IB Art Final Exhibition Guide 2019 IB Art Exhibition Guide 2019 | Page 26

3D modelling
3D model – Solid
Process :
3D model – wireframe modifier
3D model – wireframe
3D model –
wireframe with
reference image
Structured base
head for clay.
For the clay bust we had to first create our base
structure, by wrapping newspaper around a wooden
stand, We layered up the newspaper by sticking
balls of it together with masking tape. It was key that
I made a strong base around where the top of the
shoulders would be, as my stand created a taller
neck so I needed to make sure he bottom was
strong so it would be able to handle weight going
through the top. For my idea I wanted the bust to be
looking downwards, for me to do this I needed to
make the structure face looked down. I kept adding
newspaper until I thought I had a strong even base.
Once this was finished I could then move onto
adding the clay. I made sure to add the clay layer by
layer, as I didn’t want the bust to be too thin
otherwise it wouldn’t hold, but I also didn't want it to
be too thick, especially at the top because it could
cause it to be too heavy and may damage/break the
neck once dried. Once I was happy with the
thickness, I started to sculpt the heart on the face. I
needed to make sure it stood out from the head, but
also was strong enough to stay attached. To make
sure it would, I smoothed the edges down and
added extra clay around the edges if needed. When
adding the layers I made sure the shoulders were
equal and big enough to support the head. After
sculpting I needed to gain texture and I did this by
looking Philippe's sculptures to see the contrast of
textures.
Clay Bust:
I wanted to use Philippe’s technique of contrasting
textures. I did this by making the heart on the face all
rough and harsh textured by digging into the heart
with a clay tool and making the edges of it protrude
out lightly. I then used the back of a spoon to rub
down the rest of the head, this created a smooth
shiny surface over the head and neck. Once the bust
is fired, the different textures will be contrasting as I
will have a flat smooth surface and a harsh,
damaged area.
My next project revolved around 3D modelling in an open source software called Blender.
I created the head shown above by placing individual points in the virtual 3-dimensional space, positioning them to my liking. I worked from a
photograph of a mannequin to get the basic structure correct, superimposing the image into the background of the model within Blender. I then
connected the vertices to create the full structure.
Next, I applied a wireframe modifier, giving the lines of the model a physical thickness.
Robin Brenninkmeijer
Girl Sitting,
1987, Lucian Freud
Sara Cinca
I produced three prints from my etching, each printed with different colours and varying amounts of ink. This
produced three prints with different attributes: in my first print (shown on the left), there are only a few areas of
dense marks (eyebrows, nose, right side of head), while most of the rest of the print is relatively untouched with
only a few slim defining lines. I was pleased at the clear definition of the marks, yet I felt the background to be
empty and the print to be somewhat bare, as there was a minimal amount of densely packed marks. I tried to
approach this imbalance by making my subsequent prints more “messy” by being less meticulous when
removing the printing ink. I like the marks left my the scrim to make up the background of the print and also to
add further shadow and depth to the face, as can be seen in my
second print; these marks almost create ones similar to those that
comprise the background of Freud’s piece Eli. I like the warmth of
my piece (no. 3) printed with brown ink and the way the effect of
slightly more ink had on the piece as a whole: the nose and the area
below it has great depth and form, and in the future I would like to
carry this through to other etchings and prints I will work on.
Isabel De Sousa
Joe Hayward
ETCHING
SENSATION: MAPPING KATE
Florian Barratt
This was a first sketch of some ew ideas,
looking at different techniques and shapes.
I ended up putting two ideas together to
create a metaphorical meaning on a head.
I made sure to
Initial testing panels on choice of fixative (testing strength of bonds)and finishes, my work
My print no. 1
In different works, Freud exhibits different kinds of
marks: in Eli, 2002, for example, cross-hatching is
used to create an image that is rich in tone and
contrast, with the background being heavily hatched
while some parts on the dog remaining untouched.
This is in contrast to other of his works, especially
those of nude women - these display curved marks
that follow the lines of the body and there are fewer areas where they
overlap to create the dark areas such as can be seen in Eli. However,
contrast features predominantly in these works as well: In Head and
Shoulders of a Girl, 1990, contrast is created between the curved, flowing
lines that define the contours of the arms and breasts, and the untouched
white areas. Despite the difference in intensity and shape of marks used in
Eli and Head and Shoulders of a Girl, Freud explores in both the themes of
light and form to create dramatic prints that capture the character of the
subject. The stark contrast of these monotone works gives them a blunt
and honest feel, while the marks of the etchings convey a sense of
movement such as can be seen in Girl Sitting, 1987.
My print no. 3
Eli, 2002
Lucian Freud
I was fascinated by Freud’s use of textured marks and the tone created
through them, and I sought to explore these aspects in my etching and
subsequent prints. On the whole, however, I did not use the same kind of
texturing marks that he did; his subjects were softer and more curved than
the angular face I was using as my initial reference, so naturally different
kinds of lines were used to capture this quality. I used a range of different
marks, with some of the darker areas especially being defined by cross-
hatching, while in other areas my lines were lighter and more delicate,
made with a purpose to outline a feature rather than create shadow. In this
sense, I drew inspiration from Rembrandt who used cross-hatching to
great effect in creating tone, but who also used single lines to define the
outlines of his subjects, as can be seen in the cropped extract of Self-
portrait with Saskia, 1936.
Self-portrait with
Saskia, 1836,
Rembrandt
Capitaine, Oil on canvas,
2015, Tai-Shan Schierenberg
Nicole John
Head and Shoulders of
a Girl, 1990,
Lucian Freud
Hannah Kang Wolter
Barkat Mehra
1
The Process:
When researching various photographers to relate to my work involving darkroom photography, the
pictures by artists such as Henri Cartier-Bresson, Robert Frank and Vivian Maier really struck me. I really
liked the amount of life and action that each photograph contains, as well as the engaging
composition
To start
with, I cut the family photo, which is on the right into eight
that effectively exploits the use of space and light.
sections, two wide and four long. I then flipped through the pages of
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I I was very happy with the way it looked and therefore I repeated the process with the remaining monoprints,
three of which are shown below. I think that the unexpected combination of techniques and materials have
resulted in an unusual piece and therefore it is very interesting to see. The whole piece is very dynamic
and there is a lot happening in a small space, making it a compelling piece to see. Through the wild colours
and energetic marks I have tried to encapsulate the excitement and energy that there is in urbanisation and
early life. In the city it is rushed, crowed and there’s always something happening, and I wanted to express
the
th colourful explosion of life and personalities that come together. The combination of various scenes and
activities are a celebration of life.
9
The realisation of scaling up of my geometric design into the
bas-relief was made possible through trial-and-error of
various materials and production methods- from aluminium, to
moulded plastic and finally setting with carved foam boards.
Formed by 93 components, intricate planning was required
and quality checks were important. I utilized excel to help me
organize, compute scaled up figures and keep track of progess
and location of pieces. Foam used for underfloor heating was
chosen because of its ready avaliability, price and its high
density. However, despite its density, damages to the piece
were still inevitable.
Sean Lee
Image of protective and smoothing coating drying
High Street, Sevenoaks TN13 1HU
“Mapping Kate”, Mixed Media, my work
Annelise Lemonius Oscar McKenna-Brown
Martha Reeve Nell Rudd-Jones Rachel Sparkes
Tariq Westcarr Melanie Yates Saskia Ziv-Guest
As both writing and painting is a from of art, I found it a
fascinating idea to merge the two together. My aim was to
create a piece, where the writing in the background enhanced
the painting. While painting, I felt like I worked with the books
as the text could not be erased but I had to fit my painting to it.
This challenge was what made the process so enjoyable and
seeing how well the text and painting go together is what I find
makes the piece unique.
3
2
Artists:
8
fragmenting shapes and restructuring forms to emulate the
act of mapping.This is my interpretation of the human desire to
organise and restore order, despite its ultimate culmination
ending in comfortable routines. The subtle reflective properties
of the matt-chrome finish along with the curved edges of each
element reveals a distorted outline of the viewer, obscuring
any detailed features thereby also reducing the viewer into a
"mapped shape".
Critical Investigation:
The original photo
the book to find a page which suited the section I wanted to paint. I
tried to choose pages which match the photo, so that for sections
which had a lot of white space the book page might have an image
on it. I also used pages with some words which I found added to the
painting. During the painting process I focused on the different
7 using ink mixed with different amounts of water. For the
tones,
bright white areas I used white ink.
During experimenting, I copied one of the small monoprints I had made earlier onto acetate and layered this
Durin
over the colourful pattern. I really liked the piece that was created by the combination of the two; the bright
colours add a lot of energy to the monoprint and it created a more visually stimulating image. To bring the
colour slightly more to the foreground, I finished the piece off by drawing on the acetate with paint pens that
corresponded with the colours of the pattern beneath.
2
CRITICAL INVESTIGATION ON ALTAR
RELIEF OF EYGPTIAN ORIGIN
imagery in ancient Eygptian art has been a constant
source of influence to my own practice. This relief
is a perfect example to demonstrate the analytical
approach to geometry according to the strict scales
of aesthethic evaluations found in Eyptian culture,
that would later be a crucial reference point in the
development in Cubism. Details are neglected and
there is a pure pursuit of expressiveness in found
simplicity and clarity. Shapes and lines in this
family portrait under examination are reduced with
various proportions of body parts altered, for example,
this is seen with the enlarged feet juxtposed with the
intentionally slender and shortenned calves. The
necks too are elongated. The sublte rigidity in the
arrangement of scriptures and imagery is in itself,
an act of mapping. A strong sense of symmetry is
also found in the work, with the Pharraoh and Queen’s
likeliness as near-mirror images. This is reinforced
by the focal point of the sun with its rays radiating
outwards to give its blessing to the children and to
My print no. 2
impose an even greater sense of structure.
Renée Ojikutu
Family Portrait on Books
I was experimenting with pieces that I already had but did not feel were interesting enough by themselves. I
copied and enlarged some of the abstract patterns as I wanted to see if they would work on a larger scale and
if they could be used for anything else. The colours seemed to become more saturated and I liked the way in
which this impacted the prints as this increased the contrast between the colours.
Although primarily known as a painter, Lucian Freud
produced a number of etchings during his lifetime
and especially from the 1980s onwards. He was
Cutting and measurinng phase to
Initial attempt to bezel edges
unusual in his etching technique as he treated the
test joints between components
copper plate as one would do a canvas, placing it
upon an easel and working by directly referring to
1) Mark-up and cut components
5) Glaze panels (many thin layers)
the sitter. His etchings were often related to his
2) Bezel edges through sanding
6) Seal edges with glaze
paintings, and it was this relationship that inspired
3) Sand down rough grains on surface 7) Wait for hardening (1 week)
me to pursue this process. My etching was derived
of foam components
8) Apply gloss black (1 week to harden)
from Tai Shan Schierenberg’s
portrait, and
Capitaine,
a with their children”, Limestone altar relief,
“Akhnaten
Nefertiti
pensive, somewhat melancholy-looking man. The
4) Affix components to pre-cut MDF 9) Apply chrome
c.1345 BC, maker unkown
furrows and angles of his face are brought out and
through flat strokes of contrasting colours. In my
This bas-relief is the final stage of my previous two body of
etching, I sought to preserve the planes of the
works, the film photography and the preparatory drawings.
angular face and the somewhat moody aura during
the process of Almost
translating
the painting
into an the presentation of
“Mapping Kate” was a counter-intuitive process of reduction
formulaically
developed,
etching.
by transforming curves into angles, angulating lines,
I was inspired by Ekaterina Panikanova, who paints on large
spreads of old books and documents. Some of her paintings
were inspired by early childhood memories, which gave me the
1
Initially I wanted to create a monoprint of one or two fo the photographs as an artistic response to
idea of I thought
painting a family portrait. Panikanova’s art works have
the images that I would be able to include in my slide talking about darkroom photography.
monoprinting was an effective method to use when recreating these images due to a the
powerful
sense
of use structure, seen in the example below and similarly
of light and dark within the photographs. Furthermore, I thought the black and white colouring of the
my family portrait fits to the structure of the book sections.
photos also lent itself very well to monoprinting as this technique is also restricted to two colours.
3
Another artist I was inspired by is William Kentridge, who is
During one of our lessons we were experimenting with colours and textures of paint
and I just mixed various paints and materials such as cloth or sand together to create
visually dynamic compositions. After leaving the pieces to dry, I cut the pages into
squares and pieced them together to create the collage on image 1. I had several
pieces left over that weren’t used in the collage and I analysed the paint swirls left
over on them and I really liked them. There was an intriguing mix of colour and the
contrast between the colours is striking and therefore I wanted to do something with
them
them.
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known
his prints, drawings and animated films. I found his
The monoprints work surprisingly well and therefore I decided to make
a series for
of prints
that all capture city life in a different way. I particularly enjoyed creating
the people and
paintings
of trees indigenous to South Africa especially
their various expressions. It was a challenge to create realistic faces as it was difficult to
fascinating
include high levels of detail
on such a small as they were inspired by his home country, so had a
side to them, like my painting. They are also a
scale as well as having similar
to work with nostalgic
inverse
colours. However, once strong
I got used to example
the
of how the text can enhance the painting.
process and came up with a technique to
remove small areas of ink, it was a fun
challenge. I particularly like the face of the
man in picture 7, because it worked very
well as the proportions
are correct and the
p
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marks are visible, making the print authentic
and inviting the viewer to connect with the
image on a more personal level.
4
I first tried to use the abstract squares in a digital collage in which I combined it with
a picture that I took of the tube in London; the outcome is shown by image 2 on the
left. I really like the outcome as the colours complement each other and neither of
the two images is overpowering the other.
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5
Imme van der Plas
13
I like the variation of marks that can be made
when monoprinting and the techniques really
brings out the strong contrast between like
and dark areas. I was further able to work on
my technique as I had also previously made
monoprints of train stations.
Kentridge
Panikanova
Reflection on Techniques:
The writing on the book pages, shine through the ink, adding to the depth of the
painting. A favourite part of mine is the section with the top of the head of the taller
boy and above it the painting of two heads, which is part of the book. This reflection
of a feature in my painting and in that of the book, ties the two together, making it
one piece. Furthermore, words such as “Traditions” in the first boom from the
second column, add to my idea of reflecting memories and family value. The photo I
chose already had a sense of structure to it with all the people aligned, and the eight
sections of the books highlight this feature. As some areas of the books are dark
“swallowing” my painting, the painting and text of the book merge, make it visually
exciting and once again create this unity between the two different forms of art.
https://creativemarket.com/ArtistMef/682487-Black-Ink-Backgrounds-Vol.-2
Margaretha von Boetticher
Photography: David Merewether. Design: Andy Solanky. Printed by Pureprint.
www.sevenoaksschool.org