of a self-portrait and how it may be the most effective way in portraiture to convey meaning of identity . Inspired by the abstract , colourful and dynamic portrait painting of Daniel Bilodeau- I felt it relate to my sense of identity and being . The chaotic composition , the unified tones and expressive nature of the painting spoke to me as if a reflection of what I believe my identity to be . Moreover , in my self-portrait aside from expressing identity through my face and a realistic portrayal of the face , I wanted to deliver a sense of my inner persona through artistic choices such composition , form , colour and lines to communicate my identity in the most effective way . Works like such are more impactful and personal , for example the works on the left of Adrian Ghenie - his self-portrait creates a sense of unsettle to and uneasiness . The dysmorphia of his face can signal confusion , loss of one ’ s understanding of oneself and perhaps even chaos in his personal life . Yet the artists maintain a clear structure of his face and hues similar of that of the skin tone- as well his eyes being the most visible and clear of all features . Perhaps this signifies that despite a loss of self and some sort of unrest in his identity , his vision is clear-alert and aware . This piece is an excellent example of the scope of that experimentaitoopn with abstractionism gives in the interpretation of the picece- both of the sitter but also the relationship the interpret builds with the art . After all if there are more than one ways to interpret the painting , there ’ s a bigger spectrum for personal integration and relation between the piece and the viewer . ortrait stretches beyond the physical repserntation , but ather a more develop personal meaning of the artwork . The rtist makes conscious choices of the compositions and tilises expressiveness and technique to convey meaning - or example , the artist through the transparent coat of paint n the background and shadow of her main form represents hat the background of Japanese figures is not a real setting , ut a wall - perhaps representing cultural separation . The onal values and hues of the painting as well as the woman ’ s tance and her gaze into an object unknown to the viewer reates a sense of mysteriousness and maturity , conveying omething about the sitter . Inspired by the emotional meaning of the two examples of self-portraits and combining the techniques of Daniel Bilodeau , I created a self-portrait encompassing my identity and internal qualities and values through utilising space , composition , form and colour on my canvas . omethi The painting depicts a myself with a contemplative expression , my hand resting on my face . The composition is balanced , with the subject ' s face centrally placed , drawing immediate attention to the gaze and facial features . The calm , warm realism of the face , hands and partly the hair contrasts with the contradictory sudden and abstract expression of colours and light dysmorphia of the face . Through these choices I wanted to express individuality and nature of my character : my artistic and spontaneous side along my calm and static side . The blanks of in my portraiture that reveal the background signify a feeling of incompleteness . Through this I wish to represent the idea of finding oneself , of letting your surroundings affect your growth and having the context of your life shape your persona . To achieve this , I first used small brushes to intricately paint the fave . I mixed my oils accordingly to the picture , to best match my skin tone from my reference photograph and also to match the cold hue of the painting . I painted the details carefully to achieve a realistic finish , and painted in several parts of the face simultaneously so when joining the parts I deliberately left blanks in the face . To give my work more emotion and individuality , I added depth to my background and splashes of colour across the canvas . Moreover , to create of a self-portrait and how it may be the most effective way in portraiture to of a self-portrait and how it may be the mo convey meaning of identity . Inspired by the abstract , colourful and dynamic portrait painting of Daniel Bilodeau- I felt it relate to my sense of identity and being . The chaotic composition , the unified tones and expressive nature of the painting spoke to me as if a reflection of what I believe my identity to be . Moreover , in my self-portrait aside from expressing identity through my face and a realistic portrayal of the face , I wanted to deliver a sense of my inner persona through artistic choices such composition , form , through artistic choices such composition , form , colour and lines to communicate my identity in the most effective way . Works like such are more impactful and personal , for example the works on the left of Adrian Ghenie - his self-portrait creates a sense of unsettle to and uneasiness . The dysmorphia s of his face can signal confusion , loss of one ’ s understanding of oneself and perhaps even chaos in his personal life . Yet the artists maintain a clear structure of his face and hues similar of that of the skin tone- as well his eyes being the most visible and s clear of all features . Perhaps this signifies that despite a loss of self and some sort of unrest in his identity , his vision is clear-alert and aware . This piece is an excellent example of the scope of that xperimentaitoopn with abstractionism gives in the interpretation of the picece- both of the sitter but so the relationship the interpret builds with the art . fter all if there are more than one ways to interpret he painting , there ’ s a bigger spectrum for personal integration and relation between the piece and the ex als Af th tretches beyond the physical repserntation , but more develop personal meaning of the artwork . The kes conscious choices of the compositions and pressiveness and technique to convey meaning - ple , the artist through the transparent coat of paint ckground and shadow of her main form represents ackground of Japanese figures is not a real settin - perhaps representing cultural separation . The ues and hues of the painting as well as the woman d her gaze into an object unknown to the viewer sense of mysteriousness and maturity , conveying g about the sitter . viewer . ts ng , n ’ s spired by the emotional meaning of the two examples spired by the emotional meaning of the two examples Ins Ins of self-portraits and combining the techniques of aniel Bilodeau , I created a self-portrait encompassing Da y identity and internal qualities and values through my ilising space , composition , form and colour on my uti nvas . can g about the sitter . nvas . can ting depicts a myself with a contemplative expression , my hand resting on my face . The composition is ting depicts a myself with a contemplative expression , my hand resting on my face . The composition is ssion , , with the subject ' s face centrally placed , drawing immediate attention to the gaze and facial features . The rm realism of the face , hands and partly the hair contrasts with the contradictory sudden and abstract on of colours and light dysmorphia of the face . Through these choices I wanted to express individuality re of my character : my artistic and spontaneous side along my calm and static side . The blanks of in my re that reveal the background signify a feeling of incompleteness . Through this I wish to represent the nding oneself , of letting your surroundings affect your growth and having the context of your life shape sona . To achieve this , I first used small brushes to intricately paint the fave . I mixed my oils accordingly to re , to best match my skin tone from my reference photograph and also to match the cold hue of the I painted the details carefully to achieve a realistic finish , and painted in several parts of the face eously so when joining the parts I deliberately left blanks in the face . To give my work more emotion and t st a m mak exp mp bac e ba all alu and a s ing ing aint aint ced , war sio atur itur f fin ers tur ng . ane l Investigation Henri Matisse is a series of sculptures that figure in a somewhat abstract and simplified reated these sculptures using a relief involves sculpting or carving figures into a iving the illusion of depth and three - He emphasizes certain lines and contours a sense of depth within the two-dimensional ptures have a rhythmic quality to them , with hat suggest movement and allows Matisse to y of light and shadow , enhancing the overall nd depth of the figures . Matisse was known for exploring form , colour , and the expressive ne and shape . By simplifying and abstracting tisse aimed to capture the essence of the vement and gesture rather than creating a sentation . Matisse ' s approach to the subject his interest in exploring the beauty and of the human form . The sculptures convey a ty by focusing on the essential elements that re while showcasing the artist ' s mastery of ition . Low Relief Sculptu Communication of Ideas and Intentions Using clay often implies moulding and sculpting a three dimensional object rather than a semi three-dimensional figure carved out of a slab of clay . Although i was not shaping the clay into an imitation of the drawing , the relief process allowed for the impression of life and three-dimensionality to remain despite there only being shallow marks in some instances to imply the structure of the body . Through this piece i was trying to evoke the serenity and repose showcased by the model in Boucher ’ s drawing through the use of subtle rather than harsh lines , i also tried to suggest her pose by making the marks increasingly shallow where the body appears further away , namely the head and top of the torso . As well as this , by adding clay to the calves and shins - the areas closest to the viewer - my goal was to emphasise the perspective Boucher portrays . The texture of the clay was therefore helpful as it reflects Boucher ’ s suggestion of fabric while not requiring a complex texture that would obstruct the figure if viewed in contrasting lighting . Although this process was new and unfamiliar as it is unlike drawing in that the focus is not centred about light , however , it is also unlike any of my previous experience with ceramics as the movement of the clay was limited to a single square sheet . The combination of drawing and clay was a new experience which provided challenges such as how the clay should be shaped in order to suggest the figure . However , it is also effective as it evokes movement in the figure and can be interpreted differently depending on the lighting due to the three-dimensional aspect . Reflection on Technique The goal of this low relief sculpture was to suggest human shape despite the of only using a thin layer of clay and tools to create shallow indentations , pencil drawing of a nude model by Boucher . I chose this image in particular a elegant posture of the sitter and the delicate lines in the composition drew elegant posture of the sitter and the delicate lines in the It . After selecting this seated nude by Boucher , i used a square piece of clay with an even thickness and began using the tools to move the clay around to portray the composition . The main challenge was that rather than focusing on areas of light and dark in a drawing , which is the usual practise when imitating a piece of art , i was forced to take into account the layers of elevation and proximity to the viewer . In order to achieve a sense of three-dimensionality , it was important to use the tools to imply what parts of the body were closer to the viewer by pulling the clay away from the definitive outline into the area behind ( further away from the viewer ). This was more effective than only drawing lines into the clay as when light was used to create contrast , the final product created a more dramatic effect and conveyed the perspective shown in the drawing . Using this relief technique also suggested the dynamic movement of the figure , although the woman is serene and positioned in a peaceful manner without any agitation , the fluidity of the drawing which translates into the marks of the clay imply the natural movement of a body and creates a sense of vitality . ition . osition of " The Gates of Hell " is dynamic and chaotic , reflecting the tumultuous scenes from Dante ' s Rodin created a sense of movement and energy by placing expressive figures in various poses , engaged in ities . This dynamism contributes to the overall drama and intensity of the piece while displaying a wide ns from despair and agony to passion and ecstasy . While " The Gates of Hell " is primarily a freestanding n incorporated relief elements within the composition . Various scenes and figures emerge from the y that adds texture and complexity to the overall work , showing the overarching thematic exploration of tation , and redemption . These relief elements enhance the visual interest and contribute to the e piece , which served as a visual interpretation of Dante ' s vision of hell . The work explores themes of , passion , and the complexity of the human condition . PORTRAIT PROJECT # 2 RESPONSE # 1 : After starting to feel confident in my knowledge of both the artists I chose to investigate and how they work , it was time to start formulating ideas for responses . Immediately , I starting aking photographs to enact as the foundation of my responses . Even at this earlier stage in my process , I had to consider which themes I would bring forward from Affotey ’ s and Abe ’ s dea ’ s ; I choose to continue my exploration into black identity . Initially , much of the photographs were inspired greatly by Affotey ’ s work , comprised of only one subject , and often ropped to provide emphasis on the subjects face and incorporate a heightened sense of ntimacy and connection with the subject . Furthermore , it was essential to consider the ubjects facial expression , throughout both Abe ’ s and Affotey ’ s works , the subject is often RESPONSE # 2 : My previous response was largely inspired by Affotey ’ s style . In my final work , I was determined to further delve into the essence of Stacey Gillian Abe ’ s art and bring forward some of her ideas into my piece whilst maintaining inspiration from Affotey . Once again , I started my process with photography , this time attempting to incorporate two subjects , as Stacey often does ( her works can be seen below ). The relationship between the two subjects depicted within the portraiture adds another component , adding complexity to the emotive language expressed in the work . I went through the same selective process as previous , by going through and eliminating photographs which were either lower quality , had a less compelling composition , or just weren ’ t as impactful at first glance . The final image I selected , cropped and edited , can be seen at the bottom left of the column . Within the process , I came across my first dilemma quite abruptly : I couldn ’ t quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be achieved through the use of a single colour . , een with a passive glare which lacks any form of aggression . This crucial element of these artists ’ work confronts he systematic and societal oppression associated with both the black and female identity . It exerts a feeling of mmunity , and despite this features passive nature , it confronts the oppressor by saying that nothing will get in between the subject and the success which is derived from equal opportunity and reduced societal dismay . Annan Affotey ’ s cropped portraits can be seen on the left . After I felt content in my photo ’ s , I began to review them and bring forward the best ones for editing and resizing . I exaggerated the contrast and cropped the images so only the head and a small area of the torso were viewable . I decided the image seen to the bottom left was most suitable . Having selected my image , I printed it off and arbon copied the most significant shapes and transitions in colour / light onto an A2 sized board which I had previously coated in a thin layer of hite paint . Immediately , I began mixing Prussian blue with a relatively similar amount of Prussian green and small amount of white when ecessary , creating a colour similar , but not identical to the one Affotey is renowned for . Following , I layered down the initial layers of paint , rimarily focusing on the less detailed areas . Soon , I began working on the eye ’ s , taking inspiration from the bloodshot , striking eyes presented Affotey ’ s portraits which allude to the damaging stereotypes of the Black Identity associated with drug misuse , which certainly prevail in the West . Moving onto the hair , I began applying an extremely dark combination of Prussian blue and Prussian green onto the hair , in a less refined manner . Layers of paint on the hair were significantly thicker then those on the face and much less delicate , with marks from the palette knife being prominent . In addition , I used the palette knife to apply thicker layers of paint nearer to the crown , implementing more depth . I moved onto the background and jumper that the subject was wearing . Within these components , I wanted to maintain simplicity , ensuring the viewers attention remains on the subjects face . Initially I applied thin layers with a large Hog brush , and soon after started applying more paint , particularly on the jumper to build up texture , creating slight reflections which are difficult to capture on camera . Finally , I decided to leave the area where the shirt and tie are visible almost untouched , with only the pencil and small smudges of paint present . This idea is central to much of Affotey ’ s work , where he leaves areas of the work unpainted , exposing the initial planning marks and modeling paste . quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be achieved through the use of a single colour . , quite pin point and replicate the Stacey ’ s staple voilet hue . I thought possibly , the be achieved through the use of a single colour . , interplay between the dark blues and purples she uses is a result of layering , and cannot Similar to Grant Legassick , Idris Khan collages his images over one another in order to create depth . He chooses to layer the images in order to remove detail , so once again the images seem to blend into each other . This shows movement , as if you are moving past the pylon at high speeds . The wires seem to merge together , and the metal poles at the base are almost completely in shadow . He intends for his images to be rather confusing to look at from the spectator ' s point of view , and these factors are the cause of this confusion . Although this image can be interpreted in a number of different ways ( perhaps what makes it so special , personally I think that it represents industrialisation , and the tangle of wires and poles are overwhelming to the onlooker . The trees at the bottom have been overcome by shadow – as if he is saying that nature is being taken over and attacked by the industrialisation of the 21 st century . It makes the spectator to feel uneasy – which reinforces the emphatic power of the message . He contrasts the light sky against the pylon – which is a dark shade of black – so the image is defined as the It is also placed centrally on the background , emphasizing the power of the image , and the dominance the pylon has over the core theme . In this array of images , I used a Canon 5Ds to take them . I experimented with editing the f-stop - in turn changing the aperture of the lens to change various photographic characteristics . For example , A lower f-stop ( wider aperture ) allows more light to enter the camera , resulting in a brighter image . Additionally , a wider aperture creates a shallower depth of field , emphasizing the subject while blurring the background . Conversely , a higher f-stop ( narrower aperture ) reduces the amount of light , leading to a darker image , and increases the depth of field , keeping more of the scene in focus . Therefore , the first image has a very low f-stop ( 3.5 ), allowing lots of light to enter the The lenses he uses are mostly The Canon 24-70mm ( f2.8L II USM ) and the Canon EF 70-200mm ( f / 2.8 IS II USM ) which are vital in his layering . He never uses a tripod to get this effect , and the handheld shooting is key in his collaging of images . The ‘ VHS ’ effect is because of this two , as it ' s as if the images are blurred together . He has also made the images black and white , purposely choosing to avoid colour in many of his images . When he does experiment , it is usually not with bright colours – but more of the middle tones so they aren ’ t the centre point of his image . The brilliance of the piece is due to a combination of the lenses , camera f-stop and not using a tripod , creating movement in the image – which is what I aim to follow in the future for my edited images . I took these images in a variety of different locations ( Italy , Paris , London ) in order to capture different levels of architecture to explore in my interpretation Grant Legassick is a South African artist , renowned for his photography where his exciting exploration of exposure , composition and light . For example , in this specific image , Legassick layers many of his images over each other in order to create this ‘ glitch ’ effect . The image seems to distort and appears pixelated , as if it was done by VHS . Grant almost solely uses a Canon 5Ds with a Canon 5Ds MkII as a backup when he shoots . I chose to collage these images in this way in order to explore my theme of chaos and disarray To create his work , he ‘ employs the tools of photomechanical reproduction ’ by layering . He edits the layers one by one , using various editing software and he prefers every layer to be different in his creation . This makes his images unique , as although he follows similar ideas to Grant Legassick , his final pieces stand out and it from my research I have struggled to find any other artist that produce anything that similar . In the piece above , it is much more difficult to comprehend , and the building that he has captured is peculiar and unorthodox . I can ’ t make out exactly what the building is , which puts the spectator on edge , once again creating this theme of unease and fear . It is uncomfortable to look at , as the array of lines and edges overlapping each other are tangled and he intends to create chaos and disorder in his pieces . It looks like he has used thousands of layers - and the way he has blended them establish a similar effect to above - as he explores movement by his blur of shapes and lines . I aimed to continue this theme in my own interpretation , and I will adapt my own images to create this effect . I would like to create a centre point in my image too , as I believe that that is what makes his pieces so special . I think that it is important to choose an image that is the most detail - as if you start with an image that is less detailed by the end of the process almost all of it is gone . I am aiming to explore both artists similarly , and a complete lack of detail is not a close enough interpretation of Grant Legassick and Idris Khan I used photoshop here in order to use layering of my original image . It is an image of the Royal Academy of arts . I chose the image because of its array of detail , the multitude of statues that decorate the walls - paired with the detailed columns of brown and cream . The windows are also an interesting aspect , as the reflection of the sky bounces off towards the onlooker , adding depth to the image as it seems to bleed into the sky . The editing process took a while to finish , as I had to edit the transparency of each layer so they did not contradict each other , and also to add as many layers as possible . I took 8 pictures from the same angle . However , I didn ’ t use a tripod ( like Legassick ) and so the images were all slightly different - which I took advantage of in the photoshop process , moving the images slightly to emphasize this . I ’ m pleased with the image , as I believe it deeply references both Legassick and Khan - Legassick for the layering and technique for taking the images , and Khan by focusing on a centrepoint , the statue closest to the spectator . CRITICAL INVESTIGATION Over and under exposure PHOTOGRAPHY PROJECT PHOTOGRAPHY SCReeN One ALEX WEBB American photographer Alex Webb is well-known for his arresting and colourful street photography . Complex compositions , vibrant colours , and a good eye for depicting the human condition are all traits of Webb ' s images . He has a special talent for capturing brief moments , frequently in busy and chaotic metropolitan settings . The complexity of human connection and the dramas that play out on the streets are often reflected in Webb ' s work . Webb ’ s photographs are proof of his ability to both depict the natural beauty and brutal truths of life . The complexity of human existence is frequently captured in Webb ' s images , from happy moments and celebrations to scenes of struggle and misery . Webb uses the formal qualities of dim lights , low exposure , and strong contrast to capture high amounts of detail but also grimness to his works . They encapsulate the moment and lead the viewer to develop on their initial ideas , allowing for more breadth and depth to his meanings . Additionally , the way in which he uses candid moments , make his works more authentic and somewhat easier for viewers to establish a connection to . PAUL REIFFER Paul Reiffer is a well-known British photographer who specialises in stunning shots of cities and landscapes . The beauty of the natural world and the urban architectural marvels are deeply appreciated in Reiffer ' s art . His images frequently combine eye-catching hues with dramatic lighting and flawless composition to produce works that are both aesthetically arresting and emotionally stirring . Through his lens , Reiffer captures the untainted beauty of nature , frequently stressing its grandeur and tranquillity , as seen in his large portfolio of landscape photography . Reiffer is well-known for both his landscape and urban photography . He has a special talent for capturing the spirit and vitality of metropolitan settings . His photographs of well-known cities , like New York , London , and Hong Kong , highlight the busy streets , soaring buildings , and exciting nightlife that characterise these metropolises . Every image that Reiffer takes demonstrates his commitment to his profession and his rigorous attention to detail . Each shot is carefully planned out , with consideration given to the composition , lighting , and timing . This produces magnificent visuals that also tell a story and evoke emotion . They imply story but also are aesthetically pleasing . The way in which he manipulates the camera angle to capture a wide expanse in his nature photograph , but having the surrounding environment , like the sea or rock , to act as natural borders are really special . EXPOSURE TRIALS Two typical photography words used to describe the exposure levels in a picture are overexposure and underexposure . These parameters describe how much light enters the camera ' s image sensor , producing an image that is either brighter or darker than intended . The outcome of an image can be significantly impacted by both overexposure and underexposure . When too much light enters the camera , overexposure happens , making the image appear overly bright . The end consequence is a loss of information in the highlights , which frequently causes sections of the shot to be blown out or washed out . diminished contrast and diminished colour saturation might also be a result of overexposure . Contrarily , underexposure occurs when insufficient light hits the camera ' s sensor , producing a darker-thanintended image . This could happen when there isn ' t enough light available or when the camera settings are incorrect . Images that are underexposed frequently appear overly dark and lack contrast , as well as shadow detail . But although underexposure can add drama and intrigue to a picture , intentional overexposure can provide a dreamy , ethereal atmosphere . ALEX WEBB TRIAL REFLECTIONS Based On Webb ’ s work , I tried to implement his candid style but also impactful narrative . I took these pictures of my friend eating ( right ) and fighting a bee ( left ). I had him infront of another stranger to add to the random aesthetic ppof the situation . In terms of technicality , I lowered the exposre whilst taking the picture , and increased the contrast in lightroom to attain that gritty and worm impression ., Additioanlly , I had my subjects place in varying positions , from one in the background to the left and passive , to my friend in the foreground on the right and active . PAUL REIFFER TRIAL REFLECTIONS Based on Reiffer ’ s work , I tried to take in his stylistic choice of composition , letting the natural enviornment and the sky act as natural borders . As well as takking in vast expanses of scenery with graidents of bold colours such as vibrant orange to a calmed and deep navy blue . Additionally , understanding , his strong editing for contrast to pop out key elements , I did the same . I wanted to place emphasis on the man made structures that obscured the sky sometimes . FINAL PRODUCT Identity : Portrait Project Inspiration from Death Masks I further referenced the idea of drowning in thoughts from the concept of death masks , which I further referenced the idea of drowning in thoughts from the concept of death masks , which were first introduced in the 2nd century BC to commemorate important figures or royalty after gures or royalty after their passing . The most famous death mask is of the “ L ’ Inconnue de la Seine where a 16 year old girl was found drowned in the River Seine in Paris . The morgue worker made a cast of the girl as he explained that " her beauty was breathtaking and showed few signs of distress at the time of passing . So bewitching that I knew beauty as such must be preserved ." And it was also compared to the Mona Lisa and other famous pieces of art . The scanning process of the faces reminded me of these death masks and gave me the idea of the Death Mask of sailor Richard Parker in the 18th century Death mask of L ' Inconnue de la Seine in Paris during the 1880s Inspiration from Impasto Portraits Joshua Miels uses the technique of Impasto , meaning “ pastelike ” to create thickly painted oil portraits with the colours being layered onto one another instead of blended together . I was really interested in the layering of paint to add a detail of texture to the portrait and thought that it was a good way of representing fluidity and thoughts in your head , I wanted to use this style of painting to create an abstract representation of thoughts and a scene of someone drowning in their own thoughts . Joshua Miels demonstrates how using layers of paint can slowly build up to reveal a clear image of a face with lots of details and I found that I wanted to implement this into my final piece . Review Refine Reflect In my Final piece I wanted to capture the idea of a man drowning in his own thoughts as a way to represent how you can become trapped within your own mind and feelings . I did this by creating a scene of the sitter sinking underneath waves of impasto style oil paint and wax as a way to represent the thoughts themselves and the idea of fluidity of thoughts and how quickly they can come and go . I left a gap between the third and fourth face to represent the sitter finally sinking underneath and drowning in his thoughts as a a way to demonstrate how powerful an influence our own thoughts have on us . I chose to use a bright and loud colour to represent how loud the thoughts can be in your head as that they can fully overpower us , similarly to how the brightness of the orange can overpower our eyes . I think that I managed to successfully use impasto painting to represent thoughts and managed to capture the pain in the sitters face as he begins to sink underneath . If I was to do it again I might have used more faces and shown a more gradual process of sinking to show that it can be a slow process . Creation Process To create my final piece I had to scan the face of my sitter to be able to print it out , I made sure to get as much detail in the face as I could and aimed to mimic the look of the death masks by making my sitter close their eyes and keep a straight face to show a blank emotion , similar to that displayed in the death . I then had to print the faces out using a 3D printer and plastic filament , I printed the face 4 times and rotated it by 20 0 to make it appear that he was sinking into what would end up being the wax as a representation of his own thoughts . Once all the pieces were printed I had to glue them to a wooden board . I then covered it in an oil paint and wax mix to represent his thoughts . I decided to use orange oil paint as it was a very loud colour and I thought it would effectively represent the loudness of the thoughts that the sitter would be experiencing . I also left a gap between the third and fourth face as it wanted to represent the sitter finally sinking under the surface before finally floating up to the surface , as a reference to the story of the L ’ Inconnue de la Seine . Joshua Miels Final Piece front view 3D camera scan Primed final Piece before wax Linda Adamovica Joshua Hunt Tom Hobbs Ella de Heinrich Cayden Kuan Ayomikun Fagbemi Chester Leung Rosie Heydorn Bruno Millward