Wednesday, 30 December 2015

Me Drawings

Another of the briefs was to practice drawing children by using ourselves as reference. Therefore, I have drawn heads, proportions and extremities from photos of my younger self to better achieve the task. It is difficult for me to draw without thinking of the detail first, so proportions were challenging to draw. I believe the hands and feet studies are the most correctly proportionate drawings.




I sketched from old photos using pencil. I have not omitted any drawings and have scanned them in the best quality I could, though some of the linework is difficult to interpret.

Nonsense Sequence

One of our briefs was to make a nonsense sequence, including the cardboard box masks we had previously made. The meaning of this task was to get us to not fall into the trap of conventional visual storytelling. By constructing a sequence from random elements and poses, it is possible to create something unique.





I created my sequence so that it was not restrained by panels, adding to the randomness of it. It was coloured with pencils in a non-selective way. By mixing unusual colours with these elements, I can further emphasise nonsense. The story of the sequence follows a knight who slays a dragon in a business suit; a spirit of creatures then appears before the knight. 

Friday, 20 November 2015

Forest Sequence


This task challenged me to produce a figure sequence (of 3-5 frames), using different viewpoints. The finished sequence shows a cloaked traveller walking through a snowy forest. In this sequence, I incorporated perspective to achieve appropriate depth of field, and managed to use three different viewpoints.
The base version of the sequence was drawn with pencil, prior to thickening the lines with pen. I changed the completely dark sections to a dark blue colour - through the use of an image manipulation program (GIMP). This was done so that I could not have any black sections when adding colour in different mediums.
Next, I worked on a pencil colour version of the sequence. By limiting my colour options to only three colours, I tried to achieve a warmth emanating from the setting sun, throughout the sequence. By contrast, I wanted to make the tree trunks and forest floor feel cold to the viewer. As you can see, the use of the aforementioned dark blue sections works to demonstrate the size and density of the forest. 
The following version of this sequence is monochromatic, and gives a completely different atmosphere to the colour version. The ambiguousness of the elements used in the base sequence allowed me to change the time of day, and add long shadows to demonstrate the strength and direction of light. I think the negative space provided by the foliage and snowy ground balances well against my use of heavy black sections in the sequence.



Thursday, 29 October 2015

There and Back Again

The following images show my journey from the Francis Close Hall campus to Montpellier gardens. The line represents the length and changing angles of the route. I chose to visually record the foliage from one end of the route to another, to see how the plantlife and trees change throughout.



Next, I put together the route map in its correct form - linking the pages up while maintaining the decorative foliage illustrations captured throughout the respective areas of the journey.


Saturday, 24 October 2015

Go Figure!

More location drawing, this time focusing on drawing the figure. As I continued to record the figure at different angles, I began to understand how perspective affects figures in the environment.





 Glass balconies made for an excellent reference of the whole body, when studying it from below.
 I personally found drawing the figure from above to be more attainable, and could display the proper foreshortening of limbs.

Total Ellipse of the Art

On the topic of shapes, I visually researched drawing ellipses from different angles and distances. I also recorded a few elliptical objects through location drawing - the results of this research are below.






As you can see, I experimented with drawing the objects inside a rectangular guideline - ensuring the dimensions were proper.

Drawing on location delivered a few elliptical objects that interested me. For example, the 'modern art' structure below (located at Centrum Retail Park) offered a variety of angles of rings.



Thursday, 8 October 2015

Historical perspective

Visiting the Ashmolean museum in Oxford, I made examples of a couple of angles of perspective that interested me while I was there.


The Cornered Gallery

This area not only provided a challenging off-center perspective, but also presented difficulties with how to portray a noticeably large space in the ceiling design.

The Weeping Angel

An unfinished study looking into the perspective of a statue in front of a circular recessed portion of marble.

If the stairs could talk...

A lot of angles of perspective needed to be accounted for here, with the added shading providing sufficient depth and detail.

The Laws of Perspective

I researched and visually recorded the known laws of perspective. My examples are given below.



References:

1) https://practicalpages.files.wordpress.com/2010/03/seven-laws-of-perspective.pdf (Accessed October 2015).

Thursday, 1 October 2015

Putting plans into perspective

The above are the plans for my authorial practice over the year, including a to-do list and (bottom right) an abridged version.


The first exercise in perspective is shown below, with basic rectangular objects at differing angles.