VAR11

Visual Arts Research: Introduction to Drawing

ASSESSMENT: Research Assignment
Assessment requirements
1. Project Five: Ex 1 & 2
2. Project Six: Ex 1 & 2
3. Project Seven: Ex 1, 2 & 3
4. Visual Diary (see Checklist)
5. Online activities, evidence of at least 4 discussion entries
6. Self Evaluation discuss your learning outcomes
Project Five: Ex 1 & 2
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Final Drawing
It's ok to be me, 2014 tries to interpret through the process of observation a self
portrait, which communicates my identity and what I felt was important to convey to
others. It is titled it's ok to be me; I find myself at a point in my life where I feel very
different to most people my age. I am faced with the challenge of accepting many
things I can no longer do. The passion and style of my work is inspired by Egon
Schiels extremely personal and expressive vision of his Self-Portrait Standing
1910. It is also inspired by Jenny Sages traditional mark making, observation and
techniques, as displayed in her Untitled (Study for 'Emily Kame Kngwarreye with
Lily') 1993. Finally I inspired myself through my own work on tortured, 2014 as I
really liked the texture captured in this piece of work.

The following link provides footage of the face being drawn.
https://www.youtube.com/watch?v=ynDf32X2ZUQ&feature=youtu.be





Gaylene Duncan
Self Portrait Its ok to be me
August 3, 2014
Mont Marte lamp black acrylic paint, Willow Charcoal Thin, Young Artist White
Chalk,, Kraft Paper Roll Brown
Size 178.2 x 168.2 cm
Project Five: Ex 1 & 2 Project 5: Ex 1 Large Scale Line Drawing of A Whole Body
Self Portrait Final Drawing Close Ups
These close ups for me represent the struggle to identify as ones self, and the ability to be accepting of who we are. Although this work is incomplete I really feel it was successful in
conveying my idea. Through my self portrait I wanted to send a strong message, that even different is acceptable. I was thinking about those people who often struggle to accept their personal
identity, because those around them often bully and shame them into believing they are less of a person. This often resulting in a loss of life. I felt if I could show my deformities and label it
Its ok to be me, then they could connect being different with being ok. I used the arm instead of the feet and back, as I felt it would be easier to make this an obvious statement. The face
took on its own life as I worked on it. For me it started to show those many frightened thoughts of self doubt, and I felt it really confronted the individual to dig deep and really see who they
are. Despite being incomplete, I really liked where my work was heading. What I really like about this work being incomplete, is that for me currently being incomplete is the story of my life.
My illness means many things are left incomplete as I cant stand long enough to complete them. So in this regard, this really is a true reflection of myself.
Project Five: Ex 1 & 2 Project 5: Ex 1 Large Scale Line Drawing of A Whole Body
Self Portrait Final Drawing Work In Progress
I recorded myself as I drew the face to show that it was done using a one meter stick. When I started out, my intent was to do the face
the way I had done it in my practice piece. However, I had to stop videoing at one point as my daughter was busy and couldn't video
anymore. I moved on to the body, but whilst I was painting the body I started to see a mask in my face and found myself asking many
questions about my identity, and how I see myself as an individual. This lead me to question if I should leave the face as it was. I had
done the arms different to show how being different doesnt mean you cant like who you are. The face I felt, gave even bigger reason to
question if it is ok to like yourself this way and then follow it up saying yes it is ok to be different. I wonder what others may think here.
After much debate, I have decided to leave the face the way it is, as I feel it becomes very ambiguous in its output, and makes a clear
statement that many things can appear something they are not. Here is a video link to the face being drawn
https://www.youtube.com/watch?v=ynDf32X2ZUQ&feature=youtu.be
Project Five: Ex 1 & 2
Project 5: Ex 2 Structural Line Drawing Incorporating Space, Depth and Tone
Final Drawing
Spiritual Development, 2014 come about through exploring structural
lines, which capture the form of the body and focuses on depth, space and
foreshortening. The style of the drawing is inspired by two artist, Andrea
Mantegna Andrea Mantegna, "Cristo Scorto"(The Dead Christ) , and his
fooling around with the rules of perspective . (Mantegna 1490), and Fred
Hatt, Zones 1, 2002, and his ability to see the organic physical forms as
expressions of patterns and energy (Hatt 2002). The drawing talks about a
complex system of beliefs which are the symbol of the spiritual
development of the human being. The different mediums are symbolic of
the steps of the pyramid, which symbolizes the various stages of
spirituality to be achieved. To reach the top one must consider the
direction of all four corners in their lives. It represents the re-integration of
the being into the being. Taking the individual through to the universal
state. If the state of mind is to return to its previous state one must climb
down the pyramid steps.

Gaylene Duncan
Spiritual Development
2014
Mixed Media, Staedtler Tradition 6B, Mont Marte Acrylic Burnt Umber,
Burnt Sienna, Ultramarine Blue, Titanium White, Lamp Black, AS Artists
Gouache Flesh Tint, AS Art Spectrum Watercolours Ivory Black, Cobalt
Blue and Raw Sienna, Pastel Conte A Paris France 1355 No. 49 Pink, Mont
Marte Skin Tint Brown, light brown, AS Artists Soft Pastel Pure Pigment
Burnt Umber, Cretacolor Pastel Stick Blue and brown, Dora The Explorer
Jumbo Crayons, Dark Blue, Light Blue, Yellow, Red and Orange, Mont
Marte Calligraphy Pen, Medium Nibs
Cartridge paper roll 110gsm,
Size A2
Project Five: Ex 1 & 2
Project 5: Ex 2 Structural Line Drawing Incorporating Space, Depth and Tone
Final Drawing Close Ups
These close ups represent a lot of personal growth, both in spiritual development and also skill ability for understanding structural lines, which capture the form of the body and focuses on
depth, space and foreshortening. I have tried to really explore the many different angles through my structural lines in the hope to capture the form of the human body when clothed placing
much empathies on the depth, space and foreshortening. I was really pleased with the final outcome. I felt that the structural lines gave a real sense of depth and space. The different poses
offered a variety of view points. It show cased the many compressed body parts when observed through particular view points, and how these have affected the perspective and caused
distortion. This effectively displaying good use of foreshortening to develop the three-dimensional volume creating much drama in the picture.
Project Five: Ex 1 & 2
Project 5: Ex 2 Structural Line Drawing Incorporating Space, Depth and Tone
Final Drawing Work In Progress
The first thing I did here was to arrange my small-scale sketches into the
arrangement I was looking for using a Mixed Media, Staedtler Tradition 6B. I
went with this pyramid shape as each row of people symbolise a step up the
pyramid, which represents a stage in the spiritual development of the human
(MMXIV Unknown). I then used a Mont Marte Calligraphy Pen, medium nib to
outline the legs which move through the pyramid considering the direction of all
four corners in our lives. Staring at the top of the pyramid I used Pastel Conte A
Paris France 1355 No. 49 Pink, Mont Marte Skin Tint Brown, light brown, AS
Artists Soft Pastel Pure Pigment Burnt Umber, Cretacolor Pastel Stick Blue and
brown, to colour the highest step in the pyramid where the individual moves into
the universal state. Then working down my pyramid, with the use of AS Artists
Gouache Flesh Tint, AS Art Spectrum Watercolours Ivory Black, Cobalt Blue
and Raw Sienna, I painted in the next level. I choice this medium as it appears
less dense in substance representing less knowledge acquired from that above.
The next step down was then added using, Mont Marte Acrylic Burnt Umber,
Burnt Sienna, Ultramarine Blue, Titanium White, Lamp Black and AS Artists
Gouache Flesh Tint, also appearing less dense in substance and representing less
knowledge acquired.
Finally adding in the
bottom of the pyramid
where it all begins with
Dora The Explorer Jumbo
Crayons, Dark Blue, Light
Blue, Yellow, Red and
Orange, which represents
the lest knowledge, the
beginning one would say,
where the complex system
of beliefs starts to form.
Project Six: Ex 1 & 2
Project 6: Ex 1 Drawing Transforming Microscopic Body Part to Macroscopic
Final Drawing
Finger Print, 2014 is a direct result of observations and
transformations of the microscopic to the macroscopic with
intent to provoke a discussion surrounding the
contemporary interpretation of the human form. The style of
the work was influenced by Hiroyuki Doi painting
Untitled (HD 2210) and his remarkable use of symbolic
circles and Georgia OKeeffe limited pallet in her painting
White Rose with Larkspur 1927










Gaylene Duncan
Finger Print
2014
Mixed Media, AS Art Spectrum Watercolours Cadmium Red
and Raw Sienna
Mont Marte Impasto
Mont Woodless Graphite 2B and HB
Mont Marte Tracing Paper
Cartridge paper roll 110gsm,
Size A2
Project Six: Ex 1 & 2
Project 6: Ex 1 Drawing Transforming Microscopic Body Part to Macroscopic
Final Drawing Close Ups
These close ups represent dermatitis and its intriguing connections
and juxtapositions of flaky skin next to smooth skin.
Whilst the image does provide
nice tonal contrast and is rather
ambiguous, I was not very
happy with the final outcome
as I felt it failed to describe my
intent as it was not a good
representation of dermatitis.
This work needs a lot further
investigation in order to find a
suitable resolution.
Project Six: Ex 1 & 2 Project 6: Ex 1 Drawing Transforming Microscopic Body
Part to Macroscopic Final Drawing Work In Progress
The first thing I did here was to take Hiroyuki Doi symbolic circles idea and
using a Mont Marte Woodless Graphite HB, began creating irregular shapes
with intent to depict the journey of my identity (1). Using a combination of
Mont Marte Woodless Graphite HB and 2B I created the underlying greyscale
(2).Then with a limited pallet made up of AS Art Spectrum Watercolours
Cadmium Red and Raw Sienna, I tried to recreate the visually stimulating
effects that Georgia OKeeffe work offers us (3). This I was not at all happy
with as my washes were no wear near as vibrate enough. This come down to
my inability to mix my washes accurately, but also the quality of the paper as it
would only take so much. So I will need to spend time to develop this skill.
Then using a palette knife I added in the Mont Marte Impasto to represent the
cracks in the skin (4) I felt this portrayed them reasonably well. Then using
some Mont Marte Tracing Paper I added some over top of impasto with raw
sienna to create the darker spots in the skin (5) and finally using a combination
of the of AS Art Spectrum Watercolours Cadmium Red and Raw Sienna I
painted in the last of the sections (5). I believe that my practice piece was much
closer to describing my intent. I found that the larger surfaces area and the
quality of the paper really hindered my ability to be successful in my adding of
the colours. If I was just after an abstraction and not trying to describe
something I would have found this work interesting to the eye.
1 2
3
4
5
Gaylene Duncan, Finger Print, 2014, Mixed Media, AS Art Spectrum Watercolours Cadmium Red
and Raw Sienna, Mont Marte Impasto, Mont Woodless Graphite 2B and HB, Mont Marte Tracing
Paper Cartridge paper roll 110gsm,, Size A2
Project Six: Ex 1 & 2
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Final Drawing Foster
Foster, 2014, investigates the body in space, considering an expansive landscape, and superimposing a figure with the intend to subvert the posture to
create an anomaly in scale. The style of the work is influenced by three artist. Rosemary Laing who's work Bulletproofglass, 2002, made me very
aware of what I did not want my work to be, forcing me to push myself harder to fully resolve the work in a manner that was easy for the viewer to
interpret. Tracey Moffatt work Adventure, #5, 2004 encouraged me to make very deliberate choices in my chosen background and the look of my
character. Antony Gormley made me really question the social and professional standing of the work and how this was connected to the nature of the
environment I was producing at this particular time.
Gaylene Duncan
Foster
2014
Mixed Media Mont Marte
water colour pencils and
Artline200 Fine 0.4
Acid & lignin free 125
gsm paper
Size 8 x 10 cm
Project Six: Ex 1 & 2
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Final Drawing Close Ups Image 1 Foster
This first image of Foster, 2014, I felt investigated body and space nicely. Although the man is hard to spot in the distance I deliberately made him nearly as tall as the tunnel, as to subvert
his posture to create an anomaly in scale. The landscape itself I felt was more than suitable as it covered a wide area in terms of its space. In choosing my character, I really tried to take on
board the nature qualities of the space. Looking back though I wish I had added a backpack on his back to make this clearer to my audience. However I felt his size and clothing were fitting.
Project Six: Ex 1 & 2
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Final Drawing Close Ups Image 2 Foster
This second image of Foster, 2014,
also investigated body and space nicely.
The landscape again considered a wide
area in terms of space. However I feel
that whilst I was being careful to
consider the background, middle ground
and forground, in terms of how people
would get smaller the further away they
are, as a consequence, I failed to subvert
his posture leaving his body of normal
scale. This would be an area in the work
that Id need to re work in order to
resolve the issue.
Project Six: Ex 1 & 2
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Final Drawing Close Ups Image 3 Foster
This third image of Foster, 2014, I believe ticked all the boxes in terms of body and space, landscape and subverting the posture to create an anomaly in scale. However what it did not do
was convince me, as the man appeared very cartoonish to me. I am not sure what caused me to draw him up like a cartoon character, but I do feel for this work to be fully resolved I would
need redo the man's face and upper body.
Project Six: Ex 1 & 2
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Final Drawing Work In Progress Image 1,2 &3 Foster
On a whole I was happy with how Foster, 2014, come together. I liked the individual
design of each image. I also liked the contrast of watercolour pencils and ink, in terms of
how it looked together. But a down fall to this medium when placed together I feel, is that
it creates a cartoon feel to the overall work. This would not be a problem if this was the
look you were after, but in this situation it was far from what I was aiming for. This is
something for me to consider in future works.
Project Seven: Ex 1 2 & 3 Visual and Written Research
Project 7: Ex 1 Analysis of Two Artists Who use Text in Their Work
Artist 1 Lesley Dill
Dill, Lesley
A Word Made Flesh: Throat
1994
photolithograph with etching on mulberry
paper, hand-sewn on Arches buff paper
plate: 25 3/4 x 21 1/2 in.; 65.4 x 54.6 cm
(Dill 1994)
Lesley Dills body of work is focused on issues of identity, womens societal roles and the
human conditions in general. She uses text in her work, often transposing poetry on her
sculptures or models. In doing so, Dill merges the verbal and visual languages to provoke
impressions which are emotionally charged, sophisticated and at the same time, raw yet well
distinguished.(Database Unknown) Sited in the Article Reflections On LESLEY DILL: Words
Lie Sleeping Inside Our Bodies, Dill considers herself a collector of language (Hausman
2010). Keeping this in mind, one of the reason Dill likes to use text in her work can be sited in
the article titled Lesley Dill, which states that Dill suggests that through language we not only
reveal who we are but also clothe, armor, and disguise ourselves (sdfolkart 2009). If we look at
her work titled A Word Made Flesh: Throat 1994 it is feasible to say that the language here is
being used symbolically as a visual component to dress the female figure enabling Dill to
explore how the general public relate to their own bodies in terms of their personal spirituality
and their connections or placement within society, connecting both the visual and written text.
Furthermore it allows Dill to consider her own position, providing her with the opportunity to
express her own views on the beauty of imperfection (Wyman 2012). Based on this research
it is my opinion that Dill effectively connecting the text with the image as a result of her ability
to embrace both her body and mind in a symbolic manner allowing her to effectively
communicate her intentions to her audience at the same time as allowing herself to become
more understanding of herself as an individual and as an artist.
Project Seven: Ex 1 2 & 3 Visual and Written Research
Project 7: Ex 1 Analysis of Two Artists Who use Text in Their Work
Artist 2 Barbara Kruger
Untitled (Your Body Is A Battleground)
Artist: Barbara Kruger
Date of Work: 1989
Medium: Photographic silkscreen on vinyl
Size: 112112 (284.5284.5cm)
(Kruger 1989)
Barbara Kruger was best known for her conceptual collage and installation work, during the
1980s, which used sardonic statements confronting issues of sexism, classism, ideology,
consumerism, autonomy, sexuality, identity, power struggles, control issues within society, and
the dynamics of male and female roles (Burden 2012), which she placed on random media
cut-ups and photographic images in black, red and white (Burden 2012) as a visual component.
Sited in the article Women of the Underground : Cultural Innovators Speak for Themselves
Kruger makes her intent regarding text clear stating I think making art, regardless of the
medium, is about creating commentary, about what it means to be alive, to live another day. And
thats what I try do with my pictures and my words (Burden 2012). This is how Kruger shows
her connection between the visual and the written text. If we look at the work Untitled (Your
Body Is A Battleground) (Kruger 1989) we can easily see how Kruger takes an ordinary image
of a face and transforms one side leaving a positive and negative images of the same face, with
intent to show her audience visually how women are under scrutiny. But this alone does not
convey Kruger intended message of how society is fixating over the physicality of men and
women. The magic happens when she adds her related text to the image Your Body Is A
Battleground, (Kruger 1989) (Lauraflynn 2013). However the text alone is not enough either.
When she materially alters the text to be red and white, yet another visual component, her idea
is now reinforced. It is my opinion that Kruger uses her text effectively through her carefully
planned judgement of text, superimposed over visual components tying the social aspect with
the written word.
Project Seven: Ex 1 2 & 3
Project 7: Ex 2 A Work Which Responds to Text Final Drawing
Civil War, Whats Civil?
Civil War, Whats Civil?, is a direct result of exploring the written text with in an
artwork. Its main focus was on the concept street. The style of the work was partly
inspired by Lesley Dills work A Word Made Flesh: Throat, 1994 and her concept of
using written text to provoke emotionally charged, yet sophisticated impressions. It
was further inspired by Barbara Kruger work Untitled (Your Body Is A
Battleground) and her ability to take an image and use it to convey a powerful
message on an important social issue. It was also inspired by Jean-Michel Basquiat
work Untitled (Pecho/Oreja), 1982 1983 through his use of juvenile scribbles of a
child. Finally it was inspired by Deborah Grant, work Detail from God's Voice in the
Midnight Hours, 2013. as she combines mixed media as a collage to tell a story. The
work talks of civil war in general with a focus on Ukraine, Syria and Iraq, as the civil
war continues to play out. It looks at how the civil war effects all of us globally even if
we are thousands of miles away and in a different country. It takes a good look from on
the street at how civil war affects innocent civilians. It places a strong emphases on
the casualties of war particularly the innocent children. It is designed to be
confronting and begs its audience to consider what is civil in a civil war? It is a protest
to those in power who could potentially end the civil war. And an attempt to bring
awareness to all concerned.


Gaylene Duncan
Civil War, Whats Civil?,
2014
Mixed Media, photographic and digital art
Size 60 x 60 cm
Callimachi 2014), (Juma 2014),
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
2014), (Supinsky 2014), (Shemetov
2014), (Soleimani 2014), (CZANNE
c.1875) , (Getty 2014), (Age 2014),
(Age 2014), (Reuters 2014), (AFP
2014), (Reuters 2014), (AFP/Getty
2014) and (DEEB 2014) (Cris 2014)
(ofpalestine 2014) (Waninahi 2013)
(Grigg 2013) (Software 2000-2004)
Deborah
Grant, Detail
from God's
Voice in the
Midnight
Hours, 2013.
(Grant 2013)

Her work
combines
historical
events along
with personal
experiences
that make
reference to
contemporary
social and
political
issues. Grant
selects her
materials from
a variety of
sources such
as magazines,
comic books,
published text
and historical
art reference
books. She
then uses this
material to
translate
through her
signature
drawing
method,
creating
personal, non-
linear
narratives,
which
explores
cultural
identity, race
and politics.

Her work is
amazing so I
would not
change a thing
if doing a
similar work.
Instead I
would try to
adopt her
ability to
combine
simular
mediums to
tell my story.

Project Seven: Ex 1 2 & 3
Project 7: Ex 2 A Work Which Responds to Text Final Drawing Close Ups
Civil War, Whats Civil?
Callimachi 2014), (Juma 2014),
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
2014), (Supinsky 2014),
(Shemetov 2014), (Soleimani
2014), (CZANNE c.1875) ,
(Getty 2014), (Age 2014), (Age
2014), (Reuters 2014), (AFP
2014), (Reuters 2014), (AFP/Getty
2014) and (DEEB 2014) (Cris
2014) (ofpalestine 2014)
(Waninahi 2013) (Grigg 2013)
(Software 2000-2004)
These close ups represent my interpretation of a civil war and how it is played out on the streets for everyone to fear and suffer the consequence of a
politically charges situation which could otherwise be prevented. It is my dedication to those forced to live in fear. My reality of a world that should not
exist in this day and age. My personal protest against the suffering. I believe my written text was more than appropriate for this work.
Project Seven: Ex 1 2 & 3
Project 7: Ex 2 A Work Which Responds to Text Final Drawing
Work In Progress - Civil War, Whats Civil?
Callimachi 2014), (Juma 2014),
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
2014), (Supinsky 2014), (Shemetov
2014), (Soleimani 2014), (CZANNE
c.1875) , (Getty 2014), (Age 2014),
(Age 2014), (Reuters 2014), (AFP
2014), (Reuters 2014), (AFP/Getty
2014) and (DEEB 2014) (Cris 2014)
(ofpalestine 2014) (Waninahi 2013)
(Grigg 2013) (Software 2000-2004)
I could not have been happier with the outcome of the resolved work for Civil War, Whats Civil?. I feel the work really accomplished what I
had set out to do, from the beginning. I would have liked to have had more time for this piece of work as I would have liked to have explored how
the universe is being dragged in to a civil war which is not theirs to fight. I had ideas for evolving the work further showing the globe in space
dragging and drawing a force of gravity sucking Australia in through helping to deliver material aid showing Australia gravitating toward the
globe. Along with Americas efforts and other country, in order to show the true effect of how these civil wars have a way of evolving into a world
war. Bringing the war to our very own streets.

I felt that the visual and written text related beautifully to one another in this situation. I believe as an artist this style of work really brings out the
humanitarian in me and my need to concern myself for the human welfare from a pacifist stance. This is very much who I identify myself as, as an
artist.
Project Seven: Ex 1 2 & 3
Project 7: Ex 3 A Text Work Exploring The Everyday Final Drawing
Family Tribute
Family Tribute is a result of exploring
text within a work of art, with focus on
the everyday. The style of the drawing has
been partly inspired by Sarah Lucas work
Geezer, 2002 and her ability to take the
English language, and make it capable of
developing a natural attraction to earlier
situations like realism It has also been
inspired by Ralph Ueltzhoeffer work
David Beckham "Textportrait" (2011)
and his technique of superimposing text
over portraits filled with biographical
information. The drawing explores my
daily life, through relationships, and daily
activities. It is a tribute to those who
surround me with love, and make it
possible for me to do the things I love in
life.





Gaylene Duncan
Family Tribute, August 30
th
, 2014
Mixed media, Digital collage Photos,
Drawings and text
Intended Size 52.5 x 92.5 cm
Project Seven: Ex 1 2 & 3
Project 7: Ex 3 A Text Work Exploring The Everyday Final Drawing Close Ups
These close ups represent my understanding of my daily life and routine. They represent the closes people to me. They are part of a resolved work which explored my everyday by taking a
close look at my origins in life, my family, friends, my life as a student in university, myself as a child, a parent and a friend. They show how enriched my life is as a result of those around me.
They are a constant reminder of how fortunate I am.
Project Seven: Ex 1 2 & 3
Project 7: Ex 3 A Text Work Exploring The Everyday Final Drawing
Work In Progress
I was delighted with the outcome of this resolved work for Family Tribute. I feel the work had accomplished so much more than what I had originally set out to do. I found myself
surprised by the origin of my name being connected to the Hebrew language. I was shocked by the connection with the Duncan Clan Badge and how it reminded me of my father. Looking
back at the finish product I dont think there is anything I would change. I felt that the written text was appropriate for this image and topic.
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Mind Map
Types of Sketches to try
After doing some artist research I have decided that the following would be interesting to have a
go at.
Jenny Sage combination of loose, soft and hard, contour lines, curved lines, varying in
thickness, different shades on tones to depict the emotional and physical appearance.
Realist Approach.
Vern ah Kee loose horizontal, vertical and curved lines, overlapping to create skin tones
and form. Realist Approach
Marlene Dumas fluid stroke of ink and watercolour wash. Feminist Aproach.
Lucian Freud figurative aproach first in charcoal and then in paint.
Egon Schiele extremely personal and expressive, intense use of lines
David Hammons create using grease placed on the body and directly imprinted on paper.
Einhard Zang acrylic paint rolled on and then painted over or collaged.
Katie Ferris oil and paint pigments.
Proportions
Before I do any drawings as
I will need to research
proportions for the
Head and
Body
Technique to
incorporate in
Final Work
The contrast of the Willow Charcoal
Thin, and Young Artist White Chalk
Shiny Ink washes
Text (For Later Piece of work)
Mont Marte Gesso 6, for washes
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Proportions
Before I do any drawings I
think its important that I take
time to consider the proportions
of the human body as this
really is an exercise in
observations and proportioning.
So I began with the head.
Taking a look at two different
ways of breaking the face
down. The first was Betty
Edwards FULL VIEW
General proportions of the
human head (Edwards 2003).
I found this really useful as it
gives you a great indication of
how to go about working out
where everything is located in
relations to other parts of the
face. I.e. how the Center of the
eye lines up with the end of the
mouth. But I also had a look at
Paulo Fonseca Jr, "Drawing
People - Lines , Shapes, &
Proportions(Fonseca Jr.). As
his gave a nice account of
roughly how much each section
of the face broke down to,
which I feel is really handy to
know as just a quick estimate
of size comparison.
(Edwards 2003) (Fonseca Jr.)
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Proportions
(arcade unknown) (Perard Unknown)
(Fonseca Jr.)
The next important thing was to look at how the body itself was broken up into proportions. There is a lot of different ways one could go
about this so I decided to have a look at three different methods. The first was another one of Paulo Fonseca Jr ideas (1), which was like a
bean like structure that broke the body down into ovals and circles, divided up into 7 sections. I really liked the way this worked as it
seemed very clear and really easy to get my head around. The second ( 2) by Victor Perard, was a bit more confusing, but still easy enough to
get your head around, but what I really liked here was it explained the tilt of the shoulders and pelvis. This was helpful in thinking about the
body aligned in different angles. The last one (3) which is a method I have used often by Online image arcade, I find is very basic but also
very accurate. What I love about this diagram though is it shows you just how little of a difference can completely make all the proportions
wrong. I added it here to basically remind me of this fact.
1
2
3
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Testing
So here I was just playing about getting the feel for proportions.
The first couple (1) are pretty much based on Victor Perard, idea. I
found that you got really nice lines using this technique.

The second one (2) is something I have done for a long time now.
I cant even be sure where I learned this from as I was about 15
years old when I started doing the technique. I find this technique
really liberating. I feel I can do any pose using this. I love the
movement your able to capture with this style also.
1
2
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Testing
Gaylene Duncan, August 5, 2014
Self Portrait
Kraft Paper Roll Brown , Black
Artline CLIX 4, Willow Charcoal
Thin, Young Artist White Chalk
62 cm x 37.5
Here I was attempting to capture myself using Jenny Sages traditional mark making and observation, techniques, with
variation in my lines and the tonal values. I also wanted to experiment with the Willow Charcoal Thin, and Young Artist White
Chalk on the brown paper. It was very hard to capture this in a photo but I really liked the contrast in the two mediums. As for
my line marks I found it really hard to let myself go and be free like Jenny Sages. I feel I did this in the hair and the paints, but
the rest was still to stiff. However the contrast of the Willow Charcoal Thin, and Young Artist White Chalk is something I
think I will be looking to add into my final work.
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Testing
My aim here was to explore with Vern ah Kees
idea of loose horizontal, vertical and curved lines,
overlapping to create different skin tones and form.
I started by sketching in a faint outline of myself in
hope to give me some guidance. But once I started
to try to describe myself using these loose
horizontal, vertical and curved lines, overlapping, I
found it very difficult. I seem to have a real issue
of letting go and allowing myself to be free in my
work. I dont know if this is coming from an
uncertainty in myself or the fact that I have always
drawn in one style only. So years and years of one
structure making it hard to brake down the walls.
Whilst the portrait is very much me to look at, I
really didnt like the outcome of the work at all. It
felt way to busy and very messy. Very unlike Vern
ah Kees style. As I want to try to create something
really special in the final work, I think it will be
best to leave part of my experimenting out of it.
Gaylene Duncan
Self Portrait
August 5, 2014
Kraft Paper Roll Brown
Blue Artline CLIX 4
71cm x 37.5cm
Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Testing
Testing out the Mont Marte Calligraphy Pen fine nib on the end of the stick was the most unusual feeling. I had
never felt so uncomfortable when drawing before as I did right now. I found I had to really concentrate on the angle
at which I held the stick in order to get the pen to work. This was frustrating me to no end. However I felt when I
managed to get the pen to work it gave me really natural markings. When I had a go with the Mont Marte Stencil
Brush round head hog bristle size 10, on the other hand I found this really easy for getting marks down on the
paper. The Robert. A. Wade NEEF. 970 Taklon Round 10, was even easier again. I tried getting different size lines
in term of thickness as I knew this would be needed. I also had a go at doing some soft washes, with a Mont Marte
Gesso 6, which I was happy with. I was amazed that with such a large brush I could get such a thin line. I found the
Art Spectrum Artist Ink Black, to be a fantastic medium to use as it was so easy to apply and when watered down
gave really nice washes. I didnt like working with pens and brushes attached to the stick. I felt this really hindered
my ability to work naturally. I am not sure if this is due to the length of the stick or the fact that I found it very
difficult to stand up long enough to achieve what it was I was trying to do. If ever my feet and back a normal again
I intend to return to this exercise to see how it would have felt had I not had this issue.
Tools and Medium
Mont Marte Gesso 6,
Robert. A. Wade NEEF. 970 Taklon Round 10,
Mont Marte Stencil Brush round head hog bristle size 10,
Art Spectrum Artist Ink Black,
Mont Marte Calligraphy Pen fine nib
Cartridge paper roll 110gsm