Framing Linear Drawings for the Exhibit

I had a discussion with Richard regarding my drawings and how they would be presented. Because of the way the drawings have been done, I knew they would look really effective in white frames which luckily were being used as part of displaying work for the exhibit.
We looked at some existing frames that were already in the studio to get an idea of how my drawings would look.
Jo and Jamie would at some point be making a trip to purchase more frames for everyone’s work. Initially I had asked for 3 A3 frames. Richard pointed out that A2 would actually be more effective, then the image would not look squashed up in the frame. I measured an existing frame which was perfect for my drawings. It measured 16.5 Inches across by 20.5 inches.

Two students very kindly went out to purchase all the frames for everyone. A small space in the studio had been kept closed off for students to prepare work that needed to go in frames. Then it would be protected and not at risk of being damaged whilst it was being framed.
I used this space when the frames were available.

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Before I put the drawings in the frames I made sure to wipe the glass first because there were little bits of dust on and these showed up quite noticeably on the glass.

Luckily the frames came with mounts. These really added to the effect when the drawings were in the frames. My friend Georgia assisted me whilst I framed all three of my drawings so I knew that they were in the correct position.


When they were all framed and put together the drawings looked even better. I was really happy with the outcome and my tutors were really positive and excited about how they looked and how well they would go in the exhibit alongside my paintings of Rhea.


Along with my tutors we thought they would look best with the two drawings of Rhea on the outside and Yvette in the middle.

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Because of how Rhea is positioned in the drawings it leads your eyes across each drawing and encircles Yvette in the middle which works really well.


Preparing The End of Year Show

Everyone in the Foundation course had to get suck in and help prepare the studio in time for hanging everyone’s work. I managed to get some photos of this taking place.
The studio looked completely different when it had been cleared. All the tables had to be moved out. Any work which was not being hung or included in assessment had to be taken home.
The room had be swept clean so that the cleaners could come in over half term and give the studio floor a proper clean.
Large white boards were put up all around the room so that work could be hung up.
All of these boards needed sanding down and painting.

Some of us also had to make a journey to the church in the center of town to bring back work  which had recently been displayed for an exhibit by tutors and other students.

I managed to help with some of the painting and covering some of the center of the boards where they join to make them look tidier and more professional.


Jo and Jamie had to have a lot of discussions with students where their work would look best when it was displayed.
You realise how much work goes in to setting up and preparing an end of year show.


It was nice to be able to do this as it gave everyone a break from all the practical work which had taken place over the last few weeks in time for the end of term. It was great to see the room making a transition from a busy work place full of students doing all their work to a clean and professional looking exhibit space.
It takes a lot of hard work and preparation to achieve what the tutors imagine in their minds as to how the exhibit should look.

It shows you also how important it is to be patient and also understanding of certain decisions what need to be made with regards to work being hung and how we all need to co-operate and work together.

Preparing Work For Assessment and The Exhibit

Three Paintings of Rhea on Canvas

When I started Unit 7, I had in mind ideas I wanted to develop to achieve the work for the end of year show. What I have ended up in doing is not actually what I had originally planned. This just shows you can’t plan everything and it is best to just develop ideas as you go along.
My Fine Art tutor Richard along with my other tutors were always very impressed with my paintings of Rhea.


I think the composition of Rhea in the paintings is what is most appealing about them. They are unconventional this is what I wanted to achieve when I did them. It is all about the body and the positioning. So it was not important to see Rhea’s face and I think it makes them more interesting that you actually can’t see her face.

I did have to tidy up the paintings slightly before they were ready for hanging in the studio. Small areas of the background just needed editing as it looked a little bit untidy. The outsides of the canvas which would be seen when hung needed covering too. Initially I wanted to paint them black. I thought this would make the stand out more as the colours on the canvas’ are very light. Both Sally and Richard advised me to paint them white as it is a cleaner more professional finish. Also, because everything is hung on white walls it would also compliment the canvas’ to have a white edge. This made a lot of sense and the white did look more effective.

When I started the paintings of Rhea I had never planned for them to be displayed as part of the end of year show. So when it was decided that they would go in the exhibit I was really pleased.

Three Linear Drawings

When I had completed my paintings of Rhea I started to imagine what I could do to compliment them more.
I had done a lot of painting and was keen to do some sketches and drawing. One of my tutors Steve was able to get me some really good quality paper called ‘Fabriano’
It is really think paper and ideal for what I wanted to achieve.
I had decided to do some linear drawings of Rhea as a contrast to the paintings I had done. I also really wanted to do one of Yvette too as I was disappointed with the sketch of her I had done so wanted to try a different approach.

I was so happy with the work when I had completed the drawings.
I got great, positive feedback from my tutors about them and was so pleased when I was able to include them in my collection of work in the exhibit.


Large Oil Painting of Yvette

When I started my oil painting of Yvette I had planned to do three of her all together. I had pictured it in my head of how I wanted them to look and I was fully prepared to have three large oil paintings complete in time for the end of term. I anticipated each one would take about a week each which would take me up to half term.
I was really disappointed at first when I realised that it just wasn’t going to happen. I think because I was not familiar with oil paint the painting took so much longer. I was quite frustrated at one point because in my mind I had planned to produce more work. So in a way I felt like I wasn’t achieving what I originally thought I could. So to me this was a big disappointment.
When I was in to the second week and still doing my first canvas of Yvette I knew there was not enough time to complete three. This was down to my job outside of college which only allowed me to come in to college three days instead of five and also because of the oil paints which were more challenging than I had thought they would be.
I spoke to Richard about my concerns and he assured me that doing one quality painting is so much better than rushing trying to get more done.
I did feel better after speaking to Richard and accepted that realistically I would only be doing one large oil painting for my FMP work.
In all it took me 9 colleges days to complete the painting.

IMG_1759 I am really pleased with how it looks and feel like I really did put a lot of effort in to it.
My tutors advised me, even though this was a good piece of work, it didn’t quite fit with my three paintings of Rhea and the linear drawings.
I completely agreed and knew exactly where my tutors were coming from. I understood that the exhibit had to look as impactful and impressive as possible.
I was really keen to keep my painting of Yvette in the exhibit because I felt that the work and time which I put in was important and this would show this by it being displayed. I was more than happy for it to be hung away from the other  pieces of my work which was being displayed elsewhere. And I was really relieved and grateful that I was able to keep it in the end of year show.

Photographing Yvette

My tutor Sally put me in touch with a lovely lady called Yvette. Yvette is very much into the fitness lifestyle and has been since she was young. She has a fantastic muscular physique which was perfect for my research. She was very kind as to let me take photos of her. We did plan to go out somewhere and get some good shots outdoors, but because of both our busy schedules this was unable to happen. So we found the best option was to in fact go to where Yvette worked and take the images there.
This worked out fine and I was able to get the shots I wanted.
Yvette has had quite a lot of photographs taken of her in the past and felt more than comfortable letting me photograph her. She, like Rhea, was very happy to pose in certain positions that accompanied my ideas and previous sketchbook ideas.
The following images are all form the one session I had with Yvette.
We had planned to meet up again to get even more shots but again, because of both of our schedules this unfortunately didn’t happen again. However, from the images I got of Yvette I was able to create some strong  practical work and develop my sketchbook work and ideas.6 1 2 3 4 5 IMG_8845 IMG_8846 IMG_8847 IMG_8848 IMG_8849 IMG_8850 IMG_8851 IMG_8855 IMG_8856 IMG_8857 IMG_8858 IMG_8859 IMG_8860 IMG_8861 IMG_8844 IMG_8841 IMG_8842 IMG_8843 IMG_8852 IMG_8853 IMG_8854  IMG_8835 IMG_8836 IMG_8837 IMG_8838 IMG_8839 IMG_8840

Yvette has an amazing physique as I am really happy with the images I was able to get of her. I was so grateful to her because I was able to get some really good ideas for my sketchbook and develop these ideas into work for my FMP.

Photographing Rhea

I was able to take photographs of a fellow foundation student to help me with my FMP work. Rhea very kindly posed for me using a special photography suit and also using college camera equipment.
My tutor Jo helped me set up the equipment and get the lighting correct. I wanted enough light on Rhea but also I wanted to be able to see shadow too. Shadow is very important when painting especially as it helps you create the image more accurately.

The following the photos are all from the one shoot which I did with Rhea.

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I was able to put Rhea into specific poses which I felt were more interesting than your classic poses. I want to show more motion in the images I would be creating fro the photos I took. Rhea was a very co-operative model and she was really patient and also had some good idea which helped me when I was taking the photos.
I was really grateful Rhea let me take these pictures because I thought that it was really important that I use my own photographs for my FMP work. I got a great range of photos from Rhea and from these was able to create some great ideas in my sketchbook and eventually take those ideas and transfer them into canvas’ using acrylic and also into some linear drawings.


Initially I will be conducting a lot of research.
My preliminary research will begin with historical art and looking at how the body was portrayed and rendered by different artists of that era.
The Italian Renaissance saw the rise of a new era of art and I will look closely at this and how it seemed most artists had an underlying sexual theme running through their work.
Subtle hints suggested a sexual theme throughout the arts and it saw an innovative and brave move by the artists themselves.
Looking back through historical art will help me greatly in developing my own ideas and seeing how the human figure was seen compared to now.
I will also compare the work of the artists in terms of how they presented their work and how it reflected on their own personal lives.