3D Design and Color: Chair

Final Product

Artist Statement:

My base concept when designing this chair was movement, both physically and visually. The physical movement comes from the rocking of the seat, making it dynamic and interesting. The clay on the sides is circular to allow the viewer to flow down from the top to the bottom. There are very few hard edges in it, as to not disrupt the viewer from moving across the object.

The purple felt is there to give some interest color wise, choosing purple because it is my favorite color, and it does deter from the brightness of the clay and the wood, being a dark color. The back leg has a bead for visual interest, contrasting color wise to the clay, as well as a support for the leg.

Adding the woman into the image was used to give it some power, in a way that she makes the chair seem as a throne, with the overarching back going above her head, seeming larger than it should be, symbolizing power.

What I have taken from this project is to not rush into something and just jumble things together until you get something that you can just barely count as what you originally planned. This changed from what would be a rocking papasan chair into a throne for Mickey Mouse. Take things slowly, look at what you are doing, figure out what you need to do.

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Comic Page Project: Final Product

Sketch

Inked

 

Colored

Summary:

The story for my comic is based around the creation of Japan story taught through the Shinto religion. The main elements for the visuals are a mix of modern Japanese manga, and ancient Japanese painting and inking.

Write Up: 

Note: This comic is read from right to left as it has been inspired by Japanese comics and art.

For this comic, I spent a lot of time researching and looking at Japanese art and culture for inspirations for my comic. I saw that many ancient Japanese paintings are filled with light, earthy tones and that the Japanese inking has varying line weights. Those lines  having thick outlines with thin inner lines for shading and texturing. It was also very common for their art to be watercolor, which is something that is still practiced to this day. Based off of these observations, I used thick outlines on the second panel to emphasis the power of thrusting the spear into the water. Staying with traditional coloring style, I also had my character’s skin tones blend into an almost white color.

     Moving onto the influences from modern Japanese manga, there are stylistic choices like cross hatching, and the use of patterns that I let influence my design choices. The coloration of the spear is an example of this as the colors are not only contrasting, but they were also chosen to help convey the emotions behind it and demonstrate its importance. The proximity of the cross hatching determines how dark something will be, in order to portray shading in black and white images. I used this technique throughout my comic to once again show a connection between my style research and final product. For things like backgrounds, patterns are used in order to give them texture, which is what I did for the clouds and the tops of the mountains. The motion lines are also something prevalent in manga, bringing the motion forward and putting it in the same panel.

     Based on my knowledge from “Understanding Comics: The Invisible Art” by Scott McCloud, I made the gutters have varying widths in order to show the amount of time that has passed between each section. The larger gutters have more time passing through them, while the smaller ones show more immediate action. This is why the gutter on the thrusting spear into the water panels is so small, because of how direct and quick the action is.

     Looking at my character designs, the woman, whose name is Izanami, has a very pale complexion to the point where it is almost white. This white color is reference to her purity as a goddess, while simultaneously foreshadowing her eventual death. Alsong with her the images I found depicting Izanagi, the man in the story, are colored with general browns and other earthly tones. Thus, not only did I use these colors blend with the image, but also to connect Izanagi with being the one who created the earth and reference the source culture some more.

     Something I’ve learned from this is the difficulty that comes with taking a medium and recreating it with another. Trying to create watercolor paints on a computer based program has it’s problems, but it is never impossible to accomplish. While it was quite difficult and am pleased with what I was able to accomplish.

Citations:

Donald L. Philippi, trans., 1969, Kojiki: Princeton, Princeton University Press, 655 p.,

     and Joseph M. Campbell, 1962, The Masks of God: Oriental Mythology: New York,

     Viking Press, 561 p.

 

McCloud, Scott.  Understanding Comics: The Invisible Art.  HarperCollins

     Publishers.  1993. Print.

 

Merob6. “Ancient Japan.” Emaze presentations. N.p., n.d. Web. 26 Apr. 2017.

     <https://www.emaze.com/@ALFTCRCL/Ancient-Japan>.

 

Schabbi. “Izanami e Izanagi.” Blog de lquipe franaise. N.p., n.d. Web. 26 Apr. 2017.

     <http://www.sakura-house.com/blog/fr/2014/08/01/izanami-et-izanagi-la-version-japonaise-dadam-et-eve/izanami-e-izanagi/>.

Illustrated Journal: Week 12- Day 1

Self-Portrait Reference Images

 

 

 

 

There are two main pieces of my personality I want to portray with this self-portrait, My not so serious attitude towards a majority of my life, as well as my indifference to most everything around me.

 

Illustrated Journal: Week 11- Day 2

Comic Project- Half of Rough Draft

The gutters of this image are very important, both in their direction, as well as orientation. They give importance to panels, and direct the reader through the page.

Figure Drawing- Faster Pose Drawing Method

Coming from a video a peer showed me, this was a method of making drawing the figure much faster and more fluid. Whereas many begin with a stick figure and fill it out with shapes, with this method you do extremely rough shapes, and create the figure from there. It takes out an entire step, and creates a figure that is less stiff.

Illustrated Journal: Week 10- Day 2

Comic Concept Art

Character Creation is starting slow, but should pick up soon.

It’s hard to come up with something without being reminded of other pieces of your life that have subconsciously spilled into your work, but if that never happened, you wouldn’t be you.

Skeleton Observation Piece

For this image, we were to do a study skeletons and how they conform with figures. What I chose to do was to take a commonly known figure and give it an extra layer, adding an inner skeleton to the Statue of Liberty.

Reference Image

The Statue of Liberty gives a good use to study the line variety within clothes folds, the folding over pieces being lighter than the draperies that make up the bottom and her left sleeve.

The pairing of green and orange is one that is both based on a historical aspect, and a design portion. The Statue of Liberty was made of copper, so originally it was a brownish orange shine, but as time went on and it was exposed to oxygen, it became a bright green color. The bright green brings out the orange, extruding it and pushing it into the viewers sight.

I wanted the image to have an x-ray feeling to it, so I made the clothes folds overlap the skeleton, as well as adding some green shades to the edges, and very heavily folded areas of the skeleton.

To give the illusion of shading, I created this defined value change in the greens and oranges that led to this light and dark comparison throughout the image.

The head was a big focus, so I highlighted it by giving it the greatest amount of variety. The intense variety change, the repeating black rectangles in her crown leading you to the edge like train tracks, the fluid transition from a lighter orange to a brownish tint, all congregating to create a starting point for the image to go from. All of the other shadows direct you to the head as well, from the bottom piece of cloth that opens up, an edge pointing to the head, the repetition of the curved lines in her open sleeve bringing the viewer up the image, the darkness under and around the torch pushing the viewer back down her face.

The medium used created a good composition, but did not entirely create what was intended. The inside was to be a more metallic skeleton, with a shine on it. A way I could have created this was by not coloring a portion of the skeleton to give a shine to it.

To incorporate digital media into the project, I scanned my image to get the best color, and I enhanced the levels to bring out the colors more.

Citation for Reference

“Statue of Liberty, The Symbol of Freedom.” Traveldigg.com. Traveldigg.com, 26 May 2016. Web. 05 Apr. 2017. http://traveldigg.com/statue-of-liberty/