Tuesday, December 7, 2010
Tuesday, November 23, 2010
Friday, October 15, 2010
Monday, October 4, 2010
Monday, September 27, 2010
Thursday, July 22, 2010
Sunday, June 13, 2010
Wednesday, May 5, 2010
The assignment was to take a composition that already exists and adapt it to a new drawing. I chose Broken Eggs by John-Baptiste Greuze which shows an old lady being upset at this young girl for having lost her virginity. In my drawing a skanky girl is upset by the burden of having to take care of an aging and a mentally deficient person to show the changes in our society's values over time. One of Stephen Gaffney's comments was that elements of it reminded him of Vermeer's sleeping girl, which I didn't have in mind when doing this but I do love Vermeer-eroo.
Thursday, April 22, 2010
Thursday, March 11, 2010
Wednesday, March 10, 2010
So I'm taking an illustration class taught by Peter Fiore called "Capturing Light" and it's oil painting with an emphasis on getting down atmosphere. It's basically the bomb, and also I would highly recommend it to any animation student at SVA because it covers a lot of what they don't teach you in the curriculum. Poynter gives you a little bit of color theory in Layout, but I can't emphasize enough the importance of light to narrative, which goes so much beyond setting the time of day.
This is what Anne Hollander has to say about it in her book "Moving Pictures,"
"For human creatures dependent on the sun, the action of light has an obvious primal drama that compels the human imagination... If the dramatic action of ordinary light can be accurately represented in a religious picture, for example, the image can manifest spiritual transfiguration simply showing the real light of day on the right group of common objects. They will seem to fill with meaning, just as the world seems to fill with it when dawn breaks..
The passage of every daylight hour changes the relationships between light, shadow, and color in the seen world. Everything directly seen is also seen in motion, since light itself moves; and so not only does nature never stay the same, it never stays looking the same. Any mode of visual art ... that makes this point about light in terms of personal experience is bound to be very affecting. It engages our deepest feelings about our relation to time, vision, and material things, our sense of transience... The dialectic of light and dark ensures the emotional potency of any movie - even without an exciting scenario or good acting and editing - just by representing the mutable chiaroscuro that makes us see and know the mutable world."
And then she goes on to talk about how making the viewer's eye move around the screen (through manipulative composing of the shot) draws upon our primitive instinct to forage for food by constantly moving our eyes, and how the opposite of that, a still gaze, is comparable to death.
Anyways, we just started with color and have no idea what I'm doing, but really excited about the rest of the semester.