My paintings contain both abstract and figurative elements that share an underlying theme: spiritual symbolism that conveys positive principles to live by. The symbolism that underscores my content carries over to my choice of palette; for example, red or yellow implies the vitality of life while purple stands for royalty.With my drawings, I concentrate on highly realistic graphite portraits of individuals I know. I present them in the environments in which they live to help highlight their unique personalities. With both painting and drawing, my goal is to illustrate spiritual philosophies on macro and micro levels respectively

Dean, H.A. Mark

VCU Scholars Compass

Virginia Commonwealth UniversityVCU Scholars CompassTheses and Dissertations Graduate School2006Illustrating LifeH.A. Mark DeanVirginia Commonwealth UniversityFollow this and additional works at: http://scholarscompass.vcu.edu/etd© The AuthorThis Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Thesesand Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact libcompass@vcu.edu.Downloaded fromhttp://scholarscompass.vcu.edu/etd/821Illustrating Life Documents submitted in partial fulfillment of the requirements for the degree of Master of Interdisciplinary Studies at Virginia Commonwealth University BY H. A. Mark Dean B.F.A., University of Texas at Arlington, Arlington, Texas, December 1992 M.A., Faith Christian University, Temple Hills, Maryland, May 2003 D.D., Faith Christian University, Temple Hills, Maryland, May 2005 Virginia Commonwealth University Richmond, Virginia August, 2006 Table of Contents ... .................................................. Artist Statement: Illustrating Life 111 Introduction: Background ........................................................... 1 The Evolving Process ................................................................ 2 Drawing: Portraiture ................................................................. 3 . . Abstract Pamtmg ..................................................................... 4 Symbolism ............................................................................ 6 Conclusion ............................................................................ 8 Future Plans ........................................................................... 9 . . Bibliography ......................................................................... 10 Appendix ............................................................................. 11 Resume ............................................................................... 17 Artist's Statement: Illustrating Life My paintings contain both abstract and figurative elements that share an underlying theme: spiritual symbolism that conveys positive principles to live by. The symbolism that underscores my content carries over to my choice of palette; for example, red or yellow implies the vitality of life while purple stands for royalty. With my drawings, I concentrate on highly realistic graphite portraits of individuals I know. I present them in the environments in which they live to help highlight their unique personalities. With both painting and drawing, my goal is to illustrate spiritual philosophies on macro and micro levels respectively. Introduction All of my life, drawing has been my choice of artistic expression. I have always enjoyed its multifaceted nature to create a variety of subject matter. In addition to providing a memorable aesthetic experience for viewers, my greatest desire is to create works of art that emphasize the expressive physical and spiritual qualities in my portraits along with an emphatic sense of mood in my abstract work. Although I have been drawing for years, it wasn't until I had a life changing event in 1987 that this aspect of my life began to have a true purpose. After being healed by God for depression, I began to use portraiture to express the state of my inner spirit. Most of my work at this time was composed of detailed blending and shading of my subject matter. Because I had suffered mentally for many years, I wanted people to understand my experience with depression. In the spring of 1988, I won the Prince Georges Community College Juried Art Exhibition with a portrait of my mom. Thus, I began my journey with an artistic focus that needed to be developed. Section I: An Evolving Process When I entered the VCUIMIS graduate art program, the purpose I had in mind was to improve the technical aspect of my work. I initially thought that it was the only area that needed to be developed. However, I noticed through critiques that there was much more missing. My work lacked adequate composition, style, and dramatic themes. I didn't have a full understanding of how to use line to stimulate the illusion of movement and action. During my first semester, I quickly realized that in order to improve my compositions, I needed to learn how to capture a strong palable sense of space. I also lacked the ability to clearly communicate my message in my work. There was no intriguing interaction with my content nor a style that presented something new to the eye. With this in mind, I completed a self- portrait called "Isaiah 41 : 10" (Appendix, Figure 1). In this work, one can see the interaction between the Lord and myself in an intimate way through the arrangement of symbols associated with this subject matter. My intent was to present an image of protection, fellowship, and God's supernatural involvement and love in my life. I consider this work a new direction for my artwork. It provided a perfect example of how I could use all the elements and principles of art together to form a consistent body of work. Everything about the composition, including color and perspective, is to symbolic. It was at this time that I realized I needed a stronger foundation of art skills in order to follow a new direction in my work. This was my purpose after entering the MIS program at VCU. Section 11: Drawing -Portraiture Although I have always had an interest in human anatomy as artistic content, my interest goes Wher  with a goal to reflect mood and feelings in my work. I have had the opportunity Erom my prior education to learn how to capture the essential appearance of an object at close study and enjoy the challenge of doing so. I understand how light and shade can be implemented to create tonal balance. An example of this can be seen in the "Shadow of the Almighty" (Appendix, Figure 2) which I created in a drawing class taught by Kurt Godwin. In this piece, I used a deep shadow juxtaposed with a sphere of light for extreme contrast. My intention was done to show the presence of something or someone that I suggest is the Almighty. The person's face in this portrait is meant to say that there is a Majestic Presence which is the refuge for the individual. My instructor suggested that I emphasize contrast more to bring out more depth. In my second drawing class, I learned to incorporate expressions and moods in my portraiture. I discovered how to render facial features to realistically express emotions such as shyness, concern, joy, and sadness. An example of this is the portrait titled "Faithful Grandma9'(Appendix, Figure 3) a portrait of my Great Grandmother, Beatrice Thomas. The purpose of this portrait was to capture the regal stature of her being by using dark and light values in order to create depth and weight, reinforcing a feeling of solidity. This work is intended as a tribute to a loving grandmother. Again, I placed the subject in familiar surrounding to emphasize her individuality. In this case, Beatrice was known to relax in her chair on the fiont porch. 111. Abstract Painting After entering the MIS program, I discovered a new love and deeper understanding for visual abstraction as an expressive language. It began with an intense study in my second drawing course entitled "Pen, Ink and Beyond." The class combined Drawing and Painting, allowing me to look at expression in a new way as I learned how to render mood, feelings and action in my artwork. I believe this has allowed me to convey clear, complex and sophisticated concepts to my viewers. When I started these 5 classes, I was dealing with a couple of problems: an over-reliance on realism and a lack of previous experience with the pen and ink. My first challenge was to overcome these problems. Through exploration and experimentation, I discovered and learned a new visual language. I began studying geometric forms and shapes and the inherent ideas and principles behind them. I also began to discard all realistic assumptions and habits in my approach and focus on a more conceptual approach to convey emotions. An example of this is entitled "The Life and Times of Christv( Appendix, Figure 4). In this piece I was trying to portray a vision of struggle, steadfastness, triumph, and victory. This work began with pouring puddles of water on the paper and working into it with pen and ink effects such as cross hatching and stippling once the water has dried. This approach allowed me to formulate my ideas through an evolving process without relying on my realistic tendencies. Having had the opportunity to experiment with the use of materials and techniques, I can now focus more on adding literal depth in my artwork. By adding touches of realism, I limit the scope of interpretation into the meaning of my work. 6 IV. Symbolism A surprising development in my work is the use of symbolic content. I never had used symbols at all in my work for three reasons: first, I hadn't done any research for their use artistically. Second, I had a hard time making a connection between the use of symbols and my abstract work and third, I just didn't feel confident because of my lack of knowledge. All of this changed while I was taking drawing and printmaking taught by Kurt Godwin and Warren Carrado respectively. During my first printmaking class, I had the chance to experiment with spiritual symbolism such as the cross, the ark of the covenant, and the blood of Christ to illustrate my spiritual philosophy. I was instructed by Mr. Godwin to research my areas of interest and to investigate any associated symbolism. Another suggestion involved how to fuse them into my abstract work. So, the experiment began. I studied works by artists such as George Rouault whose painting entitled "Crucifixion" is inspiring. This work of art clearly demonstrates the effective use of faith based symbology. Taking symbols and surrounding them with a dramatic setting is what I wanted to learn to incorporate in my work. After studying the Bible, I started to take note of important symbols such as the cross, the ark of the covenant, the communion table and its items of bread and wine. I then began placing these symbols in my abstract work according to their importance in the Christian faith. An example is my painting and intaglio print entitled "The Holy Communion Altar" (Appendix, Figure 5). In these works of art, I used realistic images of bread and wine and placed them upon an abstracted altar. This altar comes toward viewers to get their attention. Its shape and position is realistic. The cross that stands in the corner signifies the importance of this sacrament. The bread and wine represent the body and blood of Christ who died on the cross for man's sins. Thus began my incorporation of symbolism that continues to evolve with my work. Conclusion As I conclude my experience in the MIS program, I can now say that I have a solid foundation in my profession as both an art teacher and artist. I have had the chance to develop my composition, tonality, and dramatic themes in my work as an artist. As an art teacher, I have learned a great deal and have been able to gain experience in using art materials and a variety of procedures. The many resources that I have been given by my instructors have added depth to my own curriculum and lesson planning as a teacher. I feel extremely comfortable in teaching a variety of artistic subject 8 matters without any insecurity. I can teach all grade levels knowing exactly what to do, what materials to use, and what must be addressed. The training that I received as an artist in the MIS program has taken my work to a higher level of development. This is exactly what I wanted as I entered the program. I also learned how to incorporate my spiritual philosophy in my work in a more arresting, theatrical way. Through critiques and classroom discussions, my instructors have given me the feedback and reinforcement that I need to grasp specific concepts. The experience allowed me to develop my style as an artist. Future Plans My next objective is to use this experience to enhance the quality and content of the work in my art company. I have been blessed by God to oversee a brand new art company called All For Jesus Scripture Fine Art. I plan to use the knowledge I received in techniques, procedures and materials to add quality to our art instruction department. I also plan to provide all my artists with the resources that I received and to share with them the method of using spiritual symbolism in their work. I am also planning hture 9 exhibitions with my company that will incorporate various aspects of my experience in the MIS program. 10 Bibliography Cleaver, Dale G Art An Introduction. Nashville: Harcourt Brace Jovanovich Publishers, 1 985. Felder, Rev Cain Hope. fie Original AJFican Heritage Study Bible. Nashville: The James C. Winston Publishing Company, 1995. Foster, Michael. Architecture, Svle, Structure, & Design. New York: Excaliber Books, 1 982. Newman, Thelma. Innovative Printmaking. New York: Crown Publishers, 1977. Parks, Carrie. Secrets to Drawing Realistic Faces. Ohio: F&W Publications, 2003. Saper, Chris. Painting Beautiful Skin Tones. Cincinnati: F & W Publications, 2001. Watson, Ernest. The Art of Pencil Drawing. New York: Watson-Gutpill Publications, 1968. Appendix I. Isaiah 41: 10, 18"x 24", pencil on paper, 2004. 2. In The Shadow of the Almighty, 18"x 24", pencil on paper, 2004. 3. Faithful Grandma, 18"x 24", pencil on paper, 2003. 4. The Life and Times of Christ, 18"x 24", pen and ink on paper, 2005. 5. The Holy Communion Altar, 36"x 48", acrylic on canvas, 2004. Figure 1.  Isaiah 4 1: 10, pencil on paper, 18"x 24", 2004. Figure 2. In me Shadow of The Almighfy, pencil on paper, 18"x 24", 2004. Figure 3. Faithfirl Grandma, pencil on paper, 1 8"x 24", 2003. Figure 4.The Life and Times of Christ, pen and ink on paper,18"x 24", 2005. Figure 5. me Holy Communion Altar, acrylic on canvas, 36"x 48", 2004. 

Illustrating Life

Virginia Commonwealth University 
VCU Scholars Compass 
Theses and Dissertations Graduate School 
2006 
Illustrating Life 
H.A. Mark Dean 
Virginia Commonwealth University 
Follow this and additional works at: https://scholarscompass.vcu.edu/etd 
 
© The Author 
Downloaded from 
https://scholarscompass.vcu.edu/etd/821 
This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has 
been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. 
For more information, please contact libcompass@vcu.edu. 
Illustrating Life 
Documents submitted in partial fulfillment of the requirements for the degree of 
Master of Interdisciplinary Studies at Virginia Commonwealth University 
BY 
H. A. Mark Dean 
B.F.A., University of Texas at Arlington, Arlington, Texas, December 1992 
M.A., Faith Christian University, Temple Hills, Maryland, May 2003 
D.D., Faith Christian University, Temple Hills, Maryland, May 2005 
Virginia Commonwealth University 
Richmond, Virginia 
August, 2006 
Table of Contents 
... .................................................. Artist Statement: Illustrating Life 111 
Introduction: Background ........................................................... 1 
The Evolving Process ................................................................ 2 
Drawing: Portraiture ................................................................. 3 
. . Abstract Pamtmg ..................................................................... 4 
Symbolism ............................................................................ 6 
Conclusion ............................................................................ 8 
Future Plans ........................................................................... 9 
. . Bibliography ......................................................................... 10 
Appendix ............................................................................. 11 
Resume ............................................................................... 17 
Artist's Statement: Illustrating Life 
My paintings contain both abstract and figurative elements that share 
an underlying theme: spiritual symbolism that conveys positive principles 
to live by. The symbolism that underscores my content carries over to my 
choice of palette; for example, red or yellow implies the vitality of life while 
purple stands for royalty. 
With my drawings, I concentrate on highly realistic graphite portraits of 
individuals I know. I present them in the environments in which they live 
to help highlight their unique personalities. With both painting and drawing, 
my goal is to illustrate spiritual philosophies on macro and micro levels 
respectively. 
Introduction 
All of my life, drawing has been my choice of artistic expression. I have 
always enjoyed its multifaceted nature to create a variety of subject matter. 
In addition to providing a memorable aesthetic experience for viewers, my 
greatest desire is to create works of art that emphasize the expressive 
physical and spiritual qualities in my portraits along with an emphatic sense 
of mood in my abstract work. 
Although I have been drawing for years, it wasn't until I had a life 
changing event in 1987 that this aspect of my life began to have a true 
purpose. After being healed by God for depression, I began to use portraiture 
to express the state of my inner spirit. Most of my work at this time was 
composed of detailed blending and shading of my subject matter. Because 
I had suffered mentally for many years, I wanted people to understand my 
experience with depression. In the spring of 1988, I won the Prince Georges 
Community College Juried Art Exhibition with a portrait of my mom. Thus, 
I began my journey with an artistic focus that needed to be developed. 
Section I: An Evolving Process 
When I entered the VCUIMIS graduate art program, the purpose I had in 
mind was to improve the technical aspect of my work. I initially thought that 
it was the only area that needed to be developed. However, I noticed through 
critiques that there was much more missing. My work lacked adequate 
composition, style, and dramatic themes. I didn't have a full understanding 
of how to use line to stimulate the illusion of movement and action. 
During my first semester, I quickly realized that in order to improve my 
compositions, I needed to learn how to capture a strong palable sense of 
space. I also lacked the ability to clearly communicate my message in my 
work. There was no intriguing interaction with my content nor a style that 
presented something new to the eye. With this in mind, I completed a self- 
portrait called "Isaiah 41 : 10" (Appendix, Figure 1). In this work, one can 
see the interaction between the Lord and myself in an intimate way through 
the arrangement of symbols associated with this subject matter. My intent 
was to present an image of protection, fellowship, and God's supernatural 
involvement and love in my life. I consider this work a new direction for my 
artwork. It provided a perfect example of how I could use all the elements 
and principles of art together to form a consistent body of work. 
Everything about the composition, including color and perspective, is 
to symbolic. It was at this time that I realized I needed a stronger 
foundation of art skills in order to follow a new direction in my work. This 
was my purpose after entering the MIS program at VCU. 
Section 11: Drawing -Portraiture 
Although I have always had an interest in human anatomy as artistic 
content, my interest goes Wher  with a goal to reflect mood and feelings in 
my work. I have had the opportunity Erom my prior education to learn how 
to capture the essential appearance of an object at close study and enjoy the 
challenge of doing so. I understand how light and shade can be implemented 
to create tonal balance. 
An example of this can be seen in the "Shadow of the Almighty" 
(Appendix, Figure 2) which I created in a drawing class taught by Kurt 
Godwin. In this piece, I used a deep shadow juxtaposed with a sphere of 
light for extreme contrast. My intention was done to show the presence of 
something or someone that I suggest is the Almighty. The person's face in 
this portrait is meant to say that there is a Majestic Presence which is the 
refuge for the individual. My instructor suggested that I emphasize contrast 
more to bring out more depth. 
In my second drawing class, I learned to incorporate expressions and 
moods in my portraiture. I discovered how to render facial features to 
realistically express emotions such as shyness, concern, joy, and sadness. An 
example of this is the portrait titled "Faithful Grandma9'(Appendix, Figure 3) 
a portrait of my Great Grandmother, Beatrice Thomas. The purpose of this 
portrait was to capture the regal stature of her being by using dark and light 
values in order to create depth and weight, reinforcing a feeling of solidity. 
This work is intended as a tribute to a loving grandmother. Again, I placed 
the subject in familiar surrounding to emphasize her individuality. In this 
case, Beatrice was known to relax in her chair on the fiont porch. 
111. Abstract Painting 
After entering the MIS program, I discovered a new love and deeper 
understanding for visual abstraction as an expressive language. It began with 
an intense study in my second drawing course entitled "Pen, Ink and 
Beyond." The class combined Drawing and Painting, allowing me to 
look at expression in a new way as I learned how to render mood, feelings 
and action in my artwork. I believe this has allowed me to convey clear, 
complex and sophisticated concepts to my viewers. When I started these 
5 
classes, I was dealing with a couple of problems: an over-reliance on realism 
and a lack of previous experience with the pen and ink. My first challenge 
was to overcome these problems. 
Through exploration and experimentation, I discovered and learned a 
new visual language. I began studying geometric forms and shapes and the 
inherent ideas and principles behind them. I also began to discard all 
realistic assumptions and habits in my approach and focus on a more 
conceptual approach to convey emotions. An example of this is entitled "The 
Life and Times of Christv( Appendix, Figure 4). In this piece I was trying to 
portray a vision of struggle, steadfastness, triumph, and victory. This work 
began with pouring puddles of water on the paper and working into it with 
pen and ink effects such as cross hatching and stippling once the water has 
dried. This approach allowed me to formulate my ideas through an evolving 
process without relying on my realistic tendencies. 
Having had the opportunity to experiment with the use of materials and 
techniques, I can now focus more on adding literal depth in my artwork. By 
adding touches of realism, I limit the scope of interpretation into the 
meaning of my work. 
6 
IV. Symbolism 
A surprising development in my work is the use of symbolic content. 
I never had used symbols at all in my work for three reasons: first, I hadn't 
done any research for their use artistically. Second, I had a hard time 
making a connection between the use of symbols and my abstract work and 
third, I just didn't feel confident because of my lack of knowledge. 
All of this changed while I was taking drawing and printmaking taught by 
Kurt Godwin and Warren Carrado respectively. During my first printmaking 
class, I had the chance to experiment with spiritual symbolism such as the 
cross, the ark of the covenant, and the blood of Christ to illustrate my 
spiritual philosophy. I was instructed by Mr. Godwin to research my areas of 
interest and to investigate any associated symbolism. Another suggestion 
involved how to fuse them into my abstract work. So, the experiment began. 
I studied works by artists such as George Rouault whose painting entitled 
"Crucifixion" is inspiring. This work of art clearly demonstrates the 
effective use of faith based symbology. Taking symbols and surrounding 
them with a dramatic setting is what I wanted to learn to incorporate in my 
work. After studying the Bible, I started to take note of important symbols 
such as the cross, the ark of the covenant, the communion table and its 
items of bread and wine. I then began placing these symbols in my 
abstract work according to their importance in the Christian faith. An 
example is my painting and intaglio print entitled "The Holy Communion 
Altar" (Appendix, Figure 5). In these works of art, I used realistic images of 
bread and wine and placed them upon an abstracted altar. This altar comes 
toward viewers to get their attention. Its shape and position is realistic. 
The cross that stands in the corner signifies the importance of this sacrament. 
The bread and wine represent the body and blood of Christ who died on 
the cross for man's sins. Thus began my incorporation of symbolism that 
continues to evolve with my work. 
Conclusion 
As I conclude my experience in the MIS program, I can now say that I have 
a solid foundation in my profession as both an art teacher and artist. I have 
had the chance to develop my composition, tonality, and dramatic themes in 
my work as an artist. As an art teacher, I have learned a great deal and have 
been able to gain experience in using art materials and a variety of 
procedures. The many resources that I have been given by my 
instructors have added depth to my own curriculum and lesson planning as a 
teacher. I feel extremely comfortable in teaching a variety of artistic subject 
8 
matters without any insecurity. I can teach all grade levels knowing exactly 
what to do, what materials to use, and what must be addressed. 
The training that I received as an artist in the MIS program has taken my 
work to a higher level of development. This is exactly what I wanted as I 
entered the program. I also learned how to incorporate my spiritual 
philosophy in my work in a more arresting, theatrical way. Through critiques 
and classroom discussions, my instructors have given me the feedback and 
reinforcement that I need to grasp specific concepts. The experience 
allowed me to develop my style as an artist. 
Future Plans 
My next objective is to use this experience to enhance the quality and 
content of the work in my art company. I have been blessed by God to 
oversee a brand new art company called All For Jesus Scripture Fine Art. I 
plan to use the knowledge I received in techniques, procedures and materials 
to add quality to our art instruction department. I also plan to provide all my 
artists with the resources that I received and to share with them the method 
of using spiritual symbolism in their work. I am also planning hture 
9 
exhibitions with my company that will incorporate various aspects of my 
experience in the MIS program. 
10 
Bibliography 
Cleaver, Dale G Art An Introduction. Nashville: Harcourt Brace Jovanovich 
Publishers, 1 985. 
Felder, Rev Cain Hope. fie Original AJFican Heritage Study Bible. 
Nashville: The James C. Winston Publishing Company, 1995. 
Foster, Michael. Architecture, Svle, Structure, & Design. New York: 
Excaliber Books, 1 982. 
Newman, Thelma. Innovative Printmaking. New York: Crown Publishers, 
1977. 
Parks, Carrie. Secrets to Drawing Realistic Faces. Ohio: F&W Publications, 
2003. 
Saper, Chris. Painting Beautiful Skin Tones. Cincinnati: F & W Publications, 
2001. 
Watson, Ernest. The Art of Pencil Drawing. New York: Watson-Gutpill 
Publications, 1968. 
Appendix 
I. Isaiah 41: 10, 18"x 24", pencil on paper, 2004. 
2. In The Shadow of the Almighty, 18"x 24", pencil on paper, 2004. 
3. Faithful Grandma, 18"x 24", pencil on paper, 2003. 
4. The Life and Times of Christ, 18"x 24", pen and ink on paper, 2005. 
5. The Holy Communion Altar, 36"x 48", acrylic on canvas, 2004. 
Figure 1.  Isaiah 4 1: 10, pencil on paper, 18"x 24", 2004. 
Figure 2. In me Shadow of The Almighfy, pencil on paper, 18"x 24", 2004. 
Figure 3. Faithfirl Grandma, pencil on paper, 1 8"x 24", 2003. 
Figure 4.The Life and Times of Christ, pen and ink on paper,18"x 24", 2005. 
Figure 5. me Holy Communion Altar, acrylic on canvas, 36"x 48", 2004. 



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Illustrating Life

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