Silhouettes and Landscapes: IGCSE Art Coursework (A*)
Concluding Updated on January five, 2022
This commodity features Enrico Giori's CIE IGCSE Art Coursework project (Component iv) completed in 2014 while studying at St. Louis High School, Milan, Italia. Enrico was awarded 97% (A*) overall for IGCSE Art (see as well Enrico's IGCSE Fine art test). Enrico's project is a very interesting example: although it draws upon first-hand observation, it does not have have a large emphasis upon realism. Enrico demonstrates a stunning understanding of composition, coupled with mature, in-depth investigation of a wide range of mediums and processes, such every bit linoleum prints, plastic-plate etchings, sewing, digital manipulation and mixed media collage.
Two of Enrico'southward sketchbook pages are included in our new book: Outstanding High Schoolhouse Sketchbooks . This book has high-resolution images then that fine details and note are articulate, making it an first-class resource for students and schools. Learn more!
I accept ever been fascinated by surrealist artists such as Magritte and I decided, equally I started my IGCSE Fine art qualification in Year 10 to explore the concepts that prevarication behind surreal images. I started looking at the apply of colour and objects in art and I decided to focus on still life at first, non the human figure, which I saw as as well complex to draw or paint. I then understood, by looking at some pieces past Magritte, such equally Golconda or The Son of Homo that the human figure was the starting betoken and the nearly important features of the surreal current. I therefore decided to analyze the human figure, reducing it to silhouettes, such as the one filled with a moonlit landscape in 'The Happy Donor', which I looked at with passion and admiration for a whole calendar month. I discovered, virtually past error, the wonderful world of printmaking and have experimented with linoleum prints and plastic-plate etchings. I decided to make a series of etchings for my IGCSE final outcome piece, and I am very proud of the result I have achieved. I experimented with a varied range of techniques: acrylic, pencil, charcoal and chalk, colored pencils, watercolors and watercolor pencils, oil paint, lino press, etching, collage, pen and ink (one of my personal favorites), sewing and digital paradigm manipulation (I have experimented overlapping images with Photoshop and photocopiers, achieving interesting results). I am also passionate about photography, and I have also tried to show that through my project.
The descriptions of my work below are derived from the annotations that are glued on the pages themselves, listing materials, processes, strengths, weaknesses and areas of improvement.
This page has crossed many stages of development, and the original drawing which I based my page on was done in a courtyard that we went to once with our Art instructor to draw from straight ascertainment. For this page I combined various techniques and materials: acrylic, 2B, 4B and 6B pencil, water soluble graphite, watercolor pencils, watercolor, pen and ink and coffee. This page started from the drawing on the left, which I drew from direct observation on my sketchbook. I then decided to place it on my folio and extend it with another drawing from direct observation. The left part of the folio is mainly done with pencil, watercolor and acrylic for the wall ornamentation on the bottom. I believe the watercolor is perfect for the wall considering it creates an interesting texture that most looks like a brittle and old wall. The acrylic ornamentation is interesting because it stands out on the folio and makes it more expressive and center-communicable. The right side of the page is personally my favorite, because I worked a lot on information technology and I observe the final outcome pleasing and quite well washed.
I decided to combine a few techniques to make the outcome more attractive and realistic, considering different techniques are better for different purposes. For example, I establish the pen and ink useful to give a sense of the three dimensions through cross-hatching considering I find it an interesting and unusual way to give dimension to the folio. I so filled in the cartoon with watercolor and I used some white acrylic to paint the highlights of the stride nearly the girl. I kept the girl in 4B pencil and I highlighted the areas of shadow using cross-hatching with pen and ink, and so that information technology looked similar a silhouette. I then painted the rightmost wall using coffee and a stiff castor and so that the wall looked former and wet by water. The right role does not continue the scene on the left and this choice is intentional, considering I wanted to overlap images and create a study of the same place seen by two different perspectives.
One of the strengths I tin can run into in this slice is the axiomatic utilize of cantankerous-hatching, which I feel is easier with pen and ink than with a handwriting pen. One of the elements that was hard to describe and paint was the daughter on the steps, because I wanted to go along her minimal (so she didn't affect the scene of the door) and considering I didn't know how to brand her look iii dimensional. To amend this folio I would brand the details more accurate and I would focus more on the shadows and highlights.
I started developing this page by looking at people and especially their shadows and silhouettes from unlike perspectives. I decided to combine photos and drawings on this folio to requite a more interesting effect to the whole composition. For this folio I take used: graphite pencils (2B, 4B, 5B, 6B, 7B, 8B, 9B), watercolor graphite, putty rubber, watercolors, calligraphy pen, white chalk, charcoal, photography film, acetate, tracing newspaper, newspaper, acrylic paints, glue stick and PVA glue to combine all the elements on the folio.
I drew the silhouette on the lesser left of the page first from primary ascertainment, and from there I adult all the other pieces. I have taken all the pictures on the page and have used the figure of the small girl dancing in h2o to create the two pencil drawings on the right. I decided to make a larger one and a smaller 1 to testify motion and a dynamic scene compared to the profile cartoon, which looks quite static. I added on the smaller daughter a clothes made out of paper and, to replicate the effect of the fabric folding around her trunk, I glued a newspaper by folding it in specific points and layering on top a fine wash of turquoise watercolor. I then used the pictures of the Statue of Freedom and the street in Manhattan to continuously give the idea of people'southward silhouettes in different situations of the day. I and so decided to overlap the little girl'south photograph printed on acetate over these photos to give an effect of depth and perspective, and I besides feel that information technology offers a creative dissimilarity between colour and black and white. I have included a montage of the same photos I created on my computer where I compared the movement of the girl's arm together with the position of the Statue of Liberty. I then painted the background of the page in a bright tone of acrylic blue to illuminate the piece of work and, especially because blue is the complementary colour of orange, I have an orange ochre element, which is the background of the Statue of Liberty photo. To make the composition more pleasing, I also used an odd number of elements (7) on my page.
I believe the final effect of my page is very interesting because I managed to include various pieces, even if washed with different techniques, that are all continued one with the other. I call back a strength of my piece is the utilise of color and the combination of mediums on the page. I could obviously improve something, and that would be making the rightmost silhouette of the daughter a bit lighter, so that information technology looks less dark and oppressive on the folio.
This page has been quite complex to put together, because I had many ideas and themes I wanted to include and I had to work out which ones could be combined together effectively to create a pleasing composition. The main focus of this page is the artwork of Gary Hume, an English language artist that gave me the idea that pb to the fabric and felt silhouette on the left and the acrylic painted silhouettes on the right, that I drew from some photos I took in Cinque Terre for the grey woman and in New York for the green building elevation.
This page shows clearly the employ of many materials and techniques. These include acrylic paint, graphite pencil (2B, 4B and 6B), colored metal wire, tissue newspaper and PVA glue, colored felt, colored cloth, colored cotton and needles for sewing, a glass bead for the bird's eye and montage cardboard for the lamp.
I started the page with the sewed silhouette on the right, which was inspired by two paintings of the artist Gary Hume, Begging For It (the human being praying) and The Mother (the bird on top). This work took a actually long time to consummate because I had never sewn earlier. I and then painted the easily on the felt with glossy black acrylic, considering I thought it looked a lot like the texture of Hume's original painting. I made the ii silhouettes on the bottom with colored wire, tissue paper and PVA glue. These were quite easy to brand but I found the technique very interesting. The last 'big' slice of work I created for this page was a pencil cartoon from direct observation of the Tolomeo lamp of the famous Italian designer Artemide.
I then started to put the folio together, using even some interesting pictures of silhouettes that I took the weeks before, but I didn't like the outcome, and then I decided to draw two of them using Hume'due south style, keeping them simple and as line drawings. I used mounting board under the lamp to make it expect similar it had its own real shadow, and I like the upshot of this. I then colored them with acrylic.
I decided to include one of my pictures, and so I cutting out the pocket-size black woman and I glued her on the bottom of the folio, then that information technology looked like she was popping out from behind the large, grey woman's legs.
I of the primary strengths I can identify in this piece is the use of unlike materials and the experimentation with new techniques, such as sewing and wire cartoon. I call up that these two techniques are really difficult to larn at first, but that when you learn how to apply them correctly, you can create some strong pieces of work. This piece of piece of work seems to connect many of my pages, some for the bright colors, some for the silhouettes and some for the techniques. If I had the opportunity to improve something I would work on the shape of the hands on the blue silhouette and peculiarly on the pencil drawing, so that it could look even more realistic. One of the elements I feel I take to work on is how to evidence light on my drawings, equally sometimes the direction of the light source isn't clear.
To develop this folio I used some photos of people that I found afterwards searching on the Internet. I chose to look closely at a adult female with a container of water on her caput and a 'surreal' silhouette of a man with a park on his head. To piece of work on this page I used many materials: fabric, batik wax, batik dye, Image Maker, Brusho®, acrylic, watercolor, wax crayons and photocopies.I combined many materials on this folio and I explored some different techniques. For the silhouette on the summit left I colored the paper with Brusho® (an intense, h2o-based pigment powder) and then I painted the edge of the silhouette with white acrylic. After that I laid several layers of reddish watercolor to highlight the shape of the person. For the silhouette of the same person on the correct I used a different technique. I drew the silhouette with wax crayons and so I painted the outside of it with Brusho®. At the outset I didn't like the consequence, considering I used too much color, but after I played around a bit with the leftovers of paper, I decided to utilise some small pieces of the paper to brand the silhouette more interesting, and so filled the gap in the middle with white acrylic.
The big piece of fabric on the left is a combination of a photocopy and a batik piece, on which I used Epitome Maker for the outset fourth dimension. I applied the photocopy of the silhouette on the fabric with Prototype Maker and and then did a mirror image with batik wax. I didn't like this because the upshot was messy and non what I imagined before doing my batik. I and so used the photocopy that I colored by blow with fabric ink to cover the mistake and I find the issue interesting and artistic. Meanwhile, the batik on the correct is done with the standard batik technique and then I colored the fabric with batik dye.
I recollect the effect the page is interesting, considering the iv sections are clearly separated, simply they seem to alloy together because of the stiff and vivid colors. I think the page is fabricated upwardly by a 'series of mistakes' and that I accept used the work in a artistic and innovative style because I composite pieces that I thought would have never looked good together. I believe that the use of colour is one of my strengths in this piece considering I managed to use many tints and still have a pleasant composition. I found information technology hard to blend the cloth and the paper because they were materials that couldn't be united together, so I decided to brand the background grey and brand the pieces look like they were part of a puzzle or sequence. If I could improve this slice of work I would attempt to create some more than interesting furnishings with the batik on the big piece of cloth, so that the colors would look more precise and intentional.
This page is a composition of lino prints that I made looking at people and how they may exist compared with landscapes. To create this page I used the traditional tools that are used for lino press (linoleum board, lino cutter, cutting cake, opaque lino printing ink, ink rollers). I used newspaper and fabric equally printing supports and I completed my folio with a layer of stake greyness acrylic.
The folio started with the lino prints I designed. I used silhouettes of different people and experimented with them, blending them together to create an interesting and investigative effect. I decided to use various colours such every bit reddish, green, yellow, blue and black, because I felt that mixing more than colors on the same print gave an idea of three-dimensions and perspective. Afterwards I created the lino prints, I worked on 1 of them with pieces of collage paper, to see how this would bear upon the impress. I found the outcome interesting, so I decided to include this in my page.
The composition of the folio was hard to pattern, considering I wanted to get a new and creative outcome, not a dull puzzle of images, that seems quite traditional and antique. I therefore played around with the images for a while and decided to identify them and so that they could tell a story to the observer, and especially so that they could give an idea of development and experimentation.
I liked creating the silhouettes with the lino press technique and I didn't find this task difficult, especially considering information technology allows you to complete last minute edits on your work. In the end I decided to include one of the press blocks I used during the beginning part of the folio creation, merely to make it expect more interesting I painted the leftover lino silhouette in black acrylic and then I busy the environment with some light touches of white acrylic.
Ane of the strengths I can identify in this piece is the interesting mix of different materials, such every bit dissimilar papers, fabric and linoleum. I feel that this gives a unique effect to the page because information technology shows that the same epitome can be replicated successfully onto other materials. One of the areas of improvement I would consider is the composition of the page, every bit I would care more the layout of the prints, so that they could look even ameliorate and acquire more importance on the page. I of the strengths I can run into in this slice is the interesting mix of different materials, such as different papers, fabric and linoleum.
The development of this page started looking at people's contours and how man figures can be simplified to an ordered set of lines showing dimensions but also tone, texture and features. To develop the composition on the page I used many materials: cotton fiber, Image Maker, tracing paper, photocopies, acetate, magazine pages, sewing cotton and a needle, acrylic paint, fine brushes, a black calligraphy pen, 6B and 2B pencils for the contours on tracing paper and felt tip pens.
I first created the geisha face up that I have transferred onto textile from a color photocopy with Paradigm Maker. I decided to show how the figure could be simplified to basic lines that showed the contours of the face, equally Henry Moore and Barbara Hepworth do in their drawings, and then I drew these using graphite pencils onto tracing paper, that I then glued on the cloth and Image Maker. I then developed the same idea of contours on an Arab adult female wearing a burqa. I starting time did the rightmost drawing with calligraphy pen on tracing paper and I then photocopied it and colored it using reddish felt tip pens, as in the original image I found the garment was of a bright scarlet red. For the last of the three women wearing the burqa I decided to sew some of the contours using main colored threads. I so developed the three faces of a model from a magazine to complete my folio. I sewed some of the contours of the face on one every bit I did for the Arab adult female and then I created a negative epitome of the sewing on the one at the top by coloring with felt tip pens the spaces created past the threads I sewed.
I accept done the last face by cutting curved shapes into the photocopy and then layering below it an image cut from a mag of a field with defined lines in it. The contours of the landscape remind me of the creases of wearable that I accept been looking at with the photo that portrays the woman in a burqa.
The concluding piece I included is a photocopy printed onto acetate of the rear of the sewed model's face, taken against a light source and and so candy on the computer to increase contrast and saturation. I finalized my page by painting a pale turquoise groundwork and by adding thin white lines around the work to emphasize the thought of movement and to make the faces more than interesting.
I think the result of the page is curious because all the work seems to blend well together and creates a composition that is pleasing to the centre of who looks at my work, as the composition seems to guide the eye throughout the whole page in a certain direction. A strength of this page is the use of colour and texture that create a unique collage of patterns and all the effort and creativity I have put into it, as it took me a lot of fourth dimension to develop all the pieces on the page. If I could amend my work further, I would make the contours on the geisha even more than precise and I would try top discover a way to make them stand up out more, and then that it would acquire more importance on the page.
I started developing this page past looking at a photo of a model with a butterfly on her mouth and some lithographs by Barnett Newman, especially Untitled (The Weep), that I decided to really include on my page to show my starting point and the influences I have had to make this projection come to life. I saw some lithographs by Barnett Newman at the Pollock and the Irascibles Exhibition in Milan and they interested me particularly. To complete this page I used a plastic sheet, an carving tool, screen printing ink, an etching printing, heavyweight crude newspaper, and prints of the original photo, photocopier, and mucilage sticks and hot glue. I start looked at Barnett Newman's lithographs and they interested me and their texture and they arose an eternal incertitude in me: "Which line came first, and which followed second?" I etched upon a canvass of plastic with an etching tool the photo of the model and I afterwards printed some images under the etching printing on heavyweight paper using screen printing ink. At the beginning I was not pleased with the effect, considering I expected the lines of the face to be more divers, whereas on the bulk of the prints they were quite abstract. The prints washed with screen printing ink are the first full black and white on the summit correct of the folio and the bottom left face up.
I decided to overlap some etchings onto some photocopies of the original image using a photocopier. I accept been very pleased with this consequence, equally information technology shows through some transparencies the original idea behind all of my work. I also included on the folio some pieces torn out from a photo of the lithograph Untitled (The Weep) by Barnett Newman, in order to show where I got my inspiration. I finally decided to mountain the original etching plate on the page overlapping it with a print to show where all of this started from, and too to introduce once again this theme of transparencies that I accept developed in this and other pages.
One force I can see in this folio is the interesting utilize of color, especially in the opposition between black and white and color and too the constant apply of overlapping that aims to show a page composed by many layers, connecting myself to the work process applied by Newman. If I could improve this folio I would try and use more than types of surfaces to print on and as well unlike colors of ink, in lodge to achieve a furthermore interesting effect.
The fold-out department of the page contains details of three collages that I created in A2 size with torn pieces of the etchings I fabricated and famous paintings by Georges Seurat and Sigmar Polke. I selected details of the collages for this section and accept explored them in a tactile way, focusing on textures, shapes and colors. I used details from the collages mentioned, fabric, paradigm maker, photocopies, needle and colored thread, copper embossing foil, a biro pen, zippers, fibre mesh, watercolors, acrylics, hot mucilage, PVA gum and a mucilage stick. On the exterior I included details in the tones of blue and yellow-green. I embossed a detail of the collages using embossing foil (every bit I also did inside the sheet) and I have included three prototype-maker details, which I inserted both in blackness and white color. Nearly the image maker on the bottom left, in that location is a detail of the original collage cut up and sewed back together with colored thread.
The other side of the fold-out section follows a more than circuitous development. I inserted fibre mesh, embossings and painted material to add a sense of texture to the page. On some parts I used 3D acrylic to create three-dimensional lines and dots. I besides included two zippers that I believe represent well the idea of 'tearing things autonomously and putting them back together' that I have embraced in the whole page.
I believe a strength of this department is the creative use of mixed media and the experimentation that I have carried out, which shows also the same idea in unlike perspectives. If I could meliorate this page even further I would consider inserting a wider multifariousness of details and textures.
I started the evolution of this page by looking at a photograph I took of a statue in Rome. A bird casually sat on its head, allowing me to capture the moment and to utilise this as a source of inspiration and a link with the page I made using Gary Hume'south piece of work Beggin For It and The Bird. To develop this page I used a plastic canvas, an etching tool, screen printing ink, an etching press, heavyweight crude paper, textured materials, watercolors, a print of the original photo, glue sticks and hot mucilage. I also used textile as a printing surface and acrylic and the dorsum of a brush for the dots I accept included to complete the page where information technology looked likewise "empty".
I started etching the figure of the statue in in the plastic sheet, and, as I printed information technology for the first time, I was very pleased with the result considering the lines were very defined and made a clear picture. As I felt more confident, I decided to print on many surfaces, such every bit material, felt, wallpaper, fibre mesh and sugar paper, but in the end I decided that the results on fabric were the best and that these were the strongest ones to include. Another experiment I did was to print using textured surfaces, and these allowed me to obtain the print on the right of the blackness and white photo on the lesser left. I then colored the etchings with watercolors both on textile and paper.
I looked at ii artists to complete this projection, and I have included photos of their work on the page to show a direct comparing (Perry is on the bottom-right corner, while Lichtenstein is torn on the tiptop-left corner of the sheet): Grayson Perry and Roy Lichtenstein. I accept grasped the traits of the person, the lines and the shapes from Perry (in fact I also shaped a print like a vase, every bit the creative person is an splendid ceramist), and I kept Lichtenstein's flat and vibrant colors, the brushstrokes and the iconic dots, that I recreated using acrylic and the back of a brush.
I am extremely pleased with this page, especially because of the references I fabricated to the artists and for the use of overlapping and colour, which are surely the fulcrum of the work. I institute information technology challenging though to compose the folio, as I had many elements to choose from and I wanted to adapt them harmonically on the infinite available. If I could improve this page furthermore, I would include more care in the watercolor layers and I would besides try to blend more the artist work into mine.
IGCSE Last Outcome Etchings
As Sigmar Polke said:
There has to exist an element of risk-taking for me in my work.
For my IGCSE final consequence I decided to produce a series of etchings to emphasize and highlight once again two master aspects that I take considered throughout my Coursework portfolio: repetition (every bit my intention was always to produce pieces that were either related or worked into in different ways) and experimentation (as I tried to combine many techniques and I followed a 'trial and fault' process to complete my etchings).
I decided to suit my etchings in pairs. The first, Surreal Dream, aims to show a distorted and surreal reality where people and landscapes alloy together and compare their shapes, colours and lines, creating the interesting effect of movement and depth.
The second pair, Dotted Reclining Woman, has a more mathematical and rational approach, where shapes and outlines become the decorative elements of the pieces. The comparison of an etching done on textile and i done on newspaper is as well, in my opinion, a notable feature of the composition.
Third in sequence, Polke Dots in Wonderland, aims to establish a rather straight connexion with Sigmar Polke's 1971 piece named Alice in Wonderland, where white dots and a rather unusual background become the contrasting elements of the finely drawn white images that appear and disappear on their own.
The fourth limerick, Brushstrokes, has a quite experimental arroyo that tries to apply color in a new and artistic fashion, either by filling in with watercolors some lines created with excess ink on the etching plate or melting wax crayons directly on the piece of work. Also, the line suddenly striking through the first impress creates a very strong and powerful visual consequence.
The Faces of Color is what can be considered the height of the projection, equally the etchings larn more importance as the amount of work done upon them increases. The multiple exposure of the sculptures on the beginning etching, created by myself, enriches the composition and continues the blue was done in a higher place on the fabric. The bottom etching instead has fabrics photocopied onto information technology, creating an appealing upshot of transparencies.
Last in the final outcome, Layered Figures is a diptych of digitally created images that contains the etching of the 2d composition overlapping photos taken by me, which creates a high level of contrast between the colorful backgrounds and the nighttime figures added on the work.
Did you savor viewing this Enrico's Coursework project? Yous may also wish to view Enrico'south A* IGCSE Art Examination.
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