I am searching for ways to portray a reverse upper Criteria add
Developing initial ideas bird’s-eye view (see Figure 6), and the idea that Figure 3: Close-up of the development
Skills, te
comes to mind is a view of someone in a bathtub of an idea (own photo, edited on
iPhone)
from above, with the image flipped upside down.
The influences of this idea are shown in Figure 3.
Figure 2: Close-up of ideas (own
Figure 1: Mind-map with photo, edited on iPhone to
inspirations on pinboard (own increase legibility)
photo)
Figure 4: pen and
watercolor study of
shower (from
sketchbook)
Sources for the cut out images on
pinboard (respectively from top to
bottom): Figure 5: Graphite penc
https://www.artmajeur.com/tibor-simon-mazula
sketchbook)
https://de.wikipedia.org/wiki/Die_Klinik_Gross
https://www.aboutartbytatyana.com/post/the-death-of-marat
https://life4me.plus/de/news/cruel-tender-a-multimedia-exhibition-aids-at-home-at-museum-of-the-city-of-
new-york/
https://www.mainepublic.org/show/maine-calling/2018-09-07/andrew-wyeth-the-artists-life-and-legacy
Both studies have proportion
https://www.artsy.net/artist/hugh-auchinschloss-steers
https://stanforddaily.com/2019/03/18/gaspar-noes-climax-is-a-chaotic-triumph-not-for-the-faint-of-heart/
errors, although I used a ruler. I
https://beautybellezzabeaute.wordpress.com/2017/09/06/hugh-steers/
https://www.pinterest.ch/pin/311803974208943993/
find it challenging to accurately
https://www.bangstyle.com/posts/floral-shaved-head-janine-ker-2095
https://www.pinterest.ch/pin/914723374288198299/
depict a mass of tiles, which
https://www.altpress.com/jackie-bieber-interview-blackbear-dennis-rodman/
https://artincontext.org/the-two-fridas-by-frida-kahlo/
leaves me frustrated. After
https://www.bowiegallery.com/product/heroes-face-sculpture
https://brooklynrail.org/2008/12/artseen/cutting-realities-gender-strategies-in-art
finishing the watercolor and pen
study, I want to abandon the
Being in a boarding school, the only bathtub I can access is the one in my art teacher’s house, so I soothing clarity of the watercolor
cannot draw from life first to see what a composition including a bathtub looks like, so I decide to shades to add depth and
do preliminary studies of my shower as shown in Figures 4 and 5, observing them from slightly sentimentality in the graphite
different angles. Figure 6: Quick sketch study.
, Visualizing compositional arrangements of a reverse bird’s eye view
To observe the emotional effect of reversing an originally-upright image, which
represents unsettlement in cinematography most notably in The Shining, I have my
roommate take a picture of me (see Figure 7) in the shower and search for the
angle which I think most intensifies the sense of isolation. The peripheral
framework of tile lines is excellent to enhance the sense of negative space, so I
shrink the image and complete the remaining space with digitally added lines as
shown in Figure 8.
Figure 7: Photo of me in shower
Figure 8: Reference
image for study
To overcome the difficulty I had with drawing tiles in previous studies and
make sure this does not spoil the work, I draw the shower three times
before it is accurate enough to add a human form. But now the facial
expression seems to me to be too peaceful, although I capture the exact
angle I hoped to portray.
I do a photoshoot in a bathtub with a model as shown in Figure 10, but the
interior architecture does not allow me to get an extreme fisheye effect, or take
pictures from bird’s eye angles, so I digitally enlarge the face for my reference
image (see Figure 11).
In contrast to the rather rigidly composed studies overpowered by parallel lines, I
want to also experiment with a more impressionistic and color-driven
composition, and thus decide to use oil paint to get smooth blending and
Figure 9: Sustained sketch (from sketchbook) sentimental brushstrokes.
Figure 11: Reference image (own
photo, edited on Photopea.com
Figure 10: Contact sheet of
photoshoot
, Experimentation with
Fauvist color use I am
Mada
Exploring unusual angles from which to observe
st
a face, I decide to portray emotional entanglement
from
through combining fragmented self-portraits
with l
with spontaneous blushes of color. I find myself
abstract
increasingly drawn to compositions with color
find q
compartmentalization, notably in Matisse’s Portrait
of Lady Matisse (1905). I adore the harshness of the against so
backgroun
charcoal pencil so much to the extent that I decide
to not blend anything using tissues, blending
stumps, cotton swabs or any other smoothing
agent, instead relying on cross-hatching and rough
marks to create a sense of form.
Figure 12: Quick entangled charcoal self-portraits drawn looking at a mirror from different angles,
with watercolor a overlay (from sketchbook)
Leaving marks directly with charcoal pencils, without increasing the softness of the charcoal from
HB up is a risk, as mistakes would cannot be fully erased, but I think this sketch requires that. As
an overlay to harsh marks, I take advantage of the watercolor’s transparency to add gradients of the
three primary colors along with greens that I obtain from mixing blue and yellow instead of
using a pre-made green, which I think suits the clarity and lightness of hues in Fauvist paintings.
Inspired by Matisse’s rapid brushwork, I decide to do an alla prima experimentation (see Figure 14)
of just the face of my model in Figure 11. I use greens to add shade as in Portrait of Madame Matisse
and pinks for highlights. But due to my inexperience and lack of awareness of the medium, my
colors turn out muddy which flattens the image and makes it somewhat anatomically inaccurate. I
dislike this study so much that I think of abandoning oil paint for my final piece. Sources for the cut
out images above
(respectively from top
I return to my reference image to pick up inspiration,
to bottom):
trying to imitate Matisse’s background by creating
https://artuk.org/discover/artworks/henri
contrasting wall colors which would emphasize my -matisse-198544
https://www.britannica.com/art/Fauvism
figure in the middle as shown in Figure 15. This
restores my inspiration to experiment more with Figure 14: Oil paint alla Figure 13: Another fragme
developing my ideas. prima study of face with harder B and HB cha
Figure 15: Oil pastel color layout on reference image
Developing initial ideas bird’s-eye view (see Figure 6), and the idea that Figure 3: Close-up of the development
Skills, te
comes to mind is a view of someone in a bathtub of an idea (own photo, edited on
iPhone)
from above, with the image flipped upside down.
The influences of this idea are shown in Figure 3.
Figure 2: Close-up of ideas (own
Figure 1: Mind-map with photo, edited on iPhone to
inspirations on pinboard (own increase legibility)
photo)
Figure 4: pen and
watercolor study of
shower (from
sketchbook)
Sources for the cut out images on
pinboard (respectively from top to
bottom): Figure 5: Graphite penc
https://www.artmajeur.com/tibor-simon-mazula
sketchbook)
https://de.wikipedia.org/wiki/Die_Klinik_Gross
https://www.aboutartbytatyana.com/post/the-death-of-marat
https://life4me.plus/de/news/cruel-tender-a-multimedia-exhibition-aids-at-home-at-museum-of-the-city-of-
new-york/
https://www.mainepublic.org/show/maine-calling/2018-09-07/andrew-wyeth-the-artists-life-and-legacy
Both studies have proportion
https://www.artsy.net/artist/hugh-auchinschloss-steers
https://stanforddaily.com/2019/03/18/gaspar-noes-climax-is-a-chaotic-triumph-not-for-the-faint-of-heart/
errors, although I used a ruler. I
https://beautybellezzabeaute.wordpress.com/2017/09/06/hugh-steers/
https://www.pinterest.ch/pin/311803974208943993/
find it challenging to accurately
https://www.bangstyle.com/posts/floral-shaved-head-janine-ker-2095
https://www.pinterest.ch/pin/914723374288198299/
depict a mass of tiles, which
https://www.altpress.com/jackie-bieber-interview-blackbear-dennis-rodman/
https://artincontext.org/the-two-fridas-by-frida-kahlo/
leaves me frustrated. After
https://www.bowiegallery.com/product/heroes-face-sculpture
https://brooklynrail.org/2008/12/artseen/cutting-realities-gender-strategies-in-art
finishing the watercolor and pen
study, I want to abandon the
Being in a boarding school, the only bathtub I can access is the one in my art teacher’s house, so I soothing clarity of the watercolor
cannot draw from life first to see what a composition including a bathtub looks like, so I decide to shades to add depth and
do preliminary studies of my shower as shown in Figures 4 and 5, observing them from slightly sentimentality in the graphite
different angles. Figure 6: Quick sketch study.
, Visualizing compositional arrangements of a reverse bird’s eye view
To observe the emotional effect of reversing an originally-upright image, which
represents unsettlement in cinematography most notably in The Shining, I have my
roommate take a picture of me (see Figure 7) in the shower and search for the
angle which I think most intensifies the sense of isolation. The peripheral
framework of tile lines is excellent to enhance the sense of negative space, so I
shrink the image and complete the remaining space with digitally added lines as
shown in Figure 8.
Figure 7: Photo of me in shower
Figure 8: Reference
image for study
To overcome the difficulty I had with drawing tiles in previous studies and
make sure this does not spoil the work, I draw the shower three times
before it is accurate enough to add a human form. But now the facial
expression seems to me to be too peaceful, although I capture the exact
angle I hoped to portray.
I do a photoshoot in a bathtub with a model as shown in Figure 10, but the
interior architecture does not allow me to get an extreme fisheye effect, or take
pictures from bird’s eye angles, so I digitally enlarge the face for my reference
image (see Figure 11).
In contrast to the rather rigidly composed studies overpowered by parallel lines, I
want to also experiment with a more impressionistic and color-driven
composition, and thus decide to use oil paint to get smooth blending and
Figure 9: Sustained sketch (from sketchbook) sentimental brushstrokes.
Figure 11: Reference image (own
photo, edited on Photopea.com
Figure 10: Contact sheet of
photoshoot
, Experimentation with
Fauvist color use I am
Mada
Exploring unusual angles from which to observe
st
a face, I decide to portray emotional entanglement
from
through combining fragmented self-portraits
with l
with spontaneous blushes of color. I find myself
abstract
increasingly drawn to compositions with color
find q
compartmentalization, notably in Matisse’s Portrait
of Lady Matisse (1905). I adore the harshness of the against so
backgroun
charcoal pencil so much to the extent that I decide
to not blend anything using tissues, blending
stumps, cotton swabs or any other smoothing
agent, instead relying on cross-hatching and rough
marks to create a sense of form.
Figure 12: Quick entangled charcoal self-portraits drawn looking at a mirror from different angles,
with watercolor a overlay (from sketchbook)
Leaving marks directly with charcoal pencils, without increasing the softness of the charcoal from
HB up is a risk, as mistakes would cannot be fully erased, but I think this sketch requires that. As
an overlay to harsh marks, I take advantage of the watercolor’s transparency to add gradients of the
three primary colors along with greens that I obtain from mixing blue and yellow instead of
using a pre-made green, which I think suits the clarity and lightness of hues in Fauvist paintings.
Inspired by Matisse’s rapid brushwork, I decide to do an alla prima experimentation (see Figure 14)
of just the face of my model in Figure 11. I use greens to add shade as in Portrait of Madame Matisse
and pinks for highlights. But due to my inexperience and lack of awareness of the medium, my
colors turn out muddy which flattens the image and makes it somewhat anatomically inaccurate. I
dislike this study so much that I think of abandoning oil paint for my final piece. Sources for the cut
out images above
(respectively from top
I return to my reference image to pick up inspiration,
to bottom):
trying to imitate Matisse’s background by creating
https://artuk.org/discover/artworks/henri
contrasting wall colors which would emphasize my -matisse-198544
https://www.britannica.com/art/Fauvism
figure in the middle as shown in Figure 15. This
restores my inspiration to experiment more with Figure 14: Oil paint alla Figure 13: Another fragme
developing my ideas. prima study of face with harder B and HB cha
Figure 15: Oil pastel color layout on reference image
