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SUMMER ASSIGNMENT 2014 By Bradley Santon 0380

Self Portraits presentation

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Self Portraits and Professional Practice presentation

Text of Self Portraits presentation

  • 1. SUMMER ASSIGNMENT 2014By Bradley Santon 0380

2. THE NATIONAL PORTRAIT GALLERYOn the 8th of July I took a trip to the portrait gallery to find inspiration for the style, colour and imagery for my triptychs.Although none of the pieces I chose to copy are SELF PORTRAITS, I like them for different reasons as explained below.Duncan Grant 1912Portrait of George MalloryOil on panelMatthew Smith 1944Portrait of Roald DahlOil paintingJulian Opie 2000Portait of BlurDigital paintings of theband membersGauthier Hubert 2014Man looking like VanGoghOil on canvasThe way the artist has usedonly a few shades of blue forthe background, gives anillusion of nothing else beingthere then you begin tosee his shoulders and shirt.The blue colour is also avisual link to Van GoghThe artist blends the use of twodimensional and threedimensional aspects together ina unique way, giving theimpression of a digital painting.I liked the realistic 3Daffect that this paintinggives and the interestingshadows created usingthick brush stokes .A monochromatic stippledeffect that the artist hasapplied to his workcreates emotion, depthand definition 3. STUDIES OF THE PORTRAIT PAINTINGSI decide to do all the studies in pencil to see if I could achieve the same effects without the use of colours.I first drew this picture in pencilthen went over it in fine linerbecause it looked a bit boringand had no depth. I was going toleave it like that but then decidedto try even thicker overlay toemphasise prominent featureswhich added to the overall feelof the copy.I drew the picture inpencil with very littleshading or detail and nobackground shading. Thiswas the only way that Icould create the samestark feeling as theoriginal portrait.I drew this picture inpencil and then shadedheavily to create thesame sort of 3D effectthat the original has.Once again I drew thispicture in pencil with verylittle shading or detailand because knew thatthis was the portrait that Iwas going to copy in apainted format.. 4. PRACTICAL STUDY OF OTHERS WORKDuncan Grant 1912Portrait of George MalloryThe artist has used a combination oftechniques, such as stippling andpossible finger painting in the sametones using darker tones for thebackground. This makes the subjectwithin the painting (the man) stand outboldly and give areas of the paintingtexture, creating detail, changes inlight and three dimensional aspects.This painting can suggest that the artistwanted the man (George Mallory), tobe the main focus of the image.Mallory was part of the first threeexpeditions up Mount Everest in the1920s soon after the picture waspainted. This is perhaps why the artisthas made him feel important yetcontemplative within this painting.I used acrylics in lighter tones in mystudy to emphasise the subject againstthe darker background.I used this style of painting for mytriptychs and trying to show depthusing monochromatic tones of thesame colour palette.My copy of the Duncan Grant portrait Oil on panel 5. PRACTICAL STUDY OF IMAGES FOR TRIPTYCHOnce I had decided the style of painting, I found it really useful to look at triptychs which had been done by others and also todo small drawn and photographed studies of what kind of images I could use for my pieces. I looked at quite a lot of styles butfinally decided on the ones shown below as shown below.This was based on the triptych (below left). I simplysplit the outer images in half like the original.However in my final pieces I used three images,making the outer two have different expressions,e.g. Happy, Calm and Angry.Like the picture by Grant that I copied, these pictures use tones of one colour torepresent depth and light.This triptych uses a very similar technique of painted style to the style Iused for my triptych. The images in this painting are also what I was goingfor as far as strength of image and ease of drawing in front of a mirror.The colours are bold but I used different monochromatic colours foreach part of the triptych. 6. SUMMARY OF THE TRIPTYCH PROCESSI started with hand drawn of images of me in the mirror . This process was really difficult and meant that my first attempt at the centralpicture was really distorted and out of scale with the others. So I re-did the central picture and it looked more in scale against the others. Ithen painted each portrait using one colour with black and white acrylics to create the depth and shadows. All portraits were done in thepainting style of Duncan Grant a kind of stippling mark making.My final triptych portraitsHAPPY/CALM/ANGRY 7. EVALUATION OF THE SELF-PORTRAIT PROJECTThe original brief of the project asked for a triptych of painted self portraits based on the style of a portrait byMy favourite part of the project was the experiments in trying to decide what I would use for myportraits. I looked at loads of ideas and did loads of drawings and photographs and colourpalettes before finally settling on the content and colours which formed my final pieces.Generally, I liked the way thefinal pieces looked togetherbut they would have beenbetter if the head was thesame size in all of them. I reallypleased with the way that theshadowing and depth wasachieved using threemonochromatic tones Blues,Purples and Reds. And they dolook like me!another artist.I enjoyed the trip to theNational portrait gallerybut I found it limited inthe styles that I actuallyliked. I finally found astyle that was similar tomy actual painting styleand this is why I chose touse it.I found the process of drawing myselffrom a mirror really hard! I did theactual drawings with the mirror andthen painted them without the mirror.Using the mirror also meant that thescale of the faces did not matchbecause I was closer for the HAPPYpicture so my head is slightly larger inthis painting overall. My first attempt atthe purple painting was really out ofscale and distorted see above - so Idecided to re-draw this one and ammuch happier with it. 8. PROFESSIONAL PRACTICE CASE STUDYAN ILLUSTRATED CASE STUDY OF AN INTERIOR DESIGN PRACTICELYNNE HUNT LONDONInterior design studio in LondonI chose to look at LHL interior design company because myparents are interior designers and they have worked with themain designer at the practise for over 20 years.Lynne Hunt London are mainly concerned with 5* hotel projectsand high end residential properties. The project can betraditional, modern or completely themed as can been seen insome of these project photos.A brief for the project is normally set by the client and given to theprinciple designer for interpretation and research. The budget forthe job and the direction of the style of the job is also determinedat this stage.At LHL, the designers do a lot of research about the area wherethe property is located, and the style and colour of art andlandscape around that area are also considered. They then puttogether colour boards which will show actual images of thestructure, furnishings and art that may be used together withactual visuals of the space which are normally drawn by hand ormore recently , using . This is then presented to the client as aninitial look at the direction that the design is taking. 9. PROFESSIONAL PRACTICE CASE STUDYAN ILLUSTRATED CASE STUDY OF AN INTERIOR DESIGN PRACTICEAfter the initial presentation, the designer s then puttogether a detailed package of drawings (usingAutoCAD) , finishes and furnishings ( using Virtual DesignStudio) which take into account any comments that theclient may have made and any time restrictions that arein place which could which effect what is selectedbecause of availability.The documentation is normally filtered through to theclient in phases and billed accordingly. Everything that isselected will normally be scrutinised by the hotel orproperty group to ensure that it is appropriate for its finaluse for example , in a hotel project everything has to becontract quality which means that it will last longer andwithstand use and abuse by people using the hotel. Theprice is also considered and any changes are made bythe designers prior to work commencing.Once everyone is in agreement, work commences andthe final in-situ photos are taken which will be includedon the clients advertising and also in the LHL portfolio. 10. PROFESSIONAL PRACTICE CASE STUDY - SUMMARYHow do I feel, what have I learnt?After meeting with Lynne and the team from Lynne Hunt London, Iwas quite inspired to pursue a career in the design industry.I now realise that any design job must involve a great degree ofresearch into the background of the product, area or client beforeany creative decisions can be made.Although interior design is very diverse and interesting, my preferencewould be for smaller scale jobs on the graphic design side whichcould involve signage within interior spaces, advertising or companylogos and identities.I will definitely follow the DESIGN pathway in my second year of ALevel art and Design .The kind of courses that I am looking at within universities are eitherGraphic Design , Web Design or Digital Media Arts degrees that havethe most versatility for future employment opportunities.