Skills, Techniques and Processes

ATTITUDES TOWARDS DEATH Using oil pastel

experimentally and
Communicating Ideas and Intentions- Historical Reactions to Plague texturally, I drew a person
I aimed to explore historical reactions and depictions of plague in my investigation in wearing a covid mask with
attitudes towards death. I wanted to take inspiration from how past notable artists have increased red hues and
dealt with this subject matter and place this in juxtaposition with contemporary response to vibrancy to portray the
Covid-19. It would seem today, with Covid-19 we stand united, but back in earlier centuries fever-like symptoms of
the disasters of plague were exacerbated by conflict. covid. I utilised black to
create a negative tone. To
portray the gloss/reflection
of the overhead light-
source in the hair, I went
back over it with white
pastel and smudged it in
I studied the works of Peter Bruegel the Elder, particularly ‘The
Triumph of Death’ . It depicts plague and how death takes people
indiscriminately with the dead portrayed as skeletons. I created a section
using water colour as I could use thin layers with fine brush strokes to
create the grains of wood and the horse’s speckles.
Critical Investigation, Skills, and Techniques
The Spanish flu taking hold 10 months before
the World War One ended, killed upwards of 40
million people. Both Egon Schiele and Edvard
Munch fell victim to this pandemic.
Munch paints his face as pale and his mouth
open conveying his emotional angst his
struggle with breathing.
With Munch and the furniture blending
together, there is a strong sense of ‘Plague 1898’ pencil own copy
disorientation and disintegration- a delirium of
perception. I have redrawn his oil painting with Although originally created in Tempura, I used
oil pastels to force myself to experiment with pencils to create the dull green brown hues in Arnold
bold expressive texture and to further Böcklin’s ‘Plague 1898’. I was particularly struck by the
understand his experimental use of colour. visuals of a winged creature silhouetted against the
Dying of the Spanish flu, pain and angst is beiges and that death was mobile and brutal.
communicated through Schiele’s desaturated,
non-naturalistic use of colour, as though life I recreated this painting to experiment with oil and how
and hope are fading into the ominous darkness to use it thinly, yet texturally. I wanted to see how using
Munch, Self-Portrait with the Spanish Flu’ -oil of the background. I was struck by the sense of thin layers of green I could emphasise the disease
Schiele ‘The Family’-oil own copy pastel own copy family maintained despite this. apparent in ‘The Family’
https://fitzmuseum.cam.ac.uk/object
s-and-artworks/highlights/
Skills, techniques, and link to investigation
Here I have recreated a detail from Salvator Rosa’s
‘L’Umana Fragilitá’ painting that serves as the focal point
of the painting. Rather than oil on canvas, I recreated the
painting digitally as I was therefore able to capitalise on
digital media’s ability to zoom; through zooming I could
create even the smallest of details. As I, through this
medium, easily control opacity, I started with a black
ground and worked on top of it with the colour needed to
recreate the forms within the painting. In fact, in procreate
Review refine reflect- After exploring plague’s devastation throughout art history, the
I had the ability to pick out key colours from my ‘L’Umana aspect that I found evocative was how plague took people indiscriminately and how isolation
Fragilitá’ reference to make my colour pallet more was a common theme. These are aspects I seek to portray in my final piece. Stylistically, and
accurate. I started the digital recreation of this painting through its imagery, I found human fragility by Salvator Rosa the most poignant, therefore I
with outlines to reference the shapes and forms within in it. intended to imitate his use of chiaroscuro and warm colours. This high contrast style was used
I put these outlines their own layer so I could delete the to portray people’s isolation in the Covid-19 lockdown. The virus was personified as a skeleton
layer when I no longer needed it. The menacing grin of the just as death is represented. Seeing how families were
skeleton was enjoyable and daunting to draw; in my own affected, I felt inspired to portray the diversity in
final piece I felt inspired by how evil Rosa made the attitudes towards the virus through different age
skeleton look and sought to include the same devilish demographics. The idea of having a pentych (5 panels)
representation. painting was to isolate the people from each other,
Critical investigation and, as it looks like a window, from the viewer.
L’Umana Fragilitá (Human Fragility) is a Skills, Techniques and processes
reaction to the devastating plague that swept I photographed a model skeleton from the desired angle. Next, I
Naples in 1655, killing nearly half the edited the skeleton's eyes to a menacing glare like in Salvator
population, and the personal loss of Salvator Rosa’s painting. Moreover, I made his ribcage bigger to make
Rosa, its painter. It is an oil on canvas memento him seem larger and even more menacing. I edited the skeleton
mori, speaking to the fragility of life. We see this to increase the warmer tones such as the yellow ochres.
through such symbolism as a bubble which lives In my painting, I started with thin layers
such a short fragile life. Within the painting, we of oils to establish tone and shadow.
see a baby forced to sign his life away to death. Next, I created texture through dry-
The story is Rosa’s entire family died to this bushing dark patches for the shading of
plague including his unborn baby. The warmth the skull. On the sternum, I used small
created through colours such as yellow ochre random dots to portray a
and burnt umber are impactful in contrast porous texture- this was
against the black background; the chiaroscuro combined with dry brushing
frames the figures in isolation from one another. for a more natural aesthetic.
Rosa achieves great detail with oil to perfectly For this small scale, I chose
portray human emotion through capturing the paper as canvas is too porous
subtle distortions of the face. I want to utilise oil for the level of detail I
for the same effect in my final piece. L’Umana Fragilitá own digital copy intended to capture.
 Skills, Techniques and Processes
With the photography for the teenage attitude towards
death the aim was to create a subtle concern. I had to
retake the photo to correct the placement of the light
source and to better capture concern. I chose the last image
as its angle was the correct balance of facing forward while
clearly addressing the coronavirus. A bright light and
background was used to help the effect of chiaroscuro
Communication of Ideas and Processes Reflection and Process
I redrew the general composition sketch of the panels I believe my photography was successful, as
digitally to help reorganise and arrange the elements in through trail and improvement, I was able to
my piece, such as my reference photos. I wanted the correct the lighting source on the teenager so that
interaction with the skeleton to mirror how the covid it is in accordance with the lighting of the piece as
would metaphorically interact with each age a whole. Critically speaking, the last panel to
demographic in real life. Therefore, I reorganised the could have been better edited to look more yellow
and better suit the other photographs hues. The face was worked on and built upon in
figures so the arms of the skeleton would stretch out to many layers of tralucent oil to correctly
have the hands grip each the oldest age demographics. portray the skins variety in tones and hues.
The skeleton was created using separate photos I took of Skills, Techniques and Processes
The shoulders were left without any paint
its arms, and cut and pasted together to interact I drew grid lines digitally on the reference and on my drawing to
to replicate the complete white within the
naturalistically with the figures in the painting. Each ensure I had structured the proportions correctly. Before creating
reference. To create the finest of details
person is cropped and scaled carefully and has been details such as with the hair, I blocked in the main colours and
like the stray individual strands of hair, I
photographed with careful attention to the light-source tones of light so, once done, I could work on the details with a
opted for a mixed media approach; I used
and edited to match the warm hues of Salvator Rosa fine brush.
Skills and Techniques Faber Castell Polychromos Pencils as they
painting which inspired this one. Similarly, wings were are opaque, sharpen to a fine point and are
Using my own photography of my hands, I did trials
given to the skeleton as in Rosa’s paining. This was done oil-based. This was done subtly, as I did not
to develop my understanding of the hand’s anatomy
as digital drawing in ‘Procreate’ (application) and want to detract from the baroque style in
and how lighting may interact with hands. I did this
informed by my digital trialling of a section of Salvaor which the painting intends to appear..
trial in oil to better inform how I would paint the
Rosa’s L’Umana Fragilitá.
warm lighting and contrast in the portraits.
 Skills, Techniques and Processes
I had to assume how the shadow the
skeleton’s hand would form on the face as
there was not an actual hand casting a shadow
in my reference. This shadow was created as
accurately as possible through using the same
hues and tones as the other shadows on the
face. The shape of the shadow was estimated
via inspecting the angle of the other shadows
on the face and copying it.
Skills, Techniques and Processes The reflection in the glasses was created by
leaving the white space and adding a small
Above I built upon my sketch with progressive use of tone and detail. The sketch was constructed with
touch of white oil after the fact.
guidelines which were erased before adding oil. My first step was blocking in the basic structure of the face
The focal point of the image is the centre,
using a mid tone-followed by the shadows, as they are the best guide in describing form and making it
therefore, using delicate and fine lines, I
look 3-dimentsional. Warm hues in red were developed in the areas such as the shadow, using thin layers
placed individual hairs in the centre where
of oil, especially along the terminator to emphasise the shadow’s shape and thus 3-dimensional form
the beard is, and small dots on the cheeks to
Below a new technique was devised for creating the texture of wool. As real wool is textured and thick, I
thought I would use the same approach in my oil painting. So I used a more impasto technique here, Review, Refine, Reflect create the illusion of pores.
applying thick dabs and lines of oil in the directional creases of the fabric. A similar thick use of oil was Before the completion of this piece, and after observing the colours reflected in the
used to create and emphasise the wrinkles of fear in the face. baby’s top, I realised that there were a lot of blues of the sky and pinks off the mat
being reflected (from reference picture/not shown). To adjust for this I added glazes of
brown and orange to portray the babies top as reflecting the colours of its fabricated
environment, such as the skeleton's arm behind its head. I also noticed the hues of the
man on the left were not uniformly balanced with the rest of the painting but I could
not adjust for this at this stage. This uniformity could have also been maintained if I
made him wear white, but I feel his navy blue clothes seems to further isolate him in a
way that makes his terrified facial expression more impactful and immediate.

Final Piece
https://www.artsy.net/article/artsy-editorial-dutch-lifes-dark-secrets-
hide-exotic-delicacies
Skills and Techniques- Acrylic
I wanted to develop my skill in acrylic in
Communicating Ideas and Intentions The Dutch Golden this painting using a monochromatic
Age and Baroque art
colour pallet to contemporise my work.
period of the 17th to
18th century utilised
This monochromatic colour pallet was
still-life and the established through starting with a
symbolism under green wash which helped to unify my
vanitas and memento painting. I was able to create detail
mori, to portray the through opaque lines of acrylic and fine
transience of human brushes. This is evident in the leaf with
life and its fleeting dark green sections and the delicate rim-
quality. lighting placed on its edge.
Communicating Ideas
Wihin ‘vanitas’, vanity is critised through expensive or Initial-Idea: Digitally, on Procreate, I created a figure holding items of vanitas. They are stacked
beautiful food/objects. The Dutch Master painters understood in a pyramidal shape that conveys a weight, and toll vanity has, how earthly possessions and
how images could serve as references for contemplation and materialism are not important given we all die. The precarious nature speaks to memento mori
unlike the Counter-reformation art, it was realistic and (remember you must die) as they it would seem their fate is to fall.
grounded in earthly things. I wanted to explore how I could
Skills. Techniques and Processes,
contemporise the message of vanitas.
Glenn Brown Style Study: I painted these still life items with a colour pallet that intended to reflect the hues used in
Critical Investigation much of Glenn Brown’s work. In both paintings below, with thin layers of paint, I painted fine, opaque brush strokes,
like Glenn uses, to create the illusion of a heightened sense of texture. The angles of surfaces were created with angular
brushstrokes evident on the side of watermelon slice and the orange. On the skin of the watermelon the brush strokes
were curvilinear in direction, as they curved around the fruit creating the illusion of a 3 dimensional sphere. In the
paintings below, I used vibrant colours, in contrast to the black background, to silhouette and frame the three
dimensional forms.
Cast shadows were created using diluted
https://www.frieze.com/tags/glenn-brown acrylic for subtlety, but at the occlusion
Glenn Brown transforms his images shadow, I applied paint opaquely, almost
by altering colour non-naturalisticly completely undiluted, to create the
and through his distinctive style of darkest tone possible.
creating thick texture with thin brush The reflected light from the ground and
strokes. Even claiming his works have the knife is portrayed in the edges of the
‘one foot in the grave’ and that they orange and the watermelon-slice by
are ‘not quite of this world’, Brown’s applying slightly lighter tones in their
appropriations seem surreal. I aimed shaded underside. The paint was applied
to explore this surreal style especially opaquely to counteract darks dominance
through altering the colour of my still in acrylic painting.
life.
https://www.tate.org.uk/tate-etc/issue-9-spring-2007/matter-
time
Critical investigation- Taylor-Wood.
Sam Tylor-Wood created a time-lapse piece of a
beautiful Dutch Golden Age still life decaying. Over
time, ironically, through a video of death and decay, we
see a still life come to life and move. Her work is
connected to mortality and the passage of time like
Dutch master painters she was inspired by. She
highlights how 300 years ago to this very day people are
still trying to figure out the same grand questions about
our existence. The contemporary element of the biro is
used to play with meaning and to contrast against classic
beauty, especially as it does not decay.
1 2 3
Communication of Ideas
Numbers 1 through 5 were my ideas whereby I linked the
compositions and imagery I have seen in the Dutch Golden
age vanitas still life with Taylor-Wood’s decomposition
video. My intention was to convey the end result of what
4 5
vanitas eludes to and what Taylor-Wood’s video shows. 1)
Having an action shot painted of black ambiguous figure
losing the fruit from his skull as they decay on the way to
the ground, this decaying fruit speaks to the mortality of the
brain. 2) The idea of having the decayed end-result
forebodingly reflected in the table 3) Creating the decayed
Still Life non-naturalistically through the colour and
textural techniques implemented by Glenn Brown.
4) Destroying the physical painting of the Still Life, even growing mould on the canvas. 5) Streaking the paint and creating pattern
and texture on the streaks as if to portray decay through the transformation of the very barque style itself.
Skills, Techniques, and Processes Inspired by Sam Taylor-
Creation of Vanitas Still Life- I have selected Wood, I decided to
a variety of items of vanitas imagery such as create a time-lase film
a skull and exotic fruits like grapefruit and to portray the full scene
passion fruit. These fruit were also selected of the vanitas’ decay.
under a unified colours scheme of reds, The vanitas was placed
greens and yellowy whites. The red and the in a cellar where it
green are complimentary colours and their could not be disturbed
contrast entices the viewer. Their yellowy- and to maintain
white starkly contrasts with the black of the consistent lighting. For
background to the same effect. the same reason I used
The composition is diverse and dynamic like the those of the Dutch master the lamp in a fixed
painters, as detail and intricacy forces the viewer to pay closer attention. This positioned and
was achieved through various parts overlapping, and made to look visually maximum light setting
complete through the use of levels to create a pyramid, with the tallest when I took each photo.
elements in the middle such as the flowers and the Pringles.
The Pringles was the contemporary object I used, since- much like Taylor-Wood’s biro- it will remain unchanged. Being the central focal
point of the image, it speaks to the unsettling nature of the longevity of processed foods and its packaging. I used a black background to
silhouette the objects, so as not to detract focus from the central subject matter of them decaying in the foreground. Taking inspiration
from baroque, a harsh light was used additionally to create a chiaroscuro – to heighten the contrast with the silhouetted fruit.
 For a more striking visual the photos were
edited with increased vibrancy, saturation, and
darker tones in the shadows.
This creates chiaroscuro, a visual
tonal contrast implemented by
many baroque artists. As life dies it
loses its vibrancy, saturation and
becomes darker. With increased
contrast and vibrancy, the effect is
emphasised as the contrasts In this section of the video, we see a fantastic rate of decay. The banana in particular, as it
disappear and the fruits fade into releases ethylene, was placed to increase the decay of the other fruit. Its own decay,
the background- The visual however, was particularly spectacular as its beautiful whites and yellows dissolved into a
disparity in the start and end thin sliver of grey. Perhaps the most interesting was the mould which grew in the wine..
frame will be even greater. The skull and the Pringles remain unchanged, emphasising the decay around them.

Skills. Techniques and Processes- Video and Editing

After collecting approximately 130 images of the vanitas decay, my
final step was using moviemaker to compile the images together and to
Review, Refine, Reflect
edit them to create the desired chiaroscuro aesthetic. In the bottom I believed the video was a success. Using
right of the photos, a distracting grey triangle of missing black intense lighting on a black background with
background was visible, disturbing its neutrality. To correct for this a increased contrast, saturation, and vibrancy,
black triangle was digitally added to each frame of video (each image)- I believe I created the chiaroscuro or even
highlighted in yellow below. I made the duration of each frame 0.3 tenebrism I had sought to achieve after
seconds as this allowed for the smoothest flow of frames and for a more being influenced by the Baroque Vanitas.
exiting fast decaying video. My piece saw great transformation and
decay and it was particularly interesting to
see what did not decay like some of the
apples. The ticking clock served as a strong
age of vanitas and memento mori - how our
time is limited. My decision to make the
first and last frame longer meant my viewer
could see a clearer start and end result
which made their disparity more impactful.
Also I loved how much life my vanitas
composition conveys in the first frame, I
continued my investigation on the theme of
vanitas by creating a traditional painted
study of the frame.
 Skills and Techniques
A coloured ground was created
with greenwash to serve as my
mid-tone. To make the fruits
stand out, I painted in the
negative space. The fruit and
leaves were texturally painted
to portray the lemon surface.
This unfinished trial inspired
my final piece
Skills ,Techniques, and Processes
After selecting the photo, I painted a mid-tone coloured ground on a large canvas with a
wash of light-burgundy, so that, after blocking in the lights, I would have the basic tonal
range established. My biggest initial guide to the forms of the painting was established
first by using charcoal as outline, and next painting the negative space. Review Refine Reflect
The decayable elements were principally painted simplistically using the three basic tones as if to say, why paint something that will I believe the end result of my piece was particularly
die/change? To create the ridged curved surface of the goblet, thin curves were placed as the shadows in the crevices. effective in achieving my aims. I was able to establish
This contrasts to the non-decayable elements such as the Pringles, the clock, and the skull. The Pringles were painted with fine chiaroscuro and the composition of my piece meets the
brush to capture the detail of the text. I painted the sides off the Pringles can un-texturally with translation layers in which I complexity of the Dutch master painters. By not
blended using a soft, dry, unpainted brush. Layering was used in the highlights to make the white more opaque. Inspired by painting the decayable elements in colour, I hope I was
Glenn Brown, the hues within the skull were painted semi-non-naturalistically with reds and blues coming through. The end able to highlight the Momento Mori and the temporary
result of my painting was a tonal painting in the decayable fruit but with fully painted parts where the permanent objects sit. nature of life. The contemporary implementation of the
Pringles sets the vanitas in the modern day, where now,
like in the 17th Century, we try to tackle the questions of
death and the meaning of life . With more time I would
have created more detail to better mirror the fantastic
hyper-realistic details implemented by the Dutch
master-painters
Final Piece
Communication of Ideas Own Watercolour Copy
The Day of the Dead is about bringing colour, life, and
celebration to the dead, a stark contrast to a bleak
funeral and the way we view death in the Western
World. Therefore, I intended to ignite my final piece on Skills ,Techniques, and Processes
this topic with colour, vibrancy, boldness and flair. The
I created a digital piece with emphasis on the floral
focus on my final piece was the cultural, the personal
aspect of the celebration. First, on Procreate, I
and family nature of ‘el dia de los muertos’ and possibly
digitally painted flowers of the celebration’s general
also reflect myself and my own cultural heritage.
colour scheme as seen above. I cut and overlapped
These ‘papel picado’ (paper these flowers to create a collage that would function
cut-outs) will be used as as my background- which I darkened. On the next
visual guide to the layer, I drew a woman with skeleton makeup. I
festival’s colour-scheme. created a floral pattern on her scarf by using the
Their motifs, such as same collage as the background, overlayed. This
Skeletons, will be explored. required adjusting in the overlay settings for me to
https://magazine.velasresorts.com/bon-vivant/the- create the right balance between it being flowers and
secret-story-about-papel-picado-do-it-yourself/ scarf. The glow of the lantern was achieved using a
digital airbrush in an orange, and rim lighting under
the chin and on the hair.

Skills ,Techniques, and Processes
Utilising gouache’s opaqueness, I have captures the
vibrancy of the Mexican alebrije in Disney Pixar’s
‘Coco’ . These surreal magical creatures (alebrijes)
make the world of the dead seem fantastical. To
maximise the opacity and saturation of my paint
application, I painted in layers and colours were
mixed with added white pigment to counteract how
gouache fades and becomes darker as it dries.
Pattern was created with a fine brush, and, in areas
like the legs, distorted in a curved fashion to create
the illusion of it being 3 dimensional.
Critical Investigation
David Lozeau is an American
contemporary artist whose work
depicts skeletons as if they were
alive. His use of colour and
texture portrays the Day of the
Dead’s aesthetic as striking ,
vibrant, and joyful.
https://www.davidlozeau.com/
Communication of Ideas Skills ,Techniques, and Processes
Communication of Ideas and Reflection Developing upon focusing Using a fine-liner, I embraced the
The central focus of the subject matter in these two compositional on how family-oriented the expressionistic linear nature of Lozeau’s
ideas is loved ones reuniting under the celebration. On the left we see celebration is, I decided to work, and as in the original, adjusted line
an old man, with his shrine of flowers and candles, feeling united with also implement Lozeau’s weight variation and line density to create
his deceased family in the reflection of the lake. On the right, we see a use of colour and style to shadow. Like Lozeau, I used a diluted
man feeling united with his wife but the reflection in the puddle tells create a contemporary watercolour wash with a broad brush to
the truth. In both digital drawings orange and light is used as the piece. This is highlighted create the subtle red staining in the dress.
source of positivity. As a family celebration, the right idea felt the by the use of a mobile I also used opaque dabs and flicked the
strongest, so I sought to develop its composition and meaning. phone in the family selfie. paint to created the speckled background.
 Skills, Techniques, Process, and Communication of Ideas
1 The day of the dead underworld is surreal and
2 3
Skills, Techniques, Process, and Communication of Ideas
In this slide I explored the style and media in which I sought
to create the dead family members in the background of the
selfie. 1) In my first trial, I drew a skull using graphite, and
ink was used to emphasise shadow. I enjoyed how impactful
and immediate the dark tones were with ink and this inspired
me to create an etching. 2) In the etching, I used cross-
hatching and curvilinear lines to create tone and shape and
thus it’s 3-dimensional properties. 3) While drawing the hands,
I was inspired to change my composition idea a hand holding
a phone.
1 2 3
magical, I wanted to communicate this through
surrealism. 1) To achieve surrealism, I made
the skeleton melt using vertical lines from
corners of the face. I also used expressionistic
random squiggly lines to convey the deceased
person’s unstable physical form. I also sought to
create character and story. I did this by adding a
prop in his hand and by giving him a hat and an
eye patch. Perhaps the knife indicates cause of
death. This was created and developed digitally.
2) In the second trial, more detail was created through the elegant use of cross-hating. This created a better sense of tone and 3-
dimensional shape as directions and curved lines were used such as with the hat and the rose. 3) The last trial was made to be
half a negative image to give a sense of this contrast between dead-yet-alive in the family's memories.
Skills, Techniques, Process
In the trials below I explored the use of ink to developing my skills in creating a skull. In the first piece, I applied undiluted ink
with a paintbrush to create the darkest shadows. Using diluted ink-washes with a brush I was able to portray more subtle shadows
in the hands and the skull. Using a fine-liner, I added simple details like a floral pattern around the eyes of the skull. Highlights
were not created, rather they were left untouched by ink. The same diluted ink technique, in conjunction with linear shading and
cross-hatching, was implemented in the second trial below, but I also added colour digitally. In the last trial, I used ink and
graphite to created a metallic skull with a floral pattern. I portrayed its reflective properties using graphite to create subtle
shadows, and ink was used to create a further depth. Graphite was particularly useful in creating a soft untextured cast-shadow
under the skull.
 Skills ,Techniques, and Processes
Using Procreate, I created a digital
cyanotype. The background layer appears
as this flowing diluted ink-like blue. In the
layer on top I placed a skeletal dead
person taking a selfie- this was a photo by
Valentin Ciccarone that I found on a
photography website (Unsplash). Using
Procreate I overlaid features, and adjusted
the settings to produce three cyanotypes
with varying contrast and darkness.

https://unsplash.com/photos/efU0EuyeDPU

Skills ,Techniques, and Processes

I created smooth shadows using the side of a stick of
charcoal and via smudging and blending with my fingers.
After creating shadow with the side of a charcoal stick, I had
also filed it to a sharp point. I used this fine point to add the
details such as the pattern on the hood or on the face. In
some areas, I alluded to detailed pattern through creating
intricate shapes in the direction of the folds of the fabric.
The points of occlusion were not blended as when charcoal Techniques and Communicating
makes contact with anything it erases itself slightly. Ideas
Skills ,Techniques, and Processes This digital abstract piece was
created to convey a transition
I explored the use of colouring pencils as a means to create between the ancestral realm of
a vibrant and realistic depiction of a family. First, using the dead and life, through space
graphite pencil I outline for details: this is evident in the and the cosmos. Blurred
unfinished head flowers. The black tones were created using directional lines give a sense of
a felt tip pen as black pencil lacks opacity and reflects light. movement and journey
A blunt soft colouring pencil was used to create colours in Skills ,Techniques, and Processes
the face smoothly to replicate the smoothness of skin. In the trials above I use mixed media to trial the most appropriate media for my final piece. In
Directional lines were created in the flow of the hair to help the first trial I used biro and watercolour. Watercolour was used on top of the biro to add
establish texture shape and form. The hair was divided into colour. A heavier use of directional line was implemented in the first trial to create details in
locks via having darker tones of pencil to create shadow certain areas such as the chequered pattern on the boy’s shoulder. In the second trial, I used
between. As I wanted to recreate a phone screen, I decided Biro and gouache. Gouache stood out to me as a better candidate as the brown I was able to
the scratchy slightly textural nature of pencils appropriate apply on the belt worked so much more opaquely and gave a richer more saturated colour.
and they didn’t quire create the vibrancy I sought to achieve. This is not evident on the boys shirt but this is because the gouache I applied was too diluted.
 Using my digital
trial as a guide, I
painted half of
each face using a
low opacity brush
setting. I also
added some darker
tones of white as to
not reduce the
dimensions and
details in the face.

Skills ,Techniques, and Processes

Using primary and secondary grid lines I was able to first block out the large shapes like the
shape of the phone and outlines of the people, and then, using secondary grid lines, created
Skills ,Techniques, and Processes details in pencil. I outlined the black of the phone in ink to create a complete black. I had
In the first phone, I followed the colour scheme of the festival. The family members were positioned in a initially left a space to paint the thumb. Colours were blocked in first and details were added
pyramidal shape to create a strength and unity. Behind them, the shape is mirrored creating further with a fine brush afterward. I did not need to erase the pencil due to the opaque properties of
unity in the echoing of forms. In the second phone, as I did not want to distract from the subject matter gouache. A tablet with my digital reference was placed next to my painting as a reference..
like Lozeau’s backgrounds, I kept it painterly, but drew a Mexican marigold for a symbolic reference to This had the same primary and secondary grid lines.
how the flower guides the dead to the overworld. Still liking the green, in the third phone, I placed them
together. The complimentary colours of the green and the red made for a visually striking aesthetic. The Final Piece Review, Refine, Reflect
last phone I had fully structured my composition through adding and digitally painting and editing clothes I believe I was successful in
my portrayal of the
Skills ,Techniques, and Processes To contemporise the piece and contemporary view towards
Before painting the faces in gouache, I wanted to make it more immersive and death in Mexico through the
trial a digital drawing of the makeup. Positioning visibly exciting, I printed the Day of the Dead festival and
floral elements around the eyes, chin and forehead hand, then around the thumb its focus on family. My choice
worked the most in unity with the facial features and overlapped it. This also to print the hand rather than
After this digital trial created realism, making the paint it,
I decided I would piece appear 3-dimensional. I better served to
only paint half the therefore needed to paint the create the illusion
face as not to entire phone, including the the viewer is
detract from the foreshortened hand of the father taking the
warmth conveyed in talking the selfie. As result of selfie.
their non-masked depth of field, his arm was
faces and so one blurred and out of focus. To
can tell it is a portray that, I mixed oranges
Mexican cultural and skin tones into browns
tradition. between the arm and the shirt as
if to blur the two.
Critical investigation- Leonardo Da’ Vinci
Da’ Vinci created anatomical drawings from
dissections of cadavers in the name of art and
science. His linear techniques were astonishing
in their ability to create tone and detail though
directional line, and layers of hatching. For
example, in the baby’s skin, smooth texture by
each line being light, precise, and elegant. These
practices, however, were in many ways in
conflict with the
bible the subject
matter being dead
and the research
implying the bible
was not the source
of truth and
knowledge Skills Techniques and Processes
I experimented with how to use
https://www.britannica.com/biography/Leonar
line expressively to create Techniques, Processes and Communication
do-da-Vinci/Anatomical-studies-and-drawings
texture and tone. The side of
Great scientific advancements were made
the pencil was used to create
during the Renaissance. I use the scientific
smooth tones. Marks such as
advancement of digital technology to edit and
dashes, hatching, stippling and
create a drawing a skeleton leaping or
circles were created.
ascending to heaven. The first alteration
Skills Techniques and Processes implemented straight lines of two different
Use of line: Here I replicated the line weights, radially expanding from the
curvilinear techniques centre, helping to create sense of movement.
implemented by Da’ Vinci using In the next edit lines were made randomly
biro to establish form, texture, using scribbling with ever-changing line-
and detail. Hatching was used to weight, which conveys the path to heaven as
create contours in areas such as disrupted. I contrasted the imagery in the 3rd
the head of the baby, and these and 4th image with digital alterations of
were curved appropriately to glitches. The glitches created a disunity of
portray the round 3-denionamal forms and chaos mirroring conflict between
forms. science and the Catholic Church .
https://www.royalacademy.org.uk/art-artists/work-
Critical investigation
of-art/lateral-view-of-male-skeleton
Vesalius, author of the hugely
influential human anatomy, De Humani
Corporis Fabrica Libri Septem. is often
referred to as the founder of modern
human anatomy. His work, like
Da’vinci’s was based on cadavers and was
highly skilled in how line is used to
create tone and detail. The art medium
he used was etching and engraving and
they were created on large scale to
capture every anatomical feature of the
body. Vesalius also uses stippling to
clear the subtlest of tones in shading
Communication of Ideas and Processes
Just like how Jesus was crucified for who he was it was scientists like
Galileo, Vesalius and Da’ Vinci who’s work put them in danger as it
contested the Bible. The conquistadores were often brutal in enforcing
the wishes of the Catholic Church to crush heresy. Here I portrayed
this through a digital recreation I made of a Vesalius drawing. I
experimented adding angel-wings to show that the reality is scientists’
research didn’t prevent them from being proper Christians.
Skills Techniques and Processes
Using the same anatomical subject
matter. I tied science and religion
through having the subject matter
assend to some heaven in the sky. I,
however, created a bolder aesthetic and
style than Vesalius through only using
blocks of black to create shadow, with no
hatching. This contrasts black against
white as no mid-tone is created. Beams of
light were conveyed through radial line
emanating around the sun.
Communication of Ideas:
These initial composition
sketches were based on Vesalius’
imagery. The first being an edit
of his work exploring human Communication of Ideas:
emotion toward death. Using Here I created three scientific
rich vibrant colours in the vials with the use of myriad
flowers and tears draws the elements symbolic to Christianity
viewer's eyes to there and Science. The three vials
juxtaposing nature. evenly spaced creates a
The second ties Vesalius’ compositional balance through
science to the Christian faith their symmetrical nature. This
and portrays a skeleton praying Composition was inspired by
for forgiveness. Gunther von Hagens, the
anatomist.
https://www.vonhagens-plastination.com

Critical investigation, Ideas and Communication

Gunther von Hagens is a German anatomist who exercises great scientific freedom especially through his
creative dynamically positioned human bodies made via plastination. His visuals of dissections look fascinating
and are a perfect way of comminating the scientific investigation of the Renaissance in my own work. His work
(image top left) was especially inspiring compositionally for my work. Digitally, I altered the left side of the face
to that of a skeleton to further dissect the work. Developing upon this, I made the naturally ominous visual of a
skeleton to the oppressive devil-like force preventing scientific discovery. This culminated in the
silencing/hushing hand which show real-world oppression and the depicted invading forces of hell within the
image, show the theological repercussions of science and its creation of this sort of anatomical study.

Skills, Techniques and Processes

These Hands were my etching
print trials. From the first hand I
learned that my etching
engraving needed a greater use of
directional line and cross-
hatching to establish form, tone
and a greater sense of veracity. In
addition, for greater quality of
line and darkness in tone, I
engraved deeper in my second
trial and applied far more ink and
this proved more effective.
Skills, Techniques and Processes
Knowing that I wanted my final piece to be an etching (a common medium
used in Renaissance Europe) I focused on my use of line in this prototype
composition using Biro. Several divisions are created in the composition of this
piece, communicating the conflict between the Catholic Church and
Renaissance science. This is established through the use of black and white and
also through the cleavage of the character. The composition being divided into
3 thirds of interest: with the clear antagonistic skeleton in the first third,
silencing the last third, and the centre functioning to present the theological
repercussions. I use techniques such as hatching and crosshatching to create
the contours and details in the face and to create tone. Texture was also used
via my use of line, by creating directional line-strokes along the muscles to
portray muscle fibres.
Etchings
Skills, Techniques and Processes
To create this etching, first I mounted a transparent plastic rectangle to my Biro drawing .I was able to then
trace this using an etching needle. This meant the linear qualities of my etching follow the same qualities as
my Biro drawing. This includes the use of directional lines to follow forms of the painting, as with the various
strains of muscle and the curved shapes within the brain. This also made it appear 3-dimensional. Hatching
and crosshatching were used to create the various contours and shaded areas of the etching. My first trial
being hardly visible I engraved deeper into the plastic. This did not substantially improve the quality of my
next etching. So, for my last etching, I focused on the technique in which I applied ink . Ink was applied in
great quantity and thoroughly rubbed into the crevices of the plastic engraving and completely wiped clean at
the end. The ink left in the crevices would be printed onto the wet paper. I also discovered having the paper
too wet allowed for low quality of line and less sharpness. To make some areas even darker, however, I did not
remove the ink from the surface of the plastic rectangle, I left it there for more ink to be absorbed into the
page when it is pressed with the plastic sheet in the printing press. The cut-out edging (left) was my trial of
staining it to make it look old and testing it out on the background. Final Piece
Review, Refine and Reflect.
Skills, Techniques and Processes
Rather than having a simple black and white
This section of my final piece
background I wanted to display a double-page-
demonstrates my use of
spread of the Bible with inverted tone on the
directional line to establish form
right page. I chose a passage from Romans as
and three dimensions - with a
it was classical antiquity which inspired the
great density of line in the
revolutionary humanists of the Renaissance to
occlusion shadow between the
further scientific study.
skin and where it wraps around
I believe my choice to elevate the artwork
the jaw. This part looks even
from the page of the Bible brought the scene
more 3D with certain central
to life, and the three-dimensional aspect made
parts cut out allowing the viewer
the artwork look more visually exciting.
to see the Bible behind it.
 Communicating Ideas
Communicating Ideas and Intentions Digitally, I created a raven
I wanted to explore the Viking view on death, resting on a skull as, in
especially their glorification of a warrior’s Norse mythology, they were
death in battle. To create a foundation of believed to be very
knowledge in which to better understand and important. Oden had two
communicate Norse attitudes, I began the (Higinn and Mudinn) that
investigation by constructing a mind map. In would bring information to
this mind map I delved into the various him. Today however, they
different cultural beliefs of the Vikings around are associated with death.
the afterlife and their soul.

Communicating Ideas
Digitally, I created a series of action-shots of
a Viking dying in battle and being taken to
Valhalla. The idea was to have an
animation of this.

Skills, Techniques and Processes

I used the unconventional canvas of a
puzzle to portray the uniqueness of Viking
attitudes. Perhaps it is a puzzle to the
modern viewer to understand why dying
was the greatest glory for the Vikings. The
medium I used was the acrylic. To create
the texture of strands of hair I painted a
base tone of yellow, and, using directional
line, followed the shape of each strand of
hair with a darker tone.
Skills, Techniques and Processes
The figure depicted is ‘a Valkyrie’, a warrior woman who lifts chosen men, who died in Above I created a blue biro drawing. Light elegant lines were used directionally in
battle to, Valhalla. I used viridian hues radiating from her to portray this glowing heavenly short strokes to create the texture of fur around the neck. These lines varied in
figure. Using diluted acrylic, I added veridian reflections in the helmet to allow its length depending on the angle of each strand. Fine directional lines were used to
create the texture and forms of the hair on the face. The lightest application of line
interaction with the background to appear more natural and realistic. To portray a fur coat, I
was on the skin where I wanted to create subtle wrinkles and a slight texture of dirt.
used a brush the size of the clusters of fur I wanted to create and used a conjunction of grey
Some areas such as the eye, I applied the ink as opaquely as possible.
and brown directional strokes to add tone.
 Skills, Techniques and Processes
Here I depicted a Viking warrior
protecting a child - a certain candidate
for Valhalla . I used brown and black
charcoal to create the natural earthly
hues which mirror the Viking culture.
Using only the charcoal left on my
fingertips, I created the reflective
surface f the axe with a few light
directional strokes of the finger.

Communication, Skills, Techniques and Processes

Below, I depicted a Viking and a Valkyrie and a unity in the two pieces is created
with the central subject matter in the centre and a Norse symbol framing them. In
the first piece, there was is an emphasis on a story of journey, with the Viking
Skills, Techniques and Processes traveling through the sea and the Viking compass behind him . The Valkyrie on the
Above I experimented with more natural media such as graphite and charcoal . Using graphite in the first trial I right is displayed above a battlefield as she would in Norse mythology . In both
was able to create a high sense of detail and texture in the skin making it appear dirty and aged. Capitalising on drawings I implemented a linear modern comic-book style, as the only warriors we
the darker properties of charcoal I was able to create a more dramatic aesthetic and its softness allowed for a see in this modern age are those fictional characters and heroes of comic books.
smoother coat. In my third trial of the same subject matter, I creating a radial spiral graphite drawing using
different line-weights to create the darker tones with which to outline form. This was challenging but the
aesthetic portrayed was suitably somewhat surreal as one might imagine an ascension to Valhalla to be.
Skills, Techniques and Processes
On the left I created two digital trials in creating
portraiture on Procreate . In the first artwork, I was
more experimental in my use of line and heavily
implemented hatching in the direction of surfaces
of all forms within the face. Directional line was
used to create the movement in the texture of the
beard and fur. Viking symbols were tattooed to the
Vikings head. To develop my skills in
hyperrealism, I also used Procreate to create the
woman to his right. The hair was the biggest
challenge, requiring me to block in the largest
shapes first and then to add tiny individual hairs to
increase the sense of veracity. As the airbrush tool
is the tool, in the face, to create a smooth skin
tones, I used both and airbrush to add colour and
tone, and to blend these together.
 Communication of Ideas
I decided to
combine my
favourite aesthetics
and created Viking
funeral with the
Valkyrie. I decided
to use mixed media
to capitalise on each
medium’s unique
properties like how
charcoal can create
smooth textures
while also linking
to fire and Viking
culture Reflection and Processes
Below were my media trials using ink, white emulsion
Communication, Skills, Techniques and Processes and charcoal. Evident in the top of the Viking’s head,
The most evocative aspect of the Viking traditions for me was the Viking funeral, depicting the warrior with their boat, and the beauty and charcoal is easy removed. I was informed by this in the
peace that can be conveyed in death when the Viking knows he’s going to Valhalla, the heaven for warriors . Both pieces above are digital creation of my final piece and applied a protective
drawings. In the first piece clouds were created using an airbrush to portray their softness. To create waves, I used horizontal brush strokes, spray to it to prevent this.
and to portray its reflective properties, I mirrored the same colours in the water as the sky. The second piece was created with careful
consideration to the Valkyrie being the light source. Therefore, shadows were created in the armour, hair and the face in accordance to a
front on light source . Radiating circular lines were used around the Valkyrie in the background to make the painting more abstract.

Skills, Techniques and Processes

The forms, details, textures and
tones in these trials are
established using the same
techniques. I start by creating
all the details to guide the forms
of my painting with a fine-liner.
Skills, Techniques and Processes
To create the background of my piece, I used a technique whereby I inked Next, I block in shadow using a paint brush and
a screen with a conjunction of black, blue, and red ink using an ink roller directly apply the ink . I then create the mid-
to disperse it. This ink screen was wetted allowing the ink to dissolve into tones and the more subtle shading by applying
the water. Next, I placed my background paper in the water and the ink and blending out charcoal with a issue . Finally,
was then absorbed into the paper’s pores. Above shows a series of trials highlights are added using opaque thick layers
whereby I tried to create a dark warm background. The last trial where I of white emulsion.
applied the most ink was the most successful.
 Skills, Techniques and
1 2 3 4 Processes
Once I had painted the
Viking, I cut him out and
elevated him above the
background. This was
achieved via a series of card
rectangular supports which
I glued to the background.

To make the background appear burnt around the edges I

Skills, Techniques and Processes used black and brown charcoal and smudged it into the
1)Wanting to elevate the artwork above the background, I used rigid card as you can see above. I had already outlined the forms using paper.
ink fine-liner and started to block in smooth shadows via blending charcoal into the card with a tissue . 2) To create the base for the
Valkyrie emerging from the flames, I also use marbling. I worked on top of this marbling with blue India ink to create a swirly-sea- Review, Refine, Reflect
like pattern 3) Using acrylic paint I added streaks of orange and red to create the texture of fire. This was done in a flowing and Overall, I am happy with the result of my final piece. I
directional way. The boat was created with emphasis on texture, and this was achieved through layering tissue paper, corrugated believe my implementation of mixed media to achieve
cardboard, and mod rock. Mod rock was additionally used to create the curve at the end of the bow of the boat. I painted the boat first various effects was successful. Via overlapping various
with a white as a foundation. Then I built up darker and darker tones to create detail especially in the crevices of the wood 4) To elements, like the hand and the flame from the chest. I
emphasise the symbols of importance in the piece I used gold leaf. This required me to paint the symbols in glue and lay gold leaf on believe my piece looked dynamic and unnaturalistic in a
top before rubbing it off carefully with a dry brush . massive way . I hope visually I was able to successfully
Skills, Techniques and Processes portray a story to the audience. My only improvement
The hand is a good example of how I used mixed media to would be to create a smoother transition between the
create naturalism . The darkest tones, e.g. between the Valkyrie and the watercolour paper.
fingers and the underside of the hand, were created using
ink.
A fine-liner was used to Final Piece
create wrinkles on the
top of the fingers.
Charcoal was used to
create a smooth shadow
and various layers of
white acrylic were added
Skills, Techniques and Processes to create highlights .
Detail in the Valkyrie’s face was achieved using layers. On the first layer High contrast is created
I created all the details. The next layer, I blocked-in a base layer to act between light and dark,
as my mid tone. The top layer used various tones and hues of blue to which creates a visually
create the dimensions of the piece. This digital drawing was printed impactful aesthetic.
and glued to the watercolour paper on which I had painted the flame..
 Communication of Ideas
Visage of Alzheimer's was my
theme in the creation of this clay
bust. It’s a disease that decays the
mind and, for my initial sketch, I
conveyed this through the head
crumpling from the top. Hands
were used to portray the pain
and the helpless struggle to
prevent this mental disease.
Skills, Techniques
and Processes
I selected an elderly
woman as the reference
to create the clay
sculpture head, as this is
the age demographic
most aaffected by
Alzheimer’s. Brighter Skills, Techniques and Processes
lighting was used in the Various profiles of the face, at essential angels, were taken at the same level to
front on photograph as establish the dimensions and forms of the face. These were front, semi-profile and
it gave the most visual back. With brows high and strained, and mouth ajar, a dramatic facial expression was
information. created, conveying and emphasising pain and distress.

Reflection and Communication

After the initial sketch I created a
prototype model using a wax-based
plasticine. I felt the forearms were
out of place at the angle in which it
could physically rest on a table. So I
redrew the sketch with less of the
arm at a higher angle, in a position
where the face is still visible, while
portraying the hands as trying to no
avail to prevent the cognitive loss.
Skills Techniques and Processes
First, I used a ball of paper to act as the skull-like foundation on which to add clay. Next, I blocked in the major forms using lumps of
clay smudged together. Most of the creation of the more refined forms were created when the clay was wet to avoid needing to use a
slip and score method. To create the most accurate face, I rotated the face altering my perspective on it and compared it to the
different profiles of the head. I then added lumps of clay to the face and smoothed them together into a natural texture, using water,
and the round palm of my hand. Between sculpting sessions, to maintain moisture levels as to keep the clay more malleable, the head
was wrapped in wet newspaper, secured with sting, and concealed in a plastic bag.
Skills, Techniques and Processes:
Above: To create the hair, long coils of wet clay were fastened to the head using water. These coils were cleaved into smaller strains of hair using fine clay carving tools. A needle-like clay tool was
used to scratch into the face to create wrinkles and small details such as around the eye. I then cleaved the entire piece using a sharp clay carving tool and opened it with my hands. Next, I
removed the newspaper that had been used a foundation, and to create an unsettling texture within the inside of the head that conveys decay and erosion, I jabbed at it with a clay tool randomly
and chaotically. To create an alginate hand-mould I mixed, in a long plastic container, one part alginate with 3 parts water at 22 degrees. This was thoroughly stirred to prevent lumping. I next
dunked my hand into the container in the desired position until the alginate set. Once it did, I carefully removed my hand. Making the plaster cast required sieving the plaster powder abundantly
into water. This, once dry, produces a smooth dense cast of the hand. Unfortunately, the detail and structural strength of the hand was sub-par (every finger coming off) in my first trial. In my
next attempt, I used a better-quality alginate mould and more accurately measured the temperature. The result was stronger and more detailed.
Review, Refine, Reflect: Below: The head was placed on a white stand with an over-head light to illuminate and accentuate its distressed facial expression, and a black background immersed the
figure in a dark emptiness that mirrors loss of memory ,and even self, that Alzheimer's causes. However, to improve
and incorporate the hand, I spray painted the face black for the same symbolic significance . The stand was swapped Final Piece
for a corroding wood to strengthen the sense of decay portrayed to the viewer. I experimented with the hands position,
and I feel I was successful with its placement, striking a balance between it appearing to be attempting to hold the
head together and also allowing the viewer to see the pain in the details of the face.
 https://www.wikiart.org/en/zdzislaw-beksinski
Critical Investigation
Beksiński is a polish artist. He is most noted for
how he applies a baroque or gothic style to
dystopian surrealism. His nightmare-like imagery
of hoards, scorching colours and fogs speak to me
of the possible future of our climate/planet in
view of climate change. Therefore, I sought ,
using his style and imagery as inspiration, to
tackle and portray our dystopian future with
climate change.

Skills, Techniques, Processes and Commination of Ideas

In this compositional trial I sought to match, not only the colour scheme, but what the Skills, Techniques and Processes
surrealist imagery conveyed to me . Beksinski’s painting spoke to me of the rising sea- Using coloured chalk, I created a dystopian Desert
level and the black fog in the distance, felt like pollution. The ambiguous wooden city. I applied oranges, browns and yellows and
shape he painted, I symbolically converted into a clock to convey to the viewer our smudged and blended them together using my hand
time is limited. Advancing the compositional sense of perspective, I made the lens of to create the warm fog in the background. In the
the painting view below sea-level. The effect is to make the sea-level appear unnatural foreground, I created horizontal bands of colour
while also allowing the viewer to see how plastic bags are damaging our environment . which got thinner and thinner creating perspective as
The warm fiery fog of the midground was created using a digital cloud brush and by they disappeared into the distance. A mist was created
blending the lower edges using an air brush. using white charcoal in front of the skyscrapers,
which was blended out to mirror its texture .
https://www.wikiart.org/en/zdzisl Skills, Techniques, Processes and Commination of Ideas
Commination of Ideas
aw-beksinski
Inspired by the almost In the visual of hoards people
human disfigured piling into the mirror, I saw
creature, I digitally drew overpopulation. Therefore, I
the figure who digitally created hoard of
represents industrialists people swarming to the last
and businessmen and tree. Rather than using smooth
https://www.wiki
their agreed for wealth textures like in my other
art.org/en/zdzisla
at the cost of the inspired drawing, I embraced
w-beksinski
environment.
a linear style to explore my own way of depicting this subject
This is communicated through the visual
matter. Some lines were created using hatching and in the
of him eating trees and producing
more abstract places of the crowd, squiggles and random
pollution. Complementary colours of
stippling were used, creating a surrealism similar to that
green red were used to contrast nature with
Beskiniski creates, and how the chaos in line abstracts the
pollution .
sense of forms.
 Skills, Techniques and Processes
To develop my artwork thematically
and compositionally I decided to create
a more anatomically accurate skull.
Therefore I took a reference picture
with same head-on lighting as in the
original sketch. Shading was made using
hatching and crosshatching. Added
details of erosion were created using
curvilinear squiggles.
Linear shading was strengthened by creating shading with a
digital brush. The cast shadow of the horde was created this way.
Moreover rim lighting was created on the edge of the skull .
Skills, Techniques and Processes
On the left, I created a separate response to Beksiński. This piece
allowed me to develop my digital skills in portraying a tree. To
improve the tree in my current piece, I took a photo reference and
adjusted the colour-balance to increase saturation, contrast and
green hues. In my digital drawing with the skull, the undertones
were created as a dark base layer and using leaves and a blossom
bush in conjunction. One new layer, using the same brush,
highlights in green were added. These added leaves were lighter as
they are closer to the foreground.

Review, Refine, Reflect

Final Piece Overall, I'm content with this success of this
artwork in realising my aims. I set out to use
surreal dystopian imagery to create and
portray the possible future of our planet. This
was done in my own more linear sketchy style
and proved effective. I believe I developed
upon my initial sketch effectively through
the use of photography-referencing and
better attention to detail. The circular shape
Skills, Techniques and Processes of my initial drawing was developed and
Circled in red , I felt the balance of the piece was limited in the empty space on the left refined to look like the orbit of the eye,
side of the drawing. Therefore I added a dystopian destroyed car. A reference photo was
taken to increase the accuracy of my drawing . Cross -hatching was used in an mirroring the skeleton and the idea of viewing it through nightmare-imagery of the eyes.
More significance was given to the central subject matter of the tree, by increasing its
expressionistic way to portray shadow. Highlights were created using a white low-opacity
vibrancy. The complementary red and brown were added in the sandbags, the car, the clock,
brush. Loose messy lines were used to create shading while simultaneously creating a and the bark of the tree, which ties the piece together.
decayed texture .
Bibliography - List of sources
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“Highlights from Our Collection.” The Fitzwilliam Museum, fitzmuseum.cam.ac.uk/objects-and-artworks/highlights. Accessed 20 Apr. 2022.

“Lateral View of Male Skeleton | Works of Art | RA Collection | Royal Academy of Arts.” Www.royalacademy.org.uk, www.royalacademy.org.uk/art-

artists/work-of-art/lateral-view-of-male-skeleton. Accessed 23 Apr. 2022.

Lozeau, David. “Day of the Dead Artist David Lozeau.” David Lozeau, www.davidlozeau.com/.

Ludwig Heinrich Heydenreich. “Leonardo Da Vinci - Anatomical Studies and Drawings.” Encyclopædia Britannica, 11 Apr. 2019,

www.britannica.com/biography/Leonardo-da-Vinci/Anatomical-studies-and-drawings.

Tate. “A Matter of Time – Tate Etc | Tate.” Tate, 2019, www.tate.org.uk/tate-etc/issue-9-spring-2007/matter-time.

“The Baroque and the Dutch Golden Age.” Adobe Spark, express.adobe.com/page/ZU5xiubSkiwKS/. Accessed 29 Mar. 2022.

Unsplash. “Photo by Valentin Ciccarone on Unsplash.” Unsplash.com, unsplash.com/photos/efU0EuyeDPU. Accessed 23 Apr. 2022.

Wolkoff, Julia. “In Dutch Still Lifes, Dark Secrets Hide behind Exotic Delicacies.” Artsy, 4 Sept. 2018, www.artsy.net/article/artsy-editorial-dutch-lifes-

dark-secrets-hide-exotic-delicacies.

“Zdzislaw Beksinski - 708 Artworks - Painting.” Www.wikiart.org, www.wikiart.org/en/zdzislaw-beksinski.