Top in the World: Stunning Self-Portraits by an A Level Art Student

Terminal Updated on January five, 2022

This outstanding Painting and Related Media projection was completed past Abby Hope Skinner while studying A Level Art and Pattern at the International School of Paphos, Republic of cyprus. Abby achieved 98% overall for A Level Art (100% for AS Art and Pattern) and was awarded Top in the World for the CIE June examinations, 2012. Her A2 Coursework project explores the theme 'Identity'. She submitted 9 x A1 sheets of preparatory piece of work, an A4 sketchbook and an A3 terminal slice.

Some of Abby's sketchbook pages are included in our new book: Outstanding High School Sketchbooks . This book has high-resolution images so that fine details and annotation are articulate, making it an excellent resource for students and schools. Larn more than!

The Student Art Guide regularly features exceptional high school Painting projects; it is rare that nosotros stumble across i that is such a valuable learning opportunity for both students and teachers equally this ane. Abby's project provides a clear sequence of development, personal responses and analysis of relevant artists. Her project is a comprehensive body of research, exploration and investigation of ideas – the result of a passionate, highly skilled pupil. We interviewed Abby to detect out more than: her informative responses, along with detailed images of her artwork can be found below.

These A Level Art sketchbook pages testify Abby'due south initial brainstorming and investigation into the theme 'Identity'. Mind maps and collages of photographs and other paper documents serve to collect, arrange and organise ideas.

Your project explores the theme of Identity. Talk me through why you selected this theme and which item aspects of identity yous explored.

Abby: I was able to choose any subject for my A Level Fine art examination.

The process that works for me, when deciding on a projection, is to start with a topic or style that interests me.

At the beginning, I'one thousand not concerned if I don't know where the topic will take me.

This flawless sketchbook page (so beautiful I had to overstate several sections!) contains an array of techniques and mediums, accompanied past thoughtful annotation: a superb example of A Level Art sketchbook presentation.

I would say that it's possible to start with whatsoever idea. I believe it'southward more how you develop the idea that counts. I decided to combine my involvement in portraiture with a graphic, abstruse style, which I take used in the by. I wanted to explore a graphic 'planar' fashion that I had developed prior to outset this project. I started to think virtually how abstraction can challenge assumptions and prejudgments. Abstruse art tin divide us from the 'known' and force us to see things afresh.

I began my preliminary work by abstracting the human being face into a graphic design. Information technology's possible to get bullheaded to the existent person by building a filter of our own 'images', and then (whether they be a family member or a stranger) nosotros prejudge that person. I wanted to explore ways of bringing awareness to this.

Combining artist research, assay of ideas, media exploration and the refining of techniques, Abby produces beautiful, comprehensive sketchbook pages.

In most cases, a project evolves, and, at some stage, there is a 'tipping betoken'. It's as if a particular theme or message materialises and encapsulates all you want to say.

I often come up to this through extensive research and/or experimentation. My A Level project evolved from 'Easily and Faces', to 'Prejudice', to 'Identity'. I finally narrowed this downwards to the theme of 'My Identity'. I believe it's essential to focus a project on a specific theme. 'Prejudice', as a topic, is very broad, and therefore the message can exist diluted, whereas, 'My Identity' is more personal and focused.

I beginning my projects with a broad area of research and so narrow my focus into a more specific, targeted theme. I feel, the more personal and specific a project is, the more emotionally connective it tends to be. For me, emotional connexion in fine art is ane of the principal requisites. In my opinion, it's this approach in fine art that's capable of changing or challenging a viewer'southward outlook.

This epitome shows sketchbook pages leading towards Abby's first A1 preparatory canvas, which contains three finished artwork. The sketchbook contains inquiry, experimentation, analysis and annotation; the prep sheets contain the finished pieces which arise out of this exploration.

Information technology is worth noting that Abby has separated her project into detached stages; each investigating different artists and different interpretations of her topic. The drove of sketchbook pages in a higher place atomic number 82 toward her second A1 prep sail (with enlarged artworks from this shown below).

These three A Level artworks are from the prep canvas to a higher place: indistinguishable compositions, each rendered with a dissimilar peel tone. Information technology is clear that Abby has an exceptional level of technical skill, likewise as confident treatment of media.

I think I had an underlying need to 'speak' nigh identity and my feelings of not belonging to whatever particular group. I am mixed-heritage and have lived abroad from most of my family since the age of 8. And, like most people, I've experience a certain amount of prejudice most 'who I am'. I decided to use symbols, such as masks, and different styles and forms of cocky-portrait to notice what best expressed my message.

The procedure was interesting, in that it revealed I primarily place myself as 'an Artist'.

Your A2 Art submission is exceptionally comprehensive, with carve up sub-projects leading towards the evolution of your last piece. Please describe how you approached and structured your Coursework project.

Abby: It was my responsibleness to devise my ain method of working, from idea to production. My teacher would check my progress every week, but I was encouraged to be self-reliant. I read and referred to the syllabus quite oftentimes. I also gleaned data from various websites, including the Student Art Guide.

Because I wasn't certain what was required to achieve a skillful course, I doubtable I over-compensated with the work. This had an upside and a downside. As a effect of working this way, I achieved a high marker. Simply my work-life balance was out of kilter, and the pressures were, at times, enormous.

Some students begin a projection with enthusiasm, simply are unable to maintain this for the duration of their project. Abby's A2 Coursework submission remains detailed and comprehensive throughout. Keeping to a consistent presentation style, Abby produces folio after page of beautiful visual and written investigation.

I continually pushed my project past conducting research, seeking out the crux of what I wanted to say in my art. I started with a bailiwick, establish a theme within that subject, and so settled on a final message. From then on, any enquiry and experimentation I did was directed by that message.

I think information technology's important to inquiry a variety of theoretical contexts in addition to artists and techniques. For instance, I drew inspiration from literature, music and philosophy. I notice this adds more depth to the bulletin.

I worked through the iii stages of the creative process – 'thought generation', 'research and experimentation' and 'production of the final slice'. This helped to form a consummate and rounded project.

This sequence of work shows 2 A Level sketchbook pages leading towards a vertical A1 prep sheet (enlarged particular shown to the right). Note the inclusion of innovative painting techniques combined with collage.

Hither, Abby begins to break abroad from more conventional painting and cartoon methods and begins to 'button the boundaries', incorporating contemporary approaches (such as the jigsaw pieces).This helps to demonstrate that she isn't afraid of taking risks and is a creative, innovative student.

Yous have selected an interesting range of relevant artist models – something many students find challenging. How did you go about selecting these artists and what guided your choices?

Abby: I think information technology's important to select an artist for a reason. Information technology can help if their work or life (or identity in my case) relates to your message.

I researched artists specialising in portraiture. I took inspiration from the artist, Frida Kahlo, who painted many cocky-portraits. I formed the stance, after analysing her piece of work and researching her life, that her art expressed her struggle to console a dualistic identity. I believe this was a result of her mixed-heritage.

In all cases, I attempted to interpret the artists' work I referenced and integrate their mode or message into my own work. I emulated styles, merely never directly copied. I referenced contemporary artists too as historical artists, which gave me a wide insight into a variety of methods, both traditional and modern. Researching 'unknown' contemporary artists, I believe, keeps the work relevant by revealing trends in mode, theme and topic.

Information technology's a expert idea to look at websites that host artist communities. These nowadays many dissimilar artistic styles. The artists often share a link to their personal blogs, where they may talk well-nigh their process or ideas.

Unfortunately, I was unable to come across any famous art first-hand, however, I visited a few galleries in Cyprus and was able to see the work of contemporary Cypriot artists. Information technology was beneficial to study art from a different civilization. Culture shifts an artist'south perspective. New symbols and means of expression are bachelor.

I contacted a local Cypriot creative person, Andreas Charalambides, whose work contains the recurring symbol, masks. Different interpretations can often lead to an expansion of your theme and idea.

In all forms of research and experimentation, the message was my guiding light.

These sketchbook pages and accompanying prep canvas show the development of ideas for a mask and photographic study. It is important to annotation that working in other artistic disciplines (such every bit sculpture and photography) can inject welcome variety into a Painting and Related Media project and can help inform and influence subsequent drawings and paintings (see below).

This section of Abby's A Level Art portfolio shows excellent reference to showtime-paw sources. Here she completes observational line drawings of still life items (relating to her identity as a young artist – pigment brushes, easels, artwork) bundled on a studio desk. The compositions communicate the essence of Abby'due south identity, without the inclusion of a typical cocky-portrait – an innovative manner of approaching a self-portrait.

This mixed media artwork combines photographs of Abby'south paintings (including her final A Level Fine art Coursework image, which was added towards the end of the class) with a drawn / painted table scene. Photographs of the existing artworks have been digitally manipulated using Adobe Photoshop (so that they appear to be angled away from the viewer – constant by rules of perspective – and and then printed, trimmed and seamlessly collaged into the piece of work. The initial drawing and painted ground tin exist seen in the images to the left.

I of the most striking aspects of your project is your high level of technical skill. Y'all have an impressive power to replicate forms, proportion and detail. What exercise you believe contributed to your ability in this area?

Abby: I attended art lessons exterior school, offset at the age of thirteen, for 4 years. We focused on producing work from still life, but mainly from photographs. This practice helped hone my skills in replicating forms and I was introduced to many unlike media.

As with anything, in order to become skilled, practice is primal. From a young historic period, I would behave a sketchbook everywhere – pens and paper were always with me. I did a prolific corporeality of drawings. My parents tell me I was always a perfectionist. Although I at present realise perfection is unattainable, I continue to strive for information technology. I tin always 'exercise ameliorate adjacent time'. My advice for artists who wish to meliorate their realism would be to practice observational drawings. Try to dispel what you think the 'tree' or the 'glass' you lot're cartoon looks like. Really see the positive and negative spaces. Everything is a shape. Learn your trade from the ground up. Mastering the technical skills in fine art gives you a foundation to build upon. Learn the bones drawing and painting principles, perspective, the grayness calibration, dead-layers, etc. Get beyond school, and learn about your tools and the grounds (paper, canvas, etc) available. Then add together your artistry and flair to these skills. Earn the right to be experimental and avant-garde by having a solid grounding in the fundamentals. No matter what the assumption about art is, I believe it's important to see yourself equally an artisan commencement and then an creative person.

This department of Abby's Coursework project shows first-mitt responses to subject thing (self-portraits of herself in the style of Frida Kahlo, posing with a true cat, domestic dog and plants). The photographs of her piece of work in progress are captivating (normally these are not required; in this example they provide stunning evidence that nether-drawings have been sketched entirely past hand, with proportions gauged by eye).

This accomplished painting demonstrates immaculate painting and drawing skill: a personal interpretation of a Frida Kahlo self-portrait.

What communication do you lot have for other loftier school Art students who hope to accomplish excellent grades?

Abby: Certain skills may come naturally to some more others, but, I think the attributes that make a keen creative person are persistence, focus, and commitment. In my view, artists with these attributes will soon surpass those who rely solely on natural talent. Natural talent is not plenty to make a successful artist. You accept to continually progress, amend, and push yourself.

Too many students retrieve studying Fine art is an 'easy choice'. They fall prey to the romantic prototype of the eccentric, care-free artist. History has shown that succeeding as an artist is difficult work. In about cases, an artist needs to be self-motivated and able to switch between a creative mind and a practical heed: empathetic, open-minded, perceptive, whilst organised and efficient.

In this A Level Art prep page, tight, analytical drawing contrasts with expressive, gestural mark-making inspired past portrait creative person Michael Shapcott.

This graphite pencil drawing demonstrates highly accurate representation of item, proportion and form. Perfectly equanimous, this self-portrait has an absorbing gaze and a well positioned vertical line of the paint brush.

Although virtually people see it every bit an escape from academic piece of work, I think the enquiry and the organisation involved in producing a slice of art requires a degree of bookish mindset. I retrieve my interest in Literature, as well as other academic subjects, has benefitted my work.

My all-time advice would exist to make what you lot exercise relevant, emotionally connective, original and technically adept. That'due south what I proceed in mind when I'm creating a slice of art.

Ane of the artists I interviewed for my A Level Art projection advised me to create work that 'speaks virtually the world around us'. So, make your work electric current and attainable for mod audiences. Don't become stuck in the by, unless the past is relevant to y'all today. Most of all, have an opinion on your world, and so go and limited it through your art!

With meticulous organisation, Abby works towards her final piece. This sequence of sketchbook pages shows a self portrait that brings together ideas from her earlier piece of work.

Abby'south final slice is A3 in size, integrating realism with abstruse elements. The work is painted in acrylic, over a detailed, exquisite, graphite underdrawing.

Abby Hope Skinner is a talent to lookout. She has recently finished her Foundation Year in the United kingdom of great britain and northern ireland, where she was awarded a Distinction and the Master's Laurels for 'Best in Show' for her 2013 Summer Exhibition.

Nosotros volition feature more of Abby's exceptional high school Fine art projects in the months to come. If you lot constitute this Art project helpful, please share it using the social buttons below!

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for vii years, responsible for the course pattern and assessment of pupil work in 2 high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (Start Course Honours) and a Graduate Diploma of Education. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Source: https://www.studentartguide.com/featured/top-in-world-self-portraiture

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