The powerpoint for my Art project 'The Place in Question', which gives an overview of the steps to took to complete the project.

1. The Place in Question
In this project we were each assigned an area around the college, which we
had to document through various means such as drawings and photographs.
The area I was assigned to was the teacher smoking area. The main aim of
the project was to turn something mundane and overlooked into a interesting
final piece.

2. Exploring the Area
To begin the project we went to our designated
areas to observe all the features from it. To
capture the area I took photos and did
drawings of items at different
angles+perspectives. In my ‘Place in Question’:
a tree, totem pole, chairs, sign post and a
bench. I had originally just done sketches of
the features,which i then later added further
detail from photos I had taken. This was done
so that I could explore the textures and
shadows from the area. I decided that all the
medias added nice touches to capturing the
formal elements. I thought that the approach I
had used with the acrylic added an interesting
cartoon effect (popping and prominent), whilst
using watercolour was more subdued yet it
was very effective in capturing colour.
I also measured the size of the totem pole, so that i could
recreate the pole on SketchUp.
This allowed me to to create a 3D digital model of the
pole from ‘My Place in Question’. With this I then created
a short animation to capture my area. This was slightly
difficult to do, because I found the program tricky to use
when i had to create all the sharp turns of the totem pole.

3. I then went onto creating an aspect of my area in Google SketchUp. I
wanted to do either the totem pole or the tree, yet I found that doing the
tree would be extremely difficult. This was because I didn’t have all the
measurements, and getting all the different angles of the tree would
have been very hard. I hadn't used the program before, so doing a
natural organic shape would have been a bit overwhelming. In the end I
created the totem pole. I had the measurements and the shape was
quite ridged, so with my limited knowledge of the program I was able to
make it with the ‘line’ tool. The lack of background was due to the fact I
couldn’t created a tree, and all the templates of trees didn’t have the
same look as the one from my area. Using the model of the totem pole I
created a short animation, which explored all the different angles of the
pole.
I also made a model of the tree from my area, which I then was going to create a
short animation of as well. I knew that later I was going to combine both videos
(SketchUP and model videos) to create a big final
video. This is why I chose to do the tree. When I
combined both videos the lack of background in the
SketchUp animation would be compensated by the
3D model video. When I was making my final
animation I combined both videos and some
drawings from my sketchbook. I added mysterious
music and used smooth transitions to create a spooky
and eerie atmosphere. This was all done through
Adobe Premiere which I quickly understood and
adapted to.
Overall I think the video went well. I managed to
accomplish the spooky theme I was going for though
the smooth transitions, and aided by the intriguing
music. This was a great addition to the project and I
enjoyed making the video. The video shows my area
and conveys the mystery behind it.

4. To record and observe my area i did a Dry-Point
print, a 3D model of the tree, and a large mixed
media drawing.
The mixed media A2 drawing allowed me to
explore different types of medias and what their
limitations were. I found that the acrylic was most
effective in creating a worn look with it easy
choppy application method (layers of paint),
whilst the charcoal complimented it with its
flowing and earthy lines. If i were to do this again
i would consider adding more colour, and another
aspect of the area because it felt slightly empty
even with the giant head of the pole.
I made a 3D model of the tree using two cut out silhouettes made from
wood, and layers of string. To make the tree silhouettes I used
references of the tree angles I had made earlier, and then cut them out
using a jigsaw. I wasn’t particularly confident using the jigsaw, but the
final outcome of the tree was good. I had to keep returning to the jigsaw
to make modifications, so every time i used it I improved and became
more comfortable with the machine. I then used
string to replicate the streaky texture of the bark.
This was then loosely coloured using charcoal. I
had learnt from my earlier observational studies
and my composition piece that charcoal was good
at creating an earthy and chipped look. When it
was rubbed over the string only some of the
colour remained. This made it irregular and more
like the real bark of the tree.
MAKING AND DEVELOPMENTAL WORK

5. I looked at an artist called Edmund
Blampied, who created drypoint prints during
the 1950’s. I liked the way he manipulate the
process (Dry-point printing) to its fullest, with
his scratchy and distorted lines. I tried to use
my drawings from Orthographic perspective
to attempt Blampied’s style (overlapped and
scratchy line). From looking at his work I can
see how he created the illusion of depth and
speed quite easily through the use of
multiple/overlapped lines. He uses dashes
and the occasional cross-hatched lines to
create texture, tone, depth and even velocity.
This is a print of his called ‘The Joy Ride’
which i recreated by observing his work.
(This copy is unfinished yet it grasped the
methods behind Blampied’s work)
Using Historical
and contemporary
examples

6. I looked at various methods of perspective, and then took two of
the methods that I liked best, and that might be most effective in
capturing my area. I looked at atmospheric perspective (technique
of rendering depth through the hue and distinctiveness of objects)
and Orthographic project (a series of drawings which looked at an
object at different angles to create a mental 3D image).
I chose to look at Atmospheric perspective because I liked the
mystery created through the distortion of the objects. I had taken a
of photo of the branches of the tree from ‘My Place in Question’
and thought that the overwhelming number of leaves were hard to
distinguish. With that in mind I thought that it would then be
interesting to replicate that haziness through Atmospheric
perspective. Though when I did the painting I felt as though the
perspective wasn’t very strong, yet the haziness and layout of the
composition work well. If I were to do it again I would try to select an angle of the tree that had clear definition of depth, and
try to blend all aspects of the image together so that the transition of depth would be smoother (in the painting (top right) I
had blurred the background yet the branches that were also in the distance were not distorted, but prominent against the
background).
I had also looked at Orthographic projection. I later used these
drawings as an outline for my drypoint prints, which I used in
my final piece. These drawings were inspired by the sketches
of Leonardo Da Vinci, whose drawings explored the various
views of many objects (e.g. the human anatomy, horses) with
dashes and cross-hatched lines. I tried to use the same
approach as Da Vinci to draw the tree from my area. Overall I
did 3 different angles of the tree, which helped make it clearer
what the completed shape looked like. Using this perspective
influenced the outcome of my final piece: using the drawings I
had done I made prints out of them, which were cut up and
arranged for my final piece.

7. My BriefThe brief I created was ‘a museum has commissioned you to create an
illustration for their upcoming exhibition on ethic art/life’. I thought that this
brief would suit my area well due to the objects in it. I thought that the
totem pole statue looked like the figures off Easter Island, or if placed
within the right time (totem pole) it could be disguised to look as though it
belonged there. I looked at different cultures like the mayan’s, aztecs,
native americans, and various artworks like statues of tiki gods and the
Easter Island sculptures.
To make an illustration for a museum I knew it had to be appropriate to be viewed by all ages,
but i also knew it had to draw the viewer in and intrigue them. It had to be interesting, but also
have mystery to make people interested in discovering more. The poster was for an exhibition
so the focus was on a certain culture or object-in my case it was to be centred around the totem
pole, yet representing an Easter Island exhibition. I thought that the British museum would be
suitable to represent the museum who commissioned me. I looked at their website and explored
the exhibitions that they normally support/put on. This helped me understand how they organise
their exhibitions and i could look at posters they had for those exhibitions. I also explored
different cultures and their art. This helped me decide what era/civilisation the totem pole could
be placed amongst. The strongest competitors were the sculptures from Easter Island and the
Mayan wall art. I researched into the past behind the Easter Island sculpture, which gave me a
clearer understanding of their story.
I looked at an additional 3 illustrators that I liked that could influence the outcome of my final
piece. I looked at Austin Briggs, Herge and Edmund Dulac, and then did illustrations of my area in
their styles. After studying their styles and that of the artists I had looked at earlier in my
sketchbook I started to create initial ideas. I eliminated styles that I thought were not appropriate
for the brief and expanded upon the ones that were suitable. I experimented with the arrangement
of the designs and the colour schemes.
Developing
Personal Brief

8. These were the two other fully developed
initial ideas that I had made for the brief. The
one of the Left was a poster design, whilst the
one above was for a booklet.

9. After developing my brief I set about
creating ideas. I used artists and poster
designs I had looked at as inspiration to help
me decide upon the style I wanted, and the
layout of the illustration. I drew up many
compositions and developed them
depending upon whether they had the
potential to advertise an exhibition. I settled
upon doing either a booklet or a poster, so
with that in mind it helped me eliminate any
of the compositions which I didn’t think were
suitable for those tasks. I experimented with
different perspectives, colours,
arrangements, media, and styles. I
attempted one of my designs using Herge’s
style (strong,solid colours with black
outlines), yet It didn’t work well with the
mysterious theme I was going for. It was
overbearing with the background, and
made it confusing about what the image was
trying to convey. I did find though after
looking at poster designs could still use
Herge’s approach to shading (clear
separation through black outline). This is
what I did for my final outcome (top left).
Where I wanted to show shading wasn’t
blended smoothly together, but was isolated
from the other shape. The separate blocks
of tone made it punchy and 3-Dimensional.
It suggested mystery and enlightenment,
which was to encourage viewers to attend
the exhibition. I also took Ellis’ approach to
tonal colouring to keep it slightly sinister,
whilst the bright yellow made the text
alerting and the blue calmed it back down.
I did explore various fonts that were on my
laptop and selected ones that weren’t fussy or
extravagant. By choosing a simple font it made
it easy to read quickly If observed whilst on the
move, but it also made it friendly to all ages. I
made the pattern on the totem body out of my
dry-point print I had done of the tree from my
area. I had multiplied it, cut it up and arranged it
on a page. I then just simply cut the basic shape
Developing my
Personal Brief

10. I looked at Austin Brigg’s work for examples on how to illustrate my own final piece. I chose to look
at his work because I liked the rough sketchy figures that were done simply by using black pencil. I
applied his approach to an aspect of my area, which turned out quite successfully because they
looked casual and effortless. I also looked at two other artist: Edmund Dulac and Carson Ellis.
Dulac’s work used a different approach to
illustration than Brigg’s. His work was more
details and delicately drawn. His pieces
were carefully arranged and situated not
the page with washy, light colours. I liked
his work due to the fantastical stories
behind them, and the detail wasn’t to
heavy/overwhelming due to the gentle
colouring.
Another artist that I looked at was Carson Ellis. Her illustrations were simplistic but
still showed depth through tonal shading. The lines of her illustrations were flowing
and pleasing. There weren’t any harsh jagged lines and the tonal colours were also
washy and gentle, like Dulac’s pieces. The colours were soft and her illustrations
held meaning. They could convey themes well through their layouts and
positioning.
The only real Health & Safety issues that I had to
be careful of was when I was creating my 3D
model. When I was using the jigsaw I made sure
that I was wearing protective goggles (to prevent
splinters of wood from going into my eyes), and
that my hands were far away from the moving
blade (for fear of cutting my hand). I also had to tie
my hair up to prevent it from getting trapped in any
machinery.
Applying Professional
practise study in your
work

11. Presentation of Work
I presented my work through a sketchbook. This held the body of my
work, and within it I had taken photographs to document my work. I made
use of illustrations and photographs to show the progression and stages
of my process throughout the sketchbook. I also have a blog to post the
brief summaries of the work onto. On their I had put the brief and
photographs taken of my book, which revealed the progress I was
making. On the blog was professional practises’ from artists I had emailed
questions and details of university open days I had attended. I also made
use of boards to professionally present my work. The boards were of
photographs of my model, which showed the textures, shadows and
tones created by the model. I also had a board with my final piece on it to
show how the piece would be properly represented and displayed.
I attended the open days for the University of
York, Kent and Queen Mary’s. These visits
were to look at the History & Archeology
courses. Whilst not for art, these visits
strengthened my decision that that was what i
wanted study for 3 years. I can transfer skill I
have gained from art to apply to History, such
as the analysing of work and documents to
the effect that they have. Out of the 3 that I
have visited so far the University of York was
my favourite. The building that the Historical
archeology studied in was an old Tudor
manor, which still held most of its original
features. The atmosphere of the city was also
nice and relaxed, so I felt even more
welcomed.
The tumblr blog stores professional practise case studies and is a nice
way to simply layout the steps of my process.

12. Opinion: When i received my area for the topic I wasn’t too disparaged. I could see that there was many interesting features
in the area that I could explore and play with. The totem pole and the tree being the strongest features of the area. These
mundane/repetitive items could be transformed into something interesting simply through the experimentation of styles. After
spending more time in the ‘Place in Question’ I became more aware of details that might have been simple overlooked/taken
for granted, such as the texture of the bark and the arching curves of the branches. Then after exploring these areas I could
make them startlingly more engaging simply by how I drew/applied/arranged/coloured them.
Evaluation: Overall I struggled with keeping up with this project. I felt like I didn’t have much time in lessons to fully
comprehend my decisions and chose what I wanted to do. I like to be absolutely certain about what I going to do, and the
short demand of time we have in lessons made this difficult. I was often spending large amount of time outside the lesson
trying to keep up, and perfect my sketchbook. I did start at list of tasks to complete near the middle of the project, which
helped me clearly understand what I had left to do and what I had to finish.
For this project I had to research into different artists to explore many various styles and techniques that I could apply to my
own work. I looked at artists such as Austin Briggs, Herge, Corey Godbey and Rene Gruau. I selected certain artists
depending on different factors, such as the way the way the drew their lines, their application of colour, or the way they
Opinion & Evaluation
created depth. I also had to do many different mock-ups of compositions for final ideas and
models designs. Through these I gradually developed my final completed piece after
successes/errors which I learnt from and progressed on. I experimented with different media,
perspective, texture, approaches, and sizes. I had designed a poster for the final piece which
later I changed into a booklet cover design. After completing my mock-ups I was able to
progress clearly from there with what would be suitable for different jobs, like I had done with
the poster design to booklet cover. All this build up to the final piece was possible through all
the work I had completed in my sketchbook: observational studies, artist research, material
experiments for 3D models, photographs, and my short animation videos. In the end I was
very pleased with my final outcome. The poster was eye-catching and punchy with its
gripping captions, and I liked the fact that I could use work from earlier in my sketchbook for
something that it wasn’t originally made for (tree dry-point as texture of the totem). At the end
of the project I had completed a 3D model of my area and a poster commissioned by a
museum.
If I were to this project again I might try to create my own logo for the British Museum, and
experiment more with the font. By doing this I might be able to find one that was more suited
to the topic (i.e. rustic, eroded) , and more in tuned with it.