Unit 12 Live Brief; Omnipotent Oil Painting

During the afternoon of the 8/12/2016-I was tasked with producing an oil painting on an A2 stretched board-from a secondary image that was pre collected and printed in monochrome and in A5. I felt that as this was a reference image, I didn't need to go additional lengths such as A4 and full colour.

After a short explanation of the media, we were using, by the tutor; with the vital elements spoken of, regarding the nature of oil paints, how to correctly dispose of them and their properties as a medium and how the paint would alter the surface it was applied to.

A completely new medium to me, oil paint was exciting as it was unfamiliar. And evidenced in both the completion of a successful piece and my through enjoyment of using oil paint, its safe to say, that I am delighted to have used this medium and proud of what resulted in the application of it.

Now oil paints are very different from typical medias such as acrylic-which are applied flat in solid colour and dry swiftly. Oils may never dry fully-so in order to preserve a piece done in oils-one must apply a glass case over the piece. When working with oils, one uses the piece as part palette-i.e. paint is mixed mostly on the canvas- as one works-rather than in a separate palette. Which is a disposable cardboard one for oils.

More importantly-oil and water do not mix-so the standard process of cleaning brushes and plastic palettes with soap and water, and washing the contents down the sink-is not a suitable cleaning process for oil paints. And the typical water pot is replaced with a commercial vegetable or sunflower oil when rising ones oil painting bushes. Noting that there are separate and different shaped brushed used when painting with oils.

When disposing of oil paints, one disposes of the cardboard palette straight into the bin, and the murky oil in the cup-soak it up the liquid as much as possible to do so, with tissue-and dispose of this is the bin. Plastic palettes aren't used with oils, as the shiny smooth surface of the plastic means that the paint would slide off, in a manner that resembles a raw oily egg, sliding with lubricated ease, down a polished marble column.

In terms of the application of oil paints, one applies them in a impasto like fashion and with texture and relief based gestures. As evidenced in the image below, this is how I applied my oils in a mannerism that spoke of a expressive gestures. When the paint is applied to the non primed paper-which is something we didn't have time to do-it soaks through the sheet leaving a semi transparent film-which closely resembles the result of greasy food left to sit above thin cardboard containers.

The piece below is an A2 oil painting replica of a secondary research image from my Pinterest board. Before applying the paint  I drew a basic and light outline of the image-as a guide for when it came, the application of my oils. Once my outline was complete- I applied a thin layer of red paint-in the suited fashion for acrylic paint-one I had been corrected that I was applying oil in the fashion more for acrylics-which is perfectly acceptable considering I had never used oils before.

With an adjustment of my process, I went and applied scarlet red and bright red in a gestural impasto like manner, with spots oil white, black and extra oil placed in various areas to add tint and shade as well as a an impression that the paint was gritty and unpleasant-dripping and running down the paper-the way blood trickles down, the inside of a woman's thighs during menstruation.

The reflection in this painting speak to me, that both the process of painting this image and a woman's life process is not smooth nor attractive- it a bloody and compulsive process.

I am most pleased with the overall outcome of this piece because it provides a grim and truthful reflection of the sufferings of being biologically female. From producing this piece-I feel that I am superbly confident when using oils-despite my application, needing evolutionary development.

Unit 12 Live Brief; Inspirational Mood Board

As part of the submission checklist for this project, I was required to complete an A2 mood board of secondary research that was both inspirational and interpretive to me as an individual. Seeking a higher aspirational goal-combined with a Pinterest board of nearly triple figures-I decide to double that required size-to A1. The images for this project were collected from the Pinterest site, and pinned to a board on my own wall.

With that in mind, I stuck 2 A2 sheets together and got to quickly sketching a huge silhouette outline of a heavily expectant mother, my feminist twist on this, is that I would fill the inside of this outline with images that represented my choice to be a childless woman.
The intention I had in mind for this mood board, is that I would provide me with many, many  inspirational ideas that related to my interpretation of the project.  

Now it did take MUCH longer than anticipated to construct this outline.-around 4 hours almost, and on reflection I should've factored in this time constraint.

Once I had successfully drawn this outline, it was time then to fill in the centre-with more than the single anticipated trip to the printer required. (After the first trip, I had ran out of content and had to return back to a PC, for a further two collections for extra content)

From an overall perspective of the sheet, I am hugely proud of the way it has turned out. When I first constructed the rough outline it looked messy and unsightly, but those negative thoughts swiftly evaporated as the sheet became more and more layered, and the empty space, generously filled.

Reflecting on this completing sheet, I feel that I am more confident about my interpretive route, and with much stronger ideas about the whole individual approach to the project.

Unit 12 Live Brief Contextual; Kurt Schwitters Research Sheets

Rather than complete two individual sheets, on two different artists, I have decided to two sheets of two different pieces by the same artist. Schwitters work fascinates and intrigues me so much so.

Sheet number one, is a mixed media contextual study, of the sculpture entitled Chicken & Egg, which was completed in 1946. Sheet number two is also a mixed media
contextual study, of the sculpture entitled Mother & Egg, which was completed over the years 1945-7.

 The sheets were completed as a method of exploring the work of another artist who overserved the topic, which I am currently in the process of interpreting. The sheets were also completed an a visual analysis of Schwitters style of work.

When completing these sheets, I first sketched out the a guidance outline. From these guidance outlines I then applied Paper Mache, paper and acrylic for the first sheet and green wool, black sugar and paper tissue collaged and cardboard-both corrugated and un-corrugated cardboard for the second sheet.

Noting that on this second sheet -I gave it a personal twist-by contrasting the original sculptures colours. Where the sculpture was white-I collaged black, where the sculpture was red-I applied green wool as textured relief. The studies were produced from images printed form the Tate website. This colour twist was a visual element that I felt was the most effective, as well a highly successful one. The cardboard boarder on two of the four sides of the second study, were because I felt that the sheet wasn't finished without those.

I feel that the first study was one I was most pleased with in terms of presentation standards. And the second sheet, is the one that I could improve-from a presentation perspective.

From completing these two sheets I feel that I have developed my abilities in the production of relief and collage based abstract works. And to build upon these works, I have produced a critical analysis of a piece of Schwitters work-in the format of a blog entry, and furtherly explored a second artist in this blogged format. As well as this, both artist have researched and Harvard referenced artist information, that gives an insight into each artist.

Unit 12 Live Brief. Completed Questionnaire Link

A link to complete the completed questionnaire;

Take part in my online survey!

https://kwiksurveys.com/s/gCCOEFCi

Unit 12 Live Brief. Artist Profile #2 Kurt Schwitters

Kurt Schwitters-1887–1948

Involved serval genres and medias. Including the post-impressionist, expressionist, cubism, modernism, constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. In terms of his work, I hold Schwitters work in high admiration  because of its minimalist and abstract nature. Despite being an abstract piece the message of the piece isn't lost in its sculptural translation.

The subject matter of the piece below is motherhood, and I presume that the subject matter has been selected as a concept of interest, rather than a statement of Schwitters social, ethical or moral concerns. Schwitters has interpreted the topic in an abstract-minimalist fashion. I believe that in this sculpture, uses symbolism and has hidden meanings within the sculptures content.  

Schwitters was suggesting implications that motherhood itself, is an abstract concept. The primary symbolism associated with the phrase "motherhood" would be an egg cradled in the palm of the mother-implying that this is a new life is in her hands and consequently she is in control and responsible for such.

The sculpture has been arranged on a pedestal and favours a position, that is towards the left hand side. Schwitters has selected a mixture of a primary and contrasting colour scheme. The contrast between the black pedestal and the yellow of the sculpture is an effective clash of hues. I feel that the black and red in this piece are the most dominantly significant. This piece has a combination of curved and straight angular lines.

As this is a piece without a summary on the Tate website and the caption merely states that it is  a "Mixed Media" there is very little background, in terms of the materials, process and tools applied, that one can gather. Anything I can suggest in terms of the process involved, is all hypothetical with no evidence to back such up. One presumes that artist would have began with a design, developed those designs into maquettes, and from this, produced a skeleton like frame for the piece, and proceeded to construct around it. 

When observing this work, one contemplates a sense of gratitude, for the process motherhood. The sculpture feels quiet and balanced. There is a quiet maternal feels about this sculpture, the aura of a maternal and responsible nature, echoes off the sculpture, but doesn't present itself directly, in a graphic form of a uncomfortable nature. I would like to presume that this sculpture-would also be suitable for the sort of person that was attempting to conceive children.

Mother & Egg, 1945-7, Mixed Media

Unit 12; Live Brief Bibliography List

Artist Information References:

Rogallerycom. 2017. Rogallerycom. [Online]. [6 January 2017]. Available from: http://rogallery.com/sariano_jean/sariano-biography.html

In-text citation: (Rogallerycom, 2017)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274

In-text citation: (Tateorguk, 2016)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artists/kurt-schwitters-1912

In-text citation: (Tateorguk, 2016)

Theguardiancom. 2003. The Guardian. [Online]. [6 January 2017]. Available from: https://www.theguardian.com/news/2003/feb/24/guardianobituaries.arts

In-text citation: (Theguardiancom, 2003)

Image References:

Mutualartcom. 2017. Mutualartcom. [Online]. [6 January 2017]. Available from: https://www.mutualart.com/Artwork/By-Blue-Law/255F638E6E71F756

In-text citation: (Mutualartcom, 2017)

Rubylanecom. 2017. Ruby Lane. [Online]. [6 January 2017]. Available from: https://www.rubylane.com/item/375383-000783/Early-1970-Original-Jean-Sariano-Intaglio

In-text citation: (Rubylanecom, 2017)

Tate. 2017. Tate. [Online]. [6 January 2017]. Available from: http://www.tate.org.uk/art/artworks/jackson-painting-t00732

In-text citation: (Tate, 2017)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artworks/hepworth-mother-and-child-t06676

In-text citation: (Tateorguk, 2016)

Tateorguk. 2016. Tate. [Online]. [29 November 2016]. Available from: http://www.tate.org.uk/art/artworks/schwitters-mother-and-egg-l01737

In-text citation: (Tateorguk, 2016)

Tate. 2016. Tate. [Online]. [4 December 2016]. Available from: http://www.tate.org.uk/art/artworks/hepworth-torso-t03128

In-text citation: (Tate, 2016)

Tate. 2016. Tate. [Online]. [4 December 2016]. Available from: http://www.tate.org.uk/art/artworks/schwitters-chicken-and-egg-l01738

In-text citation: (Tate, 2016)

Tate. 2017. Tate. [Online]. [6 January 2017]. Available from: http://www.tate.org.uk/art/artworks/bell-abstract-painting-t01935

In-text citation: (Tate, 2017)

Unit 12 Live Brief, Mother & Child Exhibition Review.

Evaluation of Shendi's Mother & Child Exhibit.

After well over a weeks overwhelming anticipation, yesterday evening at 4:00PM, I walked through the doors of the Civic, stepped into the lift and travelled up to the gallery, where I entered the environment where Shendi's exciting exhibit was being held. Ah, the benefits of being invited privately, the night before an exhibit opens its doors to the rest of society. Delightful, no? "Well, what are some of these benefits??" I hear you say, allow me to enlighten you...There's the peace and quiet, an air of privilege and sophistication is contained within the space, being surrounded by a few close individuals-family and friends-and guests-such as I.

Complimentary hot and cold drinks, were being served throughout the event-of which I indulged in myself(!) The evening served as a superb opportunity to collect some primary research content, without having to squeeze my way through flocks of half interested sheep. Not to mention that I could focus on photographing each piece from a variety of angles, ranging from macro and full sculpture shots. Without a stray limb or head in the way. There was the added bonus that the artist himself was there-in person!

From the perspective of layout, I feel that the exhibit was balanced and spacious-with the installation designer, giving great consideration into the matter, that viewers would actually want to take photos of Shendi's work, without the persistent concern of: "Oh, am I going to knock whatever is behind me over?"

The balance between wall mounted photographs being monochromatic and the sculptures being chromatic, is a refined and well combining contrast. Perhaps the developmental photographs were shot in black and white, because they reflect that they were taken during the construction process-and in comparison to the presently completed sculpture, these images are now a part of Shendi's artistic history-captured for an silent eternity being frozen in time.  

In terms of the sculptures themselves, I am practically head over heels for them. My reasons for this passionate infatuation is because, Shendi, has represented one of the most ancient concepts know to humanity in a colourful and abstract from. Yet he has not lost the messages each sculpture conveys-be it positive, neutral or negative, instead each sculpture is a powerful testament individual and multiple aspects of motherhood and the raising of offspring.

Also Shendi's work appeals to my feminist side-often in art mother hood is portrayed in sexual, graphic or fetishized forms and Shendi has interpreted motherhood in a way that doesn't objectify, graphically represent, or overly sexualise women as mothers. My hat goes off to you, good sir, for remembering that women in art, are not just limited to being objects, defined by their unjustified representation.

Unit 12 Live Brief Questionnaire Queries!

Questionnaire Queries! 

As part of my primary research, I have contended on completing a questionnaire which explores issues surrounding being a mother and a career woman. An analysis of each section, as well as the proposed questions can be found below...

A questionnaire to explore the connotations between motherhood/raising children and or being an artist/career woman.

The first section is designed to collect demographic data from the audience and explores whether the opinions of later sections, differ across various cultures/races/religions.

Section A:

1) Which ethnicity origin or racial category-do you feel-best describes yourself?
• White
• Black
• Mixed Race/Multiple ethnic groups
• Asian
• Other-please specify:

2) Which continent of the world do you live in?

• Asia
• Africa
• North America
• South America
• Antarctica
• Europe
• Australia

3) Are you part of a religion? 

• Yes
• No

4) If yes, then please select from the list below:

• Christianity
• Islam
• Hinduism
• Buddhism
• Sikhism
• Judaism
• Other: Please Specify

The second section is aimed at those who are for children, these questions are designed to gather information that would present data, for the section of individuals who desire children any format.

.

Section B:

For those who have children, are expecting or want children.

If any of these questions are not applicable, then please move on to the next section.

Do you/your partner;

1. Have children presently? Yes

• If so, then how many?

2. Expect to be having children? Yes

• If so, then how many?

3. Want children? Yes

• If so, then how many?

The third section is aimed at those who are not wanting to have children, these questions are designed to gather information that would present data, for the section of individuals who don't desire children any format.

Section C:

For those who do not have children, aren't expecting or don't want children. By choice or medical circumstance.

Do you/your partner;

1. Not want any children presently?

• Any reasons why?

2. Never want to have children?

• Any reasons why?

This fourth section is aimed at individuals opinions on various issues surrounding being a career woman, these questions are designed to gather information that would present data, for the opinions of individuals, and their own approaches to the issues above.

Section D
Issues regarding being career women.

What is/are your opinion(s) on the following?

1. Can a woman be both a mother and a career-woman?

2. Do you feel that women cannot be both a mother and a career women?

3. Do you feel that women have to choose between motherhood and a career?

4. Why do you think that the term “Career Woman” exists, but not “Career Man”?

5. Do you think an employer is more likely to hire a man than a women, because of the logic, that women are a “reproductive liability”? (Biologically male employees won't require maternity leave)

6. Is this employability approach right, in the working industry? (Any field)

7. Do you feel that there are any other issues regarding being career women?

-If yes then please describe them

This fifth section is aimed at individuals opinions on various issues surrounding being a woman. These questions are designed to gather information that would present data, for the opinions of individuals, and their own approaches to the issues above.

Section E:
Issues regarding being a mother.

What is/are your opinion(s) on the following statements?

1. Do you think that a woman's primary purpose is to have children?

2. Is a women's value in society, still measured by how many children she has?

3. How would you describe a woman, that chooses not have children by choice/preference?

4.Would that opinion change, if the same woman had a very personal or medical reason behind the choice?

How would you describe a woman, that chooses to have children by choice/preference?

Would your opinion change with the number of children, this woman had?

Do you feel that there are any other issues regarding being a motherhood?

-If yes then please describe them.

.

Unit 12 Live Brief. Pintrest Board Link

Below, you can find a link to the Pinterest board for this project.

Link: https://uk.pinterest.com/hardman0340/mother-child-feminist-interpretation/

Unit 12: Live Brief. Definition of Mother & Child

My Interpretation of Mother & Child

To me, the concept of mother and child is one of negative based association. Now I'm not demoralizing the process of conception, production and raising offspring. But rather how it relates to me, as a woman. In an age where we-as a society-are becoming much more acceptable and open to new ideas and perspectives, then why is it that, as a member of the female sex, that society presumes that I will have children of my own before I fall to " reproductive expiration".

This still a subtle objectification, that a women's body/reproductive system, is nothing more, than an non-stop incubator or production line, with a glass of milk and two raw eggs floating in the liquid most associated with motherhood. Neatly perched on a side table, labelled "the female mind".

And when I say that "I don't want to have children" that statement, results in me being an immediate target of aggressive criticism, from those who have-or who are expecting. Noting that not everyone one, reacts in such an unpleasant manner, the tolerant and open amongst us, understand that not everyone-capable of carrying offspring-wants to have children-and more importantly-that is perfectly acceptable and absolutely okay.

I would like to remark that I am most defiantly not a "Social Justice Warrior" or the foul stereotype that a modern feminist is a creature that demands female superiority. Feminism-to me-is about wanting equal rights, representation and treatment. Both in-and out-of the art world. No double standards or discrimination.

Giving myself a chance to defend my statement and my gender, my reasons for not wanting children are that we already have an overpopulation issue on this planet of ours. When members of our race no longer become of any good use, we toss them aside, swiftly make some more and neglect to acknowledge the elder generation existence altogether. Also considering, that reproduction isn't compulsive-after all, we aren't going through a second Bubonic Plague(!)

Additional reasons such as my sexual orientation, personal experiences, exist, but I feel that those reasons are too personal to document to complete strangers, after all...I am a private and introverted individual. Just because we house milk and eggs, doesn't mean we want to bake.

Unit 12 Live Brief Artist Profile #1 Dame Barbara Hepworth

Dame Barbara Hepworth-1903-75


Involved in the moments of Direct Carving, Abstraction-Création, Constructivism and Modernist. I approve of this artists because she is one of the very few female individuals that was able to achieve international notability and status within the art world. And that achievement is  hugely significant, made more so, considering that the art field at a decade ago-and to some extend- was a hugely male dominated field with the recognition awards and status symbols being entitled to men. Now that achievement is not only encouraging to me as a female art student, but also to myself as a feminist based artist.

The subject matter of the piece featured below, is a mother and her child. I am given he impression that the subject matter was selected as an exploratory approach to the concept of motherhood. Hepworth has interpreted the concept in an abstract and distorted from. One would wish to infer that Hepworth contemplated on presenting motherhood in this format because the whole process of being a mother-from conception to birth-is a complex process which varies for each participating individual. The abstract shape of the sculpture could have reflections in the concept that motherhood is not a straightforward process.

The sculpture has been arranged on a marble base and positioned, on the left hand side. The piece has multiple curves and rounded soft edges-providing a resemblance to the curves a mother develops as she carries her child...she essentially becomes softer, with sharp and flat areas becoming fuller and rounder to cradle a developing foetus. The colours in this piece are of a neutral hue. Another potential nod to the process of the growing foetus-generally the sex of child isn't addressed, and hence referred to as a they, never a he nor she.

The materials used to create this work, were Cumberland alabaster and marble and the piece was produced using a sculptural practice known as direct carving. Direct carving is a process, in which no models or sculptural maquettes are used to plan the work, but rather the final form of the sculpture emerges through the act of carving the material.Through this technique, these artists emphasised the inherent properties of the materials, and the marble, stone and wood that they used was rubbed and polished in order to enhance its natural texture, colours and markings.

As this was a direct carving the only stages in the production of this work, were the larger piece was sculpted first and then the second smaller one was sculptured separately and placed at a later point. And I believe that she constructed this sculpture using carving tools.

When observing this work, one contemplates a sense of appreciation for mothers their children's. There is a quiet maternal feels about this sculpture, the aura of a gentle maternal nature, echoes off the sculpture, but doesn't present itself directly, in a graphic form of a uncomfortable nature. I would like to presume that this sculpture-would be suitable in a maternity ward or fertility clinic.

Mother & Child,1934 Cumberland alabaster on marble base

Unit 12 Live Brief. 27/11/2016

During this quiet Sunday afternoon, I constructed two A3 exploratory mind maps-the first being a breakdown of the various assessment criterion-and how I am to evidence an achievement of each these. The second mind was intended, to explore all-and any-thoughts and ideas that sprang to mind, about the theme of the project- which is simply; Mother & Child. Both mind maps were completed using colour pencil, highlighter for selection and direction biro pen.

 For the mind map regarding the theme, I applied as many perspectives a I could, looking at the different viewpoints, surrounding motherhood, pregnancy, and offspring. Some controversial and taboo-even in the 21st century, as well as positive and negatives contemplated. 

Miniature visuals were added to the first mind map-an element which I felt was most successful- as it gave the map amore creative feel. As the second map consisted of non-physical items-I felt that visual were not needed, at the information alone provided to be enough. Noting that the first mind was overlapped onto the back of the page, splitting its content into two separated parts.

Upon reflection, if I was to do either mind map again-I would choose to do the first mind map on an A2 sheet- as it turned out to be larger than expected.

Unit 10; The Natural World: Sketchbook Development #5

5/10/16
 

The final 4 leaves of the primary sketchbook were completed today:
 

A-the first two pages are exploratory developments, that were taken from primary research, that was obtained at Wigfield farm. The pieces developed were exploring concepts of texture at a macroscopically zoomed level. In order to create both the pages, I took texture that were the closest in both colour and feel to the originals, and presented the texture sources in an abstract manner.  One of the very best elements, across these two pages is how close in hair consistency, the black faux fur sample on the left hand side of the right page eyes. From completing these pages, I have discovered that texture is often so much easier to capture in your own work, when one uses a material source that is a close as possible to the original. using  these materials has given these pieces, a much more authentic feel.

B/C/D-the next four pages cover pieces that explore visual sources from several perspectives. Both near and far. The pieces were made an exploration of the aquatic side of the living organisms, found within the natural world. These pieces were made, by drawing from images collected. These pieces were completed using just a hard pencil, ink pen, water, collaged tissue paper, ink, brown paper and colour pencil on the right hand side.  For the piece on the right hand side, I used tissue paper because I was intending on best replicating the mergence of hues of blue, green and white, that are found within tropical aquatic waters. Out of all four pages, I feel that piece with the tissue paper on, was the most successful. The less successful pages could be improved by either adding or taking away certain elements.

Unit 10; The Natural World: Sketchbook Development #4

4/10/16
The fourth set of 4 leaves of the primary sketchbook were completed today:
 
A/B/C-For the first 5 sketchbook pages-and the page that is that is on the right hand side of the final two. These are all drawings and sketches developed from gathered primary research. These pieces were completed with the purpose of developing ideas surrounding the fauna based side of the natural world. These pieces were completed using pencil, biro pen, a chunky graphite stick, and pencils of varying gradients. Out of all these pages, I feel that the first two were the most successful-as both pieces were quick sketches, and evidence strongly, that my capability's of drawing quickly are evolving and developing rapidly.

For the sketchbook page number 4, the piece was collection of visual research, collected from a trip to Wigfield Farm.  This page was created by organising leftover primary research images-and applying it using a stick adhesive. The layout of this collaged page, is one that I am pleased with. The page feel energetic, busy and vivid. I could improve this page by collecting and adding more content. From completing this page,  I have obtained a more varied approach and perspective to the living side of the natural world.

D-For the final two sketchbook page on the left hand side-this piece was also completed with the purpose of exploring the animal orientated side of the natural world. From a textured perspective. The piece was created using, ink pen, biro and feathers that resembled the original owners, as closely as was possible. The best feature of this work was how the owl feather colours and soft texture was replicated in my own production.

Unit 10; The Natural World: Sketchbook Development #2

2/10/16

The seconds set of 5 leaves, of the primary sketchbook were completed today:

A/B/C/D/E-. 1-7are drawings that have been developed from primary research. The drawings were completed using colour pencil, 9B graphite stick, bio and pencil,  These pieces were completed to examine line, shape and colour. The pieces that I feel were the most successful were 5 and 6-created using a chunky graphite stick and small areas of brio-I feel that these pieces were visibly pleasing and I thoroughly enjoyed the production/creation of them both. For the other five pieces, I feel that I could improve these by spending more time on each and adding more in terms of shading.

The 8th page and the right hand side of the last two pages are a series of primary photographs, taken form the Liverpool Museum, and are of a mixture of shells, fossils and skulls. I made this college to get me thinking about various elements of the natural world that I hadn't considered prior to the trip. This page was created by organising leftover primary research images-and applying it using a stick adhesive. The layout of this collaged page, is one that I am pleased with. The page feel energetic, busy and vivid. I could improve these two pages by collecting and adding more content. From these two pages, I have obtained a more varied understanding of the natural world.