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Assignment 5 Assignments

Assignment Five : Rethinking and Realising

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

Keywords from the brief:

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

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

Assignment Four

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

Project Proposal: Exploring “Through the Looking Glass”

Brief

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

Project Goals

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

Initial Ideas and Research

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

Fig. 1 Annotations (2024)

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

Fig.2 Possible ideas (2024)

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

Fig.3 Asking friends (2024)

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

Brainstorming & Thumbnails:

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

Brainstorming slideshow

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

Thumbnail Slideshow

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

Research

Graham Rawle

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

You can watch the video below.

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

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

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

History of Through the Looking Glass

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

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

Fig. 4 Alice looking in the mirror (2024)

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

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

Visuals

Alice meets Humpty Dumpty

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

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


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

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

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

Slide show of working process of making Humpty Dumpty

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

Slideshow of working process of backdrop painting

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

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

Fig. 7 Alice meeting Humpty Dumpty (2024)

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

Alice becomes queen

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

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

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

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

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

Fig.8 Fimo Experimenting (2024)

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

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

Fig. 9 Painted Alice (2024)

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

Fig. 10 Field painting (2024)

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

Fig. 11 Alice doll in field (2024)

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

Fig. 12 Alice sculpture in field (2024)

Finally, I created a book mockup for the illustraton.

Fig.13 Mockup (2024)

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

Alice falling down the rabbit hole.

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

Fig. 14 The Story of Alice (2024)

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

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

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

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

Fig. 15 Photograhing Alice (2024)

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

Fig.16 Rigging Alice (2024)

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

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

Fig. 17 Armature Alice (2024)

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

Fig. 18 Armature Problems (2024)

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

Fig.19 Fixing mesh (2024)

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

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

Fig. 20 Alice Fusion (2024)

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

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

Fig. 21 Rabbit hole (2024)

Reflective Statement

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

3D Modeling and Animation

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

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

Humpty Dumpty and Alice Sculptures

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

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

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

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

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

Reflection on verbal tutor feedback

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

Continiation of Blender animation after tutor feedback.

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

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

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

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

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

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

References

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

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

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

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

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

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

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

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

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

Illustration list

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Coursework Part Five: Personal Project

Exercise 3:​ Creating Connections

Brief

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

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

Visual Skills 2: Visual Exploration p129

Keywords from the brief

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

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

Exercise 2:​ Creative Audit

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

One

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

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

Two

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

Fig. 3 Fleeting Rabbit (2024)

Three

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

Fig. 4 Rabbit going home (2024)

Four

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

Fig. 5 Bats (2024)

Five

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

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

Six

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

Fig. 7 Wizard saving Alice (2024)

Seven

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

Fig. 8 Wizard capturing the rabbit (2024)

Eight

This drawing incorporates elements from part three and four.

Fig. 9 Reds Secret (2024)

Nine

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

Fig. 10 Am I dreaming (2024)

Ten

This illustration incoperates elements from part two and four.

Fig. 11 Stop (2024)

Reflection

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

List of illustrations

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

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

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

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

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

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

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

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

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

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

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

Categories
Part Five: Personal Project Reflection on tutor feedback

Exercise 1: Reflection on Part Four

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 4 Assignments

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

Fig. 1 Imagination Brainstorm (2024)

‘A place’ brainstorm

Fig. 2 A Place Brainstorm (2024)

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.

Fig. 3 Flower characters (2023)

Below is a an illustration I created for an exercise in Illustration Sketchbooks called Interpretation and communication.

Fig. 4 Mockup page 1 (2023)
Fig. 5 Mockup page 2 (2023)

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.

Fig. 8 Down the Rabbit hole page 4 (2024)
Fig. 9 Down the Rabbit hole page 5 (2024)

Next, I got out my sketchbook and began sketching out what I thought the white rabbit looked like in my imagination.

Fig. 10 Sketch of white rabbit (2024)

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.

Fig. 11 anthropomorphic animal figures (2024)
Fig. 12 anthropomorphic sheep (2024)

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.

Fig. 13 Mary Rose egg cups (2024)
Fig.14 Mary Rose Alice Teacup (2024)
Fig. 15 Mary Rose Alice teapot (2024)

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.

Fig. 16 OxfordMap (2024)

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.

Fig. 18 Pencil sketch of Alices shop (1871)

Opposite the shop is Christ Church College which we entered and paid to do an audible tour.

Fig.19 My Husband and I (2024)

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.

Fig. 21 Charles Lutwidge Dodgson (1899)

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?

Fig. 22 The Great Hall (2024)

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.

Fig. 23 andirons (2024)

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.

Fig. 23 The pool of tears (1982)
Fig. 23 Front Cover(1982)

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.

Fig.24 Stained Glass Window (2024)

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.

Fig. 25 Alice’s door (2024)

 “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?

Fig. 25 Cat (2024)

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.

Fig. 27 Bridge (2024)

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.

Fig. 28 Inspiration notes (2024)

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.

Fig. 29 Newspaper clipping (2000)

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.

Fig. 30 Painted rabbit sculpture (2024)

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. 

Fig. 31 Daisy Painting (2024)

Next, using Photoshop I combined the background and the rabbit and added some enhancements.

Finished artwork

Fig. 32 I’m late (2024)

Finally, I created a mockup of a book featuring a page from the story of Alice in Wonderland using my illustration.

Fig. 33 I’m late mock up (2024)

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.

Fig. 33 Alice model ideas (2024)

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.

Fig. 34 Thumbnails (2024)

From these thumbnail sketches I selected the one shown below.

Fig. 35 Chosen Thumbnails (2024)

Next, I began making a wire frame for the Alice sculpture using florist wire.

Fig. 36 Wire sculpture (2024)

Next, I began covering the wire with tin foil and creating the shape for Alice.

Fig. 37 Foil Sculpture (2024)

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.

Fig. 40 Failed background (2024)

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.

Fig. 41 Watercolour background (2024)

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.

Fig. Mixed media white rabbit (2024)

Using Photoshop, I added the rabbit and made some enhancements to the background.

Fig. 43 Completed Background (2024)

Next, I added Alice to the scene with some shaddows.

Fig. 44 Completed Illustration (2024)

To finalise the illustration I made another mockup to see how it would look.

Fig. 45 Mockup of Alice falling down the well (2024)

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.

Fig. 46 Wonderland Pin (2024)
Fig. 47 Not all who wonder are lost (2024)

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].

Categories
Coursework Research Points, Part Three: Making

Research task: ​Paper Toys

Brief

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

Visual Skills 2: Visual Exploration p106

Keywords from the brief

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

Seth

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

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

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

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

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

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

Fig. 3 Soudley ponds (2024)

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

Steve Monger

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

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

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

Thomas Demand

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

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

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

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

Below is one of the photographs of his reconstruction.

Fig. 6 ‘Lemoncake’ (2007)

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

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

Amy Bennett

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

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

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

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

Fig. 7 Animals (2018)

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

What is the purpose of paper toys?

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

Who is their target audience?

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

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

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

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

References

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

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

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

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

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

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

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

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

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

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

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

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

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

Illustration list

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

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

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

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

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

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

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

Categories
Coursework Part Three: Making

Exercise 1: Fast 

WARNING!

CONTENT CONTAINS SOME EXPLICIT IMAGES DUE TO LIFE DRAWINGS OF NAKED MODELS.

Option one: Rapid Portraits

Brief:

For this exercise, I had to use a modelling material to produce a range of rapid portraits. With a maximin time of three minutes for each model.

To begin the exercise, I printed off a selection of portrait expressions from the internet that I wanted to try and capture. From this reference photo, I picked ten to try and model with my selected material.

Fig. 1 Facial Expressions reference project (2012)

Next, I gathered some of my son’s plasticine modelling clay that he uses for animation purposes, some modelling tools and put a three-minute timer on my laptop.

Fig. 2 Materials (2024)

Below are ten facial expressions I tried to capture with my portrait models.

Shocked

Fig.3 Shocked (2024)

Tired

Fig.4 Tired (2024)

Holding breath

Fig. 5 Holding Breath (2024)

Angry

Fig. 6 Angry (2024)

Resting face

Fig. 7 Resting face (2024)

Scared

Fig.8 Scared (2024)

Laughing

Fig.9 Laughing (2024)

Embarrassed

Fig. 10 Embarrassed (2024)

Looking up

Fig. 11 Looking up (2024)

Looking down

Fig. 12 Looking down (2024)

For an extra challenge, I tried to capture a confused facial expression with a one-minute time limit.

Fig.13 Confused (2024)

Reflection

I really enjoyed this exercise. I often find I don’t leave enough time to play in my work and this was just that playing. As an older child, my favourite hobby was sculpture and making pots on my refurbished potter’s wheel. So, to be able to sit and sculpt portrait models was not only fun but I was able to reminice.

Working with the clay rapidly was made challenging by the three-minute timer.  I haven’t used plasticine since I was maybe seven years old, and I forgot that it’s fairly hard and requires hand warming before handling. Therefore this was an extra challenge.

Seeing how much expression I could achieve in the allotted time was interesting but I was happy with how much information I could portray with each sculpture. The ones that I struggled with the most were the ones that were smiling and looking down. It’s interesting to see that I also have difficulty when I try and draw these angles. So maybe to get better at them, I need to study them more in my sketchbook.

If I was to try this again it would be interesting to see how the sculptures would look using a single-colour clay. Would I still capture all of the expressions?

Another option

Option two’s brief appealed to me too and I believed it would enhance my illustration capabilities, even though I could have completed Option One alone for this task. It meant I would have the opportunity to do some more exploring.

Option 2:​ Continuous Line Drawing

Brief

For this exercise, I had to create various continuous line drawings. (This means making drawings without taking my drawing tool off the paper until it is complete. ) With an added challenge of a maximum time limit of three minutes for each.

Research

Before starting to draw, I researched some examples of artists who use this technique in their practice.

Pablo Picasso 

One of the masters of art during the 20th century was Picasso. During this time he drew many pictures using continuous lines. It is quite amazing to see the amount of detail and complexity he can convey, in what appears at first to be a simple drawing. When looking at the drawing of the horse below I enjoy how he has captured the sense of movement with his fluid use of line.

Next, I watched the short film below which is about an exhibition of Picasso’s line work dating from his first to last drawings (1901-1969). There are 100 sketches in total some never seen by the public before. What I like about his line work is how expressive and creative he is. In the video, you can see how he challenges himself to look at things in new ways and experiments with lines.

Other well-known artists who use lines are Egon Schiele, Sherrie Levine, Andy Warhol, and Henri Matisse.

Henri Matisse

Matisse produced artwork during the same time as Picasso and there are some similarities in their artwork such as how they used line. Yet, there are some differences I think Picasso’s work was a little more complex especially when he started experimenting with cubism where his lines become much more angular and intricate. Where as Matise’s work was much more decorative and simplistic.

Al Hirschfeld

Al Hirschfeld was a 20th century illustrator best known for his black and white line drawings of caricatures. He had an impressive nine decades of illustrative work, including working for the New York Times. On the website https://www.alhirschfeldfoundation.org I found many examples of his work to study. I really enjoyed researching his work they are full of movement, humour, expression and cheekiness.

DFT

Next, I wanted to see what illustrators today may be using the continuous line technique in their practice and came across a French duo of artists called DFT (differantly). It excited me to see that their work has attracted interest from world famous brands such as Apple, Hermès, Nike and Adidas.

Below is a video of one of the artist showing how they create their work. I found it incredible how quickly the illustrations were drawn but amazingly there is still such large amounts of detail.

After, researching past and present-day artists that have used this method I have to say I am a little apprehensive at what I will be able to achieve especially with a maximum time-limit of three minutes but looking forward to experimenting.

Continuous line sketches

To begin the continuous line sketches I began with a sheet from my sketchbook and used one of my clay models as a still life to draw from. This was a warm up sheet before starting properly as it has been some time since I have sketched anything.

Fig. 14 Warm up sketches (2024)

I was surprised at how difficult it was to record information quickly without lifting my pen off the paper and found that I seemed to be only able to record half the face unless I went back over some of the lines I had previously drawn.

Now that my hand and eye coordination had warmed up, I set my timer for one minute and began sketching the same clay model.

Fig. 15 Shocked line drawing (2024)

Interestingly, with more practicie the lines to each of the drawings are now much more fluid and I am able to record more information.

Fig. 16 Tired line drawing (2024)

Again, setting my timer I practiced more continuous line drawings. Once more, I used one of my sculptures to practise this. The hand added an additional element to the face’s shape, making it more difficult to capture, but overall, I believe the sketches capture the essence of the sculpture.

Following my attempts at drawing expressions in lines, I wondered what it would be like to sketch an actual person. Researching online  I came to a website that assists artists by providing images of models in different poses. The webpage also allows you to set a timer, so I used the two-minute setting for each of the upcoming line drawings. Here are some of my sketches.

Fig. 18 Life drawing pose 1 (2024)

Fig. 19 Life drawing pose 2 (2024)

The sketches are not exactly true to scale or have captured every detail but I am pleased I have managed to capture the women’s poses.

After, I thought would I be able to do the same for a male model? Searching on the website I found three photos of male models to use for reference.

Fig.20 Life drawing pose 3 (2024)

The first sketch I did was the middle one, the second was the one to the right and finally the one to the left was the last sketch I drew. It was interesting to see the line become more fluid the more I practiced and that the last drawing has recorded more information and done so more accurately.

Reflection

This continious line drawing exercise has been an enjoyable one. Having a short time limit has made me not worry about making mistakes but think quickly about what is the best way to convey what is in front of me.

It has been beneficial for strengthening my hand and eye coordination and has made me make deliberate choices in the placement of each mark. This exercise will undoubtedly help improve my drawings if I practice this exercise often.

References

About – DFT – minimalist line art (no date) DFT. Available at: https://www.dft.art/about (Accessed: 01 February 2024). 

Al Hirschfeld (no date) Bio. Available at: https://www.alhirschfeldfoundation.org/bio (Accessed: 01 February 2024). 

Brilliant single line drawings by differantly (aka DFT) (2018) YouTube. Available at: https://youtu.be/xaiUyI9OB5w (Accessed: 01 February 2024). 

Figure study tool (no date) Line of Action. Available at: https://line-of-action.com/practice-tools/figure-drawing (Accessed: 01 February 2024). 

Gallery, G. (2018) Who’s next? – DFT, art-director-portfol. Available at: https://www.geneycleegallery.com/post/who-s-next-dft (Accessed: 01 February 2024). 

Picasso the line (2016a) YouTube. Available at: https://youtu.be/OrPwBPwqI3Y (Accessed: 01 February 2024). 

Picasso the line (2016b) YouTube. Available at: https://youtu.be/OrPwBPwqI3Y (Accessed: 01 February 2024). 

R, T. (2012) Facial Expressions Reference Project, Deviant Art. Available at: https://www.deviantart.com/tamarar/art/Tammy-s-facial-expressions-313627461 (Accessed: 01 February 2024). 

List of illustrations

Fig. 1 Tamara, R. (2012) Facial Expressions reference project. [Photograph, Portrait] At: https://www.deviantart.com/tamarar/art/Tammy-s-facial-expressions-313627461 (Accessed 01/01/2024). 

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

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

Fig. 4 Fowler, G (2024) Tired. [Photograph, portrait] In possession of: the author: Forest of Dean.  

Fig. 5 Fowler, G (2024) Holding breath. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 6 Fowler, G (2024) Angry. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 7 Fowler, G (2024) Resting face. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 8 Fowler, G (2024) Scared. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 9 Fowler, G (2024) Laughing. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 10 Fowler, G (2024) Embarrassed. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 11 Fowler, G (2024) Looking up. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 12 Fowler, G (2024) Looking down. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 13 Fowler, G (2024) Confused. [Photograph, portrait] In possession of: the author: Forest of Dean. 

Fig. 14 Fowler, G (2024) Warm up sketches. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 16 Fowler, G (2024) Tired line drawing [Drawing] In possession of: the author: Forest of Dean. 

Fig. 17 Fowler, G (2024) Warm up sketches. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 18 Fowler, G (2024) Life drawing pose 1. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 19 Fowler, G (2024) Life drawing pose 2. [Drawing] In possession of: the author: Forest of Dean. 

Fig. 20 Fowler, G (2024) Life drawing pose 3. [Drawing] In possession of: the author: Forest of Dean.