Download - A Collection of Works by Leah Murphy
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Leah MurphyA Collection of Works by
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Art is my life and my passion.
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Table of
Contents
Printmaking
Photography
Digital
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Video
Sculpture
Multimedia:The Bird Series
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Printmaking
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Cow Skull with Lily, 2010.
Copperplate etching; 4 in. x 6 in.
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To Be Human, 2010.
Drypoint etching; 8 in. x 10 in.
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Wisdom, 2010.
Drypoint etching; 5 in. x 7 in.
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Divinity, 2010.
Drypoint etching; 5 in. x 7 in.
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Deceit, 2010.
Drypoint etching; 5 in. x 7 in.
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Loyalty, 2010.
Drypoint etching; 5 in. x 7 in.
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Mystery, 2010.
Drypoint etching; 5 in. x 7 in.
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Strength, 2010.
Drypoint etching; 5 in. x 7 in.
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Solitude, 2010.
Drypoint etching; 5 in. x 7 in.
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Survival, 2010.
Drypoint etching; 5 in. x 7 in.
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Power, 2010.
Drypoint etching; 5 in. x 7 in.
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Photography
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Marionette, 2008.
Gelatin silver print; 7.5 in. x 8 in.
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Hypnotism, 2008.
Gelatin silver print; 7 in. x 8 in.
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Masked, 2008.
Gelatin silver print; 8 in. x 10 in.
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Meltdown, 2008.
Gelatin silver print; 8 in. x 10 in.
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Cracked, 2008.
Gelatin silver print; 8 in. x 10 in.
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Zippo, 2008.
Gelatin silver print; 8 in. x 10 in.
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Oil Can, 2008.
Gelatin silver print; 8 in. x 10 in.
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Paramount, 2009.
Gelatin silver print; 8 in. x 10 in.
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Chicago Public Library, 2009.
Gelatin silver print; 8 in. x 10 in.
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Ferris Wheel at Navy Pier, 2009.
Gelatin silver print; 8 in. x 10 in.
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A Conversation, I, 2010.
Gelatin silver print; 11 in. x 14 in.
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A Conversation, II, 2010.
Gelatin silver print; 11 in. x 14 in.
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A Conversation, III, 2010.
Gelatin silver print; 11 in. x 14 in.
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A Conversation, IV, 2010.
Gelatin silver print; 11 in. x 14 in.
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A Conversation, V, 2010.
Gelatin silver print; 11 in. x 14 in.
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Apathy (and other small victories), II, 2010.
Gelatin silver print; 8 in. x 10 in.
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Apathy (and other small victories), III, 2010.
Gelatin silver print; 8 in. x 10 in.
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Apathy (and other small victories), IV, 2010.
Gelatin silver print; 8 in. x 10 in.
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5 00, 2010. Digital.
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Digital
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Learning
Illustrator
I had never worked with Adobe Illustrator until I
took a Computer Graphics class at Saint Xavier
University. I always thought it was much more
complicated, but now that I have learned how to
use the program, I see that it is actually quite easy
to learn.
I made a series of still life drawings in Illustrator
using the pen and tablet tools. This helped to fa-
miliarize me with the many functions of Illustra-
tor, but it also helped me to improve my cross-
hatching, which is an opportunity I never turn
down. I also experimented with different lines
thick lines, thin lines, curly lines, and so on.
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I was able to make these simple line drawings
more sophisticated by adding colors. By creat-
ing each element of the drawing in its own layer,
I was able to place the color behind the drawing
without altering or damaging the drawing itself.
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This illustration was also created in Adobe Illustra-
tor, but through a different process.
First, I created a background layer with my original
photograph.
Next, I essentially traced the photo. I used the pen
tool to make a series of shapes which represent
the objects on the photograph. I started with the
background objects and eventually worked my way
to the foreground.
I used the eyedropper tool to give each shape a
color accurate to the photo.
I organized the layers by naming each shape and
putting every shape for a single object together. The
layers are sorted according to where they fall in the
picture plane; the background objects are toward the
bottom, the foreground objects toward the top.
I created the gradient in the sky by using the gradi-
ent tool. I made a linear gradient of three colors:
white and two shades of blue.
I used the transparency tool to create the fences. Imade them a shade of grey with an opacity of 50%.
After I had added in every shape, I went back in and
added details.
Once every shape had been rendered and every
important detail had been added, I played with the
overall color of the image. I wanted this illustra-
tion to look gloomy. The original colors didnt
really accomplish that, so I dropped the saturation
down, gave most of the objects a brown color, and
changed the bright blue sky to a drab and gloomy
blue-grey.
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I wanted this illustration tolook gloomy.
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Video
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The Stain of
ObligationA Short Film byLeah Murphy andKevin Jaderberg
One day, I was discussing my latest series with
my friend and collaborator Kevin Jaderberg. I
told him that I really wanted to do a video but
didnt know what to lm. He said, I have this
box. I knew about the box. I knew what was in
the box. I knew we had to open the box.
We thought about how we wanted to shoot it.
We didnt have a story yet, and we didnt know
what was going to happen when we opened the
box, which was half the fun. We wanted to em-
brace its low-budget qualities.
Once we had shot the rst scene the opening of
the box a story unfolded.
The Stain of Obligation is a ve minute, low-
budget lm that only cost us $2.17 to make.
He said, I havethis box.
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Despair in Yellow, 2010.
Steel wire, wax, wood
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Pensive Plastic, 2010.
Garbage bags
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Multimedia:
The Bird Series
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Raven skull with human spine, 2010.
Charcoal, conte, India ink on paper; 18 in. x 24 in.
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Caged, 2010.
Mixed media; 20 in. x 24 in.
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Claustrophobia, 2010.
Mixed media; 5 in. x 7 in. x 2 in.
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7000 miles, 2010.
Oil on canvas; 16 in. x 60 in.
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Would Rather Be, 2010.
Mixed media; 16 in. x 20 in.
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Return, 2010.
Silkscreen on gelatin silver print; 8 in. x 10 in.
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Flight, 2010.
Collage; 11 in. x 17 in.
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Wing, 2010.
Ink and watercolor on paper; 4 in. x 6 in.
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Falling, November 2010.
Digital manipulation; 8.5 in. x 11 in.
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Aquaphobia, November 2010.
Feathers and ink on paper; 8 in. x 10 in.
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