Fully skinned dogs - Stanley Bloye

Partially Skinned dog - Stanley Bloye

To make this image i got a picture of the image then coloured in a layer on top of it to make a more blotchy painted looking image then i burned and dodged it with different textures a bit, added a stroke and put a filter on top.

inspirational artists- frank auerbach

inspirational artists- Kevin Roche Artist

INSPIRATIONAL ARTISTS TO STUDY - Iain Andrews

Look at this fleshy and painterly image by Iain Andrews.
http://londonpainting.blogspot.com/

INSPIRATIONAL ARTISTS TO STUDY -Charlotte Bracegirdle

Charlotte bracegirdle is a London based artist

INSPIRATIONAL ARTISTS TO STUDY -Jen Hesse

Jen Hesse painting “Tell me!”

paintings, influenced by digital distorted satellite signals, 2010-2011

INSPIRATIONAL ARTISTS TO STUDY-SIMON BIRCH

Simon Birch portrait distorted painting oil 

INSPIRATIONAL ARTISTS TO STUDY

This is  a self portrait by Maria Mazzola. The distorted portrait  was painted in front of a Convex Mirror in 1524.

INTERESTING PORTRAITS FOR INSPIRATION

THESE WEBSITES ARE AMAZING. TAKE A LOOK!!!


http://vi.sualize.us/tag/portrait/


http://vi.sualize.us/karle/collage/

Interesting artists that use ideas of flesh/ face

bert simons

http://www.helmo.fr/projects/betes-de-mode/

Hands

Natasha Kirke

camilla Yavas

Stanley Bloye

Catherine

Laura Vitelli, Baby In Utero

I opened up one of the photos of the marbling work we did last week and realised its' potential, so I decided to copy out one of my sketches of a baby in utero from my sketchbook in photoshop over it using a graphics tablet, first sketching out a rough layer and then tracing over it in neat with another layer. I'm not sure if I should add colour to the baby or not.

Skull, Zoe Jackson

 

Here is an edited close up of the A2 poster I created from the images I had created at the Huntarian Museum yesterday. The skull was of a young child exposing both milk teeth and adult teeth. The skull is the central image and also my favourite part of the A2 poster and so this is why I decided to transfer this onto photoshop. The original image was made from pens and black ink, also with some blue ink splashed in the background. When reworking this piece digitally I began by editing the contrast and making the skull stand out. One of the most effective tools I used was the highlight tool, which created a ring of 'light' around the skull making it seem almost angelic quite ironically. 

Zoe

Skeleton Embrace! (Natasha Kirke)

This is an alteration in Photoshop of a collage I did in class using glass, wire, pieces of paper, polystyrene (from a broken cup), ink, tissue and my drawings from the Hunterian Museum. The original was alot clearer and alot more colourful...and gory! However, despite its lack of definable forms I quite like the alteration, I like the fact only the skeleton (which is actually one skeleton with two heads, inspired by the multi-limbed exibits at the museum but looks like two skeletons hugging) and the jars are clear, it makes the collage more mysterious and perhaps frightening - a bit like the specimins in the jars! To create the dark effect on the painting I used a 'filter' called 'Torn Edges'. At first I was looking through the effects to see which one worked best then when I had the chosen effect I adjusted the Image Balance, Smoothness and Contrast.

Anny's.

This is my 'layered' piece that I created by sticking down newspaper cuts to create an interesting background. I then drew on my original study of a baby in a jar- from the museum- and worked into it with a black marker pen to make the picture stand out and not sink into the busy background. I wanted the newspaper to look older and worn so I then painted the paper with linseed and stand oil which took AGES to dry and made every tall person (who wasn't looking where they were going) hair greasy,but left it looking the way that I'd hoped.
I edited my photo of my work on photoshop and changed to saturation and contast, i then played around with the effects and ended up with this ^ which reminded me of the work by Paul Klee as he creates pieces of work which looks very soft and reminds me of woven fabric.
LOVE ANNA

Girl & Fruit

heidi wootton meat layer drawing.

This is the layerd meat peice i did, i was very experemental with this peice, underneath is a continous drawing of meat. and for the meat on the trasing paper i used highlighters and felttips and then i merged the colours together and made a dripping effect by spraying the tracing paper with hairspray. i tried to textureise this picture by usng differnt coulours of highligter.

The Birds

The original image was a collage of one huge plain bird at the top and two distorted ones made out of glass and broken mirror at the bottom. I altered the dark abackground to make the overall picture seem more colourful. The aim was to make the bird look like it was eating or comsuming all of the painting below it.

Squarey Poster

Born this way

I think this turned out to be quite successful; better than i imagined. I used two different pictures to make one body. The big skull is actually about a man who had a disease that caused his head to appear larger than a normal ones and the body is of a newly born baby in the tummy. My whole point of this work was to show that  this person was born that way.
The reason why the glass is layerd on the top is to show that some things should just be left the way it is which is impossible to fix.

my huntarian museum layer drawing :)

 I do quite like this piece, originally i had another layer on top of this which was a skull-  i spray painted on to tracing paper using masking tape as a stencil, however this covered up too much of this piece which i like by itself. I wish i could have thought about more ways to include layering.i like the compostion of this piece, i normally struggle with composition so this is quite an achievement. I think i will carry on with this piece. What i might do next i don't know. :)

Glowey Colour poster

Beth Crossley.

I initially created this piece with black oil re-creating some of the things that i seen in the hunterion museum.I then worked over this on a piece of tracing paper with newspaper, extracts of maps and a scribbled border effect. I then took this into photoshop where i exagerated the colours and auto levels.

Edit of Meat Watercolour, Zoe Jackson

 

I created this image with water soluble pens on tracing paper, following the lines I had previously created in a charcoal drawing of the 'meat platter'. I began by using water soluble pens, creating blocks of colour, which I later went over with a wet brush, allowing the colour to bleed. The image had dried crinkled on the tracing paper and so when it was photographed to be edited digitally it worked well in adding texture with the effects I added on Photoshop. I began by changing the brightness and contrast, followed by using the 'Ink Outlines' filter.

Zoe

Anna's traced meaty drawing.

Laura Vitelli, (pretend there's a title here)

This is something I did in my spare time a while ago, and today I got bored and cleaned it up on photoshop a bit.

Whaddya think?

Stanley Bloye-Red Girl

Stanley Bloye-Colourful Bannana

Apple and Onion

Hello, there! This is a still life of an apple and an onion by yours truely, Natasha Kirke. This piece was done using watercolours and crayons, though I cropped the picture and adjusted the brightness in Photoshop. Why such different materials? Well, I decided it would be interesting to do the entire still life with different materials. Not only would the textures be different but gives each fruit (or vegetable) a unique identity. Originally I was going to do more fruit with different materials but in my attempt to make the fruit realistic I ran out of time. If I could have continued the painting I would have probably done some of the fruit in pencil, charcoal, however I am pleased with the result - it's simple and affective, in my opininon.

Anneka's meat peice PART 2 BABY! ;)

Without the recent adjustments made on photo shop, my A1 scale of work literally looked like a block of different colours, which involved little meat detail of the meats features. By photo shopping my piece i decided to make it look as if it had been zoomed into the meat. Doing this I thought it made it different to my other pieces, considering I hadn't done this before. Even though you can hardly see that the painting is meat, the colours on the portrait help identify this. 

When doing this, I simply used different colour felt tips, and after went over it with a medium round sized paint brush to fill in the spaces. I decided to use this way instead of using the usual 'water colours' because it is more of an interesting idea, and also I wanted to experiment using different techniques. 

I didn\t really enjoy doing this  because I do not think it was as successful as my other flesh pieces, and did not include as much detail as it could of had. I think this may be because I used quite a large scale of paper, and found it hard to include the detail the detail which was on the meat. 

Claire Morgan, Taxidermy

Claire Morgan was born in Belfast in 1980. She currently lives and works in London.

"My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures. I feel as if they are somewhere between movement and stillness, and thus in possession of a certain energy.

Animals, birds and insects have been present in my recent sculptures, and I use suspense to create something akin to freeze frames. In some works, animals might appear to rest, fly or fall through other seemingly solid suspended forms. In other works, insects appear to fly in static formations. The evidence of gravity - or lack of it - inherent in these scenarios is what brings them to life, or death.

I feel a close connection with the natural world which I hope is evident in my work, but our clumsy, often destructive relationship with nature, and the 'artificial' world we have contrived for ourselves are of equal significance. Ultimately I find myself focussing on areas where the boundaries cannot be clearly defined.

The titles of the works are very important, and often make reference to historical or contemporary popular culture, words being appropriated from the titles of films or books, or phrases being manipulated through combination with the artwork. These connections often add a comedic element to the works, a sense of irony or bluntness that keeps them firmly rooted in my experience of the world that we humans inhabit. Though the phrases have a specific history, the jarring between the title and the form can bring a desirable ambiguity through intentionally creating confusion.

The processes involved in the work are laborious and there are thousands of individual elements involved, but clarity of form is of high importance. I do not wish the animals to provide a narrative, but rather to introduce an element of movement, or energy, or some sort of reality; animating or interacting with the larger architectural forms.

Drawing is important, and allows me to explore a different side of each idea. The processes involved in my blood drawings bring a growing degree of understanding of material and form. "

http://www.claire-morgan.co.uk/




Zoe

SO WHO'S LOOKING FORWARD TO SEEING DEAD BABIES IN JARS?

heidi wootton meat charcoal continuous line (2 mins) i think :)

This is a continious line drawing that I spent around two mins on it. In my opinion this drawing is quite successful, the composition is good, filling up the whole page which i normally have trouble with. We were supposed to make lots of different markings but i quite like the bold effect that this drawing has such as the serparation between the dark filled parts and the light empty parts. It creates a good sence of space.

Fruit^SwetaLimbu

 I really liked the fact that it was bold yet plain, so i cropped and zoomed it to make it more clear.

Klaudia. my fishy.

This is a fish's head that i created using ink and water soluble markers, mixed with water. It is A1 scale on cartrodge paper. I was pleased with the outcome of my work as i tried something new and created an image which lacked detail as i always find myself producing really deatailed work.

Camilla Yavas - Photoshop Meat

This is my second and last upload for today.The image is the same as before, the only difference is how it was edited. I prefer the end result to the previous one as this one looks cleaner and more slick.

Georgia M.T

This piece was based on a photocopy of a crab shell. The paper used is tracing paper, on which I drew the outline of the shell. I then used a sponge and black ink to create a base colour and focused on tone and shade by adding more black ink to certain areas. After my base had dried I used luminescent gold paint to highlight the areas of light tone.In photoshop I changed the colour levels and increased the saturation.

Zoe Jackson, Charcoal Life Drawing, Meat

This is one of the observational life drawings I had created of a tray of meat. I used charcoal as my medium on an A1 sized sheet of paper. I haven't previously experimented much with charcoal, and actually found it to be an interesting material to work with. It helped me to create varied textures; the smooth surface of the liver, and the rough texture of the gristle filled rougher cuts of meat. I hadn't worked on such a large scale before and struggle to spend such a long period of time (1 hour 15 minutes in this case) working on pieces and found myself quickly filling the spaces, being first to finish. I do prefer my quicker 5 minute pieces, for the rough quick  markings which seem to suit charcoal well.

I edited the picture on Photoshop. I firstly removed the background and made a soft blur around the edges, which worked well in contrast to the bold charcoal markings. I then edited the brightness and contrast, making the image which previously looked dark brighter and also bolder by increasing the contrast.

I then layered two other copies of the picture behind, both of bigger scales. I decreased the opacity of both, making them seem like a ghostly shadow. I think the idea of a ghostly shadow works well with the charcoal, the bold & shadowy markings it creates as well as the imagery of raw meat.

Stanley Bloye-Fruit

Catherine Miller

 

This image is a A1 observation drawing of a selection of meat, the original drawing was done by charcoal , however i have manitpulated the drawing to explore and distinguish the tonal areas and style of the piece. With this piece i struggled to add dark tonel areas and catch the shading of the meat to show the contrast of lighting and types of meat ;with encouragment to shade and use the charcoal to add abstract and dimensions to the piece.The contrast shows the lines and pattern the charcoal creates, using rough and soft shading.

Sweta Limbu, Charcoal Meat

This is an hour work of still life meat charcoal drawing. Honestly i didn't like any of my work, so i randomly chose this work as i put in quite alot of effort. This was actually a full page drawing but i chose to edit and crop it in photoshop to make it look better. As you may notice the big drawing in the front is more focused because i certainly liked the strokes and tones it sort of gives an effect which i like :). However im dissapointed with myself because I thought charcoal was also one of my tool but after drawing this, it didn't really seem like it.

Heidi Wootton, charcoal drawing of meat, 1 hour

heeeeey this is my charcoal drawing wich i did for around an hour, we were drawing raw meat which was plonked on a try infrount of us :) before we did this drawing we did some quick 1 - 5 min drawings so we could explore different textures without thinking about the detail too much, this meant we could add this to our detailed work. at first i wasnt really happy with the composition of this drawing, it didnt fill the page very well, however i edited it on photoshop and cut out a bit of the page and adjusted the lightness and the contrast, and now i think it works well. if i could do anything to improve this piece i would have added more detail and included more delicate strokes to emphasise the shininess of the meat, and to make it look more realistic over all.

Georgia Mulvaney-Thomerson

This lemon is a crop of a larger piece.For the piece I used a range of different mediums to explore colour and texture.I used yellow felt tip pens,oil pastels and watercolour pencils.I then used white chalk to make the inner layers stand out. Instead of water I painted with lemon juice as a base,this created interesting marks and helped to thin the paper.Finally I made cut outs with a stanley knife to create dimension. In photoshop,after I cropped my picture,I increased the saturation and light but took away some hue.