Gaylene Duncan Var11 Portfolio Presentation 2 Part 2

Project Five: Ex 1 & 2 Visual and Written Research
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait

First Attempt at Large Scale Proportions
Here I was just simply trying to figure the basic figure in my self portrait, by trying to
align my joints. I chose to do this using an Mont Marte Calligraphy Pen fine nib rather
than willow charcoal as I wanted to be able to look back on this piece of work and see
where I started as a learning process for my final piece. So I started by laying the
groundwork for my proportions. As I had never done a large scale work before I
decided to start in a strange location, (the hip area), which I wouldnt normally do as a
means of trying to centre the work. I then worked my way back to the head. Once I had
done this I then went back to the hip region and worked my way to the feet. I then tried
to place in the contour lines for my clothing. Once this was done I moved on to the
head where I tried putting in guide marks for the centre of the oval for the eyes, then
the nose and mouth. I started at the nose, Im not sure why as thinking I should have
started with the eyes, but I found myself placing the nose in the completely wrong spot.
Hence the strange marks under the nose. After the nose I placed in the eyes and I felt
this would help me gage the mouth as the ends of the mouth tend to lay in the centre of
the eye. Then finally placing the mouth, ears and hair.

As an exercise in getting the feel for the size of the work, trying to become more
comfortable with using my medium attached to a meter stick, I feel rather content with
the outcome. But as an exercise in proportions I was not happy at all with the upper
body and face. This is an area I will be paying more attention to in my next attempt.
Gaylene Duncan
Self Portrait
August 3, 2014
Mont Marte Calligraphy Pen fine nib
Kraft Paper Roll Brown
252.3cm x 90cm
Second Attempt at
Large Scale Proportions
Paying much greater attention to the upper
half of the body and face I began my process
all over again. I was much happier with this
outcome. I felt that the face was much clearer
and reasonably well proportioned. The
shoulders on the other hand varied in shape
and size. The left side is more accurate to the
shape of my body. In fact its pretty close to
what my shoulder is like. The right shoulder
need to be more rounded taking out that edge
that makes it look square. I do have a very
short neck so the neck was pretty good. The
upper body was to thin for me. I needed to
make the stomach area larger, whilst keeping
my arms quiet thin. The legs are a good
representation of mine, so are the slippers. My
face though I don feel really captured me. On
a whole I was reasonable happy with this
outcome. But will need to pay more attention
to detail in terms of locations not fine detail as
this would be hard with the stick.
Gaylene Duncan, Self Portrait
August 3, 2014
Mont Marte Calligraphy Pen fine nib
Kraft Paper Roll Brown
252.3cm x 90cm
The Everyday Girl
Here I am just trying to portray myself as 43 year old, white Australian women, living in the
outer city suburbs. Im your typical average women who faces the challenge of body image on
a day to day occurrence. Weight/height discrimination is an ongoing problem for many
Australians and fat people are often seen as less dynamic, less ambitious, even less
knowledgeable than a thin person (KIM LANDERS 2010). So with this in mind I have tried
through my marks to establish my weight issue by highlighting the contours of my rounded
stomach, and my shoulder area. I have also tried to highlight the stress placed on my body as a
result through the marking on the knee and waist. Here I stand before you as the Everyday
Women saying its ok to be large, despite the values society places on body image and physical
beauty. Thinking now I should have added the text Its ok to be Large to the painting. I really
like these shiny washes a feel they might be interesting in the final work.
Gaylene Duncan, Self Portrait, August 3, 2014
Art Spectrum Artist Ink Black, Cartridge paper
roll 110gsm, 230cm x 75cm
Women first Sex Objects second
As I am a women first and foremost, I felt it was important to communicate this about my identity. I wanted to highlight this through highlighting what makes me
different to a male. So the red covering the female body parts was to represent power, passion, desire and love, But I am also an activist at times, so I wanted to
also highlight how women are often treated as sex objects through my mark making. As red is often used to evoke erotic feelings I felt the colour portrayed this
well, but also these regions are the areas that provoke erotic thoughts. I would have liked my print to have had very heavy marks in these areas, to really highlight
the sexual connotations, but unfortunately due to my health complications with my back and feet, my body wouldnt allow me to move enough to be able to get
these desired effects. The idea of using tinfoil was to try to create a skin like texture. I am considering ideas around adding to the print to help bring out the idea of
self identity being a women and sexual objects. Using Corel PaintShop Pro X5 I added in a few black lines of various thickness to describe the contours and some
soft black wash's to give form to the legs and chest area. I also added a soft red wash to the female body parts. I really liked this outcome as I think it brings the
women to the for front so will try to paint this into the image.
Gaylene Duncan, Self Portrait,
August 3, 2014
Mont Marte lamp black acrylic
paint, Kaiser Colour red acrylic
paint, Cartridge paper roll
110gsm, 230cm x 75cm
Women first Sex Objects second
Using a Robert. A. Wade NEEF. 970 Taklon Round size 10 brush, I tried to add in my black lines like I had done when using Corel PaintShop Pro
X5 to test my ideas. I found it very difficult to get the flow of the line as I had in Corel. This naturally automatically changed the appearance I was
looking for. How ever I pushed on making up a wash of Art Spectrum Artist Ink Black mixed with water and with the Mont Marte Gesso 6,
continued to add a wash to the right leg, chest and outer left body. I completely mist my make on the outer body and my chest area just didnt come
close. Whilst I like the outcome of the image in Corel Painter I really dont like the outcome once I hand painted it. I felt this completely changed
the meaning of my work. It no longer had the same appeal to it. This really came down to my ability to describe these lines and washes well in
order to portray this sexual women.
I really needed to think more
about the positioning of my lines
when I was creating them. My
idea was influenced by Einhard
Zang concept of interpret the
skin as clothing only I was trying
to use the washes and lines to
interpret the body itself. I really
liked the introduction of the red
paint as I felt it brought meaning
to the work and would have liked
to incorporated it in the final
work but the brief doesnt allow.

Gaylene Duncan, Self Portrait,
August 3, 2014
Mont Marte lamp black acrylic
paint, Kaiser Colour red acrylic
paint, Cartridge paper roll
110gsm, 230cm x 75cm
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Tortured
I wanted this self-portrait to be an extremely personal and expressive, intense piece of work that really highlighted my every day struggle in life. I choice to use all black as black tends to
have a negative connotation attached to it. Its also suggest fear of the unknown, denotes strength and is the symbol of grief. So just the colour alone describes my struggle through health
complications, but the print really highlights the lack of movement in my body as I wasnt physically able to lay on my side as intended, forcing me to twist slightly falling onto my hands
Egon Schieles, Self-Portrait
Standing 1910, Gouache,
watercolor and pencil with
white highlighting,
Graphische Sammlung
Albertina, Vienna (Schiele
1910) Gaylene Duncan,
Self Portrait,
August 3, 2014
Mont Marte lamp
black acrylic
paint, Cartridge
paper roll 110gsm,
230cm x 75cm
and forcing my legs up. My feet were not capable of lying flat on their side on the paper as it would have
caused immense pain had I forced them down. I had intended my right leg to be straight with my left just
slightly in front of it. So my image took on its own forced direction as a result. If you look at the legs you can
see how the right leg has heavy thick lines suggesting a dead weight, whilst the left becomes very thin and
broken showing the weakness. The same as my upper right leg as my body is slightly lifted to reduce the pain
in my spine. These issues keep me segregated from many social activities often causing me to feel socially
isolated from others. I am stereotypically placed into the lazy category often due to my extra weight through
my lack of mobility simply because of my age as people dont expects someone of my age to be faced with
these issues, so as a culture they expect much more of me. Through the image I hope to bring awareness that
health can strike you down at any age. That people in my situation often live in fear of the unknown, isolated
from all, and that just because theyre different, doesnt mean they dont exist. The insensitive of this self-
portrait is inspired by Egon Schiels extremely personal and expressive Self-Portrait Standing 1910.

Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Tortured
I wanted to see if I could push this image a little further to see if I could make it look like I was reaching out for change. Before painting it I tested my theory using
Corel PaintShop Pro X5 (see below). I really liked this and felt it added a lot to the meaning of my work. So I went ahead and painted it using a weak wash of Art
Spectrum Artist Ink Black, diluted with water, which I applied with a Mont Marte Gesso 6. Naturally the edges were much harsher than in my test with Corel, but I
felt that it really did express my idea well.
But what was more
interesting is when I
had my son hold up
the image for me to
photograph it the
light got behind it
washing out the top..
I felt this would have
been an excellent
outcome had I
painted it this way. If
I was to redo it Id be
exploring to see how
Gaylene Duncan, Self
Portrait, August 3, 2014
Mont Marte lamp black
acrylic paint, Cartridge
paper roll 110gsm,
230cm x 75cm
I could make
that happen for
real. I love the
appearance of
the wash done
with the Mont
Marte Gesso 6
brush, so will
try to
incorporate this
in my work.
Project 5: Ex 1 Large Scale Line Drawing of A Whole Body Self Portrait Idea for final work
Gaylene Duncan, Self Portrait, August 3, 2014, Mont Marte lamp black acrylic paint, Willow Charcoal Thin, Young
Artist White Chalk, Art Spectrum Artist Ink Black, Kraft Paper Roll Brown, Size 57 x 58cm
This is a small drawing of what I want my final large-scale
drawing to be. I had to draw this side ways as couldn't
stretch far enough with my back to reach the head and face
area. Due to this, I have lost perspective on my face,
causing an oversized nose. This piece takes into account
the different perspective charts researched, although it
shows it poorly as I explained. It also tries to take into
account Jenny Sages traditional mark making and
observation, techniques, with variation in my lines and the
tonal values. Ive tried in my own way to take on board
Egon Schiels extremely personal and expressive vision in
his work in my own style. From my work on tortured, I
liked the texture so I am incorporating this in the arms as I
feel it will help explain my purpose.
I realise to do this with things attached to a meter stick
will be of a great challenge but , I do believe it is possible.
The face appears different in the larger sketch to the
others as I have done some more work on the face area to
fix the nose the best I could.
Project 5: Ex 2 Structural Line Drawing Incorporating Space, Depth and Tone
- Definitions
fore short en
Arts. to reduce or distort (parts of a
represented
object that are not parallel to the picture plane)
in order to convey the illusion of three-
dimensional space as perceived by
the human eye: often done according to the rul
es of perspective.
2.to abridge, reduce, or contract; make shorter.
(Dictionary.com 2014)

bod y
physical structure and material substance of an
animal or plant, living or dead.
2.a corpse; carcass.
3.the trunk or main mass of a thing: the body of
a tree.
4.Anatomy, Zoology . the physical structure of
a human being or
animal, not including the head, limbs, and tail;
trunk; torso.
5.Architecture . the principal mass of a building
.
space
unlimited or incalculably great three-dimensional realm or
expanse in which all material objects are located and all
events occur.
2.the portion or extent of this in a given instance; extent or
room in three dimensions: the space occupied by a body.
3.extent or area in two dimensions; a particular extent of
surface: to fill out blank spaces in a document.
4.Fine Arts. a.
the designed and structured surface of a picture: In
Mondrian's later work he organized space in highly
complex rhythms.
b. the illusion of depth on a two-dimensional surface.
5.outer space. (Dictionary.com 2014)

depth
dimension taken through an object or body of material,
usually
downward from an upper surface, horizontally inward from an
outer surface, or from top to bottom of something regarded as
one of several layers.
2.the quality of being deep; deepness.
3.complexity or obscurity, as of a subject: a question of great
depth.
4.gravity; seriousness.
5.emotional profundity: the depth of someone's feelings.
Structural lines and center lines are a key
part of the sketching process for
both traditional animation and standard
drawing, and are used to help create
balanced, symmetrical figures with proper
distribution of weight and perspective
views. (Sanders 2014)
(Perard Unknown)
- Testing How to Foreshorten
(Sycra 2013)
I was trying to find something which explained how objects
appear compressed, when viewed at certain angles. But I also
was looking to find a way to show how the rules of
perspective are affected as a result of foreshortening and
become distorted. When I come across Sycras video How
to Draw: Foreshortening with the Coil Technique on
YouTube, I tried to incorporate his ideas here as I found them
particularly helpful in learning how to do foreshortening.
Sycra talks about two ways of doing foreshortening. One was
to guess out the basic shape (1) and the other was the Coil
Technique (2, 3 and 4) which is basically a spiral used to
draw out the position of the arm or leg. He also explains how
as the arm or leg comes toward us the spiral gets larger (4),
this is what creates the impression of a three dimensional
volume and helps to dramatize the image. He used a set of
Ram horns (7and 8) to show how once we create the spiral
,we are able to outline the object to make the shapes clear to
us. I found this was an excellent method and very easy to
use, but also it was fast and reasonably accurate.
1
2
3
4
5
6
7
8
(Sycra 2013)
1
2
3
4
5
6
7
8
Here he explains to us how the arm
looks funny because its too long (2)
and the importance of having the arm
the correct length. The arm when it
comes toward us looks bigger (3) than
if the arm was hanging down. Sycra
shows us (4) the length of the arm
when hanging down and shows us
that if straightened, it could only be
the same length. By understanding
this I can now see how (5) when the
arm is coming toward me it could
never be longer than this distance
between the shoulder and the wrist. I
found that this was made even more
clearer for me when Sycra describes
the arm turning in space (6 and 7),
which as it turns in naturally it gets
shorter (8). I now find that I have a
few visuals I can use to help me work
out the foreshortening. I also found if
I extended my own arm and then
turned it in I was able to really
visually understand how these
distances get shorter.
(Sycra 2013)
1
2
3
4
I now realise that foreshortening is at its best and most
successful when the workings out are done accurately
on a picture plane. Sycras video made this clear to me;
highlighting how a picture plan works. I found this part
of the video to be my greatest growth in learning.
Having an understanding of how the coil can flesh out
the basic shape (1) and then connecting this to the
picture plan (3) has made it really easy to work out the
different positioning of the legs and arm. I never really
understood that running this semi-circle around gave
me the correct distance for the length of the legs and
arms. So its really about knowing where the hip is and
turning the coils the correct way and size.

- Testing A Series of Small Works
Here I was looking to see what paper would work best for me and also which
mediums I liked the most, along with the preferred design. In regard to the paper I
did not like the outcomes on the brown paper at all. As a result, I will be using
white paper. I really liked the structural lines in number 4, and felt that the
watercolours worked well. The design provided a nice amount of depth, and I
think this design was a great example of foreshortening. I liked that it took on
Fred Hatt s structural patterns through how the watercolours presented the
clothing. Number 5 had great structural lines and I feel that the chosen medium
here described the work well. Number 7 I felt adopted Andrea Mantegna idea of
fooling around with the rules of perspective which lead to the head being much
larger, causing a powerful foreshortening of the body. Number 14 I felt took the
same aproach only enlarging the right hand.

As a result of this testing I will be looking at doing a series which includes
number 4, 5, 7 and 14. In terms of medium, I will use Mont Marte Water Colour
Pencils, Artists Gouache and Mont Marte Acrylic paint.
1 2
3
4
5 6
7
8
9
10
11
12
13
14
1. Staedtler Tradition 6B
2. Artline CLIX 4 1.0 Blue
3. Mont Marte Water Colour Pencils
4. Mont Marte Water Colour Pencils
5. Artists Gouache Flesh Tint, Mont Marte Acrylic Burnt Umber, Burnt Sienna, Ultramarine Blue,
Titanium White, Lamp Black
6. AS Artists Gouache Flesh Tint, AS Art Spectrum Ivory Black, Cobalt Blue and Raw Sienna
7. Pastel Conte A Paris France 1355 No. 09 Black and No. 49 Pink, Mont Marte Skin Tint Brown, AS
Artists Soft Pastel Pure Pigment Burnt Umber, Cretacolor Pastel Stick Blue,
8. Artists Gouache Flesh Tint, Mont Marte Acrylic Burnt Umber, Burnt Sienna, Ultramarine Blue,
Titanium White, Lamp Black
9. Mont Marte Water Colour Pencils, Blue, Black, Brown and Tan
10. Artline CLIX 4 1.0 Blue
11. Dora The Explorer Jumbo Crayons
12. Bazic Coloured Chalk Low Dust, Mont Marte Water Colour Pencils
13. Mont Marte Calligraphy Pen Thin, Medium Nibs
14. Mont Marte Woodless Graphite 4B, 8B and EE
Project Six: Ex 1 & 2 Visual and Written Research
Project 6: Ex 1 Drawing Transforming Microscopic Body Part to Macroscopic
- Definitions
trans form (trns-
frm)v. trans formed, trans form ing, trans forms
v.tr.1. To change markedly the appearance or form of: "A thi
ck, fibrous fog had transformed the trees into ghosts and the
streetlights into
soft, haloed moons" (David Michael Kaplan).
2. To change the nature, function, or condition of; convert.
See Synonyms at convert.
3. Mathematics To subject to a transformation.
4. Electricity To subject to the action of a transformer.
5. Genetics To subject (a cell) to transformation.
(TheFreeDictionary 2014)

mi cro scop ic (mkr-skpk) also mi cro scop i cal (--
kl)adj.1.a. Too small to be seen by the unaided eye but larg
e enough to be studied under a microscope.
b. Of, relating to, or concerned with a microscope.
2. Exceedingly small; minute: "The activities of men . . . we
re reduced to a microscopic scale" (John Hersey).
3. Characterized by or done with extreme attention to detail
: a microscopic investigation.(TheFreeDictionary 2014)

mac ro scop ic (mkr-skpk) also mac ro scop i cal (--
kl)adj.1. Large enough to be perceived or examined by the
unaided eye.
2. Relating to observations made by the unaided eye.(TheFr
eeDictionary 2014)

frag ment (frgmnt)n.1. A small part broken off or detached.
2. An incomplete or isolated portion; a bit: overheard fragments
of their conversation; extant fragments of an old manuscript.
3. Grammar A sentence fragment.(TheFreeDictionary 2014)

am bi gu i ty (mb-gy-
t)n. pl. am bi gu i ties1. Doubtfulness or uncertainty as regards
interpretation: "leading a life
of alleged moral ambiguity" (Anatole Broyard).
2. Something of doubtful meaning: a poem full of ambiguities.

strange ness (strnjns)n.
1. The quality or condition of being strange.
2. Physics A quantum number equal to hypercharge minus bary
on number, indicating the possible transformations of an
elementary particle upon strong interaction with another
elementary particle. (TheFreeDictionary 2014)

met a phor (mt-fr, -
fr)n.1. A figure of speech in which a word or phrase that
ordinarily
designates one thing is used to designate another, thus making
an implicit comparison, as in "a sea of troubles" or "All the
world's a stage" (Shakespeare).
2. One thing conceived as representing another; a symbol:
"Hollywood has always been an irresistible, prefabricated
metaphor for the crass, the materialistic, the shallow, and the
craven" (NealGabler).(TheFreeDictionary 2014)
- Brain Storm Parts of Body Being Consider for Composition
Index Finger
Inflammation of the skin
Itchy
Crusting
Patches
Rash
Swelling
Dryness
Redness
Flaking
Blistering
White Marks

Thumb/back of hand
Wrinkly
Smooth
Shinny
Blond hairs
Brown freckles
Back of arm
Wrinkly
Blotchy
Blond hairs
Dark hairs
White dots
Brown freckles
Clenched Fist
Wrinkly
Blotchy
White dots
Yellow dots
Black dots
White flakes
Blisters
Cress lines
- Thumbnail Sketches Parts of Body Being Consider for Composition
One part of the body I was considering was taken from the back of the
arm. I wanted to get an idea of how it would look visually in terms of
its tonal contrast and whether or not it might look ambiguous. I started
with a line drawing which did look quite interesting at first. However
once I started to add in the tones, it just didnt feel like it was
displaying the micro enough. So I didnt feel that it would evoke
enough of a conversation regarding the contemporary interpretation of
the body.
Gaylene Duncan
Back of Arm, 2014
Mont Marte Woodless Graphite HB, 2B, 4B, 6B
A3 Acid and Lignin Free 125gsm Paper
Once more I was seeking to get an idea of how the image would look visually in terms of
its tonal contrast and whether or not it might look ambiguous. This time I was focusing on
part of the thumb on the back of the hand. I again started with a line drawing which
looked rather intriguing to me. However I found I was far to heavy handed with the
creases in the skin. This aside though I still dont feel that the image is visually strong
enough for what I am trying to capture.
Gaylene Duncan
Thumb/Back of hand
2014
Mont Marte Woodless Graphite HB, 2B, 8B
A3 Acid and Lignin Free 125gsm Paper
This time I was investigating a clenched fist, which also displayed part
of the index finger. I felt that as my index finger has a little dermatitis
on it might help to produce more of an interesting look. This time I
found the line drawing really boring, but still pushed on to test how I
felt once the tones were added. Strangely I partly liked what I was
seeing, but still felt that it wasnt really produce this really defined
micro appearance I was after. This got me thinking that maybe if I used
part of the index finger itself, where the infection is reasonably bad I
might really spark interests.
Gaylene Duncan
Clenched Fist
2014
Mont Marte Woodless
Graphite HB, 2B, 4B, 6B
A3 Acid and Lignin Free
125gsm Paper
I have decided to use my index finger, as I felt it would be an interesting subject due to having dermatitis
on it. The dermatitis will provide an intriguing connections and juxtapositions of flaky skin next to
smooth skin, which should provide some nice tonal contrast and an ambiguous image once blown up. In
my visual diary I have started by doing a line drawing of the micro and macro to start to consider the best
ways to evoke discussion about the contemporary interpretations of the body. The work will be informed
by Hiroyuki Doi symbolic circles which I will turn into irregular shapes with intend to depict the journey
of my identity. (As seen in the line drawing below)
Gaylene Duncan, Index Finger,
2014, Mont Marte Woodless
Graphite HB, 2B, 4B, 6B, A3
Acid and Lignin Free 125gsm
Paper
- Testing For Index Finger
I felt my design needed a little colour to
highlight the red inflammation and blistering
crustiness that dermatitis causes. But in order to
take the next step I first tested numerous
mediums against the woodless graphite tones, to
see which would best reflect the above. Based on
my tones I have decided to go with the Mont
Marte Two Seasons Water Colour Brilliant Red
and AS Art Spectrum Artist Water Colour Raw
Sienna for my basic colour. I will also use Mont
Marte Impasto on its own, and with the paints
above. Furthermore I will use the Raw Sienna
and the impasto with tracing paper.
On reflection when I do the final work I will be removing
some of the tones from the background so that I can
accomplish the pinkish colour of the skin. I find with the
tones underneath, it loses its meaning and takes away
from the angriness of the skin. So further testing will be
needed to resolve this.
- Testing For Index Finger
Below shows the further testing which was carried out in
light of the previous findings. From this testing I felt that the
best possible outcome would come from the section with the
yellow outline around it.
Below shows my intention for my A2 drawing of the
transformation from the macroscopic body part to the
microscopic , which I will call Finger Print . A limited
pallet has been used influence by Georgia OKeeffe work
with the intent to try to achieve the same level of demand in
my own work.
Project 6: Ex 2 View Finder Drawings Exploring The Notion of The Body in Space
Definitions
bod y (bd)n. pl. bod ies1.a. The entire material or physical structure of an organism, especially of a
human or animal.
b. The physical part of a person; c. A corpse or carcass.
2.a. The trunk or torso of a human or animal.
b. The part of a garment covering the torso.
3.a. A human; a person.
b. A group of individuals regarded as an entity; a corporation.
4. A number of persons, concepts, or things regarded as a group: We walked out in a body.
5. The main or central part, as: a. Anatomy The largest or principal part of an organ; corpus.

ex pan sive (k-spnsv)adj.1. Capable of expanding or tending to expand.
2. Broad in size or extent; comprehensive: expansive police powers.
3. Open and communicative; talkative or effusive: Wine made the guest expansive.
4. Grand in scale: an expansive lifestyle. (TheFreeDictionary 2014)

a nom a ly (-nm-
l)n. pl. a nom a lies1. Deviation or departure from the normal or common order, form, or rule.
2. One that is peculiar, irregular, abnormal, or difficult to classify: "Both men are anomalies: they
have . . . likable personalities but
each has made his reputation as a heavy" (David Pauly).
3. Astronomy The angular deviation, as observed from the sun, of a planet from its perihelion.

su per im pose (spr-m-
pz)tr.v. su per im posed, su per im pos ing, su per im pos es1. To lay or place (something) on or
over something else.
2. To add as a distinct feature, element, or quality: superimposed her own interpretation
when she retold the story.
super im posa ble adj.
super impo sition (-mp-zshn) n. (TheFreeDictionary 2014)

space (sps)n.1.a. Mathematics A set of elements or points satisfying specified geom
etric postulates: non-Euclidean space.
b. The infinite extension of the three-dimensional region in which all matter exists.
2.a. The expanse in which the solar system, stars, and galaxies exist; the universe.
b. The region of this expanse beyond Earth's atmosphere.
3.a. An extent or expanse of a surface or three-
dimensional area: Water covered a large space at the end of the valley.
b. A blank or empty area: the spaces between words.
c. An area provided for a particular purpose: a parking space.
4. Reserved or available accommodation on a public transportation vehicle.
5.a. A period or interval of time.
b. A little while: Let's rest for a space.
6. Sufficient freedom from external pressure to develop or explore one's needs,
interests, and individuality: "The need for personal space
inevitably asserts itself" (Maggie Scarf).
7. Music One of the intervals between the lines of a staff.
8. Printing One of the blank pieces of type or other means used for separating words
or characters.
9. One of the intervals during the telegraphic transmission of a message when the
key is open or not in contact.
10. Blank sections in printed material or broadcast time available for use by advertise
rs. (TheFreeDictionary 2014)

sub vert (sb-
vrt)tr.v. sub vert ed, sub vert ing, sub verts1. To destroy completely; ruin:
"schemes to subvert the liberties of a great community" (Alexander Hamilton).
2. To undermine the character, morals, or allegiance of; corrupt.
3. To overthrow completely: "Economic assistance ... must subvert the existing ...
feudal or tribal order" (Henry A. Kissinger). See Synonyms at overthrow.
Considering People For Composition
As I was unable to get out to draw from life I decided to work from
photos I had taken on family days out. I choose these four locations to
work with because I am very familiar these locations, which should
prove fruitful when it comes to considering them as if I were observing
them from the real space. This way I should be able to draw on that
prior knowledge to help inform the structural aspects of my work,
which in turn should help me to interpret the work in such a way it
becomes convincing. At this point I am only considering what might
work so these are just what I call five minute scribble sketches.

I then went in search on the internet as I dont buy magazines or
newspapers for some interesting characters, with intent to explore
different positions and foreshortening, producing a line drawing of
each. As I was choosing these characters I was considering in my
mind, how they would fit into each of my backgrounds.
Considering Composition Idea One Foster
From my small sketches, which are about
16 x 12 cm in size I felt due to the
complexity of this one, it might cause me
some trouble when it comes to trying to
do this in a 10 x 8 cm. However I felt it
was still worth looking at how the human
form could be superimposed into the
background to provide an interesting
anomaly. I have chosen this character as I
feel the little walking bridge and the trees
could prove comical at the same time as
easy for my viewer to imagine these
outcomes of the work once completed.
So I could get a really good understanding of my intent, I decided to test my idea in Coral PaintShop Pro X5, by
superimposing the man into my intended locations. I felt this would be a great way to see if my idea works visually and if I
felt that the work looked natural and convincing.

These backdrops are photos I had taken on a family day out at Foster, located in Melbourne. The main person I have
borrowed for the occasion just to give the basic shape of a person (d.o.o. 2013). When looking at the bridge here I started
asking myself what would happen if I had the human form jumping. I wanted to investigate this idea, but at the same time
leave it open to interpretation. Is the man jumping of the bridge or the side of the creek? In my second image I have him
placed in the water. Again open for interpretation as to if his entering the water or standing up after entering the water. I
then question if the man could hang from the bridge what ambiguities might this
bring forth? I really liked the idea of him just hanging there. But I also felt this
space provided the opportunity to have the man hanging from a tree. Each of
these situations could be considered possible, but at the same time, could be
considered imaginary, which kind of reminded me of Tracey Moffatt, work. I
loved that for once this work shows the humorous side of me. A side I consider
very rare as a quality in my work.
(d.o.o. 2013)
Considering Composition Idea Two Foster
These quick background sketches which
are approximately 16 x 12 cm I think
would be able to be reduce to 10 x 8 cm
reasonably easy. So this is one background
that I will probably focus more on in terms
of a final outcome. Thinking about Antony
Gormley understanding of the plinth and
how it differs from the Event Horizon,
leading him to believe that the human form
when placed in different circumstances,
becomes more about the content than the
subject (VOGEL 2010), really made me
stop to think about the status of the art I
was trying to produce as well as the nature
of the space I was providing. As a result I
have chosen this character as he struck me
as a reasonably fit man with an
adventurous mind. When I look at this
scene, I find myself thinking about
bushwalking and exploring the surrounding
space. I feel his interesting to look at as a
character. I believe when the character is
superimposed the drawing could very well
turn out an interesting story, which will
allow the viewer to consider how the
human being fits into the space and what
his purpose is.
These backdrops are photos I had taken on a family day
out at Foster, located in Melbourne. The main person I
have borrowed for the occasion just to give the basic
shape of a person (Design 2004). My idea here was to
consider the landscape and how I could superimpose the
human form that it becomes convincing in the landscape.
I wanted to investigate the human form to create a distinct
quality with in the work in order to reach a resolution. I
noted that the space provides a great opportunity with the
tunnel in the background. I also wanted to show depth in
the landscape, which I felt I could use the human form to
show this depth by placing the person in the background,
middle ground and foreground. For me it tells the story of
a man walking towards me. Starting from him walking
out of the tunnel and then crossing the creek.
Considering Composition Idea Three Squeaky Beach
(Design 2004) (Design 2004)
These backgrounds I know for sure will be easy to slot into
an 10 x 8 cm space. As a result this is another background I
will possibly consider more for the final piece. When we
think of the beach its typical to stereotype people into
wearing bathers. This was something I felt important to
avoid, as not everyone when they go to the beach wears
bathers. But another type of person which is often called
out to the beach is rescuers. When I looked at these
characters thats what I saw. What I particularly liked was
the way the guys is looking up and the women looking
down, but also the work hat in the guy's hand I felt gave
opportunity for a story to be told.
These backdrops are photos I had taken on a family day out at Squeaky Beach,
located in Melbourne. The people I have borrowed for the occasion just to give the
basic shape of people (Design 2004). When I started using Coral PaintShop Pro X5
to superimpose these characters, I found that the male looking up and the women
looking down posed an interesting challenge, which altered my original thoughts
about the rescuers. It became more about communication and a power struggle.
This lead to me wanting to investigate communication on different levels. In the
first image I have the women trying to communicate something about her
surroundings as the man looks on. In the second one they are now discussing what
she was trying to communicate preciously. In the last one I wanted to reverse the
situation. By reversing it I found that the original idea of communication is now
lost, as it becomes more about the women questioning why he has chosen to stand
in the water. But the size difference shows like a power struggle going on with the
women presenting herself as a strong figure. If I now return to the second image, I
see the man more as a boy now being recommended. This is something I wish I had
more time to work with as I feel these is interest forming here. It really does depend
on which end of the story line you look from first as to how you will interpret the
work.
Considering Composition Idea Four Tarwin
(Inc Unknown) (Inc Unknown)
These backdrops are photos I had taken on a family day out at Tarwin, located in Melbourne.
The people I have borrowed for the occasion just to give the basic shape of people (Inc
Unknown). Here I wanted to create a romantic scene, which supports the gay culture, but also
challenges multiculturalism. When investigating my idea I asked myself how confronting I
wanted to be with this and what my purpose was. My purpose was to communicate a normal
lifestyle between a couple. So I didnt think I need to use in your face images that would
throw gay relationships in people's faces. This landscape as a space represented to me as a
very romantic atmosphere, which is what influenced my idea. In this first image I wanted to
just have the girls getting a typical photo taken of them with the scenery behind them. In the
second image I wanted the girls looking out over the view. In the final image I noted that the
space provided me with the opportunity to have the girls interact with the environment so
questioned how they might look walking down the steps. Naturally the girl in the forground
needed to be slightly large creating a distance between the girl in the background. I like that
this storyline tells the story of a couple in love. That it shows that race is not an issue. That
being gay is acceptable. Whilst I am not gay, I would like to one day live in a world where
gay relationships are accepted by all and multiculturalism is no longer something to be feared.
In an ideal world, it would be nice to see images like this used more frequently in advertising
instead of your typical stereotype images of heterosexual relationships. We all walk the same
world and our bodies use the same space.
These backgrounds I also feel would slot into
an 10 x 8 cm space. When I look at this
environment I see beauty and romance. But
again wanting to steer away from the typical
idea of romance and heterosexual couples
and I wanted to subvert this idea by doing
the anomaly. Which is why I have chosen
these two female characters. But I also chose
them because of their cultural appearance. I
felt this would really add to the overall
interest of the work.
Considering Composition Testing For Idea Two Foster
Colour Test
(Design 2004)
Before I could think about completing this work I needed to
consider the type of mark I would be making with the fine line
pen. After doing the testing, I found myself using each of these
types of lines as each had their own merit for its particular part.
The colours I used on the other hand were chosen based on what
colours best represented my ideas. See below for outcomes.
Project Seven: Ex 1 2 & 3 Visual and Written Research
Project 7: Ex 1 Analysis of Two Artists Who use Text in Their Work
Mind Map
Artist to research
Lesley Dill
Barbara Kruger
Barbara Kruger Relevant Articles
Why have the artist used text in their work
https://www.youtube.com/watch?v=HpjGISvBSpM
http://link.library.curtin.edu.au/p?pid=CUR_ALMA5111339012000195
1 (start page 163
51 (start page 106)

What visual components are being used
1 (start page 163)
51 (start page 106)

How does the visual and written text relate
51 (start page 106)
Lesley Dill Relevant articles

Why have the artist used text in their work
http://sdfolkart.wordpress.com/2009/07/20/lesley-dill/
http://search.proquest.com.dbgw.lis.curtin.edu.au/docview/
749499697
http://www.lesleydill.net/pdfs/essayVisionTouch.pdf

What visual components are being used
23260001951

How does the visual and written text relate
Dill, Lesley
A Word Made Flesh: Throat
1994
photolithograph with etching on
mulberry paper, hand-sewn on
Arches buff paper
plate: 25 3/4 x 21 1/2 in.; 65.4 x
54.6 cm
(Dill 1994)
Untitled (Your Body Is A
Battleground)
Artist: Barbara Kruger
Date of Work: 1989
Medium: Photographic silkscreen
on vinyl
Size: 112112 (284.5284.5cm)
(Kruger 1989)
Mind Map Lesley Dill
Mind Map
Barbara Kruger
Definition of Street
1.a. Abbr. St. A public way or thoroughfare in a city or town, usually with a
sidewalk or sidewalks.
b. Such a public way considered apart from the sidewalks: Don't play in the
street.
c. A public way or road along with the houses or buildings abutting it: lives
on a quiet street.
2. The people living, working, or habitually gathering in or along a street: T
he whole street protested the new parking regulations.
3. Street A district, such as Wall Street in New York City, that is identified
with a specific profession. Often used with the.
4. The streets of a city viewed as the scene of crime, poverty, or dereliction.
5. The common public viewed as a repository of public attitudes and unders
tanding.
adj.1. Near or giving passage to a street: a street door.
2.a. Taking place in the street: a street brawl; street crime.
b. Living or making a living on the streets: street people; a street vendor.
c. Performing on the street: street musicians; a street juggler.
d. Crude; vulgar: street language; street humor.
3. Appropriate for wear or use in public: street clothes.
I diom:on/in the street1. Without a job; idle.
2. Without a home; homeless.
3. Out of prison; at liberty.
Project 7: Ex 2 A Work Which Responds to Text
Definitions
Definition of Sky
1. The expanse of air over any given
point on the earth;the upper atmosp
here as seen from the earth's surface
.
2. The appearance of the upper atm
osphere, especially
with reference to weather. Often use
d in the plural:Threatening skies por
tend a storm.
3. The celestial regions; the heavens
: stars in the southern sky.
4. The highest level or degree: reac
hing for the sky.
tr.v. skied (skd), sky ing, skies (skz)
1. To hit or throw (a ball, for examp
le) high in the air.
2. To hang (a painting, for example)
high up on the wall,
above the line of vision.
Definition of Silence
1. The condition or quality of being or keeping st
ill and silent.
2. The absence of sound; stillness.
3. A period of time without speech or noise.
4. Refusal or failure to speak out.
v.tr. si lenced, si lenc ing, si lenc es1. To make s
ilent or bring to silence: silenced the crowd with
agesture.
2. To curtail the expression of; suppress: silencin
g all criticism;silenced their opponents.
Mind Map
Civil War Articles and Photos
Us Journalist in Syria freed (Callimachi 2014)
Islamic State Seizes Syrian airbase (Juma 2014)
Ukrainian rebels mock independence (Lima 2014)
Islamic State? No, call it QSIS, says top Islamic authority in
Egypt (Deeb 2014)
Libyan Islamists capture Tripoli airport (Juma 2014)
Women and four children killed as Israel threatens expanded
Gaza operation (Hana 2014) (Ramadan 2014)
Rebels parade captured Ukrainian solders to mock
Independence Day Celebrations (Supinsky 2014) (Shemetov
2014)
Iran claims yo have shot down Israeli spy drone (Soleimani
2014)
In James Foleys home town, Rick Perry pays tribute
(CZANNE c.1875) (Getty 2014) (Age 2014)
Militias turn Libyas capital Tripoli into no-go zone for govt,
travellers (Age 2014) (Reuters 2014) (AFP 2014)
Obama orders review of US police use of military hardware
(Reuters 2014)
UN: Death toll from Syrian civil war tops 191,000
(AFP/Getty 2014) (DEEB 2014)

Civil War
War
Civilians Adults
and Children
Army
Soldiers
Rifles
Deaths
The innocent
Suffering
Blood shed
Ruins
Counties
Boarders
Governments
Medical attention
Hopelessness
Despair
Grieving
Tanks
Plans
News Articles
Photos
Chosen Word to Work With
Haven done some extensive research into my subject area to broaden my knowledge, I
stopped to consider how my two chosen artist Lesley Dills and Barbara Kruger could help
inform my idea and if at all this would work in terms of sky, silence and street. On a surface
level I feel this would be possible, for each of these chosen words. However taking into
account the meaning attached to these words, whilst I feel my idea could fit partly into sky
and silence on different levels, I have decided to go with street, as I feel street really takes in
a holistic aproach to my topic. Giving me a wide birth to work with.
My Vision
Globe
Map incorporating Ukraine, Iraq and Syria
Photos to collage
Photos to highlight children as the innocent victim
Text Civil War and Whats Civil?
Barbara Kruger Very carefully superimpose text in a way it relates to images.
Lesley Dills Focus on societal roles and human condition
Realist, Activist, Protest, Pacifist
Gravity universal pulling Australia into the bigger picture of civil war shown through space
axels dragging Australia in.
Pacifism

Mind Map
My Vision

Lately I have had the civil war on my mind a lot. I guess because it is on our television set, our radios, newspapers and scattered all over the internet and social media. But its also
weighing heavy on my mind as I know from past history it is all too easy for a world war to break out. Right now my daughter's boyfriend is serving time in the army in Singapore, so I
worry for him but I also worry for the civilians that haven chosen to be in this situation especially the children. So I felt this exercise would be a great way for me to work through some of
my thoughts.

Im thinking about civil war as a whole, and how it effects the inter world even if its not currently happening in the individuals own country. The way those in power could potentially put
an end to the destruction if they truly wanted to. Thinking about these issues, I find myself feeling angry that something like this could be allowed to take place in this day and age.
Considering my personality I asked myself where I fit into the scheme of all of this. What I realised is I can identify to this innocent civilians on a surface level only as I have never lived
through the torture of a war. I started to think about Antony Gormley and the human form being placed in different situations and how he believes that circumstance could potential make
the work more about the content rather than the subject (VOGEL 2010). Keeping this in the back of my mind I realise that I want my work to be about the civilians with a focus on the
most innocent of all the children.

My vision is to create globe that has a collage of black and white images as a visual component. I then want to add in four coloured photos as a further visual component and focal point
that shifts the focus onto the real victims the innocent children who have become casualties of war. Then as a play on text as well as a visual component I want to superimposed a map over
top highlighting Ukraine, Iraq and Syria. Then as my aim is to bring awareness of the unnecessary cruelness that plagues these civilians , I want to use the written words Civil War and
pose the question Whats Civil? imply there is no such thing when humanity goes out the door.

Based on my research and my idea for the visual response I do feel that it is more than appropriate to use the written in this context.
Testing My Visual Response
My intent is to use my collage in
black and white, but I need to be
sure that my map will be visible
over the top of it. In order for me
to test this concept I first I need
to work out how to make the map
invisible, leaving just Ukraine,
Iraq and Syria visible. To test this
concept I took the original map
(Wells 2014) and opened it up in
Coral PaintShop Pro X5. Once
open I duplicated the map as to
not damage the original. Then
using the magic wand tool I bit
by bit selected the back ground
colours deleting each section
until all but Ukraine, Iraq and
Syria were visible. I then used
the colour changer tool to make
the remaining lines of the map
red. I chose red as red is a
symbol for fire and blood and
therefore is generally associated
to war and power , but it is also
an emotionally intense colour. At
this point I am more than happy
with the outcome of the map.
(Wells 2014)
After sourcing a variety of photos I
then arranged them in Coral
PaintShop Pro X5 adding each one
as a new layer. I then saved the
image in two different ways First as
a PSPImage file and then as a single
image as a PNG file. This way I
could make any changes if required.
I then opened the single image PNG
image and using the image tool,
turned the image to a greyscale. The
images I felt looked really good
when collage and changed to the
greyscale. I felt the images chosen
also provided a broad vision of civil
war so will make a effective visual
component for final work.

I now need to superimpose the new
map over the top of the collage. I
was not looking for perfection here
only to see if the map would be
visible enough without being over
powering. From the test I can clearly
see that this idea will work.
Callimachi 2014), (Juma 2014), (Lima 2014), (Deeb
2014), (Juma 2014), (Hana 2014) , (Ramadan 2014),
(Supinsky 2014), (Shemetov 2014), (Soleimani 2014),
(CZANNE c.1875) , (Getty 2014), (Age 2014), (Age
2014), (Reuters 2014), (AFP 2014), (Reuters 2014),
(AFP/Getty 2014) and (DEEB 2014)
The idea of my map is inspired by Jean-Michel Basquiat work Untitled (Pecho/Oreja), 1982
1983 through his use of juvenile scribbles as I like his work, I wanted to try to use these juvenile
scribbles of a youngster to describe another element in the work.
The next thing was to test the idea of the four
coloured photos superimposed over the top of the
black and white collage as a further visual
component and focal point that shifts the focus onto
the real victims the children who have become
casualties of war. Will they be visible? Will they
harmonise or stand out to much? These were the type
of questions I was asking myself. These images
were carefully selected to highlight the result of war
on defenceless children with intent to heighten their
pain.
(Cris 2014) (ofpalestine 2014)
(Waninahi 2013) (Grigg 2013)
Callimachi 2014), (Juma 2014), (Lima
2014), (Deeb 2014), (Juma 2014), (Hana
2014) , (Ramadan 2014), (Supinsky 2014),
(Shemetov 2014), (Soleimani 2014),
(CZANNE c.1875) , (Getty 2014), (Age
2014), (Age 2014), (Reuters 2014), (AFP
2014), (Reuters 2014), (AFP/Getty 2014)
and (DEEB 2014) (Cris 2014) (ofpalestine
2014) (Waninahi 2013) (Grigg 2013)
By placing the four coloured
photos over the top I was able to
make an informed decision
regarding the visual component. I
felt visually this worked well
against the black and white. I feel
the harmonization of the two
worked really well in the scene that
the coloured images where not two
over powering but prominent
enough to hopefully bring my point
across. The things that concerns me
is when the map is added back over
the top will the images still be
visible.
To address my concern I superimposed the map over the top. What I found was, that I would need to
be careful in terms of location as it would be very easier to lose their faces in the line marks of the
map.
Callimachi 2014), (Juma 2014),
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
2014), (Supinsky 2014), (Shemetov
2014), (Soleimani 2014), (CZANNE
c.1875) , (Getty 2014), (Age 2014),
(Age 2014), (Reuters 2014), (AFP
2014), (Reuters 2014), (AFP/Getty
2014) and (DEEB 2014) (Cris 2014)
(ofpalestine 2014) (Waninahi 2013)
(Grigg 2013)
(Software 2000-2004)
I then went in search for a globe. One I felt would
harmonize in terms of colour, but also help to explain
how the world should be when not at war. I choose this
one because blue promotes stability. Its symbolic of
trust, confidence, truth and faith. My hope would be
that it could help to promote my idea of creating a
safer world for the innocent civilians. (Group 2002 -
2014)

I am now confronted with two things. First will the
image above once arranged how I want it to look blend
into the globe or harmonize nicely with it? And
secondly will I be able to make the image fit perfectly
within the circumference of the globe without losing
any of the important details.
Working out how to get my image to fit in the globe proved challenging. However I
realised that I could access the effects tool and go into the geometric effects area and by
clicking on the cylinder vertical tab it would bend my outlines in. The problem was that it
left these daggy corners. This meant I needed to access the warped brush to push these
corners in a little. Please note I have shown this in its original colours so it was easier to
see.
(Wells 2014)
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
c.1875) , (Getty 2014), (Age 2014),
2014) and (DEEB 2014) (Cris 2014)
(Grigg 2013) (Software 2000-2004)

I then superimposed the map over the globe. But this posed yet another challenge, as it left
parts of the image hanging out losing the shape of the globe. I needed to find a way that I
could cut these edges of so they perfectly aligned with the globe. To resolve the issue I
create a black back ground around the globe itself.
Once this black background was created I was then able to use the magic wand tool to highlight the black area
ready for cropting. But before cropting it I highlighted the map section so it in fact cropted the map not the
blackened area. I then hit the delete button which produced the following outcome. This now was perfect in terms of
what I had been hoping to achieve.
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
c.1875) , (Getty 2014), (Age 2014),
2014) and (DEEB 2014) (Cris 2014)
(Grigg 2013) (Software 2000-2004)

The idea of combining all these elements together was inspired by Deborah
Grant, work Detail from God's Voice in the Midnight Hours, 2013. as she
combines mixed media as a collage to tell a story.
(Lima 2014), (Deeb 2014), (Juma
2014), (Hana 2014) , (Ramadan
c.1875) , (Getty 2014), (Age 2014),
2014) and (DEEB 2014) (Cris 2014)
(Grigg 2013) (Software 2000-2004)

Now that I had this image I need to add in my related text. So many words come to mind when thinking about the related text.
However I decided to go with the words Civil War and Whats Civil? as I hope to provoke my audience to consider the
question literally in the hope to bring awareness to the wrong being made through the civil war in the hope that change could
prevail.
Civil War
War
Civilians Adults
and Children
Army
Soldiers
Rifles
Deaths
The innocent
Suffering
Blood shed
Ruins
Counties
Boarders
Governments
Medical attention
Hopelessness
Despair
Grieving
Tanks
Plans
News Articles
Photos
When I added the text I chose to use wide lantern as I wanted it to be very clear. I also chose to use the
colour red due to its association to fire, blood, war and power but also because of its symbolic nature.
When I first tested the font and colour I was really content with the font and the colour of the text Civil
War. However I was not happy at all with the colour of the text Whats Civil?, as I found the text
become lost and hard to read. Knowing that yellow is symbolic of the mind and intellect, and is often
optimistic, yet is sometimes impatient, critical and cowardice, I felt it was the perfect
second choice, as I wanted the work to be confronting and show the
horror of war, but also hopeful in finding a resolution through
bringing awareness of the situation. (empower-yourself-with-color-
psychology.com 2009 - 2014)
Project 7: Ex 3 A Text Work Exploring The Everyday
Definition
ev ery day
adjective \ev-r-d, ev-re-\
: used or seen every day :
suitable for every day
Full Definition of EVERYDAY
: encountered or used routinely
or
typically : ordinary<everyday
clothes>
(Merriam-Webster 2014)

eve ry day ( v r -d )
adj.
1. Appropriate for ordinary day
s or routine occasions: a suit fo
r everyday wear.
2. Commonplace; ordinary: eve
ryday worries.
n.The ordinary or routine day o
r occasion: "It was not an isolat
ed, violent episode. It had beco
me part of theeveryday" (Sherr
y Turkle).
Gaylene meaning and name origin
Gaylene \ga(y)-le-ne\ as a girl's name
has the meaning "father of exaltation"
and is a variant of Gail (Hebrew):
short form of Abigail.
(Names 2014)

Duncan
GENDER: Masculine
USAGE: Scottish, English
PRONOUNCED: DUN-
kn (English) [key]
Meaning & History
Anglicized form of the Gaelic
name Donnchadh meaning "brown
warrior", derived from
Gaelic donn "brown"
and cath "warrior". This was the name
of two kings of Scotland, including
the one who was featured
in Shakespeare's play 'Macbeth'
(1606).
Related Names
See All Relations
Show Family Tree
VARIANTS: Donnchad, Donnchadh (
Scottish)
OTHER
LANGUAGES: Donagh, Donnchad,
Donnchadh (Irish) (Name Unknown)
(McClain 1996-2007.)
(McClain 1996-200)

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