For my self-portrait, my intent was to capture my inner emotions that do not necessarily display on my personal surface; For quite some time now, I have been struggling with anxiety and depression, and the process of it has not been an easy one. I’ve had to attend therapy, and have been diagnosed a medication to help my emotions to quiet down, however, there have been times where I’ve found myself completely overwhelmed and in rough positions. The face on the right side, represent my anger and frustration towards the situation. The face on the left side is the face I used to convey my actual depression and anxiety. The face in the middle is the mask I tend to wear amongst a crowd; Very still, very quiet, and leaving my other faces fade into the background. I chose to use charcoal to help give my portrait a darker presence and to help with contrast to my portrait.
I chose to use charcoal to help give my portrait a darker presence and to help with contrast to my portrait. Another reason I chose to use charcoal is my colorblindness. I have an extremely difficult time using colors, thus I attempt to use as few colors aside from Black, white, and gray as I can. I’ve learned quite a bit since I’ve begun the DMA program, and my hands-on art skills have come a long way, I’m quite proud of the work that I accomplished with this portrait.
Abnorman, never asked to be the way he was. He’s constantly passed off as a monster, or as an abomination, but in reality, he’s simply misunderstood. The other marionettes never took kindly to him, because he seemed so much different than them. All Abnorman wants in this world is acceptance, acceptance that he looks different, that he comes from a much more complicated background than most others. However, most people choose not to see this, and as a result turn him away because of his difference.
For my marionette, I chose the form of a clown to help minimize the number of colors I would be required to use due to my colorblindness. I also chose the form of a clown because of how people associate emotions to clowns. More often than making them laugh, people tend to carry a certain fear of clowns. I decided to use this “Fear” to help associate the dismissal of abnormalities in our society from others with differences. I used a lot of blacks, whites, and grays to create a contrast throughout the marionette, and I used the shape of the pieces I made to help give my marionette is sturdy, but unique form.
I chose the Egyptian Creation Myth for my creation comic Project. In Scott McCloud’s Understanding Comics: The Invisible Art, McCloud talks about how the transitions between panel-to-panel. For my creation comic, I chose the Scene-to-scene transition for my comic, which helps the story maintain a fluid motion. Also conveyed in the book, is perspective. The perspective of my comic is very flat, which follows the Ancient Egyptian mural style. Finally, in chapter 1 of the book, McCloud goes into how symbols are used to help readers identify with the culture or imagery to help the reader to help relate to the story. A lot of symbolism is used in my comic, Egyptian hieroglyphs are extremely recognizable by almost any culture, giving my comic the symbolism I desired.
The story begins with a dark watery spiral, from which arose Atum, who was neither male nor female, and was brought into existence by his own will power. From him he created the next two Gods, Shu, and Tefnut. From them, Shu and Tefnut created the Gods of the Earth and Sky, followed by the creation of Iris, Anubis, and many of the other gods. One day, Shu and Tefnut became lost in the dark watery spiral. Atum sent his all seeing eye out into the world to find them, once the eye returned with his children, Atum began to cry tears of happiness, these tears became the first men.
“THE EGYPTIAN CREATION.” THE EGYPTIAN CREATION. N.p., n.d. Web. 11 Apr. 2017.
“Ancient Egyptian Creation Myths.” Ancient Egyptian Facts. N.p., n.d. Web. 11 Apr. 2017.
Online Hieroglyphics Translator. N.p., n.d. Web. 11 Apr. 2017.
Jim Duyer, San Jose, Costa Rica. “Egyptian.” A Unique and Free Online translator of English or other Languages into Egyptian Hieroglyphics ! N.p., n.d. Web. 25 Apr. 2017.
For my project, we were tasked with capturing the human skeleton in a composition of our choice. I chose to model my “Skeleton Within” on dancer, Julie Cheung. The reason I chose this particular image is to assist the viewer with moving throughout the artwork. The view can choose to enter through either the top or bottom, left or right side of the image, giving viewers a large freedom in movement. To add color and texture, I chose to venture into hatching and crosshatching to perform the task. As a colorblind art student, finding the correct colors to use has never been my strong suit, and by using hatching and crosshatching, I feel I achieved the task of shading and adding texture to my composition. Throughout the entire piece, I feel that I maintained a fairly even line weight, Which helps unite the artwork. One of the major aspects of my work that I cherish is my consistency. I’ve managed to maintain control over my work, giving it a solid composition, and feel.
Through this artwork, I feel that I’ve learned a lot when it comes to shading and adding texture to my work, and this is something I am planning to continue on doing in upcoming works. I believe I’ve come a very long way from where I first started in the DMA program, and I will continue to worker harder and try to bring my best work forward.
Our assignment was to create a room modeled after a particular style, my assigned style was Tuscan. Which is a style that deals with a lot tan and brown colors. I had a lot of fun doing this project, and I learned much about 3D modeling and texturing.
As much as I tried, I could not completely remove all the noise from the image, I’m am still determining what the underlining issues for the noise is. My biggest task is to improve my lighting skills for upcoming projects.