Margaret Thatcher Portrait

Margaret Thatcher Portrait

For my AS Exam project, I was creating portraits of women who defied the social convention of their time, and one of them was Margaret Thatcher.

The intention of my portrait of Margaret Thatcher was to use the techniques, ideas, and style of Sarah King to create an accurate portrait of Margaret Thatcher using the words of Margaret Thatcher.

The research I carried out into the work of Sarah King influenced my work, because after studying her work several times, with each time in more detail than the previous, I was able to work out how thick and what style of lettering I should use for each part / shade of my portrait of Margaret Thatcher, and where it was appropriate to use an image, instead of words.

I feel that my portrait of Margaret Thatcher was very successful, because I have been able to create an accurate portrait of Margaret Thatcher using the techniques and styles of Sarah King. However, for the portrait to look accurate and effective, you have to look at it from a distance, or look at it from a photo of my portrait. Otherwise, you cannot really see the whole portrait and how effective it is, instead you concentrate more on the words and try to figure out what the words are.

From this experience, I have learnt that I can create a successful and accurate portrait with words that either represent who they were / are, what they do, or what they believe / believed in.

This experience has influenced the direction of my project and ideas, because it has given me a technique of creating portraits that represent who the person was, what they did, what they believed in. 

For this portrait, I have used the technique of typography with the words from Margaret Thatcher’s remarks on becoming Prime Minister from May 4^th, 1979 (http://www.margaretthatcher.org/document/104078). To create this portrait I simply used a pencil to outline where each word would go, then I used a fineliner pen to create the words. I feel that the materials and techniques I used were very effective in creating a portrait of Margaret Thatcher, using her own words. 

The Different Faces of Emmeline Pankhurst - Purity, Dignity, Hope

The Different Faces of Emmeline Pankhurst - Purity, Dignity, Hope

I created these portraits of Emmeline Pankhurst as a part of my AS art exam project. which was on civil unrest - feminism in Britain. The intention of these studies was to use some of the techniques of the artist Andy Warhol, especially in his Marilyn Diptych, but in my own way. In Andy Warhol's Marilyn Diptych he used very bright and vivid colours to represent Marilyn Monroe when she was at the height of her career, whereas I have used the colours of white, purple and green to represent the colours of the Suffragettes. I used the colours because they were the colours used by the Suffragettes when the WSPU (Women's Political and Social Union) adopted these three colours in 1908. The white symbolised purity; the purple symbolised dignity; the green symbolised hope. These three colours were used to creates the WSPU's banners, flags, rosettes and badges.

Emmeline Pankhurst - Purity

The research I carried out into the work of Andy Warhol, especially his Marilyn Diptych,  influenced me to create a screen print, only creating the dark shadows of the photo of Emmeline Pankhurst, and leaving the light greys and whites completely white. In addition, in Andy Warhol's Marilyn Diptych, he used bright and vivid colours to represent Marilun Monroe when she was at the height of her career. this influenced me to use the three colours associated with the Suffragettes to add colour to three of my four screen prints. 

Emmeline Pankhurst - Dignity

Emmeline Pankhurst - Hope

I feel that these have been very successful, because I have been able to create a portrait of Emmeline Pankhurst, representing three of the things the Suffragettes believed in and symbolised: purity, dignity, hope. This is because in my first screen print I have left the white space of Emmeline Pankhurst's portrait  white to represent the purity of the Suffragettes. In my second print I have filled in the white space of Emmeline Pankhurst's portrait with different shades of purple (inspired by Andy Warhol when he used about six different shades of yellow to create Marilyn Monroe's hair) to represent the dignity of the Suffragettes. In my third print, I have filled in the white space of Emmeline Pankhurst's portrait with different shades of green (again inspired by Andy Warhol's Marilyn Diptych) to represent the hope the Suffragettes had. Finally, in my fourth print, I have used all three colours (with different shades of each) to fill in the white space in Emmeline Pankhurst's portrait. My fourth print represents all of the three things the Suffragettes colours symbolised: purity, dignity, hope. However, it also represents the pride and bravery the Suffragettes had whenever they were taking part in a demonstration to persuade the government to pass a new piece of legislation to allow women to vote.

From the experience of creating these four portraits of Emmeline Pankhurst, I have learnt that I can create a portrait of someone, but then also use certain colours, that are either related to them that represent something when they were associated with them, or use colours to represent the different sides of a person, or what they were / are perceived to be. 

Emmeline Pankurst - Dignity, Hope, Purity

I have used the techniques of silkscreen printing and painting to create four different portraits of Emmeline Pankhurst. The materials I used was an aceotate of Emmeline Pankhurst (made from a portrait I did of her using a black sharpie pen), black ink, and different shades of white, purple, green acrylic paint to create the symbolisation and representation of what the three colours associated with the Suffragettes represented. I feel that these materials have helped to create effective portraits of Emmeline Pankhurst. 

Self Portrait No. 1

Self Portrait No. 1

This self-portrait is another one of my AS Art & Design: Fine Art homework's. We were asked to create a portrait or self-portrait in the style of Kathe Kollwitz and Frank Miller. I really enjoyed creating this study, and the end result was very successful. 

In my artwork, I have used the colours of black and white to produce a self portrait only highlighting the dark and light parts of my face and part of my hair (hair was too long to fit in the picture). I have also used line and tone to create my self-portrait. To create my image I got my Dad to use his photography equipment to take a photo of my head in front of the window, emphasising the shadows created on my face and hair. He then helped me use photo shop, so I could enhance the contrasts between the black and white on my face and hair. When I drew it, I only drew the outlines of the shadows on my face. I then coloured in the shadows on my face and hair using a black market pen. I have found this technique to be very effective, and very successful. I have using this technique to create my self-portrait. And I am very happy with the result of my work.

The photo on the left, is the photo I drew from. 

Now for the analysis of colour, line, texture, light ad tones, and level of realism.

I have not used much colour in this self-portrait, I have only used the colours of black and white to help create my self-portrait. The use of the colours black and white has been very effective, because it has created the lines, tones, and features of my face and hair.

In my self-portrait, the use of line has been created by the use of the contrasting colours black and white to create the outlines of the features, which were not in the dark shadow and tones of my face and hair. For example, I have created my left eye by having my pupil and eyelid coloured in black, showing the contrast between the light and dark tones/shadows in my eye. This then creates the definition of my left eye.

The use of texture in my self-portrait is very flat. However, when the black and white are adjacent to each other, the black space makes the white space seem be on a different level to the black space. Therefore, it seems as if it is higher than the black space. This creates a sense of life in the self-portrait.

The use of light and tones in my self-portrait is created by the different thickness, and quantities of black and white space. For example, on the right hand side of my hair, I have used a large quantity of black space to create the dark shadows / tones. Then where the light tones on my hair were, I have left white. The use of having the contrasting colours of black and white next to each other creates the different tones and shadows of my face and hair, without any drawn lines being shown.

There is a level of realism in my self-portrait, because it does look like the photograph. However, some of my features are not defined, which decreases the level of realism. 

I really enjoyed creating this self-portrait, and I would happily use this technique again. xxx

Gabrielle Aplin

Gabrielle Aplin

For one of my college art homework's, I was asked to create a portrait of someone, in the style of Sarah King. So I decided to do mine on Gabrielle Aplin, because I admire the way that she has got to where she is today in the music industry. she did not enter any music contest, she uploaded videos of covers and original songs to Youtube, she released 3 EPs on her music label 'Never Fade'. She performed on her local BBC radio as part of the BBC Introducing scheme. In addition, she is now signed to Parlophone records. Furthermore, she writes all of her own music, and plays everything live. She is an amazing musician, and I love her music.

I have created this portrait of the musician Gabrielle Aplin, using the style and techniques of the artist Sarah King. I have used the lyrics from Gabrielle Aplin's songs to create my portrait: Home, Keep on Walking, Please Don't Say You Love Me, Panic Chord, How Do You Feel Today. To create the lettering I used a black fine liner, black paint and a black fountain pen. I have used two illustrations within my portrait: piano keys to create part of her hair, and a stave of music of the F major scale on, to create part of her frindge.

This Photo of Gabrielle Aplin, on the left, is the photo of her I decided to create my piece of artwork on.

The intention of this study, was to try and create a portrait of someone using the style and technique of Sarah King. I feel that this study has been a great success, because I have been able to successfully create a portrait of Gabrielle Aplin using different fonts, sizes, and thicknesses of words from her lyrics.

Now on to the analysis of colour, line, texture, light and tones, and level of realism.

I have not used much colour in this portrait, I have only used the colours of black and white to help create the portrait of Gabrielle Aplin. The use of the colours black and white has been very effective, because it has created the lines and tones of Gabrielle Aplin’s features.

In my portrait of the musician Gabrielle Aplin, the use of line has been created by the use and position of words and the two illustrations within my portrait. I have used this technique to create the lines and features in Gabrielle Aplin’s face and chest. For example, for her lips, I have used the words ‘last a year’ curved to create the shape of the top and bottom of her lips.

The use of texture in this portrait is flat when there is white space. However, when the lettering curves and twists it creates the shapes and levels within her face, neck, and chest. In addition, the lettering has been placed and the way it moves creates the features and makes them look slightly real when you look at the portrait from a far.

The use of light and tones in my portrait of Gabrielle Aplin is created by the different thicknesses, styles, and sizes of lettering. For example, I have used different thickness, fonts, and sizes of lettering to create the definition of her face and neck. The bottom of her face is made up of joined up, smooth writing. This creates the effect of the smoothness of the shadow on her skin. Then the edged of her face, where the shadow is at its darkest, I have used thicker, smaller, printed writing to create the dark shadow, which also creates the definition for her face and her neck. Then for the dark shadow on her neck, I have also used larger, thicker, printed lettering to create the difference between her neck and face, but also to create the dark shadow on her neck. This use of having very different lettering next to each other, creates the different tones of her face and neck, without using any drawn lines.

There is a large level of realism in this portrait of Gabrielle Aplin, when you look at it from a far. However, when you look at it closer up, the level of realism decreases. This is because as you look closer, you are not looking at the whole image; you are looking at only parts of the portrait. Furthermore, when you take a closer look, you see all of the words that I have used to create the portrait of Gabrielle Aplin.

I really enjoyed creating this portrait in the style of Sarah King, because i got to try out a different technique, and I got to create a portrait of a person who is one of my role models. xxx