Self Portrait

We were to create self portraits based around new and old varieties and styles of art, ranging all the way from the Baroque Era, to post modern, etc. So as to challenge myself, I chose arguably the most difficult I haven't explored very often in my artistic endeavors so far; Realism.

We used photo references, and set them up next to our easels, so as to have more than a mental palette to work from. I first set down a base outline with a light coating of black-ish paint. Next, I simply spent the next few classes filling in the spaces with corresponding colours. The simplest, and most satisfying part came next. Utilizing the power of space between lights and darks. Though not very prominent in the reference photo I used, I was able to dry brush darks under my neck, eyelids, lips, and clothing. As for lighting, I dry-brushed a simple white in some areas, and an off-yellow in others. Most notably, on my bottom lip, nose, partially the eyelids, and cheeks.

With this, I was able to effectively create the illusion of depth, and an aspect of realism. The most challenging part was separating my dark hair and clothing from my dark background. I did however, have a plan to accentuate the highlights in my face against the background. Also, towards the right of my painting, I decided to use a lighter shade of reddish-brown in order to add the illusion of lighting coming in from that angle, as I had noticed in the original photo.

In my opinion, I was quite successful i utilizing this tactic, and creating an overall realistic appearance to the finished product. For a first attempt, I was quite pleased by the outcome. Although, given the chance, I wouldn't mind being able to lighten the base tone of the flesh, as it had darkened considerably during the drying process.

"The Marchesa Casati" - A Timeless Favourite

On my recent visit to the Art Gallery of Ontario, one piece which has managed to catch my eye time and time again has to be "The Marchesa Casati", by Augustus Edwin John, as seen above. This image stood out for me; however, perhaps not for the usual reasons one would expect. Of course, the use of space, design, etc. are all used well, however this one was set apart simply for the sheer expression on the models' face

In that time period, most everywhere you look, all of the models sport that same monotonous, lifeless expression. An expression which speaks, "I've no real personality of my own, as it is what is expected of me." That expression can be seen everywhere in paintings from that period, and could be perhaps the result of the artist being unable to capture feeling into a stilled image. In the image above, however, the model is bearing an actual personality, and most likely a story and feelings to go with it. Looking at this image, I almost get a sense of "I'm a spunky young woman, who actually has some gusto. I have a feminine side, however I also have the means of standing up for myself." That sort of thing.

For me, the contrast between the two concepts is much like staring at a brick wall for an hour, attempting to find out why it's so worm, (to no avail) as opposed to observing a wild flower in order to fully interpret it's motivation for facing the sun. If that even makes sense. One is generic, whilst the other has some visually pleasing qualities which can keep your imagination on its toes.

There are other subjects I'd like to tackle as to why I find this piece superior, (for example the large, rounded pupils versus the old-timey miniscule dots in the center of each eye found in most other Victorian work. Really, sometimes they don't even have the small shine of light reflecting to indicate the model has some form of a "metaphorical" soul.) However, I feel I've covered everything necessary for the time being. Over all, good job, mister Augustus Edwin John.

Voila! Kinetic Typography

Portal - "Still Alive" typography, 

By Kilrok

Above is a typography video featuring one of my favourite video game ending themes, just about ever. This is perhaps one of the aspects which drew me in, but I also stayed for the professional use of motion and

 

"V for Vendetta"  Kinetic Typograph, 

by Chris Silich

Scholar's Tea Room

The above is a still-life drawing, composed using an animal skull and at least 3 other objects in the scene.

One of the elements of design I'm proud to have accomplished in this piece is the aspect of movement. The leaves, flowers, skull, and shadows all have a certain 'sway' in their placement and design. This gives the viewer's eye the effect of following lines throughout the composition, towards the focal point. Which is in this case, the bottle and skull at the centre of the image.

Another element I aspired to utilize well was the use of spacing. At first, both the top left and the top right of the image were empty. To remedy this, I added a few extra leaves to the top right corner of the image. Now, there is a sort of unity between the skull and the leaves. The majority of the image is present at the right half of the piece, however this ensures that no full space is too cluttered and that there is a varying visual experience for the viewers eye.

 Looking back on it now, I notice several things I would have wanted to improve upon, such as the barely visual logo on the bottle. In the darkening process, it appears that I may have forgotten to outline the print and design, therefore making the text appear faded. Another thing that bothers me is the shadow to the bottom left of the image. I'm pleased with the placing of it, however the darks still strike me as being awkward in the location. After several attempts to fix this area, I decided it was presentable... At least, enough so to get by.


In general, I am however pleased with the overall outcome of this piece. In particular, I'm quite proud of my shading in most locations. So to speak, the animal skull. I believe it to be the most realistic of the compilation I put together.

Mixer Brush, Not Only for Painting Effects

Over here is a link to a tutorial featuring the mixer brush. However, this explores more options than just
the overall painting look you can achieve with it. This video goes into the possibilities of adding movement, and blurring out your mistakes in the fewest amount of brush strokes. In the earliest parts of the video, Mr. Pete Collins even mentions how he can get his own "distracting" face out of the reflection in the car.

"Broken" Mask Tool Assignment?

The above is an assignment in which we were to use the mask tool in photoshop. The goal result of this assignment was to choose a word. You guessed it, any arbitrary word off of the top of your head, and then use the mask tool in order to get creative. The first thing that came to mind was anything cracked, or broken. So glass works too. Next, I took it upon myself to find an appropriate stock image to portray just that. I was most comfortable fitting the text in the bottom of the screen, and decided to roll with it. Slap a dar background on top, and erase the "broken" filling, and you've got yourself a simple, easy to make, logo or whatever.

Personally, I enjoyed the outcome of this logo because it's simple, but to the point. At a glance, you can easily tell what the image is implying, and how it's implying it. Not much I would change, with the choice. I'm content.

Pixel Art Self Portrait

The above is a self portrait done in the style of "pixel art" or, one could call it, an 8-bit game. My process is as follows.

First, we were to pick a photo of ourselves, and crop it down to about 100 by 100 dimensions. Next, I selected the dropper tool to select the colours from the image, and put them to the side on a separate layer. This gave me easy access to them throughout the process.

Next, I personally, I found it simpler to lower the opacity of the original photo, and then use my tablet to fill in the sections of similar colours with the pen tool. This gave the cover image the "pixel" or, "blocky" texture. And then, voila! After some time and quick editing around the edges here and there, you have a completed pixel portrait.