Portraits Sketchbook
Selection of pages from a second year college project, A3, 2019
Transcript
1. My first study was in one continuous line, which made calculating the proportions much more difficult, resulting in the oversized ear which was too close to the face. Perhaps if I could have taken a more abstract approach, the proportions would not have mattered in favour of expression. On the other hand, I enjoy how the overlapping pen creates a unique, almost watery line work, complimenting the serene expression.
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2. I had tried to use an ink wash and pen for my last study, though I clearly relied far more on the pen. Despite having more time than the other studies, I didn't manage to depict the majority of the face, so I found that it did not bear much resemblance to the subject. While I wanted to express beauty and personality through sparseness rather than busy lines and movement, maybe I could have used darker ink washes to capture more tonal value or colour, to help present the likeness and emotion.
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3. This was intended to be a gestural drawing, though time constraints meant that a likeness to the subject was not achieved. I could have attempted to use a greater range of mark-making techniques, such as zig-zags and crosshatching.
1. The first portrait used pen and ink to allow for variation in the line width and mark making techniques, like the gradient made by making wide zig-zags.
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2. Vaguely inspired by Art Deco and the decadence of the 1920s, this was make with artists such as Picasso and Erte in mind. The choice of hue was influenced by the aesthetic of the Moulin Rougue. Using oil pastel rather than ink gave texture, adding to the wistful gestalt of the piece. I feel I could have better suggested the shape of the face had I used guidelines first.
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3. My third portrait was a Bauhaus inspired cartoon make with judicious black and red lines. Despite giving an immediate geometric appearance, I chose to use a paintbrush and dip pen without a ruler to allow for more idiosyncrasies and personality.
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4. This was a gestural one-line drawing accomplished with a black fineliner. I used overlapping lines to create darker tones around the eyes and mouth, adding tone and contrasting against the wispy hair. The latter used much less controlled scribbles to fill space and suggest a contrast between the texture of the skin.
I chose to start my A1 portrait by drawing a grid over the reference photo and my page, to help me map the outlines of the face. I began rendering the lips, which was one of the most dificult aspects of the portrait; Not only did I need to render the 3D shape, but there was also the strange texture that had to blend with the dissimilar smoothness of the rest of the face. I then provided more shape to the face by shading the chin, nose, and cheeks, using circular pencil strokes to give a convincing 3D effect. I moved on the the eye and blended in darker shades with 6B and 7B graphite. The hair was an entirely differect texture, so instead of well-blended circular strokes, I used layers of long strokes with a mix of H and B pencils. This provided a good contrast between the skin and hair, and helped to frame the face well.
Transcript:
On a technical level, I was fairly pleased with how my portrait had developed; Having drawn the grid first helped me achieve more accurate proportions, aiding the photorealistic style. The use of hard graphite in the hair helped to give a range of tones to create a 3D illusion. In terms of tone, texture and detail, I think the medium of graphite was an apt choice for recreating the photo I used as a reference. Graphite was versatile enough to blend smoothly, and also to capture the fine texture of the hair. The major setbacks I encountered came mostly from the realistic style I aimed for: although I may have accurately represented how I looked physically, it had limitations where I might have wanted to represent other aspects of myself. Had I used more stylisation, I may have been able to resonate with my self portrait more. The most difficult technical aspect, however, was the vast amounts of hair I had to render, though the grid method helped to keep it accurate to the source. On the other hand, it made the drawing process feel like colouring by numbers despite being a fully original piece.
Textiles Sketchbook
Selection of pages from a college project, A2
2018
This page documents my first experiment with using a heat press using transfer dyes of sateen.
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The next page documents some of my research into the Polynesian artist Michel Juffery, who informed my initial designs for my final collection. Also attached are a range of reference photos of native Polynesian flora and fauna.
Graphics Project
Unfinished designs from a college project, 18cm x 5.5cm, 2019
This project was a competition to design a new craft cider label for a client, Crazy Dave. His new flavour included mulberries, which have an association with romance in Greek mythology, so I tried using related imagery in my designs. Mulberry trees were brought to Berkshire by James 1, hence my decision to use more historic-inspired aesthetic.
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My final design, which was a runner-up in the competition, was made when I was first developing my skills with Adobe Illustrator. However, I am still pleased with the design, especially how the skirt wraps all the way around the bottle.
3D Design
Page from sketchbook, A3
2019
In this brief we were tasked with designing a tree house, though this was an exercise in creating biomorphic product design. I was given the skull of a cat, and after sketching it I altered and took elements of its design to make a vase, a cushion, a lamp etc..
Current Sketchbook: Rebrand
Collage, ink and lino print
2020
My latest project is to design an album cover for a fictional band, so I am currently experimenting with fonts, prints, and even potential props for a photoshoot (such as the mask in the centre). The font on the left is made entirely of cut-out triangles.