ARTWORK(sculpture) Stage projection mapping for c3 kingscliff (Projection art)

 Atmosphere

Projection art

Pure form, light, color, movement and time can convey emotion, mood, setting and energy during a church service. Combined with the ability to explore new emersive illustrative methods for preaching, can cultivate a climate where people connect deeper with God.

Tristan Griffin 2015

Aim

Through a projection mapping installation, the intention is to provide a permanent stage lighting system and animated visual support for c3 kingscliff. This installation will consist of two LCD projectors and one control computer ( to provide the output for the projectors ) to be used in conjunction with the current lighting system, projection technology and software.

The installation will be used to support the building of atmosphere for the worship team on a weekly basis, and provide:

• Compliment the music team : preprogrammed lighting to support building of atmosphere

• Support of the preaching ( visual aid ) with the ability to project full stage animated scenes OR smaller objects through projection mapping

The importance of color/lighting/image support for worship:

Lighting can convey emotion, mood, setting, energy, and many other important elements during a church service. Color can be one of the most impacting attributes of lighting. Warm colors (red, amber, yellow) can convey intimacy, warmth, energ. While cool colors (blue, green, purple) can convey darkness, growth, majesty. Even further than that, a saturated color can convey depth and intensity, while a pastel can convey gentleness and calmness. Our use of color in worship can cultivate a climate where people connect deeper with God.

Why use projection:

The use of projectors will enable ease of color positioning or provide dymanic/pre programmed lighting effects and enable the creation of video screens anywhere within the space. The most important aspect of the projection tho is to act as a tool to support preaching by creating visual illustration or stimulus just as background music currently does or stage props (which are currently used) .A picture can give new insight into a text and highlight something you might have missed. So if you want to really engage the whole person, and engage people with different personalities and learning styles, images and pictures can be really significant.

ABOVE: used as fill lights

ABOVE: environmental mapping, this example illustrates the 'battlefield' preach, it runs on an animated loop during the entire service

ABOVE: additional video projection, these screens can be anywhere on the stage AND any shape and size

ABOVE: still artwork illustrations to support preaching

ABOVE : Creation of animated stage props, this one for example is used to support a preach about the walls of jericho, the wall collapses in sections to be in time with the preach.

NOTE : these examples of projection mapping do not interupt the regular central projection screen or with current lighting. But if needed the entire space can be filled with image , including the stage, floor and steps.

How are you doing it ?

This installation is intended to be site specific for C3 kingscliff, but the technology will be suitable to use in any projection applications ie any stage or outdoor venue (with dimmed lighting).

Current technology used by c3 kingscliff :

• Two 500w lights mounted on a high bar
• Two programmable fill lights located left and right front of stage
• One projector and projector screen

Stage

• 12 meters wide, 4 meters deep and 6 meters high.
• Lighting bar located 8 meters from the stage and 5 meters from the ground, length 5 meters. Rated to hold 120kg.
• Sound desk/booth located at back of main auditorium 15 meters from stage 4 meters from the ground

Time line:
Based on experiments and research the installation of the projectors, computer will take approximately 1 hour for one technician. A further week spent configuring software to meet needs.
The intention is to have the installation ready for launch by december 2015, to assist with the annual public christmas celebrations at c3 kingscliff and murwillumbah civic center.



Software
An application such as Pro-presenter ( http://www.renewedvision.com/propresenter.php ) could be used to queue up animations, videos, websites etc .

Environmental projection using pro-presenter6

OR alternative software could be used (see research section for alternative applications).

Installation at Kingscliff

Research of other stage projections suggested that to maximise projection the projectors would need to be setup as in the diagram below.

with this as a guide the below tests were done to see if the projection covered the space

This image is an artists rendering of how the projection mapping will work in the space

Figure 1: Actual projection test done at c3 kingscliff




Figure 1: This is the combination of two photos taken on location with the actual output from a 2000 lumens DLP projector to confirm that two projectors would cover the entire space. Preferably +3000 lumens LCD projectors should be used for maximum results (LCD projectors produce stronger color but lower contrast).



Experiments with projection including Onsite lighting tests.
NOTE: the laptop used in the experiments was unable to run conventional projection mapping software. As a result a few basic coded examples were made. These can be viewed below:
HOME MADE VJ PROGRAMS:
FOR 3D PROJECTION TEST
Press the "W","S","D" keys on the keyboard to turn the light on and off. OR let the animation play out
http://artworkprocess.net/newmedia2015/projectionArtwork/timer%20based%20multi%20projection/index%20blank.html



FOR C3 KINGSCLIFF
Press the "W","S","D" keys on the keyboard to turn the light on and off.
http://artworkprocess.net/newmedia2015/projectionArtwork/purecolorcirclesC3/index%20blank.html

http://youtu.be/UQb27dz8g9Q My home test of projection mapping onto a 3D surface ( use of http://artworkprocess.net/newmedia2015/projectionArtwork/timer%20based%20multi%20projection/index%20blank.html )

C3 Kingscliff lighting test images

http://youtu.be/iITCAVQA1Sw Lighting test video, apology for the poor video quality, while i have a DSLR for stills I do not currently own a good quality video camera.






From this experimentation a general 'whiting' of the space or object is needed for best results, instead of the traditional 'blacking' of the stage. I found that on a blacked surface purple red and blue washed out easily where as lighter greens, orange and yellow stood out. On a white surface the projection was clear when covering the entire stage. The strobing effect would fill the entire space or the church easily with light.

Budget for the project:

Please note there will be an ongoing cost of projector bulb replacement every 600-2000hrs of use as the projectors will be running at maximum lumens.



Artist's fees:
Programming: 50hrs $50 p/h $2500
Provided by artist as in-kind donantion
Installation: $500
Provided by artist as in-kind donation
total: $3000
Equipment cost:
2x LCD projector 2000+ lumens $500
approx depending on availability, see technical requirements for details
cabling, VGA male/female 10m x2 $40
desktop computer, dual output(min) $100
dual output graphics card $10
total: $650

Total Cost: $3650

In-Kind: $3000 AUD

Net Cost: $650

Technical and logistical requirements:



Projector
The below projector is an example of the type needed. Requirements for the projector choice are:

• over 2000 lumens (in eco mode)
  
• throw distance of atleast 7m
  
• projection image size of over 7m, the example model projection size is 12m , the projection size is important as two projectors combined will cover a stage area of 12 – 14m wide by 5m high.
  
• Have VGA or DVI input
  

Projector example to purchace (use as guide due to availability )
NEC LT265 Projector 2500lumens 1600:1 91%lamp life with remote & cables (nec005)
cost $199 free shipping
http://www.projectorcentral.com/NEC-LT265.htm

http://www.ebay.com.au/itm/NEC-LT265-Projector-2500lumens-1600-1-91-lamp-life-with-remote-cables-nec005-/201367674020?pt=LH_DefaultDomain_15&hash=item2ee272dca4



10m VGA cable for desktop computer to projectors
cost $20 free shipping
http://www.ebay.com.au/itm/like/291428622487?limghlpsr=true&hlpv=2&ops=true&viphx=1&hlpht=true&lpid=107&chn=ps

Desktop computer






The desktop computer requirements are:

• PCI express slot
  
• preferable midi/mini tower case
  
• low cost
  

example computer:

Acer Veriton X275 Core 2 Duo E7500 2.93GHz 2GB RAM 320GB HDD DVDRW PC

cost $95.00 free shipping
http://www.reboot-it.com.au/used-acer-veriton-x275-core-2-duo-e7500-2.93ghz-2gb-ram-320gb-hdd-dvdrw-pc-computer-cheap-cheap.html

Software requirements:
Any contemporary projection software can be use with this setup ie Madmapper



The intention now is to create a software package that can control the lighting system remotely, ie from a tablet or mobile phone. It will be uploaded to the churches website and accessed similarly.
Content can then be added during the week by the creative team and then accessed when needed.
Using the same technology used to create project 2. Ie allowing input from users and uploading of content remotely by authorised contributors.

Research

Projector choices: DLP vs LCD projection :
http://churchtecharts.org/home/2014/8/24/whats-the-difference-lcd-vs-dlp-pt-3
http://churchtecharts.org/home/2014/8/24/whats-the-difference-lcd-vs-dlp-pt-2



Basically the tech is comparable, the biggest difference between the two being that LCD's produce better and stronger color range where DLP produce better contrast.



Which projection mapping software ?
I researched and downloaded the following projection mapping software packages which are available for windows. (Find the files in the software folder supplied ).



Some of the software packages for projection mapping that I explored/downloaded trials of are:

• Z Vector : a projection mapping package which intergrates the Kinect
  
• Dynamapper for IPAD : allows creation and manipulation or the projection via an ipad
  
• VPT freeware projection mapping software
  
• LMPT ( Little projection mapping toolkit) basic package, very limited trial
  
• TORSION For seemless mapping of upto 32 projectors
  
• MADMAPPER mac only (used at QCA )
  

Unfortunately my computer system was unable to run any of the applications due to its lack of a graphics accelerator card, as a result my examples were created in HTML/CSS.

































Research of other projection mapping stage applications
Most research went into contemporary uses of projection mapping for stages and sets taking into consideration built sets and using existing spaces. The rational being I would use the current space at c3 kingscliff with the intention of expanding stage items for particular events/preaches. Some of the ones that stood out for me are:



Obscura ( custom stage design )
https://producerdj.com/2014/08/12-epic-projection-mapped-stages/

Filling a space with projection
disco balls to fill a space with projection
http://thecreatorsproject.vice.com/blog/projection-mapped-disco-balls

sonys holodeck
http://www.zdnet.com/article/sony-creates-own-holodeck-with-playstation-tech/

ARTWORK (sculpture) Benevolent and malignant

1. How does your sculptural project address the Benevolent and malignant?

In the brief for this project we were asked to create a work which is composed of two works and has a contemporary take on the theme. The relationship between the two works would also needed to reflect the duality of the subject mater. What sets this project apart from our previous ones was that it needed to be displayed with the other students works.

As a result this project had a few restriction. size was restricted to a 15cm2 space for each object , and the works would need to touch the sides of each plane of the space, so that the continuity of scale between the works will be seen. One of the works “had” to be made of white paper , the other was to be colored red.

The aspect of the “Benevolent and Malignant” that I chose to explore in this project is the internal struggle between the good and evil. In particular I focused on the individuals attempt to contain and control that evil that lies inside them. The internal struggle between good and evil is a universal aspect of the human condition common to all human being . We all face it differently , with different severities.

The works that I created were to reflect my own internal struggle . I have created two heads , the white paper being the Benevolent ,visually, a realistic representation of a human head (my head) . This is to alude to my act of binding the evil, of creating a shell.

The Malignant being the red shares the same space and form as the white but is constructed of timber and ceramic. It represents the evil inside trying to break free , but is restrained.

2. What research did you engage with ? Artist contemporary or traditional

When I began brainstorming for this project I looked at what the definable concept of good an evil was .Internet searches for :

• Conflict between good and evil
• Psychology
• Religious views
• Nature of evil
• Evil
• Satan
• Morality
• Sin
• Dualism

and more ... ( See journal for more)

My conclusion was that good and evil , benevolent and malignant , are just concepts unique to an individual.

“a lot of people tend to believe that evil is something external to them , because they project their shadow onto others” Carl Jung

and what is considered good and evil is also relative , 4 schools of thought on this are:

Moral absolutism – holds that good and evil are fixed concepts established by a deity , nature, morality , common sense or some other source.

Amoralism – claims that good and evil are meaningless, that there is no moral ingredient in nature

Moral relativism – holds that standards of good and evil are only products of local culture, customs or prejudice.

Moral universalism – universalism claims that morality is only flexible to a degree, and that what is truly good and evil can be determined by examining what is commonly considered to be evil amongst all humans

Initial image research was very generalised . I found many images online about good and evil that were red and white dualities. Tho I found very few sculptural works .

Since my original research was looking at the evil being inside us .. ie DNA .. my first images were along those lines . Once the decision had been made to use a figurative representation of the human head I gathered as much information into my own head by taking photos from every angle and printing them off in black and white as well as color so that I could check for tone and depth.

Artist that I had researched and that had influence this project were:

Antony Gormley - ( use of his own body in his work and his method of creating a form)

Gerhard Richter - in particular his work “Two Sculptures for a Room by Palermo”

(see journal)

Will Ryman - works with dualities of the human condition ( see journal )

Lindy Ivimey

3. Discuss the planning of your project , including experimentation , technique selection, overcoming technical problems and determining limitations and constraints ( Refer to your journal)

experimentation, technique selection , why ?

Over the first term holiday I had decided to look at the emote involved in the struggle between good and evil . This lead to 2 marquettes being constructed ( see journal ) one from clay the other from paper. Unfortunately this approach did not resonate with me at all and I decided to revise my project.

In keeping with the 'create a body of work' unit I returned my focus to releastic representation. I best felt that creating heads would convey my concept.

This lead to exploration and experimentation into:

• Constructive clay work
• Mold casting (plaster cast mold)
• paper mold casting
• mold joining and strengthening
• mold barrier techniques
• timber work

cutting and breaking – to shape the head

sharding ( chisel and hammer to shatter into smaller shards )

• glue testing for the timber

wood glue

super glue

hot glue

liquid nails ( most effective )

technical problems

overall I faced a great number of major technical issues with both of the works which resulted in me remaking both of them once the first initial two were completed . I feel that the two newer works are more resolved . The following are a few of the technical issues that I faced.

First white head

• complete loss of detail through the use of plater strip molding, only vague form remained
• partial loss of form with second attempt at molding
• joining of the two halves of the second mold was problematic and time consuming I found that it was near impossible to retain the form of the original because of the papers 'memory' my attempt to strengthen the form after molding caused warping
• had great difficulty in retaining the detail and shape
• the second mold was knocked off the table while drying and landed face first , flattening then face , I was unable to repair the damage

as a result of the damage to the first white head a second was made. I was careful to place the second in a safe place while drying.

Second white head

• a few patches had to be filled but overall there were few technical issues as I had prior knowledge to potential issues that may have risen.

First timber red head

• drying time of glues – liquid nails was great to work with since it has a paste like consistancy and sets quickly ( 30mins ) but its hardening time was 2 days and I could only work on 1 side of the form at a time . This caused construction time to be lengthly.
  Another problem with the liquid nails was the applicators(guns) that I used. They were cheap and two of them broke. I ended up having to use a fork (eating utensil) to apply the glue to the surface.
• the use of hand tools to shape the head damaged it greatly . Causing large chunks of the form to break away
• I chose to use acrylic paint which was applied with a brush ( lack of equipment again ) I would never recommend any ever do this on that type of surface , getting into the crevases was a joke and I ended up having to water the paint down considerably and “washing” the work with the paint. This caused the drying time of the paint to be a full week.

As a result of the ongoing issues with the first red head I remade the work , keeping the same concept but using different materials.I created a hollow twisted column from air drying claying which would be the armature for the spikes. I then broke skewers into short lenths and incerted them at approprate lengths into the clay ( clay has a 24hr drying time but a 3ish hour working time before it becomes too leathery )

Second timber red head

• limited time frame for completion meant less time for refinement

• skewers dont break evenly and often “string”

• they are deceptively sharp once broken ( many cuts as a result, OHS problem )

• had to work quickly with the air drying – some cracking occurred when incerting the skewers into leather hard clay.

The second head had far fewer technical issues than the first

limitations and constraints

It was a constant struggle with poor quality equipment and the lack of access to power tools especially since I was working with dence Hard wood. It negatively effected the outcome of the red sculpture to the point that it was scrapped due to my justified frustration . With the proper equipement it would have been possible to correctly shape the form. Instead I only had access to hand tools.

4. What aesthetic decisions did you make? Eg working with particular equipment to achieve particular effects, establishing a key , determining a palette and deciding upon a format and a scale

Since coloration had been dictated I was able to focus my aesthetic decision on form . I chose to use realistic representation for the white head as I knew the red ( internal struggle ) would end up being quite abstracted , this would aid as a device for the duality of Benevolent vs Malignant. Use of modelling clay to create a mold for the white work turned out to be successful. And use of an armature for the red aided greatly in its creation

I needed to take into consideration that these works would be displayed with the other students as an installation. So the positioning of the heads is very important . I have chosen to have them facing one another , much like Gerhard Richter's work. This aids in maintaining the relationship between my pieces and my concept

5. How has your experimentation and development of selected techniques informed the sculpture project ?

Im going to consider the first two attempts at the sculptures as my experimentations . Primarily the technical issues I faced during the creation of these have better informed my future choices of techniques to resolve the project.

6. How could you further develop your techniques in relation to you professional practice ? How might you build upon your ideas towards future work ?

The most important thing that I have learnt about this project is that it is harder for me to work on smaller objects than larger ones ... I have discovered this in my other studio areas as well. I guess the best way to describe this is , a small project , for me , is like trying to thread a needle ,larger projects is like walking through a door way. The reason for this difficulty is my restricted movement and the tremmors in my hands.

Trying out new techniques and methods with a limited time frame during a project is risky without the proper knowledge, or the proper equipment.

What I will continue is the use of armatures and realistic representation as these resonate with me .

The use of air drying clay has shown me a possible avenue to continue working in ceramics without the need for a specialised studio. Further exploration regarding this potential needs to be made.

Conceptually this project has facinated me and extended my understanding of the human condition  

ARTWORK (sculpture) human condition (money angel)

maquette made before starting sculpture to resolve technical issues, such as the armeture.

basic construction with chicken wire and fabrics

face for sculpture molded over plastacine design

1. How does your sculpture project address THE HUMAN CONDITION?

This outline of this project asked us to focus on an aspect of the human condition that resonated with us , and create a sculpture which used 20+ ready made templates. The only restriction was that the sculpture was to be no larger than 1m square.

The aspect of the human condition this work focuses on is , “self reflection” in particular “what is meaningful and valuable in life” ... globalisation has changed what is meaningful and valuable in the world around us, everything we do has a dollar value attached , and if it is seen as NOT being financially viable, it is made redundant. The individuals need to increase the financial value of their time has become prevalent ....

In todays society the value of money has been raised to a statue of worship , it rules peoples lives. Its no longer enough to just work to live . Greed is consuming our planet.

The way Ive explored this through sculpture is by creating an idol from fake money . Showing that it is an object of worship , but an object that has no real value.

2. What research did you engage with

I began my research into concepts of the human condition

this expanded into brainstorming (see journal ) .. aspects I researched are as follows:

• definition of the human condition and the aspects of
• human self-reflection
• ontology
• philosophy
• Christian view points

the passages from Ecclesiasties heavily effect my life and also this project .. in particular the following passage

“life is pointless, completely pointless.

You spend you life working, labouring and what do you have to show for it? Generations come and generations go, but the world just stays the same. The sun still rises and the sun still sets. The wind blows and rivers flow into the sea , yet the sea is not yet full. What has happened before will happen again.. No-one remembers what has happened in the past and no-one in days to come will remember what happens between now and then.”

my observations throughout my day , I see people in cars cutting pedestrians off at pedestrian crossings, no longer time to date properly , no time for family , customer service in restraunts actually everywhere is appauling at most places since they want you out fast to get more people in ... turn over is more important to them . People are sueing each other at every given opportunity.. even on a personal level everyone I know is telling me I should be selling works right now .. why ? My initial response to this was that people are wasting time and should hold more value on it . It wasnt until I began to look at the cause of this rushing that I realised that it came down to money.

people aways rushing ...not stopping

most people are too busy to notice , too impatient to reflect on what is important in their lives , many focus on finance at the cost of others and the environment

artists I looked at with the project were :

Doris Salcedo

Fiona Hall

Antony Gromley

Lindy Ivimey

Lindy Ivimey's exhibition “If pain persists” , which we saw at the university of Queensland, I researched further into her techniques. In particular her use of excentuated posing of simple figures and her use of texturing her forms. I paid particular attention to how she portrayed hands without the need to use fingers , she usually had the wrist bent to accentuate the hand . Her work Ebris Ebruis , latin for intoxicated and exhilarated was clad in champagne-bottle top stickers , this helped me decide in how to use my Faux money.

I covered a great deal of image research on this project , I looked into iconography from many different religions. My research ended up focusing on Christian iconography , due to being a Christian myself. I looked at postures of forms , gender and its importance in a form. These decisions would be important to best convey my message.

3. Discuss the planning of your project , including experimentation , technique selection, overcoming technical problems and determining limitations and constraints ( Refer to your journal)

planning – experimentation ,

for this project I chose to use “constructive” methods, the construction of my marquette helped me solve a number of methods before beginning on the larger sculpture. Use of armature , to aid in building up the form and pose of the figure was the most important AND the need for a base to attach the sculpture to while working on its construction ( I recycled a printing wood block for the base )

technical problems

as part of the construction process I had to use a platform/base for the armature to be attached to. Once the sculpture had taken shape I realised that this platform had to stay as it helped keep it upright but I had to now hide it . I decided to cut the base to match the shape of the drapery and then extended the drapery over the base.

The surfacing of this sculpture was an on going problem but one that I feel is resolved.

By using white paper in the initial covering I was able to make sure that the form was exactly how I wanted . My first choice was to emulate weathered bronze by using the different colors in the $100 notes .. from the yellow to the green. The wings initially were pure yellow and the money had been torn into chucks which were just too large resulting in very dominant 'O' s all over the surface. Aesthetically I felt that this was just too gawdy and detracted from the presence of this piece. This was resolved by using a uniform surfacing of smaller pieces of the notes to emulate marble.

limitations and constraints

due to the mottled texturing the features of the face were diminished as well as the strength of the drapery that I had created , this was partially fixed when the gloss finish was added

4. What aesthetic decisions did you make? Eg working with particular equipment to achieve particular effects, establishing a key , determining a palette and deciding upon a format and a scale

POSTURE OF THE FIGURE AND SCALE

The posture of the figure is very important , a great deal of narative is expressed by this so I had to chose carefully.

My aim for the idol was for it to visually be:

• inviting – arms open, looking down as tho to say “come my children , I have nothing to hide, my hands are empty, my arms are open. I look down apon you only to help you up. You will find peace and happieness in my embrace”
• striking
• worthy of worship

(see journal for image development )

SURFACING

I chose to use fake $100 notes as my ready made template , (650 in total) because of their color , with the initial intention to emulate weathered bronze. left the yellow on upper surfaces on first layer .. didnt like the aesthetic of this so I experimented further

I ended up changing to emulate green marble . Which was done by using smaller torn pieces of the notes over the surface.

To strengthen the “lack of value” or “cheapness” that I wanted to portay in this work I chose to use a gloss finish, to emulate the plastic look of money.

SCALE

The only real restriction in this project was scale , I chose to fill as much of the 1m2 that I could .. with the tips of the wings touching that size both vertically and horizontally.

5. How has your experimentation and development of selected techniques informed the sculpture project ?

constucted a marquette (see journal for images ) this aided

• posture
• scale / proportions
• weather or not I was going to add wings

The construction and technical process were as follows:

• construction of an armature with mesh wire
• reshaping of the mesh to correct proportions
• the shaping of the drapery ( the wings had not been added at this point )
• first application of paper mache with large pieces that have 50% overlap for strength
• second application of paper mache with smaller pieces to define the form , pushing and cutting certain areas to accentuate the drapery
• several other applications once form had been built up to promote strength
• constuction of the wings .. first with sheets of paper so I could shape them properly
• building up of the form of the wings and applying layers of paper mache for strength
• cutting of the base to blend in with the drapery
• application of the faux money .. first texture
• reapplication of faux money .. final texture ( removal of the yellow and decreasing the size of the torn money
• application of Clear Super Gloss Varnish over the entire sculpture

construction of face – I used modelling clay to shape the face ( see journal for images ) then lay down glad wrap ( as a barrier ) then papermache over the top ... the papermache was then released from the clay and attached to the angel

6. How could you further develop your techniques in relation to you professional practice ? How might you build upon your ideas towards future work ?

I have shown this sculpture in its white and final stage to the Ministers of the C3 church in kingscliff and a future request has been made to produce christian sculptures for them.

The research into the human condition has helped me already in my other projects . I am now very aware of how resonance/passion with a theme can contribute to a better resolved project.

I really enjoyed this project , and the use of realism . Realism has become a mainstay of my artistic practice now which I intend to use in the future

ARTWORK ( painting ) Time served

 ABOVE:  Gouache on A2 snowden paper

This painting was displayed at the 2013 group exhibition, murwillumbah and the health and wellbeing festival, it is currently in a private collection.

Assesment Task #1: Experiment with materials and Processes

You are required to investigate a range of painting materials and processes prior to commencing you Self-initiated Portfolio Assessment task #3 Assessment Task #1: Experiment with Materials and Processes will be class-guided and will be addressed in the first weeks of semester 2. You will need to be prepared with appropriate materials for each class to engage with the set investigations in order to complete this assessment task.

The task consists of a minimum of four class-based investigations, with the option for interested individuals to extend to five. This can be negotiated with your teacher. For more information about how you will be assesed in relation to this task, please refer to the Elements and Performance Criteria at the end of this document

Note that the paper has been attached to a board with masking tape to prevent the paper from buckling. The image was then drawn up onto the paper using charcoal ( which is easily erased ) and the basic blue tones were established.

Further refinement of the image was made, adding in the details of the numbers and

The final image is refined further to create a sense of depth bluring the foreground and background and increasing the contrast by adding black and white gouache paint directly onto the surface.

ABOVE: framed painting