Artist research designed on Adobe Illustrator 

Using the National Geographic magazine I produced a practice attempt at using Francesca Pastine's method which is demonstrated above. From producing this piece I have discovered how delicate a magazine is to cut into, this has prepared me for when I produce my final copy.

In my sketchbook I produced a page of notes of the steps I had taken in the process of producing my final outcome. This will be useful for future reference if I wish to come back to this method.

 The three pieces above are my final outcomes for my magazine art piece. From producing three outcomes I have been able to attempt different styles on each on them. I also found that my method improved as I continued producing outcome. My particular favorite is the middle self portrait one of myself, as I feel really working into the photographs left a nicer effect.

Maurizio Anzeri is an Italian artist, originally born in Loano in 1969. He now lives and works in London. Maurizio's method of work is very individual, he is known for searching through flea markets for old photographs. He then embroiders into the photographs extensively, like the piece I have displayed above. 

These are first hand photographs I have taken to respond to Maurizio Anzeri's work. I have hand sewn into each of the photographs individually and have arranged them together to create an overall outcome. I am pleased with the result, the abstract arrangement of work compliments the piece well and the different directions of thread creates new dimensions in the images.

Skeleton Body

Skeleton Body.

This photograph is from the 'Ever Magazine'. It was produced by a photographer called Pauline Darley, but what I am particularly interested in is the makeup artist Mademoiselle Mu, who painted the skeleton print on the model Clementine Levy. 

The almost perfect alignment between actual skeleton and the painted on skeleton is one of the factors which makes this piece so mesmerizing. This allows for when the model strikes a pose for the viewer to imagine where the bones would really be positioned.
This photograph collection has always stood out for me from the first time I came across it. I had always wanted to attempt to recreate this wonderful look, so when the opportunity arose in my project I couldn't wait to try it out. 

This is a photograph of me in the process of painting my friend in a similar style to Mademoiselle Mu. I enjoyed working in this different unconventional method, however it did prove difficult for me because of all the different gradients of the face which I was unfamiliar with. Also I used face paint to avoid harming my models face.  This involved building up a lot of layers in order to get an even complexion on her.

I am extremely pleased with the photograph's outcome. With the use of Adobe Photoshop I was able to use multiple filters and experiment in bringing attention to particular areas.








This is a photograph of my sketchbook.  These are the steps taken towards building up a oil painting of one of my photographs. Taking step-by-step photographs allows me to improve on future studies.

This is my final outcome to my response to the skeleton photographs. I have kept the body faded in a similar way to the photographs, this allowed for the bones to really stand out against the skin. I am pleased with the outcome of this piece particularly the grey scale area.