ORWELL 

OOOOOOO Brutalism. 

An article i've found rather useful 

More experimentation regarding the communication of the expressions of the animals, in these sketches I took a lot of influence from GOYA and  MESSERSCHMIDT. 

Reducing expressions down to simple lines following initial research into Modernism.

Attempting to portray as much as possible with as little as possible with focus heavily on the use of; 

The Horizontal __
The Perpendicular |
The Diagonal / 
The Curve )

Further experiments with pigs and pens....  

I gave UKIP leader Nigel Farage a piggy makeover...


It's incredible how well piggy features sit on political faces! 

Experimentation with different pens in development of pigs. 

Have decided to develop the pigs further using various red and pink pens to set them apart from the other animals on the farm, which are being developed using black biro. 

I want the pigs to be developed using a  schematic of reds and pinks to help identify them as a threat and to also demonstrate their impregnation with communist ideals. 

Using Yellow to demonstrate the 'Enlightenment' of the pigs. 

I'm hoping this will lead to them seeming gaudier and more intense than the other animals. 

I wanted this to reflect the radiating light from cult religious figures and to imply a comparison of established religious ideology  and  that of 'Animalism'. 

Mmmmm...

Building my crate:

One term.
One desk.

Unorthodox character development from  Franz Xaver Messerschmidt. 

 

Messerschmidt created the Character Heads between 1770 and his death in 1783. Their distracting, if amusing, titles—such as A Hypocrite and a Slanderer and The Difficult Secret—were not his invention. Instead, they were assigned after 49 heads were exhibited at the Citizen's Hospital in Vienna in 1793. 

The titles, with descriptive text, were printed in the exhibition catalogue The Peculiar Life History of F. X. Messerschmidt, Royal and Imperial Sculpture Teacher (published anonymously in 1794), the same year that they were first referred to as "Character Heads" in a Viennese newspaper. Subsequently, they were often displayed as curiosities at the Prater, an amusement park in Vienna, and wax and plaster copies were available for purchase.

Messerschmidt called the works Kopfstücke (head pieces), and they were to represent the full range of human expressions, which he reckoned to be 64. They may also have functioned as apotropaic objects, designed to protect him against menacing spirits—specifically, the "Spirit of Proportion"—that "so frightened and plagued him at night." 

Source

An education in drypoint etching from Rococo's resident dark side GOYA 

Notes on the Author