Here are some works that I have with me so far. I would love to include them in my portfolio but I am my harshest critique...always thinking it is not good enough and then I procrastinate (I push it back to the far recesses of my mind and pretend it doesn't exist)...sigh...I am one of those that can be called a "jack of all trades and a master of none". Despite whatever design training I had in the past, I believe I am still at the very basic of it all. I remember we were pretty much left on our own to figure out which software to use and how to manipulate images or vectors.However, the array of works displayed does not just focus on digital works. Foundation year allowed me to dabble with different types of art and that was what I loved most. Happy viewing...:)
These were drawn from observation using colour pencils. I love the use of bright colours and aimed to get as much detail in. The maple leaf is a favourite due to the use of a range of warm tones and some blending.
I created a piece of batik for a Speech and Prize-giving Day Award Ceremony back home. The orchids used were the school's official flower. Working with curved lines and wax to create floral patterns forces me to keep my hands steady, a challenge which left me frustrated at times. I didn't get a very good photo of it as I had to quickly get it framed and submitted.
This is my graphic interpretation of the batik work using gouache and marker. Using a variety of thick and thick lines to create visual interest and chaos. The use of colour and lines depict a vibrancy to the artwork and reflects the tropical feel of the sunny island with which these flowers bloom.
The graphic designer in me decided to put up 2 wedding invitation cards that I did some time back. The flowers in the pink one on top looks a little stiff, I feel. The flow of lines are not as smooth as I want it to be but I like the use of monochromatic tones to create that soft look. I prefer the green/brown one as I got my inspiration from Monsieur Z, one of my favourite graphic illustrators. Especially love the airport control tower as the wedding was held at a reception ballroom in the airport in Singapore.
Some portrait work that I did for my family using watercolour. I intend to frame these up but have yet to do so. I love the way highlights define the facial features and minimal colours were used.
I used monochromatic tones in blue and one contrasting colour, gold, to depict this artwork. Done in acrylic, I was greatly inspired by Van Gogh's impressionistic style and am happy to achieve the effect of the waves and also used optical illusion to further manipulate the work. The idea to create this painting using motifs that represent different elements of Thai culture came from my encounters with Thai social life.
I believe ceramics would be one of my all time loves. The feel of the cool clay between my fingers while I shape it to form a sculpture is just indescribable. I love the way clay is so malleable and so versatile that one can choose to create simple flat pieces or 3-dimensional sculptures plus add different textures and prints to make really interesting pieces.. Using different materials added to the clay makes it all the more exciting! In one of my works, I used twine to create a certain effect. It then burns off during firing leaving the texture of the twine.
Ideas from my sketchbook showing drawings for my ceramic sculpture. Played around with plenty of organic shapes to come up with different designs. Some of the drawings look downright creepy.
Done in pencil, I was practicing shading and love the challenge of optical illusion. If you notice, there is a goldfish somewhere in there. This work was inspired by Bridget Riley and I used more wavy lines that intersect one another to make it a little more complicated.
Ok so that's a wrap for now. Off to making more in my sketchbook...
This comment has been removed by the author.
ReplyDeleteThank you for posting images from your portfolio. It's great that you have such a range in your work. I can understand the "jack of all trades" remark and agree. Variety across media is great to have in your portfolio. However, the areas I think we can work on in this class are adding to your observational work and maybe trying to create some cohesiveness through a series. It's clear that you are comfortable working with different materials and your drawing skills are strong, so this is a great place to start! I will discourage work from photographs, and that is something you will hear from other art schools as well. And when doing observational work, think about including more that one object. It's good to see objects in relation to one another to assess scale and proportion. And as you've done in your other pieces - fill up the page! Sometimes negative space definitely works and fills a purpose, but other times pieces can just seem empty. Let me know if you have any questions!
ReplyDeleteHi Kate,
ReplyDeleteThank you for posting your comments. I agree that I lack the observational work that is one of the most basic requirements when putting together a portfolio. I am very comfortable with playing around with different media and have specific preferences too. But I will definitely start working on focusing more on observational drawings and am grateful that you suggested including more than one object.
Just a question, I know I've read this a lot and you have even mentioned in the comment above..Why is it discouraged to work from photographs? Is it because the image looks more flat? As most photographs are able to show the highlights and shadows of the particular subject, is there a certain 'something' that portfolio reviewers see or look for when looking at observational drawings?
Great question! There are a few reasons why work done from direct observation is preferred over work from a photograph. When you work from a photograph you are translating a flat image to another flat image. A photograph, as you mentioned, also outlines all of the highlights and shadows for you. Art schools want to see how you interpret the world around you. We want to see how you choose to describe three dimensional objects on a two dimensional surface and the techniques you utilize to create that depth in an image. We want you to see the value ranges that exist in life... one might think that it would be as easy as a photo, but it's not. Working from life requires you to critically examine what you see and make visual decisions based on that information as well as your own personal artistic choices. If you gave three people the same photograph of a person and had them draw from it, you would find that those drawings would look more similar to one another than if you had the same three people draw directly from that same model. When we work from photographs, we often want to be so faithful to the photograph that we don't make as many artistic decisions as we would from life. We want to see your artistic ability and creativity and observational work allows us to do so!
ReplyDeleteThank you for the explanation. Just to follow up on this, how about if the subject or object that I want to draw is a living creature or something that doesn't stay put. An example could be a fish or a coral that I would not have access to and will not just be lying around for me to draw. How then would I then go about drawing that if not through a photograph? Would it be safe to say then that, yes, working from photographs are highly discouraged but if we have no choice, then we do what we can?
ReplyDeleteYes, of course... it is fine to work from photographs at times. I would suggest however, to work from multiple sources. So if you want to draw a fish, get multiple views of the type of fish you want to draw or paint and then work from all of them to get different details. This will allow you to create a more well-rounded drawing of a fish. Additionally, if given the opportunity I would suggest sketching from live fish... so quick drawings. Some artists will work from photos, as well as sketches they may have made from observation, to create a piece.
ReplyDeleteWorking from observation also allows artists to observe movement and energy... something that is hard to capture in a drawing from a photo. Therefore, sketching a fish while it's moving perhaps will allow you to add that fluidity into your drawing. Art isn't just about seeing, it's about observing.
There will be times when working from photographs may be your only option, but the more you practice working from life, the stronger your work from photographs will be. Hopefully this helps! The bottom line is.... working from observation helps artists build a strong foundation. Once you have that foundation, the more leeway you can take.
I like that you suggested working from life. That is something that I will take home with me the most after we complete this course. I know my strength is there but will need more to improve.
ReplyDeleteThe idea of doing quick sketches of moving fish is rather interesting and I can imagine how quick the sketches need to be done before I lose the pose (hahaha!) but I am already thinking of places I can go that has a fishpond or something. As they say, timing is everything, isn't it?