Table of Contents
1. Etching
2. Collages
3. Photography
4. Observational Drawing
5. Multimedia Pieces
6. Watercolour & Gouache
7. 3D Woodwork - Initial Ideas
8. 3D Woodwork - Final Model
9. Life Drawing
10. Pen & Ink-wash Drawing
11. Tapestry
12. Embroidered Photography
13. Spatial Installation - Initial Ideas 14. Spatial Installation - Final Model 15. Pencil Drawing
Initial attempt at Etching
This drypoint print consists of cross hatchings and straight line etchings. The different angles of the facial features create a sense of abstract fragmentation to elucidate the hidden emotions we normally don't see.
I used different fragmentations of the facial features and emotions to create an element of mystery, which goes beyond beauty.
Last year I did an architectural photography course on the Barbican Centre. I learnt how to utilise light and angles to capture the Barbican's unique geometrical design features.
The different stages of this drawing consists of linear composition and tonal blending in order to draw attention to the multidimensional shapes of the Barbican Centre.
These textile A-level pieces set in building cement demonstrate the Eco-Brutalist architectural style that plays on a sense of juxtaposition between divergent concepts such as brutal human designs (left) and the vibrant resilience of nature (right), while still showcasing a range of creative skills, such as knitting and multimedia embroidery.
This watercolour and gouache study was created to highlight the light reflection of this nearby river and demonstrate the role of reflection on the perspective of landscapes.
For some time, I was fascinated by labyrinths and mazes and therefore I wanted to design and create a functioning wooden game consisting of my own labyrinth design, as well as containing working hand knobs to allow the control of the ball movement from start to finish.
The final model of the marble labyrinth game. I achieved this by using a mixture of laser cutting and woodwork techniques.
In this pencil drawing, I used a cross-hatching technique to accentuate the contrast between light and dark tones to form a more vivid image.
This pen and ink-washed painting was achieved in 30 minutes as I wanted to test my drawing skills under time pressure, while still capturing tonal differences, details and depth.
I decided to challenge myself by doing a project consisting of only one colour pallete. By brainstorming various mood boards I finalised on this tapestry.
Preparatory work
This 110 x 80cm piece consisting of machine-embroidery stitching onto photographs explores the importance of the circulatory system, by making the veins penetrating through the hands the focal point.
I wanted to create an installation that utilises light, shadow and space by using curved triangular segments to form a light tunnel that is constantly evolving as the sunlight direction changes throughout the day. The fluidity of the curved forms in this piece create a dynamic sense of movement that is important to my work.
The altering natural light on the curved forms gives a sense of constant movement and fluidity, allowing this structure to seem ever-evolving as the sunlight direction changes throughout the day.
A drawing of the back of my home in the Galapagos Islands. In Ecuador, it is common for the rear elevation of buildings to be crude and unfinished as they are not visible to the public. However, I wanted to highlight this hidden side of architecture through this drawing.
By Yzaline Murray