Gaylene Duncan Var11 Portfolio Presentation 1 Part 2

Using black and white chalk I built up the tones on the brush and shovel.
I then added a slightly lighter tone between the boot and the shovel to separate the two, but also to help make them
both jump off the page at me. Had I used a darker colour here they would have just been lost in the background. Then using the black and white chalk I slowly began filling in the background
building up each tone as I went. At this stage something is starting to really bother me about this drawing. I just cant put my finger on it though at this point. I then went on to build up the
tones in the back ground above the boot using the black and white chalk until all the tones where completed. This completed the drawing. However I felt something was not right.
Gaylene
Duncan A
close look at
winters mess,
2014 Mixed
Media Mont
Marte acrylic
lamp black,
black and
white chalk,
compressed
charcoal
flakes. Size A1
Cartridge
paper roll
110gsm
Project Three: Ex 1, 2 & 3 Visual and Written Research
Project 3: Ex 2 Tonal Drawing of Black on Black Still Life W.I.P Final Drawing
Gaylene Duncan A close look at winters mess, 2014 Mixed
Media Mont Marte acrylic lamp black, black and white chalk,
compressed charcoal flakes. Size A3 Acid & Lignin free 125gsm
paper and A1Cartridge paper roll 110gsm
As I wasnt happy with the image I decided to sit them both side by side, to see if I could pin point what it was I
wasnt happy with as I was happy with my test piece. But even looking at them together I could not figure it out.
Having taken photos of them both I decided to sit the photos together on the Laptop. I shrunk the A1 down so they
were the same size. It was now I realised what was bothering me so much. If you look at my yellow circles you can
see in my test image the black tone is nice and diagonal at its bottom edge but is slightly rounded in the final image.
This played a big part in grounding my work and I felt it lost this grounding. Also in the area marked in green you
can see there is a nice smooth curved line which flowed much nicer, but in the final piece this is chunky. This is also
the same in the area marked in blue. The area marked red is much darker in the test than in the final and this helps
to distinguish the forground from the background.
Test Drawing
Final Drawing
Project Three: Ex 1, 2 & 3 Visual and
Written Research Project 3: Ex 2 Tonal Drawing
of Black on Black Still Life W.I.P Final Drawing
Test Drawing Final Drawing
Although this is not an exact replica of my testing image, I was surprised to see just how close it got to the testing
image. I found the testing image had a much rougher look than that of the final image which I really liked. I started
to as ke myself why that was given I used the same techniques. What I realised was the one thing I didnt test was
the effects of the different surface I was using. In the test I used acid and lignin free 125gsm paper, whilst on the
final work I used cartridge paper roll 110gsm. This was a significant player as the tooth of the paper made a huge
difference as I felt this rough look I spoke of in the testing image gave the work a more authentic look about it. This
was defiantly lacking in the final work, which becomes very notable in the detail of the boot, where the boot does
up, but also in the forground and the background. As lovely as the final drawing is I much prefer the test image as a
result of this.
What would have been great to
use instead would be Art
Spectrum Colourfix Multi-Media
Painting Boards as they are
primed with the traditional fine
tooth coating and is suitable for
use with chalk, acrylic paint and
charcoal. When doing both the
trial and the final image I strived
to achieve Frances Kuehn skill
ability in developing my drapery
and tones. I dont believe I was
successful in achieving her quality
of work, but feel it was successful
in describing the elements of my
own work.
Project Three: Ex 1, 2 & 3 Visual and
Written Research Project 3: Ex 2 Tonal Drawing
of Black on Black Still Life Final Drawing
white
1. of the colour of pure snow, reflecting all or nearly all the rays
of sunlight (see def. 25 below).
2. light or comparatively light in colour.
3. lacking colour; transparent.
12. blank, as an unoccupied space in printed matter.
20. pure or innocent.
21. British Colloquial honourable; trustworthy.
noun 25. an achromatic visual sensation of relatively high
luminosity. A white surface reflects light of all hues completely
and diffusely. Most so-called whites are very light greys: fresh
snow, for example, reflects about 80 per cent of the incident light,
but to be strictly white, snow would have to reflect 100 per cent of
the incident light. It is the ultimate limit of a series of
progressively lightening tints of any colour, as black is the
ultimate limit of a series of darkening shades of any colour.
27. lightness of skin pigment.
34. a type or breed which is white in colour.
38. (plural) British household goods as sheets, tablecloths, and
sometimes underclothes, especially goods made of cotton or linen
and usually but not necessarily coloured white.
40. a blank space in printing.
verb (t) (whited, whiting)
44. Also, white out. Printing to make white by leaving blank
spaces.
48. white as a ghost (or a sheet), extremely pale, as from fear or
illness.
49. white out, to reduce the daylight visibility of, as a result of
snow or fog.
[Middle English; Old English hwt] (Dictionary 2014)
white
adjective
1.of the colour of milk or
fresh snow, due to the
reflection of all visible rays
of light; the opposite of
black.
"a sheet of white paper"
2.belonging to or denoting a
human group having light-
coloured skin (chiefly used
of peoples of European
extraction).
"a white farming
community"

noun
1.white colour or pigment.
"garnet-red flowers flecked
with white"
2.the visible pale part of the
eyeball around the iris.

verb
archaic
1.paint or turn (something)
white.
"your passion hath whited
your face"(Google 2014)
White is color at its most complete and pure, the color of perfection. The color
meaning of white is purity, innocence, wholeness and completion.(empower-
yourself-with-color-psychology.com 2009-2014 )
(empower-yourself-with-color-psychology.com 2009-2014)
My Response
The research on this slide has led me to the understanding that there can be many
different meanings attached to white on white still life's. As a result each still life
would take on its own meaning and understanding of white, based on the choice of
products used in the still life. My still life includes a soup mug, breakfast bowl,
baking dish, mask and hand and foot, so it looks at the human form, time and the
cycle of dishes accessed from eating over a day.
Project 3: Ex 3 Tonal Drawing/Painting/Collage of White on White Still Life Definitions
When I was setting up my still life's for possible consideration I was mindful to remember to use natural light just as Ann Turley does with her work so that I could produce subtle
differences. I was also taking on board Phoebe McDonald idea of investigating time and space and then linking it back to a cycle. With this in mind I decided to use a bowl for breakfast,
soup cup for lunch, casserole dish for dinner, a mask, hands and feet to represent the human form. I am considering the time and space linked back to the cycle of human consumption.
Project 3: Ex 3 Tonal Drawing/Painting/Collage of White on White Still Life
Photos for possible Thumbnail Sketches
I wanted to consider different angles and combinations to see what might be of interest. At
one point I tried just the dishes on their own. This was interesting, but I didnt feel it really
represent what I was trying to get across. I then looked at the mask, hands and feet, but I felt
they were giving the message they were hiding. So I wondered if I was to combine the dishes
and mask what would this say. On observing it, it just appeared confused to me. So I decided
to combine the lot. This I really liked and felt it was right for my idea. But I wanted to see
what would happen if I ran part of it of the page. Would it lose the idea or create a way for
the viewer to imagine what might be happening. I did like it, but not as much as the one that
showed all of it. This made me wonder what if it was done from a birds eye view. This I
found really interesting, but felt it might cause some confusion if I am not able to paint it in
such a way that the viewer can understand it. So at this stage I am considering doing number
three, however this is subject to change depending on how my testing turns out.
Project Three: Ex 1, 2 & 3
Visual and Written Research
Project 3: Ex 3 Tonal
Drawing/Painting/Collage of White on
White Still Life
Thumbnail Sketches
During the testing stage I found myself very unsure of how
best to go about it. I knew to create white on white would
not be an easy task. In fact for me at first it seemed
impossible. But the one thing that did sit comfortable with
me was the idea of creating the image as a whole when
testing my ideas as this way I could see how they would
interact with one another. The other thing I felt important
was to use many different shades of white. The question was
how would I accomplish this idea.

In the end I accomplished this by adding the tiniest spot of
various watercolours to slightly tint the shade of white.
These colours where chosen based on what they appeared
like to me in the photo.
Project 3: Ex 3 Tonal Drawing/Painting/Collage of White on White Still Life - Testing
After I had taken a photo of my still
life, I looked closely at the photo
and asked myself what the different
shades reminded me of in terms of
colours. As I looked very closely I
started to see yellow, blue, green,
grey and pink, within these different
shades of white.
Now I had established in my mind the different shades, I
found myself asking how I might separate the colours so
that the different products might become more separated
as to not blend together so much that you couldnt tell
one from the other. I felt if I could raise just a couple of
objects to provide a little texture it might help to resolve
this issue.
Studying my photo of my still life I felt the foot was the brightest white of the whole image. So I decided to use Mont Marte Titanium white Silver Series acrylic paint leaving some of the
white of the natural paper showing through as I felt it would add to the character of the foot. Next I noted that the large toe seemed to have a blue tinge to it. This was also present in part of
the bowl as well as several of the shadows
around the image. Asking myself how I could
create this tinge of blue with it still being a
shade of white rather than blue I found myself
trying the idea of mixing the smallest pin drop
of Mont Marte Two Seasons Light Blue Water
Colour paint into the Mont Marte Titanium
white Silver Series acrylic paint. At first I felt
it was two blue, so played around a little
adding in more white until I found my tinge of
blue that was suitable to create this shadow. I
later fine myself repeating this same
technique using Mont Marte Two Seasons
Lavender Water Colour paint into the Mont
Marte Titanium white Silver Series acrylic
paint, to shade part of the mask and foot. I
further repeat this technique using Mont
Marte Ivory Black Water Colour paint into the
Mont Marte Titanium white Silver Series
acrylic paint, which was used on the mask,
baking dish, bowl and parts of the
background.
Progress Photos
Using this same mix I then added a pinch of Mont Marte Two Seasons Light Yellow Water Colour paint which was used on the background and bowl. I also used a mix of Mont Marte Two
Seasons Light Green Water Colour paint into the Mont Marte Chinese white Silver Series acrylic paint, for the baking dish and then a mix of Mont Marte Two Seasons Light Yellow Water
Colour paint, with Mont Marte Chinese white Silver Series acrylic paint which was used on the background and bowl. The a mix of Mont Marte Two Seasons Pink Water Colour paint into the
Mont Marte Chinese white Silver Series acrylic paint, for the background and parts of the hand and finally a mix of Mont Marte Two Seasons Fast Light Yellow Water Colour paint mixed with
Mont Marte Chinese white Silver Series acrylic paint, for the hand. I wanted to raise the mask as I felt it was important to highlight the human element in this image, but also I new I needed to
separate it from the surrounding products so that it could be seen as a separate element. To do this I used Mont Marte Modelling Paste as its great for creating texture and adding depth to an
image. I added the modelling paste around the outline of the mask and also over the eyebrow's to add interest. Then with Mont Marte Titanium white Silver Series acrylic paint, I filled in the
entire face both inside the modelling paste and also the outer edge as a background colour. This was important as I noted that the white of the mask was much brighter than that of the paper. So
far I am happy with the way this is taking form. I feel that the shades of white are working well together. They are providing enough of a difference to see they are doing different things, but
still closes enough to still be considered white on white.
Progress Photos
I wanted to add texture to the outside of
the bowl to create a textured surface
between the foot, Baking dish and bowl.
To do this I used Mont Marte Impasto as
its clear and wont effect the colour of my
paint, but will provide a nice texture based
on my brush stroke.

Whilst I feel I successfully delivered a
white on white still life, I find myself not
very happy with the outcome. I guess
because I had hoped to make the different
products stand out more than they do.
Looking back I think that maybe I could
have or should have used a lot more
texture in the work to help to create this
difference I was looking for. Whilst I
enjoyed this process, I found it difficult to
work with white on white as my eyes
really struggled to make out the different
tones I was creating. I found this very off
putting as I like to feel confident in what I
am trying to produce, so this become a bit
of a personal challenge for me.
Progress Photos
aerial perspective
nouna technique of rendering depth or distance in painting by modifying the tone or hue
and distinctness of
objects perceived as receding from the picture plane, especially by reducing distinctive lo
cal colors and contrasts of light and dark to a uniform light bluish-gray color.
(Dictionary.com 2014)

space
[speys] Show IPA
noun1.the unlimited or incalculably great three-
dimensional realm or expanse in which all material objects arelocated and all events occu
r.
2.the portion or extent of this in a given instance; extent or room in three dimensions: the
spaceoccupied by a body.
3.extent or area in two dimensions; a particular extent of surface: to fill out blank spaces i
n a document.
4.Fine Arts.a.the designed and structured surface of a picture: In Mondrian's later work h
e organized space inhighly complex rhythms.
b.the illusion of depth on a two-dimensional surface.

depth
[depth] Show IPA
noun1.a dimension taken through an object or body of material, usually downward from
an upper surface,horizontally inward from an outer surface, or from top to bottom of som
ething regarded as one ofseveral layers.
2.the quality of being deep; deepness.
3.complexity or obscurity, as of a subject: a question of great depth.
4.gravity; seriousness.
5.emotional profundity: the depth of someone's feelings.

fore ground
[fawr-ground, fohr-] Show IPA
noun1.the ground or parts situated, or represented as situated, in the front; the porti
on of a scene nearestto the viewer (opposed to background ).
2.a prominent or important position; forefront.(Dictionary.com 2014)

middle ground
noun1.an intermediate position, area, or recourse between two opposites or extreme
s; a halfway or neutralstandpoint.
2.middle distance ( def 1 ) .
3.Nautical . a length of comparatively shallow water having channels on both sides.

back ground
[bak-ground] Show IPA
noun1.the ground or parts, as of a scene, situated in the rear (opposed to foreground
).
2.Fine Arts.a.the part of a painted or carved surface against which represented obje
cts and forms areperceived or depicted: a portrait against a purple background.
b.the part of an image represented as being at maximum distance from the frontal p
lane.
3.one's origin, education, experience, etc., in relation to one's present character, stat
us, etc.
4.the social, historical, and other antecedents or causes of an event or condition: the
background of thewar.
5.the complex of physical, cultural, and psychological factors that serves as the env
ironment of anevent or experience; the set of conditions against which an occurrenc
e is perceived.
Project Four: Ex 1 & 2 Visual and Written Research
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Definitions
The photo of my intended landscape was taken about 1.30pm
in the afternoon. It was a reasonably cold day with little sun
out and few cloud up in the sky. The direction of the sun was
shining from the right of me slightly in front of me. I find the
image very interesting to look at in terms of its composition,
but may consider removing the bird from the scene. Through
observation I have noted that the dark tones lie in the
foreground, middle ground and background. Most of the light
tones are in the foreground and background whilst the mid
tones are mainly in the middle ground.
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Setting up/ instructions
Through the thumbnail sketch I was able to determine the relative size of the
people in comparison to each other. It was also useful in determining the angles
of the grass on the sand and the best way to consider the type of mark making
required to give the most appropriate effects.
Here I was looking at the structure of the polls and how I could blur the ends to
make them look somewhat reflective in the water. I found by blocking in the
colour and then sliding it down with my finger it gave me a little tinge of it in
the water. Then if I use a tissue to slide horizontally over the water it gives a
nice reflective appearance that I am looking for. The other thing was the water
and how I could make it clear that it was water not land. What I found was
running a few lines horizontally and blending them in gave the appearance of
water marks.
Here I was looking at the
structure of the trees and the
clouds. With the trees I found
holding the charcoal upright
using the point to create the
branches and then laying it on
its side slightly for the leaves
allowed me to create markings
that seemed to describe them
well.
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Thumbnail Sketches
The clouds I found I needed to use an eraser to pull out the
lightest white of the clouds and then lightly mark in the
darker clouds and blend them in.

The sky being the distant background is the lightest of
tones but the higher the page the darker the tone becomes
within the lightest range of tones to create the atmosphere
through aerial perspective.
horizon line otherwise the water and the sand will appear as
though they are trying to climb. If this were to happen it would
completely ruin the perspective of the landscape. To get this
nice shine on the water, which is hard to see in this image I will
be apply the charcoal and then running it over with sandpaper.

When creating the foliage in the sand it will be important to get
the angles correct as well as the different textures and tones. As
these textures, shapes and tones will help to build form and
create depth within the image.
Creating the water and the
sand is a little tricky. The
waters tone needs to be a
little lighter than the tone of
the sand adjacent to the water.
But the sand in the forground
adjacent to the sand near the
water is slightly lighter again
in tone. It is important that
these tones are correct as they
help to provide depth within
the image. The other thing I
noted was the importance of
running both the sand and
water horizontally with the
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Thumbnail Sketches
con trast [v. kuhn-trast, kon-trast; n. kon-trast] Show IPA
verb (used with object)
1.
to compare in order to show unlikeness or differences; note the
opposite natures, purposes, etc., of: Contrast the political rights of
Romans and Greeks. (Dictionary.com 2014)

scale
2
[skeyl] Show IPA
noun1.Often, scales. a balance or any of various other instrument
s ordevices for weighing: We gave the parents a baby scale. Theb
utcher placed the meat on the scales.
2.Also called scalepan. either of the pans or dishes of a balance.
3.Scales, Astronomy, Astrology . the constellation or sign of libra;
Balance. (Dictionary.com 2014)

per spec tive
[per-spek-tiv] Show IPA
noun1.a technique of depicting volumes and spatial relationships
on aflat surface. Compare aerial perspective, linear perspective.
2.a picture employing this technique, especially one in which it is
prominent: an architect's perspective of a house.
3.a visible scene, especially one extending to a distance; vista: ap
erspective on the main axis of an estate.
4.the state of existing in space before the eye: The elevations look
all right, but the building's composition is a failure in perspective.
5.the state of one's ideas, the facts known to one, etc., in havinga
meaningful interrelationship: You have to live here a few years tos
ee local conditions in perspective. (Dictionary.com 2014)

ex ag ger at ed [ig-zaj-uh-rey-tid] Show IPA
adjective
1.
unduly or unrealistically magnified: to have an exaggerated opinion of oneself.
2.
abnormally increased or enlarged. (Dictionary.com 2014)

depth
[depth] Show IPA
noun1.a dimension taken through an object or body of material, usuallydownward from an uppe
r surface, horizontally inward from anouter surface, or from top to bottom of something regarde
d asone of several layers.
2.the quality of being deep; deepness.
3.complexity or obscurity, as of a subject: a question of greatdepth.
4.gravity; seriousness.
5.emotional profundity: the depth of someone's feelings. (Dictionary.com 2014)

con du cive
[kuhn-doo-siv, -dyoo-] Show IPA
adjectivetending to produce; conducing; contributive; helpful; favorable(usually followed by to
): Good eating habits are conducive to goodhealth. (Dictionary.com 2014)

mon u men tal
[mon-yuh-men-tl] Show IPA
adjective1.resembling a monument; massive or imposing.
2.exceptionally great, as in quantity, quality, extent, or degree: amonumental work.
3.of historical or enduring significance: a monumental victory.
4.Fine Arts. having the quality of being larger than life; of heroicscale.
5.of or pertaining to a monument or monuments. (Dictionary.com 2014)

Project 4: Ex 2 Drawing of Monumentalised Objects - Definitions
Monumental Objects
Monumental Treasures
Congress protects/safeguards monumental cultural heritage objects such as
notable building, space, entity including its exterior, interior and furnishings.
Including layers and details from different eras. Noticeable piece of art,
textile or art collection. (Conservators 2014)
Useful techniques to create large scale
drawing of small objects
Range of values/ gradations - creates an illusion of volume and texture.
Value can be made with line and crosshatching
Look at the shadows - consider tones - mid-tones/ highlights consider how
they reveal the volume and nature of form.
Drawing must be as large as possible to fill the page/beyond edge
Needs to look and feel monumental (Burke 2013)
My Ideas
Large dog small owner walking it
Large nail clippers attached to small finger
Head/ear with oversize earing
Large carrot with little rabbit eating it.
Small Train Large person
landmarks I.E. Big Merino (Senner 1985),
Big Penguin (Houston 2007), Giant Tennis
Racquet (Bidgee 2009), Barellen, Rusty
the Tin Dog (Orderinchaos 2013)
Project Four: Ex 1 & 2 Visual
and Written Research
Project 4: Ex 2 Drawing of Monumentalised
Objects Mind Map
Project 4: Ex 2 Drawing of Monumentalised Objects Considering Composition Idea 1
Design 1 Design 2
Design 3 Design 4 Design 5
In idea one my aim was to make the earing as a monument. I first did it in
the grey scale (Top design 1). But then I wondered how it might look if I
were to add a little red to the earing (Top Design 2). This lead me to
wonder about the lips as I felt it might help with the relationship of the
head and earing (Top Design 3). I then removed it from the lips and
looked at the eye (Top Design 4) and finally I looked at them all together
(Top design 5). I then repeated this process with the bottom set only
adding a lot more red into the design of the earing. After doing all this
testing I decided that the earing looked best with the extra red in its
design. I also felt that having the lips also in red made a nice connection
but one which I felt made sense as this is often a natural way of life for
some.

I liked the unusual weirdness of this design, but the more I worked with it
the more I felt I needed something that stood out more for a monumental
work.
Design 1
Design 2
Design 3
Design 4
Design 5
I started to think about nail clippers and wondered how a large
hand and nail clippers might look with a small hand at the end
with a nail being cut. This was interesting, but I realised it
could be considered from different angles, which you can see
here in design 1, 2 and 3. But then I did design 4 which was yet
another angle and this I really liked.

I then asked myself what would happen if the nail had red nail
polish on it. I found this very effective as it seemed to really
emphasized the size of the nail and helped to enlarge the
clippers. Taking this one step further I also added polish to the
small had at the other end. It was now I realise the sized
different stood out and become so much clearer.

Problem though is I just couldnt see myself in this art work as
I found it somewhat boring. Which made me question if I
couldnt warm to it would others? Im guessing maybe not.
Design 1
Design 2
This idea come to light when my kids were having a jam
session and singing a silly song about a loveable carrot
they made up. As they were singing I started to see in my
mind an oversized carrot or carrots with a tiny rabbit eating
it.

First I did a group of carrots with the rabbit (Design 1).
The rabbit did make the carrots look quiet large, but I felt
the rabbit got lost in the image, which them brought it back
to just a bunch of carrots.

With this in mind I then did 1 oversized carrot with the
rabbit. I was feeling more comfortable with this.

However I was trying to imagine this giant carrot on an A1
sheet with its little rabbit and I just felt like it would look
very empty.
Searching once more for new ideas I decided to consider my sons beer glass
he had been given for his 21
st
birthday and his christening mug from when he
was 12 months old.

When considering the composition I decided to look at two possibilities. The
first displaying the mugs side by side. This I liked as you got a clear view of
each and could easily see the difference in size. However It didnt harmonized
to me, due to the gap between them.

The second one displayed the beer mug moved back into the distance as I felt
this would help to highlight that the beer mug was an monumental object, once
the mug was enlarged. Technically the mug should get smaller the further
away it is, but by enhancing it size will it will appear much larger. The distance
between the two would provide a nice depth in the work
1 2
I also toyed around in Coral
PaintShop Pro with the idea
of using just the beer mug,
duplicating it and shrinking
one and enlarging the other,
placing them so that the
smaller one was just in front
of the larger one. From a
composition point of view I
really liked this, as I felt it
demonstrated the
relationship between the
contrast of scale and
perspective well.
I then decided to have a closer look
at the products to see if they bared
any type of relationship between
themselves. It was at this point I
realised that historically both had
great significance as a monumental
victory in my sons life, as they
showed two very important
milestones in his life from childhood
and young adulthood. Having noted
this I have decided it would be best
to use the two different mugs based
on number 3 composition to arrive at
number 4 outcome. Which shall be
named Milestones.
3
4
My next step is to take my
digital image and test what
mediums will work best to
describe the metal mug as
well as the glass beer mug.
As the brief allows me to use
Thick willow charcoal,
Thin and medium willow
charcoal,
Compressed charcoal,
Graphite pencils and
turpentine,
Black and white acrylic
paint and
One primary acrylic
colour (I will use red)
I have decided to test each of
the above mediums. The
testing will involve looking
closely at the marks on the
beers mug, and christening
mug as well as the tones in
the background.
I will be using Rene Magritte Technique of using known object as I feel it
will make it very easy for my audience to understand the connection in size
normally between these objects, which will enable them to gauge that the
beer mug is of a much larger scale than normal.

I will also use Rosemarie Adcock use of brilliant colours in terms of the
charcoal and graphite
Ren Magritte, Belgian (1898 - 1967,
Schaerbeek) Les valeurs personnelles
(Personal Values),
1952, oil on canvas, (80.01 cm x 100.01
cm) (Magritte 1952)
Rosemarie Adcock The Arrival of
Jonah at Ninevah
Date unknown, Oil on Canvas,
72" x 84"
(Adcock Unknown)
Project 4: Ex 2 Drawing of Monumentalised Objects Testing Idea 4
With my testing I first taped of my area and then sketched in the beer mug,
just heavy enough that it would leave a slight mark once covered. I then used
Daler-Rowney Artists Willow Charcoal Extra Thick 15mm , to block in the
background colour to see if I would be able to accomplish the correct shade
once I rubbed it back. I found that this was hard to rub back enough to get the
tone as light as I required, which I felt was important because of the glass. I
then created the background for the emblem on the glass using the graphite
brushed over with turps. I chose this as it left a nice smooth looking surface
with a bit of a shine to it. I then used a little Mont Marte acrylic white paint
watered down to create the highlights in the emblem.
The text and the decretive lines I used Mont Marte acrylic lamp black paint, dipped in water, which
was painted on with a Taklon Oil Brush size 6. Using the Mont Marte Thin Willow Charcoal, I then
created the outlines of the glass, smudging parts with my fingers to give the impression of glass.
Again I started by taping of my area and sketching in the
Christening Mug so that it was hard enough to leave a faint line
once covered over. I then used smudged graphite to fill in the
background as I wanted to see if this would give me a lighter
outcome than the charcoal on the previous test with the beer
mug. I found that the graphite gave me a nicer brighter tone to
work with so that the glass would have a nicer background to
work with. The Christening mug I felt would look best with the
charcoal as I felt from the testing that the texture would really
produce that metal look I was after. I then used a Mont Mart,
Woodless Graphite, moving between a HB and 2B, to fill in
the clown. Then I added a touch of red acrylic paint to the
mouth an nose as I felt this was symbolic of the everyday
clown, but also the original colour of the clown on the mug.
The next important thing was to consider the different types of paper as the tooth of the paper could alter my outcomes. My small test were carried out on Size A3 Acid & Lignin free
125gsm paper. But the actual work with be completed on Size A1 Cartridge paper roll 110gsm. To test it I started by filling in the background with horizontal strokes (1). I then turned the
page on its side and sketched in horizontal strokes once more(2). Once I blended this with soft toilet paper and also cotton wool balls, I found it left a really rough look (3), unlike the
smooth appearance I got in my trial. To try to resolve this issue I decided to see what would happen if I placed turps over it using cotton balls (4).I found this gave me a very interesting
look, despite it still being a little rough.
1
2 3
5
6
4
I then needed to see if the
charcoal would still react the
same way as it did in the
previous test (5). I found the
charcoal seems to stick more
to the surface so I will need
to be very careful with my
placement. However I do feel
this will work quiet well.
Finally to see if the
acrylic paint will
still work the way I
have intended it to
(6). I found that the
paint seemed to
move even easier
across the surface,
so it will certainly
be ok.
Project 4: Ex 2 Drawing of Monumentalised Objects WIP
1 2 3
Once my paper was cut to A1 and then stuck down securely to the board using the same technique as in my test I, I filled in the
background with horizontal strokes (1). I then turned the page on its side and repeated the process (2). I then blended this with soft toilet
paper and also cotton balls, which I then went over with turps using cotton balls .
So far I am really satisfied with the outcome
of the background. It still has a bit of a rough
look to it, but I feel this has provided a really
nice surface to work on. I also feel that the
tone is really suitable for the beer mug, but
at the same time will provide a nice contrast
with the christening mug.
1
2
3
5 4
Building up the emblem required many steps. I first blocked in the tones of the middle section using Woodless Graphite, HB, 2B, 6B, and 8B and blended
them with a blending stick. Once blended I went over them with turps (1). Then I used the same proses and materials to block in the juxtaposed oval (2),
which I then repeated again on the outer oval (3). Then using a Taklon Oil Brush size 6, and Mont Marte acrylic lamp black paint I painted in the text (3).
Using the same materials I then drew in the decretive lines (4). Then using both an artist kneadable rubber and a hard white rubber, which I cut very small I
went about pulling out some of the tones to create highlighted areas. (5). Once I had done this I built up each of the four circles using both of the rubbers,
some Mont Marte acrylic lamp black paint and Mont Marte acrylic Titanium White paint (5). Finely I went around the outside with a Woodless Graphite, HB
to define the line which I carefully rubbed back with a blending stick (5).

My aim was to get a metal appearance to represent the emblem as it appeared on the product (6). I feel I have captured this material well. My line work with
the Acrylic paint worried me some as it wasnt as clean and tidy as I would have liked. Still I am reasonable happy so far.
6
1 2 3 4
I started to build up the tones on the christening mug using Mont Marte Thin Willow Charcoal (1), blending it as I went with a blending stick and then spraying it with Nuart workable fixative
in-between the layers until I achieved the final outcome (2). I then moved on to the little clown (2) using several Woodless Graphite, HB, 4B, and EE depicting his clothing and facial
expression (2). Stepping away from the work and looking back at it, I felt that the christening mug was a nice contrast of scale compared to that of the emblem (3). Once more I was trying to
create a metal look so that it was a true reflection of the actual christening mug (4). I believe I have accomplished this reasonably well.
1
2
3
5 4
I began to create the beer glass, using Mont Marte Thin Willow Charcoal and a blending stick. Slowly and carefully I added my tones to the left side and began to blend using with Nuart
workable fixative in-between the layers (1). I continued to do this using the same technique across the rim of the glass and down the left side of the glass (2). I then moved on to the handle
where I carefully drew in the lines still using the same technique until I was happy with the look and feel of the handle (3) Finally I created the base of the beer glass (3). I had to be careful here
as I was doing the base, but also the reflection of the glass inside. I needed to be sure that the reflection was kept lighter than the base itself to insure the two did not become lost in one another
(3). In my trial I realised I had not considered the table the mugs were sitting on. So I needed to consider where the table should be placed as this would make a difference to the perspective, but
also I didnt wont the mugs to be hanging of the edge (4). I decided to place it just under the handle of the beer mug as this would allow the mugs to sit flat on the table without hanging off, but
would also allow the distance to be shown from the handle of the mug to the table top (4). Whilst creating the table top I also added in a shadow using Mont Marte Thin Willow Charcoal just
below the glass beer mug moving back to the background as the light source was coming from the left of the beer mug (4). I also created a shadow next to the christening mug (4). As I worked
my tones for the table top using Mont Marte Thin Willow Charcoal , I allowed them to fade out on the left side as I felt it would provide a more interesting feel to the drawing and knew the eye
would automatically make sense of this (4). Finally I added the primary colour using Kaiser Colour red acrylic paint to the clowns nose and mouth (5). I decided to add this primary colour here
as I felt it was symbolic to the clown but also had a connection to the christening mug itself (5). I also felt that it helped to draw attention to how small the christening mug was in contrast to the
glass beer mug. I was really happy with the outcome of the final picture as I felt I managed to meet the criteria , but also managed to incorporate Rosemarie Adcock use of brilliant colours , by
depicting my tonal scale well and also Rene Magritte concept of using known products.
Architecture - Italy - line art Perspective
Illustration Renaissance Court of the Palazzo
Massimi alle Colonne c.1535, at Rome by
Baldassarre (Tommasso) Peruzzi, (1481-1536).
The artist and architect was a contemporary of
Raphael and Bramante. In the y (Peruzzi c.1535)
Baldassarre Peruzzi was an Italian architect, painter and draftsman. Peruzzi was a provisional
figure during the early and high Renaissance in Italy. Peruzzis theories were forward-looking
and had a great influence during the 16
th
century on many architects. He himself was inspired by
Bramante the Italian architect and perspectivist painter as well as Raphael an architect and
painter. Peruzzi considered his sketch of the Palazzo Massimi alle Colonne to have been his
best work. (Landscaping 2014)

My Response
Peruzzie has used a combination of linear devices to give structure to is drawing of the Palazzo
Massimi alle Colonne. This resulted new meaning which lead to his viewers being able to
interpret his work. He described his Tuscan columns and pilasters with linear lines and random
markings. His used contour lines and geometric patterns to describe the strapwork, and basic
horizontal and vertical lines to build the structure. All of this results in Peruzzi being very
successful in his delivery of his ideas. His work is reminiscent of many gothic cathedrals. The
detailed patters are very eye catching and spark a great deal of interest and provoke emotions
when viewing them. When doing a similar work I dont think I would change things or do them
differently as I feel this work is beautiful as it is and doesnt require change. I will use Peruzzis
work to inform my line only drawing by using his idea of contour lines for decorative work.
Project One: Ex 2 & 3
Artists and Other Research
Project 1: Ex 2 Line Drawing of an Interior Space
Containing Small Objects
Artist 1 - Baldassarre (Tommasso) Peruzzi
Rick Amor, Study for Roman lion, 2004,
charcoal on paper, 76 x 56cm
www.niagara-galleries.com.au/
(Amor 2004)
Rick Amor is a printmaker and graphic artist from Melbourne. He is the first artist since the
Vietnam War that the Australian War Memorial has sanctioned as the war artist for East Timor.
Rick has worked in London, Barcelona and New York and has had 50 solo exhibitions since
1974. (Galleries 2014)

My Response
Rick Amor uses strong vertical and horizontal lines which appear to be fast moving. He also
uses ghost lines which are also vertical and horizontal. I feel his idea was to show the moving
through of the corridor, which I believe these fast moving lines have successfully depicted his
idea of moving through the corridor nicely. The work reminds me of some of the thin corridors
at the Melbourne Museum. The work sparks my emotions as when I observe the work I feel
like it draws me into the corridor and gives me the feeling that I am moving through it
personally. Its interesting because of how the movement plays out in the lines. If I were to do
a similar work Id darked the ghost lines to see the effects that would take place and how it
would affect the outcome. I will use Amors work to inform my line only drawing by using his
idea of fast moving horizontals and vertical lines to show the structural lines of the work.
Project 1: Ex 2 Line Drawing of an Interior
Space Containing Small Objects
Artist 2 Rick Amor
Drawing was a means of expression for Matisse. His subjects would often determine how he would display
his artistic ability and of what medium he would use. Matisse would often work with charcoal, pencil,
crayon, etcher's burin, lithographic tusche or paper (Matisse 2011). He enjoyed studying the female form
which resulted in his work often being sensual and suggestive. Often inspired by classical mythology his
work focused on both reality and imaginary worlds. Many of his works were informed by his own previous
drawings offering developmental ideas for both style and composition. They were intended to be quick
gestures, which communicated his inner thoughts of a subject in a non-verbal fashion. His contemporary
work featured both the female form and still lives, which were simple, yet sophisticated focussing on space
and form. As he developed his skills in line work, he produced less detail, with bolder and thicker contour
lines.

My Response
Matisse gesture drawings would convey mood, feeling and motion through his implied lines. To help is
audience understand he would relate his works to know products such as leaves in terms of their shapes.
He increased the value in his work by varying the weight of his lines. As a result his techniques are
successful in their delivery to his audience. The way he chooses to use line reminds me greatly of the line
work used in Jean-Baptiste-Simon Chardin drawings. The way Matisse combines his style of lines helps to
spark emotion in his audience. His use of known products helps to bring interest to his work. If I were to
consider doing a similar work I wouldnt change much, but maybe play with the weight in the line work to
alter the vales just for comparison reasons. I will use Matisses large contour lines to inform the markings
on my cupboard handles, hinges and appliances.
BATHER WI TH LEAVES
charcoal on paper
52 x 40 cm.
Private Collection
1942
(Matisse 1942)
Project 1: Ex 2 Line Drawing of an Interior Space
Containing Small Objects
Extra Artist Henri Matisse
Leonardo da Vinci, circa 1481 Study for the Adoration of the Magi Pen, watercolored-brown
ink and white lead with metal point traces on light brown paper 162 x 290mm Florence, Prints
and Drawings Department at the Uffizi, inv. 436E (Vinci 1481)
Leonardo da Vinci,
1481
Oil on wood, Uffizi,
Florence, 97 in x
96cm (Vinci 1481)
Leonardo da Vinci drawing of the Adoration of the Magi was a preliminary study for a commissioned he was approached to do for the monastery of
San Donato a Scopeto near Florence with the intent to be located at the main altar (Office 2014). His employment, measurements and details for the
background was astonishing in regard to their accuracy. He began with the ground, followed by the building plans and finally the human form and
animals to bring life to the scene. With the use of a piece of thin thread, some pins, pointed styles and a millimetric ruler he created a perspective grid to
enlarge his drawings. There are many visual differences between the drawing and the painting of the Adoration of the Magi, for example the
perspective grid. Leonardo also altered the viewpoint, to free up the viewpoint by reducing the background. The ruins of the pagan temple located on the
right are no longer visible, whilst the building to the right has moved closer to the central axis.
My Response
Leonardos techniques are well-
known in the art world, as a
result of his representation of
the human form. His work also
displays dynamic movement
through the human form and
action adjacent to Mary and
Jesus, which were his focal
point. He further uses
chiaroscuro (light and dark
shades) to depict how close the
human form is located to the
ground. All of these things
make his work successful. His
work reminds me of the
Christmas activity scene. The
chiaroscuro style really draws
my attention and provokes my
emotions as I find the shift from
dark to light shades really
interesting and captivating. If
doing a similar piece of work I
might consider altering the
perspective to see if these
techniques would still be
successful

Project One: Ex 2 & 3 Artists and Other Research
Project 1: Ex 3 Drawing of an Architectural Space Incorporating Your
Presence
Artist 1 Leonardo da Vinci
The Milkmaid
by Johannes Vermeer, 1660 (Vermeer 1660)
Vermeers The Milkmaid, Diane E. Kraus, 8 x10
(Kraus 2012)
Diane E.Kraus considers herself to be a freelance artist and illustrator, who
consider herself a realist that works with several mediums: pencil,
charcoal, oil and digital art. She studied many subjects throughout her
career as an artist. During which she did a little 8 x 10 pencil drawing of
Vermeers The Milkmaid. Vermeer was a master of both perspective and
light. The Milkmaide was a result of Vermeers most passionate period
during the 1660s where he developed many new techniques and focused
on tone, contrast through a both chiaroscuro and camera obscura styles
(Yovisto 2012).

My Response
Diane has drawn the drawing from the same central eye level that Vermeer
has. She has also used very fine random marks, diagonal linear lines and
crosshatching to define the clothing, drapery and basket is such a way that
it is an excellent representation of Vermeers work. So I would say Dianne
was extremely successful in Bringing across her intentions. The work
reminded me a lot of Leonaert Bramer work, particularly in terms of the
protagonists clothing. Her excellent capture of light and strong line and
tonal techniques mesmerize me as I feel it adds great interest through
provoking emotions. As much as I love Dianes technique, I would
consider trying this style in line only, if I were to do a simular work.
Project One: Ex 2 & 3 Artists and Other Research Project 1: Ex 3
Drawing of an Architectural Space Incorporating Your Presence
Artist 2 Diane E. Kraus
Jan Schoonhoven, Untitled, 1979 tusche on
paper 38 3/4 x 25 inches Peter Freeman
Gallery, new York, NY (Space)
Jan Schoonhoven was a Dutch artist from the area of (1914 1994) who used drawings as his main focal point in
regard to his relief work. He would general concern himself with materials such as gouache, pen, various inks
and pencil. His work was reminiscent of Paul Klees during the 1940s and early 1950s and depicting the abstract
form and along with his bizarre, strange figures which existed only in fantasy. At a later point he joined the Dutch
informal group around the 1950s. Their views were to move away from impulsiveness and bias opinions that
previous generation envisioned. Much of his work is produced using repetitive gouache or ink hatch marks
which he tends to bring to life by gestural applications. During 1976 his repetitiveness of gesture was reduces,
however it still remained rigidly structured, but moved away from lines and marks.

My Response
Jan Schoonhoven untitled work explored texture, which he tried to describe to us. He did this with his choice of
marks and lines. As it is possible to see clearly how Schoonhoven build-up his form and tone along with his
roughness of the surface, I believe he is successful in trying to describe the texture to his audience. His work,
reminiscent of Paul Klees, depicting the abstract form here reminds me of carpet. I find Schoonhoven work to
be captivating to view due to his use of horizontal, vertical and diagonal lines as his patterns he forms with them
are so eye catching resulting in my 100 percent attention. If I was to consider trying a similar work, Id take on
board his ideas and try to see what other type of patterns I might be able to create that are eye catching. His use
of lines will help to inform my depiction of carpet in my drawing of The Viewing, 2014 .
Project One: Ex 2 & 3 Artists and Other
Research Project 1: Ex 3 Drawing of an Architectural
Space Incorporating Your Presence
Extra Artist 3 Jan Schoonhoven
Joseph Mallord William Turner
1777 1851
Study of a Boat
Date c.1822
Graphite on Paper
108 x 203 mm
Collection Tate
AcquisitionAccepted by the
nation as part of the Turner
Bequest 1856
Joseph Mallord William Turner was considered one of the greatest Romantic artists. He was best known for his use of brilliant
colours in his landscapes and seascape. His works often included engravings, oils, watercolours and graphite. His work was
largely influenced by Willem van der Velde, Claude and Richard Wilson. Turner was often criticised for his interest and
expression of contemporary technology, which is now commonly acknowledged (Gallery).
(Turner c. 1822)
My Response
Turner in his drawing of Study of a Boat has used a
combination of smudging and both soft and hard
graphite marks to create meaning and shading. His
soft yet quick marks help the viewer to understand the
movement in the water as the boat moves across the
sea. The way he tends these lines and smudges brings
his idea across to the public very successfully. His
work reminds me a lot of his fathers William
Turner, particularly in regard to their use of light and
colours in paintings, but their drawings are also very
similar in style when it comes to boats. Turner has a
sense of freedom in his lines which capture me and
make me stand to attention. They tend to drift into his
smudges which become somewhat mesmerising and
as a result provoke my interest and capture my
emotions. If I were to do a similar work, Id properly
use slightly darker shades as I feel some of the
emotion is lost in the viewing as its difficult to see
the details. I will use Turners work to help inform my
edges in my rumpled paper.
Project Two: Ex 1 & 2 Artists and Other Research
Project 2: Ex 1 Tonal Drawing of Crumpled Paper
Artist 1 - Joseph Mallord William Turner
Giorgio Morandi, Large Still Life with Coffeepot
1933, half the edition printed 1943, the other half printed 1949, Etching
plate: 11 11/16 x 15 3/8" (29.7 x 39.0 cm); sheet: 15 1/16 x 20 1/8" (38.3 x 51.1 cm) Publisher
Calcografia Nazionale Rome, Pinter Calcografia Nazionale Rome, Edition 40, MoMA
As a young man in his teens and twenties, Giorgio Morandi for a
short time toyed with Futurism and metaphysical art. Having rejected
artistic group Morandi was considered a self-contained figure. His
work focused entirely on landscapes and still lifes. He would use the
same bottles, tins and boxes over and over to search for new
arrangements and likelihoods. Morandi is well known for his
etchings. The technique of etching fascinated him because of its
tenderness and meticulous craftsmanship (Figura 2014).

My Response
Giorgio Morandi etching of the Large Still Life with Coffeepot
used layers of hatched and cross-hatched line to define form. He
controlled his tonalities and carefully combined them with
compositions which involved architecture that would insist his public
would examine and deliberate on them. He created his atmosphere
through his use of lighting provoking emotions and portraying an
eerie stillness in his work. It is these techniques that make his work so
successful in bringing his meaning and ideas across to his viewers.
His work reminds me of Paul Cezanne Still Life Bowl and Milk Jug
in terms of how he arranges his products and does their shading. The
way he captures light in his drawings really pulls my eyes into the
canvas and provokes my interest. As much as I really admire
Morandies work if I were to do a similar piece of work I think Id
have to have my cross hatching a little more free as Id like it to feel
less structured and more natural. I will use Morandies work to
inform the light in my work on the crumpled paper. (Morandi 1933)
Project Two: Ex 1 & 2 Artists and Other Research
Project 2: Ex 1 Tonal Drawing of Crumpled Paper
Artist 2 Giorgio Morandi
Romare Bearden is an African-American writer and artist. His work is very focused on cartoons, oil and collage. He started by fashioning scenes of the American South which focused on
harmony and collaboration within the community, but after his personal experience of World War II as part of the US Army on the European front he began to try to express what he felt was
lacking in humanity. (Wikipedia 2014) His work become more abstract during the 1950s, which later showed up again in his collage works during the 1960s, when he became part of the
Harlem-based art group referred to as The Spiral, which looked at the fight for civil rights of African-American people. His technique with Collage included a variety of papers, such as
matte coloured construction papers, pressure sensitive glossy laminates, brightly printed commercial sheets called Color-Aid, wallpaper and wrapping paper, as well as bright foils and
patterned fabrics, (ART 2014). He often modifies the external of the papers along with different elements of his collage through adding additions like painted areas with spray paint, along
with traditional brush work when applying colour, scraping and sanding techniques with intent to coarsen and interfere with the image by removing colour and bleaching areas. (ART 2014)
Romare Bearden, Pittsburgh Memory, 1964
collage of printed papers with graphite on cardboard, Collection of halley k harrisburg and Michael Rosenfeld, New
York, Romare Bearden Foundation/Licensed by VAGA, New York, N.Y., (Bearden 1964)
Dame kindness , 1988
Sally SMART
oil and enamel on canvas, 167.2 x 122.0 cm
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by an anonymous donor,
2003 (Smart 1988)
My Response
Bearden approach to forming figures and backgrounds by using
many different elements is one of the things that make his work so
successful. But the other is his ideas of using some of the vivid
details and incorporating it into a different space within the work as
it adds a great deal of interest to the work. His work reminds me of
Sally Smarts work Dame Kindness as she also likes to take parts
out of context ie. The eye in this case and use it else where in her
work. What really draws my attention and toys with my emotions
is the looks on the peoples faces. Particularly the one with his hand
up to his face as I find this interesting as it makes me question what
his thinking about and why his in front of this building. I love this
work as it is so I wouldnt change it, but if I was to do a similar
work, I would try to using parts of the structure out of context to
see its effects. I will use Beardens idea of taking part of the image
out of context to help inform my own collage.
Project Three: Ex 1, 2 & 3 Artists and Other Research
Project 3: Ex 1 Tonal Collage Artist 1 Romare Bearden
The exquisite pirate (Oceania)
(2006-2009)
Sally SMART
synthetic polymer paint, ink, foil and
collage on canvas
550.0 x 1000.0 cm
National Gallery of Victoria, Melbourne
(Smart 2006-2009)
Shadi Ghadirian - Like
Everyday (Domestic life)
08, 2002, C-print, 50 x
50 cm (Ghadririan 2002)
Sally Smart has an interest in things that are unstable, eerie and
misleading. Which she explores through investigate shadows,
warning sign, imaginings, transformations and memories located
in the subconscious. She combines these with memories of tales
learned during childhood, as well calling to mind things faced
during life experiences (Australia 2014). Smart draws much of her
inspiration through sources such as Dadaism and Surrealism. Her
work focuses on collage and multi-layered installations and
paintings which are driven by her interest in feminism and her
personal need to take risks (Australia 2014).

My Response
Smarts work is incredibly successful because of how she draws
from historical aspects which focus on the representation of global
issues that involve identity both from a personal and social
context, also cultural uncertainty, and immigration. Her use of
symbolism such as the ship as a metaphor for these global issues
also help to make her work successful as it helps the individual to
understand and interpret her work. Smarts work reminds me of
Shadie Ghadirian work Like Every day (Domestic life), which
uses kitchenware, which acts as a metaphor for the debate about
the womens body as it whether it should or shouldn't be covered.
Her associations with womens practice through her use of process
such as sewing and stitching help to draw the emotional feeling
attached to the work as it draws on my identity as women, which I
find so interesting. I do like this work the way it is, but would like
to experiment with her ideas regarding a more defined topic like
domestic violence or something along this line. Her use of fading
tones to create depth and space I will use to help inform my
collage.
Project 3: Ex 1 Tonal Collage Artist 2 Sally Smart
Black Painting 2, Frances Kuehn, Painting Acrylic, Size: 32 x 24
x 2 in (Kuehn 2011) Frances Kuehn is a contemporary realist who
worked with the human form until late 2003,
when her body of work shifted toward realistic
abstracts. Kuehn tends to work mainly with
acrylic paints.(Kuehn 2012)

My Response
Kuehn used black and white acrylic paint to mix
a variety of tones, which she then used to
describe her elements in her painting of Black
Painting 2. She had an amazing talent for
painting drapery, which flowed so smoothly, and
an eye for detail. It is these two elements put
together that make her work so successful, and
enables her to convey her ideas to her audience.
Her work brings to mind the work of Sean
David Wright titled Drapery Study as I find
their drapery work is very simular. I find the
work draws me in with its magical tones and
the way the drapery just falls so nicely. I find it
interesting how her ability to blend tones is
made to look so easy. If I were to do a simular
work I wouldnt change a thing. Instead I would
strive to achieve the same quality of work. It is
this skill ability of Kuehn that I hope to use to
inform my black on black still life.
Sean David Wright , Drapery Study, Drawing -
Graphite On Archival Paper, Size unknown (Wright)
Project 3: Ex 2 Tonal Drawing of Black on Black Still Life Artist 1 Frances Kuehn
BLACK RAIN
Andrea Paganini
Italy
Mixed Media
Size: 34.6 x 59.1 x 1.6 in
(Paganini)
Andrea Paganini is an Italian contemporary artist whose body of work includes paintings, photography and sculpting. He makes use of an assortment of
mediums depending on his required outcome.

My Response
It is hard for me to judge this work based on actual facts as there appears to be nothing at all written about the work. However it is my opinion that Paganini
either uses a full brush or a squeeze bottle to run the paint down the surface forming these beautiful drippy lines, which takes on all different lengths and
forms. I really like the effect he gets when he mixes up the mediums using what appears to be the same technique to apply each one to the surface. I think this
process successfully conveys his ideas of black rain. What I find interesting is how the black medium unlike the others tends not to run down the pages, but
rather, its applied carefully and then possible splattered. The lighter tones in the background really make me sense the rain but the black medium really
changes my emotions as it becomes very dim and dark. His work reminds me of an artist that goes by the name Peter Norvill who painted the painting The
City. (Norvill 2007)
The City
Peter Norvill
Acrylic
Size Unknown
(Norvill 2007)
If I were to do a simular work I would keep the technique as I feel it works
very well, but I would be inclined to try different mediums to test out what
possibilities each may bring. Paganinis successful use of mixed medium is
what Id like to use to inform my work. I think my black on black still life
would really benefit from the use of different materials.
Project 3: Ex 2 Tonal Drawing of Black on Black Still Life Artist 2 Andrea Paganini
Phoebe McDonald is an artist from Brisbane who's body of work is focused on the interactions
and short term effects of natural light over time and space and how its perceived. She further
explores these elements through cyclic events, which are happening through out the natural
environment.(McDonald 2013)

My Response
Phoebe McDonald work is successful due to her ability to be able to interconnect all her ideas so
that they bring together the natural lights effect over duration of time and space. By studying this
she draws in her audience captivating them with the ideas and bringing fourth their emotions and
interest when they start to see the effects through her works. Her work brings to mind Sylvia
Hommert work as she likes to create textural panels with items such as beeswax, resin, glitter,
aquatint, so that she can produce reflective properties of light with the intent to show how the
light interacts with the immediate environment.(Solomon 2012) I love that when I look at
McDonalds work you can see the tones change right before your eyes. This really captures my
attention and keeps me interested and engaged with the work for some time. If I were to do a
simular work Id have to do it based on the same concept at first in order to really understand her
process. Then I might wonder of to try it in other ways.
Phoebe McDonald
Spectrum selection, 2013
(McDonald 2013)
Sylvia Hommert
(Solomon 2012)
I will use Phoebe McDonald idea of
investigating time and space linking it back to
a cycle.
Artist 1 Phoebe McDonald
Ann Turley is a well known artist living and working in Roselindale, MA. Turley likes to work with many different mediums such as pastel oils, and water based materials. She investigates
different subject matters such as landscapes, figures and still life's. Turley is a realist and interpretive drawer which tends to be informed by her own artistic vision. Inspired by the work of
Giorgio Morandi Turley finds herself drawn to white on white still life's. She works from observation only using natural light, which helps her to make subtle differences of shade,meaning,
and expression which allows her to then create emissions of light in her work.(TURLEY)
Ann Turley
White Dishes
Oil on canvas
26" H x 30" W
(TURLEY)
Giorgio Morandi (1890-
1964), "Still Life", 1951
(Morandi 1951)
My Response
Ann Truly excellent observational skills I believe really help to bring her works to life. Her use of
natural light really brings out the shadows and helps to express the dishes whilst, adding to each of
their characters. Its because of this her work is so successful, as it makes it easy for her audience to
see what it is she is trying to highlight in her work. Her work reminds me of Giorgio Morandi work
although this is not surprising giving his her inspiration. Her subtle change in white tones I feel is
what creates the emotion and meaning in her work, which in turn is why I find the work appealing
and interesting. I like this work, but if I were to do something simular piece of work, Id like to see
if I could get the shadows to display but using more white in them so their not as dark. I will use Ann
Turley work to inform my use of light so that its luminescent .
Artist 2 Ann Turley
Leonardo da Vinci
The Virgin of the Rocks
Completion Date: c.1505
Place of Creation: Florence, Italy
Style: High Renaissance
Genre: Religious Painting
Technique: Oil
Material: panel
Dimensions: 189.5 x 120 cm
Gallery: National Gallery, London, UK,
(Vinci c.1505)
Leonardo da Vinci was the first to consider atmosphere to the point that he
constructed rules which were applied realistically by making very careful
measurements, which he later referred to as Aerial Perspective. He was
extremely intrigued by the effects atmosphere had on the colour of distant
objects. At one point Leonardo observed during the morning light the effects
of atmosphere on distant objects and he come to the understanding that the
further away the mountains the less distinctive they become and bluer they
got. Through his experimentation he realised that when painting objects so
that the difference between their distance can be note you would paint the
closest their true colour, and the further they reseed into the distance the
bluer they should get (Science 1997).

My Response
Leonardo da Vinci has created a great sense of depth in his painting of The
Virgin of the rocks by emulating the way the atmosphere causes distant
objects to present less recognizable and more bluish. It is because of this his
work is very successfully in conveying his idea of areal perspective to his
audience. His work reminds of a piece of work he did jointly with Verrocchio
a man he was once an apprentice to known as The Baptism of Christ, as
both use this idea of these less distinctive and bluish backgrounds. His work
creates emotion in me through its sense of harmony and I find it interesting
how he uses some of the colours he uses in the distance in his forground.
This is why I feel there is such harmony in the work. If I were to do a simular
work I would use his exact idea only creating his tones in charcoal so they
would appear whitish with the further away the objects the darker the tone of
white. I will use Leonardo da Vinci theory on Aerial Perspective to inform
my Landscape of Tooradin Gippsland Hwy
Andrea del Verrocchio & Leonardo da Vinci
The Baptism of Christ
Year 1472-1475
Type Oil on wood
Dimensions177 cm 151 cm (70 in 59 in)
Location Uffizi, Florence. (Vinci 1472-1475)
Project Four: Ex 1 & 2 Artists and Other Research
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Artist 1 - Leonardo da Vinci
James Gleeson
Study for 'The arrival of implacable gifts'
1985, Drawing, charcoal on white wove Arches paper
56.8 x 76.5 cm sheet, Gleeson/O'Keefe Foundation (Gleeson 1985)
James Timothy Gleeson is an Australian Artist who was influence by Salvador Dali, Giorgio de
Chirico and Max Ernst, during his younger years. He later becomes interested in writing
written by Sigmund Freud and Carl Jung. These writing later become important knowledge;
which in some ways acted as a guidance for his art. His works focused on mythological or
religious subjects through his investigation of the subconscious, predominantly the collective
unconscious based on Jungs standards. He later shifted his ideas to more figurative perspective
of human perfection. As a result Gleeson psychedelic compositions arrived. These
compositions focused on the surrealist technique known as decalcomania in his backgrounds.
This focus created a way for him to add painted male nudes in the forground. He often
reflected his own homosexuality through his use of homoerotic undertones in his works, He
compositions lead to his interest in college, where he produced a large body of work
incorporating photos, magazines, diagrams, poetry, ink and many more. As the years past his
work cut out the human form which was then represented through the odd arm or eye in his
landscapes (Wikimedia Foundation 2014).

My Response
Gleeson is successful in his delivery of his idea as he focuses on the emotions of the human
i.e.. Wishing of a gift and places it in context by alluding us to the stormy sea so we can
connect the effects this gift my be creating in our lives by having the gift fall out the sky. When
I consider. this concept it really sparks my emotions and makes think a lot deeper about this
work. I find myself really interested because of the story it tells and in doing so I feel it drags
me in. He further drags me in through his use of tones and the way he uses them to add depth
in his work. Like with Leonardo da Vinci those things closet to us he has added a lot of detail
to and made them very clear. Whilst his details are not as clear the deeper into the work they
get. If I was to do a simular work Id like to be able to create this type of drama and
atmosphere in my work. I will use James Timothy Gleeson work to inform my Landscape of
Tooradin Gippsland Hwy in the hope to create a dramatic atmosphere that will capture the
heart of its viewers.
Project 4: Ex 1 Landscape Drawing Exploring Space and Depth Artist 2 - James Gleeson
Ren Magritte, Belgian (1898 - 1967, Schaerbeek) Les valeurs
personnelles (Personal Values),
1952, oil on canvas, (80.01 cm x 100.01 cm) (Magritte 1952)
Rene Magritte brings to mind the incongruity and uncertainty hidden
within reality. He explores the joint relationship of his objects through his
way of describing them and by doing so all the usual concepts are no
longer lined to the objects. Magritte uses know objets and paints them
according to the proportions of the human form often creating confusion
and inconsistency, turning the world as we know it inside out, causing the
once familiar to become no longer familiar. (Art 1998-2014)

My Response
Rene Magritte is highly successful is creating monumental works because
of his contrast of scale and perspective. He uses small objects which he
juxtaposes next to objects which he has exaggerated their scale. In doing
so he creates a sense of depth which is crucial in brings this concept
across to his audience. His work reminds me of some of Picasso work in
the sense that it takes the ordinary day things and alters them in such a
way that they no longer appear normal to us. The work draws me in
through his choice of placement as often the placement is rather strange in
itself forcing me to consider the relationship surrounding the objects. This
tends to spark my interest. Whilst I wouldnt change a thing with
Magrittes work as I find it very appeling, I think I would try to adopt his
aproach, but I would not have the objects confind to a room. I will use
Magritte work to help in form my own work by using known objects.
Project 4: Ex 2 Drawing of Monumentalised Objects - Rene Magritte
Project 4: Ex 2 Drawing of Monumentalised Objects - Rosemarie Adcock
Rosemarie Adcock The Arrival of Jonah at Ninevah
Date unknown, Oil on Canvas, 72" x 84"
(Adcock Unknown)
Rosemarie Adcock is an American artist currently
exploring a series of biblical and allegorical oil
paintings (Adcock Unknown), which is focused on
rich colours, lush garden settings and expressive
figures. The painting takes a look at the story of
Jonah and uses the bitten apples as a symbols of sin
and failure(Adcock Unknown).

My Response
Rosemarie Adcock is highly successful in her deliver
of a monumentalised objet through her bright rich
colours which really help to put life into her work.
Her giant enormous fish is well emphasised by the
small human placed in front of it making the fish
appear monumental. Her work reminds me of some of
the work Patrick Hunt has done as they both focus on
rich colours and timeless themes. Her timeless themes
and contemporary visions are what draws me to her
works as her mystical ways are so interesting and
inspiring. Its like she takes you to another world in
her stories. It is hard to know what I would change
with this work if I were to do a simular work, as the
work is just so inspiring and appeling to me. I guess I
would maybe attempt to capture the brilliance of her
colours in the same magical way in charcoal or
graphite if I were to do a simular work, rather than
changing something. I will use her work to inform my
work in this manner in my study of the Milestones.
Patrick Hunt
The Bible Uncensored: What They
Couldn't Teach You in Catechism or
Your Synagogue - Winter 2012
Size Unknown
PH Patrick Hunt.com
(Hunt Winter 2012)
Online activities,
evidence of at least 4 discussion entries - discussion entry 1
Thread: Project 1 Exercise 1, the Chair drawing Post: Project 1 Exercise 1, the Chair drawing Author: Gaylene Duncan
Posted Date: June 13, 2014 6:22 AM Status: Published
Hi all I thought I'd share my visual and written research with you all to see what you think. It's quiet long and I don't expect anyone to read it all, but if you see anything you feel I could or
should improve on I'd love for you to share your thoughts with me. All feedback is welcome. As I have just copied and pasted this from my complete assignment I should point out that some
of the references here will not be relevant to this work. I didn't won't to cut it about in case I got them confused and end up submitting the cut version so please just ignore them. Thanks in
advance. Cheers Gaylene Attachment: Gaylene Duncan VAR11 Folio 1 for DB.pptx (15.911 MB)

Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: Marlene Tozer Posted Date: June 13, 2014 7:54 AM Status: Published
Thanks for sharing your work Gaylene. I am so relieved to see you are doing abstract. This is my usual approach. I feel that you were really connecting with the chairs as you worked and
the one you choose to draw will be just right. I have read all of your research and find it interesting. Can I suggest you read over it and consider making some points a little more clear.

Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: Gaylene Duncan Posted Date: June 13, 2014 8:10 AM Status: Published
Hi Marelen thanks so much for taking a look at my work. I like both abstract and figurative but feel it's better suited for my chairs at this time. It's good to know that I gave the impression of
being connect with my chairs as as I certainly felt connected to them. Thanks for your suggestion of reading over it and making some points clearer. Where there particular points that you
felt were not so clear? I find when you do the work you become so familiar with it that it all seems clear so it would be of a great help if you could point in the direction of what you felt was
unclear. Cheers Gaylene

Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: Mikarla Teague Posted Date: June 15, 2014 11:19 AM Status: Published
Wow! Very comprehensive, Gaylene! Well done! :)
Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: Gaylene Duncan Posted Date: June 15, 2014 12:28 PM Status: Published
Hi Mikarla thank you friend for taking the time to have a read and letting me know your thoughts. It really does help to see how my work is coming across to others. Cheers Gaylene

Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: June Callon
Posted Date: June 15, 2014 11:47 AM Status: Published
Hi Gaylene, Your research is very thorough, your preliminary drawings spectacular. You have obviously put a lot of thought into this project. Love it! June

Thread: Project 1 Exercise 1, the Chair drawing Post: RE: Project 1 Exercise 1, the Chair drawing Author: Gaylene Duncan Posted Date: June 15, 2014 12:31 PM Status: Published
Hi June thanks for taking time to read over mate and for your awesome feedback. It gives me a great gage of how my work is coming across and where it may or may not need fixing.
Appreciate it friend. Cheers Gaylene

Online activities,
Thread: exercise 2 Preparation for Tonal collage. Post: exercise 2 Preparation for Tonal collage. Author: Gaylene Duncan Posted Date: July 5, 2014 12:02 AM Status: Published
Hi all I have finally gotten my preparation for the tonal collage done. I found doing the tonal swatches very easy. I used my Acrylic tonal scale which I painted during Painting Method to help
me mix my paints to create a nice variation between the shades. The gradual tonal A1 sheet proved to be a huge challenge for me. I found myself frustrated with the acrylic paint as it dries
to fast for me. I had attempted twice both times failing terribly. It was looking more like bands of colour in one of them and the other it just kept turning to mud. My third attempt although
far from perfect I am very happy with and I say a big thank you to Phillip for sharing his process with me. I still found my paint drying out on me but not as much and I found keeping a water
spray there to dampen the paint when it started to dry worked well. I certainly learned a lot with this one and feel like I accomplished it in the end. Best part I was able to move forward to
the next task. Thanks again Phillip. Cheers Gaylene Attachment: Project Two Ex 1 & 2 for DB.pptx (451.688 KB)

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Gayle Wedemeyer Posted Date: July 5, 2014 12:27 PM Status: Published
Hi Gaylene, The shades in your tonal scale are excellent and I feel show the perfect black to white range. I know what you mean about the A1 sheet. I had a go last night and was doing so
well until I got about half way across the paper. I have to do it again (after I get more paint). I also have to repeat a couple of the A2 sheets as they turned out to be not as opaque as I
thought. Lesson: paint them in good, even light. Well done; bet you're glad they're finished! Gayle.

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Gaylene Duncan Posted Date: July 6, 2014 12:21 AM Status: Published
Hi Gayle thank you mate. You have no idea how happy I am I finished it. I was so close to just giving up until I seen Phillips work and decided to ask Philip how he went about it. I think good
light is a key player in this exercise and a water spray to keep the paint wet mate. Keep trying though as you will get there.Cheers Gaylene

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Narelle Sheahan Posted Date: July 7, 2014 8:10 PM Status: Published
Hi Gaylene Thank you so much for sharing so much of your work. You appear to have some great variations in your tones. Were the issues you had with the size of the paper or the exercise
itself. I am having trouble finding the paper. Good luck with the next task. Narelle

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Gaylene Duncan Posted Date: July 8, 2014 4:05 AM Status: Published
Hi Narelle thanks for your kind words mate they mean a lot. As for the paper I buy it in a role and then measure and cut it to size. I brought it from art shed, which is local to me but they do
have an online store which might help you. http://www.artshedonline.com.au/ Cheers Gaylene

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Diana Boot
Posted Date: July 8, 2014 8:52 AM Status: Published
Nicely done Galene, and well presented. D

Thread: exercise 2 Preparation for Tonal collage. Post: RE: exercise 2 Preparation for Tonal collage. Author: Gaylene Duncan Posted Date: July 8, 2014 8:58 PM Status: published
Thanks Diana much appreciated Cheers Gaylene
Online activities,
Thread: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Post: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Author: Gaylene Duncan Posted Date: July
22, 2014 2:41 PM Status: Published
Hi All It's taken a fair bit of time, but finally I got there in the end. I really enjoyed this process. I haven't worked using this type of technique before, but found it really enjoyable and so easy
to capture and express my ideas. I was really surprised with my out come and am really over the moon with it. There isn't really anything I think I would change if I had to do it over again.
Would love to hear your thoughts. Cheers Gaylene Attachment: Project 4 Visual and writen research for db Final Work.pptx (4.473 MB)

Thread:Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Post: RE: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Author: Eloise Meskanen Posted Date:
July 22, 2014 3:15 PM Status: Published
Wow, Gaylene! You've captured so much detail, and the depth of field is fantastic. You deserve to be very proud of your work. Well done!

Thread: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Post: RE: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Author: Gaylene Duncan Posted Date:
July 22, 2014 3:21 PM Status: Published
Hi Eloise thanks you so much mate. I a really am excited with this piece of work. It's certainly the best landscape I have ever drawn. Cheers Gaylene

Thread: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Post: RE: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Author: Maria Rasquinha Posted Date:
July 23, 2014 7:49 AM Status: Published
Hi Gaylene,You should be over the moon . It is definitely a beautiful landscape, the tones of the near and far objects are perfect and overall it is pleasing and relaxing to look at. I would
frame it if I were you and definitely look at doing more of such drawings for your professional artist portfolio.Maria

Hi Maria thank you so much mate. I am totally over the moon with that one. I should work in bed more often seems to go well lol. I do intend to frame this one mate, but just got to find a
place close by that does framing. Right now its taken over my drawing desk. It's funny you mention about doing more as I only just got through saying to my daughter today that such time I
have time I really want to do more of this style. I just feel really comfortable with it. Cheers Gaylene

Thread: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Post: RE: Project Four: Ex 1 Tone and Atmospheric Perspective Final Work Author: Pamela Harmey Posted Date: July
23, 2014 9:37 PM Status: Published
Beautiful Gaylene! Pamela

Hi Pamela thanks so much mate. Cheers Gaylene
Online activities,
Thread: Exercise 3 Final Post: Exercise 3 Final Author: Gaylene Duncan Posted Date: June 25, 2014 2:02 PM Status: Published
Hi All I decided to go back and do my idea two as I felt it was more suited to the brief. Would love to hear any feedback you might have to offer. Cheers Gaylene Attachment: Gaylene
Duncan VAR11 PortFolio Presentation 1 Exercise 3 Thumbnails for DB2.pptx (752.183 KB)

Thread: Exercise 3 Final Post: RE: Exercise 3 Final Author: Maria Rasquinha Posted Date: June 25, 2014 3:57 PM Status: Published
Perfect Gaylene!

Thread: Exercise 3 Final Post: RE: Exercise 3 Final Author: Julee Latimer Posted Date: June 25, 2014 5:26 PM Status: Published
Hi Gaylene, so interesting to see the different eye levels and how they affect your sketches. I really like the idea of seeing yourself drawing the image and then reflected back in the mirror
(3), you should one day work on this idea some more as I feel it would make an excellent finished piece. But I agree that no 2 is more suited to what we have been asked to do. You could
always take yourself further back in the image so that only your hair is seen perhaps, allowing more view of the interior. Good luck.

Thread: Exercise 3 Final Post: RE: Exercise 3 Final Author: Gaylene Duncan Posted Date: June 25, 2014 5:56 PM Status: Published
Hi Julee you have given me some thing to consider such time I have time to do that as I think your ideas are really interesting. Cheers Gaylene

Thank you Maria

Thread: Exercise 3 Final Post: RE: Exercise 3 Final Author: Eloise Meskanen Posted Date: June 25, 2014 4:41 PM Status: Published
Beautiful, Gaylene. I love your attention to detail (the wood grain, carpet, books, everything...!). Your architectural perspective is spot on as well. Very nice work.

Hi Eloise thank you so much mate. I was really worried with this one that it might have had a little to much detail making it look to crowded. So your critique puts me once more at ease.
Cheers Gaylene

Thread: Exercise 3 Final Post: RE: Exercise 3 Final Author: Joanna Doerr Posted Date: June 25, 2014 7:31 PM Status: Published
Well done Gaylene, I think you made a wise choice, number 2 was always going to win out and it shows through this final piece you have created.. cheers jo

Hi Joanne thank you mate I think you were right there. It really highlight why we should consider different thumbnail sketches. Cheers Gaylene

References
Adcock, R. (Unknown). The Arrival of Jonah at Ninevah, Rosemarie Adcock Fine Arts.
Amor, R. (2004). Study for Roman lion. Langford 120.
ART, N. G. O. (2014). "THE ART OF Romare Bearden." Retrieved July 8th, 2014, from http://www.nga.gov/feature/bearden/tech3.shtm.
Art, S. F. M. o. M. (1998-2014). "Les valeurs personnelles (Personal Values)." Retrieved July 23, 2014, from
http://www.sfmoma.org/explore/collection/artwork/27665#ixzz1OdkaX2jU.
Australia, M. P. G. (2014). Black. Macquarie Dictionary. www.macquariedictionary.com.au.
Australia, Macquarie Dictionary Publishers.
Australia, N. G. o. (2014). Tales of the Unexpected Aspects of contemporary Australian art. National Gallery of Australia, Canberra.
Bearden, R. (1964). Pittsburgh Memory, The Art of Romare Bearden.
Bidgee. (2009). "Big Tennis Racquet Barellan." Retrieved July 23, 2014, from
http://commons.wikimedia.org/wiki/Category:Giant_Tennis_Racquet,_Barellan#mediaviewer/File:Big_Tennis_Racquet_Barellan_2009-10-03.JPG.
Burke, E. A. (2013). "Drawing Lesson - Large-scale Drawing Of Small Objects." from http://www.drawingandpaintinglessons.com/Drawing-Lessons/Large-Scale-Drawings.cfm.
Conservators, N. A. o. (2014). "Monumental Treasures Preservation and Conservation." from http://www.iccrom.org/classifieds/monumental-treasures-preservation-and-conservation/.
Dictionary.com (2014). aerial perspective. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Background. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Conducive. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Contrast. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Depth. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Depth. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Exaggerated. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Foreground. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Middle Ground. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Monumental. Dictionary.com,. Dictionary.com.
Dictionary.com (2014). Perspective. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Scale. Dictionary.com. Dictionary.com.
Dictionary.com (2014). Space. Dictionary.com. Dictionary.com.
Dictionary, M. (2014). White. Macquarie Dictionary Sydney, NSW 2000
empower-yourself-with-color-psychology.com. (2009-2014). "Colour Meanings in Business." Retrieved July 10,, 2014, from http://www.empower-yourself-with-color-
psychology.com/color-meanings-in-business.html.
empower-yourself-with-color-psychology.com. (2009-2014). "Understanding the Meaning of Colors in Color Psychology." Retrieved July 10, 2014, from http://www.empower-
yourself-with-color-psychology.com/meaning-of-colors.html.
empower-yourself-with-color-psychology.com. (2009-2014). "Your Personality Colour." Retrieved July 10, 2014, from http://www.empower-yourself-with-color-
psychology.com/personality-color.html.
References
empower-yourself-with-color-psychology.com. (2009-2014 ). "Understanding the Meaning of Colors in Color Psychology." from http://www.empower-yourself-with-color-
psychology.com/meaning-of-colors.html.
empower-yourself-with-color-psychology.com. (2009-2014). "Cultural Color Cultural Meanings of Color and Color Symbolism." Retrieved July 16, 2014, from http://www.empower-
yourself-with-color-psychology.com/cultural-color.html.
Esaak, S. (2014). "Line." Retrieved June 18, 2014, from http://arthistory.about.com/cs/glossaries/g/l_line.htm.
Figura, S. (2014). "Grande natura morta con la caffettiera (Large Still Life with Coffeepot)." Retrieved June 29, 2014, from http://www.moma.org/collection/object.php?object_id=61744.
Galleries, N. (2014). "Rick Amor." Retrieved June 20, 2014, from http://niagaragalleries.com.au/artist-management/rick-amor.
Gallery, T. N. "Joseph Mallord William Turner." Retrieved June 28, 2014, from http://www.nationalgallery.org.uk/artists/joseph-mallord-william-turner.
Ghadririan, S. (2002). Like Everyday (Domestic Life). http://religionresearch.org/.
Gleeson, J. (1985). Study for 'The arrival of implacable gifts'. Arts Gallery NSW: Drawing.
Google (2014). White. Google. Google.
Huebner, M. L. (2002). The History of Cutlery. Canadacutlery.com: 1.
Hunt, P. (Winter 2012). The Bible Uncensored: What They Couldn't Teach You in Catechism or Your Synagogue. PH Pateric Hunt. Net.
Houston, G. (2007). "Big-Penguin." from http://commons.wikimedia.org/wiki/Category:Big_Penguin#mediaviewer/File:Big-Penguin-20070420-036.jpg.
IAC. (1995). "Exterior." Retrieved June 18, 2014, from http://dictionary.reference.com/browse/exterior?s=t.
IAC. (1995). "Identifiable." Retrieved June 18, 2014, from http://dictionary.reference.com/browse/identifiable
IAC. (1995). "Interior." Retrieved June 18, 2014, from http://dictionary.reference.com/browse/interior.
Kraus, D. E. (2012). Vermeers The Milkmaid. Diane Kraus Art and Illustration: Pencil Drawing.
Kuehn, F. (2011). Black Painting 2. Saatchi Gallery.
Kuehn, F. (2012). "Frances Kuehn Statement." Retrieved July 15, 2014, from http://www.neoimages.net/statement.aspx?id=1484.
Landscaping, O. D. o. A. (2014). "Baldassare Peruzzi." Retrieved June 18, 2014, from http://www.answers.com/topic/peruzzi-baldassare.
Magritte, R. (1952). Les valeurs personnelles (Personal Values). SFMOMA on the go.
Matisse, H. (1942). BATHER WITH LEAVES, Succession H. Matisse. http://www.henri-matisse.net/drawings/dya.html
Matisse, S. H. (2011). "Henri Matisse." Accessed June 2, 2014, http://www.henri-matisse.net/drawings.html.
McDonald, P. (2013). Spectrum selection. Phoebe McDonald.
McDonald, P. (2013). "Phoebe McDonald." from http://www.phoebemcdonald.com/about/#.U8XfUdzoRTw.
Morandi, G. (1933). Large Still Life with Coffeepot). MoMa.
Morandi, G. (1951). Still Life. PAINTING BOX.
Norvill, P. (2007). Acrylics The City. Artists Palette. Glenmore Park NSW, Woodlands Publishing 60.
Office, U. S. C. (2014). "Study for the Adoration of the Magi." Retrieved June 21, 2014, from http://www.loc.gov/exhibits/leonardo/leonardo-exhibit.html.
Orderinchaos. (2013). "Dowerin rusty tin dog 2." from http://commons.wikimedia.org/wiki/Category:Rusty_the_Tin_Dog#mediaviewer/File:Dowerin_rusty_tin_dog_2.jpg.
Paganini, A. Black Rain. SAATCHI ART.
Peruzzi, B. T. (c.1535). Renaissance Court of the Palazzo Massimi alle Colonne Fotosearch.
Rachelb5 (2012). "Drawing for Games 2 . Line, Space, and Tone ." rachelb52d2.blogspot http://rachelb52d2.blogspot.com.au/2013/01/drawing-for-games-2-line-space-and-tone.html 2014.
References
Science, T. M. o. (1997). "Investigating Aerial Perspective." Retrieved July 20, 2014, from http://legacy.mos.org/sln/Leonardo/InvestigatingAerialP.html.
Senner, G. (1985). Big Merino at Goulburn. Licensed under Creative Commons Attribution-Share Alike 2.5-au via Wikimedia Commons - By Bidgee.
Shed, A. (2014). "Atelier Interactive." from http://www.artshedonline.com.au/atelier-interactive-acrylic-paint/.
Smart, S. (1988). Dame Kindness. National Gallery of Victoria.
Smart, S. (2006-2009). The exquisite pirate (Oceania) National Gallery of Victoria, Melbourne.
Solomon, M. (2012). "Introducing Sylvia Hommert." from https://mindysolomongallery.wordpress.com/tag/boltax-gallery/.
South, H. (2014). "Tone - What is Tone or Tonal Value?" Retrieved June 25, 2014, from http://drawsketch.about.com/od/drawingglossary/g/tone.htm
Space, M. (November 12, 2010). "Jan Schoonhoven: Drawings, Peter Freeman Gallery, new York, NY " Accessed June 12, 2014, http://www.minusspace.com/2010/11/jan-schoonhoven-
drawings-peter-freeman-gallery-new-york-ny/.
Team, E. (2013). "The massive muscle anatomy and body building guide you always wanted!" Retrieved June 29,, 2014, from http://www.thehealthsite.com/fitness/the-massive-muscle-
anatomy-and-body-building-guide-you-always-wanted/.
Turner, J. M. W. (c. 1822). Study of a Boat. Tate: Graphite on paper.
TURLEY, A. "ANN TURLEY." from http://www.annturleyartist.com/about.php.
TURLEY, A. White Dishes. ANN TURLEY, Oil on canvas.
Vermeer, J. (1660). The Milkmaid. Yovisto.
Vinci, A. d. V. L. d. (1472-1475). The Baptism of Christ. Uffizi, Florence, Wikimedia Foundation,.
Vinci, L. d. (1481).
Vinci, L. d. (1481). Study for the Adoration of the Magi Pen. Library of Congress.
Vinci, L. d. (c.1505). The Virgin of the Rocks, WikiArt (WikiPaintings)
Wikimedia Foundation, I. (2014). "James Gleeson." from http://en.wikipedia.org/wiki/James_Gleeson.
Wikipedia. (2014). "Romare Bearden." Retrieved July 8th, 2014, from http://en.wikipedia.org/wiki/Romare_Bearden.
Wright, S. D. Drapery Study. Fine Art America.
WWW.ARTYFACTORY.COM. (2014). "COLOR THEORY LESSONS - COLOR AS SYMBOL." Retrieved July 10, 2014, from
http://www.artyfactory.com/color_theory/color_theory_2.htm.
Yovisto. (2012). "Johannes Vermeer - Master of Perspective and Lighting." Retrieved June 21, 2014, from http://yovisto.blogspot.com.au/2012/10/johannes-vermeer-master-of-
perspective.html.

Gaylene Duncan Var11 Portfolio Presentation 1 Part 2

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Gaylene Duncan Var11 Portfolio Presentation 1 Part 2

Hochgeladen von

Copyright:

Verfügbare Formate

Using black and white chalk I built up the tones on the brush and shovel.

Das könnte Ihnen auch gefallen