Realism and Art Nouveau

The last task of this term! In this session, I have to produce one drawing in colour. I was not well equipped with the medium used;  dry pastels, colored chalk etc., and my collections of them are limited in colour, so I find it hard to complete this task to make the picture more accurate to a live model.

The lighting was not as bright as I'd liked during process pictures due to the studio lighting.

Process

I started with drawing in the sketch with a pencil.

Adding in the details, I make sure to draw out the folds clearly. I did this because once I start coloring with pastels, the smudging would block out all the details if I did not draw enough of them.

I started off with the skin. I made a few mistakes and use yellow for the skin, I fixed this by adding warmer colour like pink, magenta and red with small bit of blue to balance out the tone.

The method I used for clothes are smudging since smudging a line with pastel would benefit me more than colouring the entire section.

I added the blue of her jeans last which caused a little problem when the darker colour smudged into the light colour of the flowers. I fixed these mistakes by blending out the yellow and brown to the jeans area and trying my best to erase the mistake with rubber putty.

Final Piece

I am quite proud of the light and shadow on this piece! The paper is yellow in tone which creates a warmer tone and controls the overall pallet of the drawing while helping the cold colour (blue) to stand out.

Boss Monster: Iterations and Colour Iterations

 I took quite a long break from working on the Boss and I came back with a blank mind. Confused about where to start. I use the shape language that I used when I first planned my boss arena as a guide before looking at my mood board at start working

Iterations

I start out with basic shapes and ideas that came into my head and use my references. I decided to use the one on the middle second row with 3 heads. I imagine it's machinic where the puppet master with 3 faces can switch their head around. The one on top is the one in control of the puppet that they deploy. Each head will indicate a different face as referenced to the theatre masks. Which also makes them have a different pattern of attacking.

Once I choose the iteration design I like, I make more iterations of the design to expand more ideas. At first, I was going to base it on a clown or a jester to indicate how they are in a circus setting. I soon get the idea of utilizing props and stage decoration to be a part of my design and create harmony between the boss and the arena.

Final Iteration Design

In the end I choose the design of a cloaked monster. My idea was that the Puppet master will manifest itself from pieces and assets of the arena after the Hero kill the boss in its first stage. This design is phase two of the boss. The material it is made of then will all be based on and reused from my boss's level.

Colour Iteration

Because it is based on the stage, I create the colour iteration based on the colour of the boss arena, mainly the hero assets and the wall/cloth around the circus theatre. 

Classicism and Neoclassicism. Focus on Human Figure

During this task, I get to break away from using colour and back to using pencils. The task is to create a tonal drawing, three-quarter-length portrait.

Process

I first start my sketch with thumbnail ad basic shapes with measurements.

After the proportion is correct I start and add the details

Rendering the sketch to be cleaner

I was given feedbacks and adjustments to my drawing to create my life drawing to capture the character of the model.

I begin shading the piece with mainly cross-hatching as the main method. I soon find it difficult to fill in the entire space of trousers area so I colour it instead

Once the colouring is no used, I use charcoal powder to smudge in the large area that needs dark value.

Final Piece

I have been using a mechanical pencil to create finner detail on the face structure for sharper and cleaner lines. I think with that method helped me a lot in this piece and I am quite proud of it. I would improve further on the value and create more contrast but I also can't help but feel it is already finished. I have more understanding of the body structure with this task along with getting more used to this model's facial structure.

Boss Battle Arena: The Hall Process

it took me a while to pick myself up to finish this piece. I started out the block out and left it for so long to start on new projects and focusing on other modules but now I finished it and it was a blast. 

Process 

I started of by using the zoomed in of my stage into the room to use as a base for photobashing and painting.

by outlining it and recolour the shadow in to a shade of purple to match the tone and aesthetic of the hero prob I did earlier.

using base colour and the base colour from the iterations

I copy pasted the texture and patterns from the already existed wall textures and hero prop I made.

I added more details to the wall and make the contrast colour of the white stars on dark navy. The stars could be use to narrates it is a children-ish friendly place which contrast to the boss and give it the edge. 

I photobash and retouch the horses in for the carousel. Along side objects that you can see in a circus. 

I added in shadow and lightings so the pictures are blended well in to the art.

Painting down direct spot lights for performance aesthetic 

I ten keep adding more details and rendering the place to look uniform.

Final Piece

The final piece of this work is a colourful place with small hints of weird scary feelings to the atmosphere, which I think I did quiet well with the colour pallet and it's coordinates shadow colour. By using warm colour as the main colour, the shadow are made with blue or purple tone to balance out the temperature of the picture.

Muscle Structure. Combining Black and Colour Media

 This Week's task is to show my further understanding of the human figure with colour choice and aesthetic with my medium is dry (soft) pastels. Because the lighting in the room used to create clear shadows on the model, my process picture is not well taken. The light at the place where I sit is turned off with strong light on my left side...

Process

I started with a fast sketch of the pose with light pencil lines before I start using dry pastels.

It was rather hard to use the pastel as their surface was too big o create thin lines, I try to keep my sketch under control, which makes me sacrifice the dynamic weight lines to replace consistent thin and clean lines.

I received feedbacks and fixed my anatomy, I tend to draw the legs too short so I extended them in the upper picture. But in this session, I was told I draw the legs too long.

I start colouring in the skin and using varies colours to create value, blushes and skin tones with my limited colour choices.

I tried to draw in the face up it is hard to do with such a wide surface of the pastel.

I lost a lot of details during this stage but was more concern about trying to finish my task before the time runs out.

Final Piece

The pastel colour is very fragile, and flaky, and leaves a lot of colour dust that may destroy my work if I was not careful. It is one of the harder mediums I worked with but I am glad it is finished. I would improve this work by creating a bigger piece to make the drawing more detail. That would require a bigger canvas since this page is already a full page of A3.

Ink Wash in Traditional Chinese Painting (self-directed)

This week is an Enhancement week with tasks that I have to choose

Because of how busy I become, I decided to do the Contextual Task:
Choose a painting and describe what ink techniques have been used, and how these contribute to the impression of spatial definition, atmosphere, and mood.

The picture I choose is Wang Meng: Mount Taibai from China Online Museum

Wang Meng (1308-1385), Yuan Dynasty

Handscroll, ink, and color on paper, 27 x 238 cm

Liaoning Provincial Museum, Shenyang

Reference: https://www.comuseum.com/product/wang-meng-mount-taibai/

Chinese ink painting techniques are very significant and distinctive since they are often based on natural scenery. In this picture, the painter has used; Wash ink(Diluted ink), Hard lines, and coloured inks

The technique that stood out to me the most is the diluted of the ink that is used to paint the mountain in the distance, as the lighter in value is the further that object is. The blue of the mountain in the further distance creates an illusion that the mountain is in the sea of fog. The colour also gives an impression of daytime as light blue fogs are the reflection of the morning sky.

The nearer the distance of the object, the darker and more crisp the lines are which is why the trees and rocks in the front are painted with more details and delicate lines.