.
The first piece I created was what I imagined the white rabbit would look like, and I used my initial sketch as a reference. Thinking about the artist that I researched previously, I decided that I would create the character out of clay. I began by creating a foil frame that I then stuck the clay to and carefully sculpted the white rabbit.
Fig. 29 Rabbit sculpture (2024)
As I worked, I found myself immersed in the creative process. After the clay had dried and hardened, I was disappointed to see that it had numerous cracks. To try to mend it as best I could, I mixed PVA and clay slip and painted it over, filling the gaps. After the mixture had set and dried, I painted the rabbit white with a pink nose and black eyes.
Thinking about the artist Annie Montgomerie’s animal creations and the garments they wear, I thought about doing something similar and making the rabbit’s waistcoat myself. I’ve had a secret desire to learn how to crochet. Never having tried before, I joined a social club at a cafe with a friend, where two older ladies taught me the basics of Tunisian crochet. For the majority of that hour, I had an empty needle and a knotted ball of wool, but by the end, I had managed to make a simple square. Using the newly acquired skills, I crocheted a waistcoat for the rabbit and attached my own pocket watch, which I purchased as a child.
Fig. 30 Finished rabbit sculpture (2024)
Next, I wanted to create a whimsical background for the rabbit, and I wanted it to feature daisies, which were described in the story. I decided to incorporate the daisies into a colourful backdrop using acrylic paint, using different shades of green, blue, and yellow and a small amount of pinks and reds for other flowers.
Next, using Photoshop I combined the background and the rabbit and added some enhancements.
Finished artwork
Finally, I created a mockup of a book featuring a page from the story of Alice in Wonderland using my illustration.
The outcome was as I had envisioned, which made me happy. Creating something colourful and unique that came from my imagination was incredibly satisfying; looking at the mockup brought my vision to life, made me happy, and made me feel it is possible to become a children’s book illustrator.
Wanting to explore the theme of Alice in Wonderland further, I decided to create my own interpretation of the character Alice. However, I wanted Alice to represent the real Alice Liddell, who had brown hair and eyes, not blond and blue eyed. To do this, I began exploring ideas in my sketchbook.
Thinking of the scenes from the book, one of my favourites is when Alice falls down the continuous rabbit hole that features cubards, shelving, and books. As a child, I remember reading this chapter, and it really sparked my imagination, so I decided this would be my next project.
Again, I wanted to make it a unique illustration and decided to make Alice out of plactercine. Before starting, I drew many thumbnail sketches of possible compositions for the overall illustration.
From these thumbnail sketches I selected the one shown below.
Next, I began making a wire frame for the Alice sculpture using florist wire.
Next, I began covering the wire with tin foil and creating the shape for Alice.
Once I was happy with the shape I began sculpting with the coloured plastercine.
Fig. 38 Plasticine modeling (2024)
Below are images of Alice finished.
Fig. 39 Finished Alice model (2024)
Next, I begain painting the background for the final illustration using Acrylic paints.
However, once I began, I realised it wasn’t the right medium for the task. There is a lot of detailed information I wanted to include in the illustration, and I felt acrylic paint would lose this aspect. Therefore, I began again, but this time using watercolour and black fine liner pens.
Previously, I had drawn a sketch of a rabbit, which I thought would look great running away through the passage. Below is the rabbit I sketched.
Using Photoshop, I added the rabbit and made some enhancements to the background.
Next, I added Alice to the scene with some shaddows.
To finalise the illustration I made another mockup to see how it would look.
After finishing this illustration, I then asked family and friends their opinions, and here are their statements.
“I’m finding it impossible to fault; it looks professional to me.”
“Excellent. You can use it to advertise.”
“Smart, first edition, please.”
“Looks good looking down the well.”
“That looks great, well done.”
Finally, my favourite comment! –
“Well done; it looks brilliant; she still has Botox lips though.”
After reading all these comments, I was very happy that I had such good feedback, as I wasn’t entirely sure if it worked. The positive feedback from family and friends reassured me that my illustration was well-received and effective. It gave me confidence in my work and motivation to continue creating further work.
This assignment has been really enjoyable and one that I could continue as I have so many other ideas for scenes in the book. It has been enjoyable to explore ideas from my own imagination.
Using a Website called Redbubble I set up a shop called Inkpics where people can purchase items with my artwork on certain products. This was fun to see my work online and available to purchace. Below are some exmples of some of the products available.
Creating products to sell online has made me realise the possibility I have with my illustration work and that I need to start setting up my own personal online shop and website. This way, I can showcase my designs and artwork to a wider audience and potentially reach more customers. I am excited about the opportunity to turn my passion for illustration into a profitable business venture.
Illustration list
Fig. 1 Fowler, G (2024) Imagination Brainstorm [freeform screenshot] In possession of the author: Gloucestershire.
Fig. 2 Fowler, G (2024) A Place Brainstorm [freeform screenshot] In possession of the author: Gloucestershire.
Fig. 3 Fowler, G (2023) Flower characters [WordPress screenshot] In possession of the author: Gloucestershire.
Fig. 4 Fowler, G (2023) Mockup page 1 [WordPress screenshot] In possession of the author: Gloucestershire.
Fig. 5 Fowler, G (2023) Mockup page 2 [WordPress screenshot] In possession of the author: Gloucestershire.
Fig. 6 Fowler, G (2023) Video of Bad Magic zine [Youtube video] In possession of the author: Gloucestershire.
Fig. 7 Fowler, G (2024) Notes [Freeform screenshots] In possession of the author: Gloucestershire.
Fig. 8 Fowler, G (2024) Down the Rabbit Hole page 4 [Photograph of printed text] In possession of the author: Gloucestershire.
Fig. 9 Fowler, G (2024) Down the Rabbit Hole page 5 [Photograph of printed text] In possession of the author: Gloucestershire.
Fig. 10 Fowler, G (2024) Sketch of white rabbit [Photograph of pencil sketch] In possession of the author: Gloucestershire.
Fig. 11 Montgomerie, A (2024) anthropomorphic animal figures [Webpage screenshot] Available at: https://beinart.org/blogs/articles/interview-with-annie-montgomerie
Fig. 12 Montgomerie, A (2024) anthropomorphic sheep [Webpage screenshot] Available at: https://beinart.org/blogs/articles/interview-with-annie-montgomerie
Fig. 13 Young, M (2024) Mary Rose egg cups [Webpage screenshot] Available at:https://www.maryroseyoung.com/product/alice-in-wonderland-egg-cup/
Fig. 14 Young, M (2024) Mary Rose Alice Teacup [Webpage screenshot] Available at: https://maryroseyoung.myshopify.com/products/alice-in-wonderland-white-rabbit-cup-and-saucer
Fig. 15 Young, M (2024) Mary Rose Alice Teapot [Webpage screenshot] Available at: https://maryroseyoung.myshopify.com/products/alice-in-wonderland-large-teapot
Fig 16 (2024) Oxford Map {map] At: https://www.oxfordvisit.com/articles/lewis-carrell-alice-in-wonderland/
Fig. 17 Fowler, G (2024) Alice’s shop [photographs] In possession of the author: Gloucestershire.
Fig.18 Tenniel, J (1871) Pencil sketch of Alices shop [Webpage screenshot of pencil sketch] Available at: https://aliceinwonderlandshop.com/pages/history
Fig. 19 Fowler, G (2024) My Husband and I [Photograph] In possession of the author: Gloucestershire.
Fig. 20 Fowler, G (2024) Exterior photos of Christ Church [Photograph] In possession of the author: Gloucestershire.
Fig. 21 Herkomer, H (1899) Charles Lutwidge Dodgson [Oil painting] Available to be seen in Christ Church Great Hall.
Fig. 22 Fowler, G (2024) The Great Hall (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 22 Fowler, G (2024) andrions (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 22 Carrol, L (1982) The pool of tears [Photograph of printed book] In possession of the author: Gloucestershire.
Fig. 23 Carrol, L (1982) Front cover [Photograph of printed book] In possession of the author: Gloucestershire.
Fig. 24 Fowler, G (2024) Stained Glass Window (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 24 Fowler, G (2024) Alice’s door (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 25 Fowler, G (2024) cat (2024) [Photograph] In possession of the author: Gloucestershire. Can be seen at Christ Church Cathedral Oxford.
Fig. 26 Fowler, G (2024) Pocket watch (2024) [Photograph] In possession of the author: Gloucestershire. Can be seen at the Oxford museum
Fig. 27 Fowler, G (2024) Bridge (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 28 Fowler, G (2024) Inspiration notes Brainstorm [freeform screenshot] In possession of the author: Gloucestershire.
Fig. 28 Fowler, G (2000) Newspaper Clipping [photograph] In possession of the author: Gloucestershire.
Fig. 29 Fowler, G (2024) Rabbit sculpture (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 29 Fowler, G (2024) Painted rabbit sculpture (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 30 Fowler, G (2024) Finished rabbit sculpture (2024) [Photograph] In possession of the author: Gloucestershire.
Fig. 31 Fowler, G (2024) Daisy Painting (2024) [Acrylic on paper] In possession of the author: Gloucestershire.
Fig. 32 Fowler, G (2024) Im late (2024) [Mixed media] In possession of the author: Gloucestershire.
Fig. 32 Fowler, G (2024) Im late mockup (2024) [Photoshop screenshot] In possession of the author: Gloucestershire.
Fig. 33 Fowler, G (2024) Alice model ideas (2024) [Pencil sketch] In possession of the author: Gloucestershire.
Fig. 34 Fowler, G (2024) Thumbnails (2024) [Pencil sketch] In possession of the author: Gloucestershire.
Fig. 35 Fowler, G (2024) Chosen Thumbnail (2024) [Pencil sketch] In possession of the author: Gloucestershire.
Fig. 36 Fowler, G (2024) Wire sculpture (2024) [Sculpture] In possession of the author: Gloucestershire.
Fig. 37 Fowler, G (2024) Foil sculpture (2024) [Sculpture] In possession of the author: Gloucestershire.
Fig. 38 Fowler, G (2024) Plasticine modelling (2024) [Sculpture] In possession of the author: Gloucestershire.
Fig. 39 Fowler, G (2024) Finished Alice model (2024) [Sculpture] In possession of the author: Gloucestershire.
Fig. 40 Fowler, G (2024) Failed background (2024) [Acrylic on paper] In possession of the author: Gloucestershire.
Fig. 41 Fowler, G (2024) Watercolour background (2024) [Watercolour on paper] In possession of the author: Gloucestershire.
Fig. 42 Fowler, G (2024) Mixed media white rabbit (2024) [Watercolour on paper] In possession of the author: Gloucestershire.
Fig. 43 Fowler, G (2024) Completed Background (2024) [Watercolour on paper] In possession of the author: Gloucestershire.
Fig. 44 Fowler, G (2024) Completed Illustration (2024) [Mixed media] In possession of the author: Gloucestershire.
Fig. 45 Fowler, G (2024) Mockup of Alice falling down the well (2024) [Photoshop screenshot] In possession of the author: Gloucestershire.
Fig. 46 Fowler, G (2024) Wonderland Pin (2024) [Redbubble screenshot] In possession of the author: Gloucestershire.
Fig. 47 Fowler, G (2024) Not all who wonder are lost (2024) [Redbubble screenshot] In possession of the author: Gloucestershire.
References
admin (2023). Lewis Carroll’s Oxford: A Thorough Guide to Alice In Wonderland. [online] OxfordVisit. Available at: https://www.oxfordvisit.com/articles/lewis-carrell-alice-in-wonderland/#google_vignette.
Carroll, L. (1982). Alice’s Adventures in Wonderland .
England, H. (2015). 6 Places That Inspired Alice in Wonderland. [online] The Historic England Blog. Available at: https://heritagecalling.com/2015/07/03/6-places-that-inspired-alice-in-wonderland/ [Accessed 30 Jun. 2024].
Ferneklint, R. (n.d.). The Real Lewis Carroll and Alice. [online] Historic UK. Available at: https://www.historic-uk.com/CultureUK/Real-Lewis-Carroll-and-Alice/.
Okay, A. (2023). Exploring the Magical Art of Alice in Wonderland. [online] Andy okay. Available at: https://andyokay.com/blogs/the-gallerist/exploring-the-magical-art-of-alice-in-wonderland?currency=GBP.
Rawson-Smith , I. (2022). Interview with Annie Montgomerie. [online] Beinart Gallery. Available at: https://beinart.org/blogs/articles/interview-with-annie-montgomerie.
Tenniel, J. (2008). The Project Gutenberg e-book of Tenniel Illustrations for Alice in Wonderland, by Sir John Tenniel. [online] http://www.gutenberg.org. Available at: https://www.gutenberg.org/files/114/114-h/114-h.htm.
Young, M.R. (n.d.). Alice in Wonderland Egg Cup – Mary Rose Young. [online] Mary Rose Young. Available at: https://www.maryroseyoung.com/product/alice-in-wonderland-egg-cup/ [Accessed 30 Jun. 2024].
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
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.
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.
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.
Other examples of Martina work.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
Finally, I had a little play with the different elements I have created including trees I painted in the previous exercise.
and made various cover designs for a children’s book. Below are different experiments with cover designs.
As I continued to experiment and play with different techniques, my excitement grew, and I created a final mockup design for an independent reader.
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
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.
Below is an a photograph I took recently of Soudley ponds.
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.
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.
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.“
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
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.
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.
Next, I began making swift marks with flowing motions from the whole use of my arm.
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.
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.
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
Final painting
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.
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
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.
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.
Approach three
In the next image, the lady is making marks by creating rubbings from various surfaces.
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.
Approach five
Finally, many artists were practising their observational skills by drawing still lifes.
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.
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.
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.
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.
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.
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“.
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.
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).
Visual Skills 2 