Bibliography

Websites:

Inspiration - http://123inspiration.com

                 - http://cuded.com

                 - http://www.npg.org.uk/collections.php

                 - http://www.npg.org.uk/whatson/exhibitions/bp-portrait-award-2014.php

Stephen Shankland - http://www.stephenshankland.com/Paintings/Paintings_1.html
                              - www.comptemporaryjerseyartists.com
Vincent Giarrano - http://www.giarrano.com/gallery.html
Richard Geraint Evan - http://www.richardevansart.com/gallery.html

Esra Rosie - http://esrarosie.com/portfolio
Leslie Watts - http://www.lesliewatts.ca/people.html
Mark Stewart - prafull.net

                      - markstewart.deviantart.com

Nick Lepard - http://nicklepard.com/archives/gallery-category/paint

Piet Van Den Boog - http://www.vandenboog.com/vandenboog.com/Works/Works.html

                              - http://www.vandenboog.com/vandenboog.com/Works/Pages/overview_2007-2010.html

Christoffer Relander - http://www.christofferrelander.com/

Jangmai - http://jangmai.deviantart.com

Karsten Thormaehlen - http://123inspiration.com

Ed Fairburn - http://edfairburn.com/

Kris Trappeniers - http://banksyforum.proboards.com/thread/98958/kris-trappeniers-stencil-spraypaint-papercut

                          - http://senseslost.com/2011/06/08/stencil-portraits-by-kris-trappeniers/

                          - http://monemo.ru/culture/kris-trappeniers-kris-trappeniers-bumazhnyy-skulptor/

Mark Powell - http://www.markpowellartist.com/

Colin Davidson - http://www.colindavidson.com/index.php?do=betweenthewords/index

Final Posting: Collection of Work

Evaluation

The research through my sketch book lead me to produce my final piece on the elder generation. I chose to paint someone with character and with skin that looks worn and experienced. I was inspired by many artists which linked and connected to one and other in many different way, I decided to paint my portrait in the style of Colin Davidson as he was my favourite artist, not only because of his style and technique but because of the material he chose to paint on. I used a large piece of calico for my portrait. I painted with a similar technique and colour palette to that of Colin Davidson and Piet Van Den Boog, using a flat brush to layer different tones to blend.

I chose to paint on calico instead of paper or board because of the texture which is created. As I progressed through the artist research I became particularly attracted to the texture produced by the work. When the layers of paint are dried on the fabric the surface draws in the viewer and not only make the portrait something you appreciate visually but also through touch. 

I'm happy with the way my final portrait has turn out. I think I was successful in capturing the expression of the face, I like the way I painted the hair by layering the individual strokes for each strand. I'm glad I decided to use a larger scale for my portrait although it did make the process longer and harder when it came to visualising the final outcome. While I like the detail created by painting the hair in this style, if I were to criticised my own work I think the technique does not fit in with the way I've painting the face. If I were to start again I may have also considered using a lighter less "pink" colour palette, similar to artists such as Karsten Thormaehlen and Richard Geraint.

As my initial idea was to do a holiday time line, I lost time researching into artists which weren't really relevant to my final project theme. Although all the artists I researched link to one and other I think my strongest area within the project is painting, therefore it would have made  more sense looking into artists who paint. I think I could of managed my time better by considering artists which related more closely to my project brief, for example Esra Roise does not do any studies of old people and is a more of a  fashion, illustration artist. However the artists I researched do show a varied range or material and techniques which ultimately lead to my final outcomes. 

I was influenced by all the artists I researched in many different ways, starting with Richard Geraint Evans, he inspired me to look at the human face in different ways, from different angles and capturing a varied range of expressions. Followed by Mark Stewart, the artist who first motivated me to consider older, more wrinkled faces through his magnificent pencil drawings. I particularly enjoyed drawing the more mature faces as they have more detail and depth. I was then lead to look at different ways of painting textured skin. Piet Van Den Boog and Karsten Thormaehlen were two very contrasting portrait artists, one using dark tones and thick layers of paint and the other a photographer capturing a life like double, I was inspired to paint  the delicate faces with a more harsh, thick layer of darker paint. Ed Fairburn was the beginning to my experimentation with different backgrounds and surfaces, inspiring me to look at texture and not just the visual appearance of the final outcome. 

Development of Final Portrait on Calico

I chose to take photos of Gerald as I think his face and skin reflect the texture and story of an old person. As you can see in the photos he looks like someone who has "experienced the world". I predominately like the way he has stubble growing all over his lower face. 

I wanted to paint a portrait in the style of Colin Davidson in the same way I produced the series on painting as mentioned in the precious posting. However I wanted to make a statement and create a portrait in a larger scale. 

Primarily I draw out the outline of the face in the same way as the small painting, although I did find it a lot harder to visualise as you have to look from a distance to see the shape forming.

   

 I used a similar colour palette to the one I used before for the other smaller portraits. 

I started with the eye and I'm working my way around the face.

When it comes to the stubble and hair I painting a little under layer with a skin tone and then worked on top with a thin paint brush. I painting it hair strand by strand making the face look as life like and as three dimensional as possible.

I found the odd shape of the cheek particularly hard. I also had to revisit the highlights on near the nose to lighten them to show contrast within the face.

Now the face is finished. I left the forehead to the end as I need to blend the forehead and the hair together, in other words, I need to paint a base coat so I can then work the hair stands on top.

I'm happy with the way the face has turned out, especially the facial hair.

Development of Outcomes: Series of Small Portraits on Calico

Looking at artists such as Mark Powell and  Ed Fairburn inspired me to think about different media that could be used as a background to a portrait. While looking through different artists I was drawn to Colin Davidson. He tends to use oil paints on linen to produce his portraits. I was particularly interested in the texture the paint created on the fabric.

I love the way Colin Davidson has applied the paint, using
different techniques to add a varied range of  brush strokes
to create the "blurry", "faded" effect.

I want to experiment with painting onto fabric. I decided to produce a series of paintings by Colin Davidson onto calico with the idea of producing a bigger portrait of my own.

I started by looking at the way Davidson paints his portraits. The initial process he used was to draw out the face and shade the different tones.
















I then draw the out line of the face onto a piece of calico.
At first I found it difficult to mix the right tones as they
come out a lot stronger fabric.

As I produced more of the painting I found the technique of layering the paint very quick in comparison to when I blend tones to create a flatter continuous colour.

I carried on making more of theses paintings on A4 size calico.

Initial Ideas and Development of Outcomes: Paper Cuts



Biro artist Mark Powell. Focuses his work
on drawing portraits onto old
envelopes and documents.

After looking at biro artist Jangmai I was interested in looking at other artist who create portraits by using lines and cross hatch. This initial research lead me to look at the work of Ed Fairburn and Mark Powell. I love the way simple line drawings can produce detailed portraits.




Ed Fairburn. Emphasises lines on a map
to create the shape of a face.

 Looking at these artist give me the idea to look at paper cut artist Kris Trappeniers. I wanted to create a massive paper cut which I could then hang from the ceiling. As the light shines through the paper cut an interesting shadow with form.

 I started by photocopying each section of the face to produce the big, A0, size portrait stencil. I then stuck all the section together and start the cut out, beginning with the centre of the face and then working my way out. I found the smaller sections harder to cut away and a lot more time consuming.



Development of Outcomes: Portrait

I started my portrait from the eye. I then worked around the face in
small sections. I chose to do this because of the way I was placing
the paint on the paper, I built up the detail as I went a long.

I had a bit of trouble when it came to the

highlights on the nose. It was different to blend the tones to make the face look natural.

 

 

I'm not to happy with how the lips have turned out. I used a smooth technique which make them look less detail compared to the rest of the face.

 

 

I'm particularly happy with the way I dealt with

 the wrinkles and used colour to show the shape.

 

For the hair I applied a light layer of creamy white and then worked on top with the greys.