Not so... Life-Drawing

Although we were asked to create a life drawing, we were given a skull to work with... I found this ironic.

I have used chalk and a charcoal stick and a hard charcoal pencil to create this. The proportion was rather badly done to begin with, so I worked to pull it back in. I'm still not completely satisfied, but this was the most successful of all the attempts I made to correct my mistake.

An Analysis on the work of Lucian Freud

Lucian Freud is an English painter that was born on the 8^th of December 1922. His early paintings were associated with surrealism and he usually used a thin paint, then in the 1950s, he changed to doing nude portraits in a thick paint. He usually does images of nude people lying across a bed or the floor and also did many portraits of pets and their owners. One of these portraits depicting a pet and its owner is “Girl White Dog”.

 The colours of this piece are mainly based around pale yellows and greens. The dog looks almost impatient yet at ease resting on its owner’s lap. The woman looks odd in her yellow dressing gown, revealing one breast… perhaps she was too nervous to be fully unclothed. In my opinion, the woman’s eyes seem slightly out of proportion and, while the rest of the portrait is in exceptional detail, this small thing throws the picture off balance. It really doesn’t look right to me. I admire his close attention to detail and shading in the rest of it and it’s an amazing painting, I wish I could work to the same standard he manages to create.

I feel that the colours of this portrait are warming in a homely kind of way, though this can make one feel like the image is welcoming, part of me feels like I’m almost intruding on this woman by looking at her in her home-like surroundings. Her quirky smile seems almost uncertain and perhaps a little nervous, which emphasises my previous idea of intrusion. I quite like this image really, but wonder why Lucian felt it necessary to have this woman exposing her breast.

His other portrait, “Leigh on a Green Sofa” is interesting. Though we can tell that ‘Leigh’ is obviously naked, I like how Lucian has cleverly covered him merely by how he is arranged on the sofa in a natural way, in fact, it almost looks as though he is sleeping. Everything has been covered, including his face. It is a little unusual to look at a portrait and not see a face, but I like it for this reason. I must admit that the sofa doesn’t look very green as described in the title; it seems like more of a cream. This makes me wonder if Lucian just hadn’t noticed that, away from the sofa he was painting, it didn’t hold much green or if he did it on purpose for the irony.

I like the way the paint has been applied to this piece. You can still see the brush strokes, yet it seems so detailed too. I like this technique and hope to be able to use it myself in time. It looks almost like he has painted and then lifted the paint off with a sharp object or perhaps even his finger nails.

Now, his portrait “Evening in the Studio” has all the things I know him to be famous for included in it. There is a naked woman lying across the floor, a dog on the bed (relating to the pet and owner pieces) and it looks like thick paint has been used in places. There is a vast amount of detail in this piece and, though I admire this, I can’t help wondering if there is any meaning behind this piece. I can’t understand the significance of having the one woman sat in the chair, fully clothed with a blanket on her lap, and the other strewn on the floor, completely naked. The walls, although a lovely use of colour, look rather grim for walls. The mismatches of colours show that the wall and possibly the rest of the house are in a bad condition. There is a lonely, hospital-looking bed randomly placed in the middle of the room with a dog lying on it, again, if there is a meaning, it’s hidden from me.

The woman on the floor, because of her size and how she is lying, has very interesting lines and shapes. I like how Freud has caught this in the shading of his painting. The woman have very similar hair in colour, length and style, apart from this and their skin colour, they share nothing else in common.

I am impressed with his detail in all his pieces of work, whether it is with delicate painting techniques or rather messy ones that don’t lose detail, they are both remarkable. As I mentioned before, I sometimes do not understand if there is a meaning behind the portraits or if he has painted these people in this manner and this posture simply because he liked the shapes it produces. He is a very talented painter and I can only hope to become as skilled in detail as he is.

An Analytical Review on the Work of Jenny Saville

Jenny Saville is an English Painter with a very bizarre interest in her painting subjects. She paints trauma victims, transsexuals, transvestites and surgery patients. Some of her work is of slaughtered pigs and of women pressed awkwardly against glass sheets.                          

            My opinion of ‘Closed Contact #13’, with the distressed woman squashed against the glass, is torn because it’s interesting and makes you stop and look, however it’s awkward to look at because she has physically distorted the sitter against the glass sheet. I feel that Saville sees the world in a different way to others and that she may be trying to show her views on people through her work. As I mentioned before, she does portraits of trauma victims, people that have just been through surgery and people about to have liposuction along with transsexuals. For this reason she could be portraying that people never think they are beautiful enough and are trying to change their appearance all the time to become the stereotypically ‘perfect’ person the media wants us to be. In the picture, she could be trying to put across the message that all this fiddling with our appearance could in fact be ruining us.

            The blue background works well with the colouring of the sitter where her skin isn’t pressed so hard against the glass, she has red/pink tones which contrast nicely with the pale blue background. She usually works with larger women because she likes the shapes their bodies provide and finds them much more interesting, this woman is an exception to that as she is not large, but her posture and how she has been so awkwardly pressed against this glass provides very interesting shapes and textures throughout this picture. To me, the way this woman has one eye open and is looking right into the camera is a way of saying help. She looks like she is incredibly uncomfortable and that makes me, as a viewer, feel uncomfortable too. The more I look at this piece, the more emotion it stirs in me and it makes it harder to look.

Her piece ‘Rosetta’ is another interesting painting. I really like the way she has distressed the paint throughout the whole thing. However, the thing I like most about this painting is the colour and the splatter around her cheek, which is why I used this painting’s colour scheme to recreate my own hand in my Life Drawing sketchbook. The way the sitter’s eyes seem to focus on slightly different points make it seem as though she may be either distant minded or perhaps blind, which is suggested by the bland colouring too. This woman seems troubled, perhaps, once again, something bad has happened to this poor woman. It seems apparent in the way that she looks distracted and her expression is pained.

            I like how the colour blue has been used throughout. The use of it in the background brings out the appearance of it in her eyes. The paint looks like it has been smudged using a finger, I used this technique while recreating my hand as I mentioned earlier. I found it very difficult at first but slowly got used to it, however I am amazed at how much precision and detail Saville has managed to get into this painting. The paint looks very think and, therefore, would be harder to smudge across a canvas as she has. I really admire her techniques and way of working and look forward to trying to work in a messier way as she does.

Another subject that looks as though they need help is the sitter in the portrait ‘Reverse’. I like how the oil paint is distressed along the canvas instead of smooth strokes, but they are still very controlled. The colours of this piece are very warm and angry. To me, they show pain and danger. Because of how her right cheek droops towards the floor, we can tell that she is lying down against something reflective. The way she stares blankly at Jenny as she paints looks almost as if she is unconscious or even dead. This idea is enforced by how she has used red paint around her face, which could lead viewers to assume it is blood; returning to the idea that the colours show pain. I like the way that the painting has been painted, but I once again don’t like what it’s about. The image is awkward to look at and each viewer could come to a different conclusion as to what has happened to this woman. It looks like she is covered in blood and as though she has been beaten from the way her lip lifts oddly. While her painting shows the side of people we try not to think about, I can’t help feeling she is being a little insensitive about this subject. Which ever the case, she still makes a large amount of money and publicity by doing these pieces and perhaps earning from someone else’s misfortune isn’t the right thing to do.

I feel that Jenny Saville’s work is, at best, disturbing. I enjoy looking at the techniques she uses and like the possibility that there is a deeper meaning to her paintings because it makes them easier to look at for me.

Greenwash

After reading the Greenwash Guide on the college VLE, I now understand that Greenwashing is a dangerous thing often caused by ignorance rather than evil intent. Greenwash is basically a fib to make things look more environmentally friendly than they really are.

Because of all the Greenwash fibs, only 10% of people trust environmental information from businesses and the government. Therefore damaging other people's businesses and makes people reluctant to buy things on the reason that the advert says it's 'green'.

"Green wash is the spanner in the works that could sabotage the whole environmental movement within business."

Greenwashing is around because advertisers have noticed a change in the consumer's buying habits. They've noticed we want to buy 'eco-friendly' items. In a survey, 83% of people think about a companies environmental impact while shopping. Because of this, we have made companies want to be more green and it started with bending the truth.

"This growth in selling green is a sign of things to come: you want to buy green, you expect companies to be green, and they have eagerly started telling you that they are... Occasionally without good reason for doing so. Enter Greenwash."

Leavon Archer – A Concept Artist.

At the age of 15, Leavon was creating amateur comics for a small business before taking an interest in fantasy art which he achieved through airbrushing and pen and ink.

He came to Chesterfield College to do Fine Art, but found he wasn’t well suited for it as he much preferred graphics. At the age of 17 he was creating games! Unfortunately, because of the time period he began in, he didn’t have many colour options to work with and only created 2D games, so he had to brush up his skills on palletisation, which is where you take the colours you are given (in this case, sixteen) and try and make as many as you can. E.g. in different tones or shades of the same colour.

He found he was inspired by Disney and would create many different demos for games with different story lines and main characters to try and get a producer interested, but he admits that 9/10 of your designs get “canned”.

He started with very basic characters (again because of the time period), starting with polygons and working materials onto them to make them look more realistic. But when Photoshop came out, he found that he very much enjoyed working with 3D characters and so moved from the job he was at so he could join Sony and start the mission with Playstation. Everything was hand drawn and then edited on the computer.

Some of the work that Leavon showed us was absolutely amazing! He has worked with the makers of Pirates of the Caribbean and made the Johnny Depp and Orlando Bloom characters. He says that the actors always wanted a say in how they looked and Orlando Bloom wanted to be more bulky than he was in the film.

He says that working in life drawing was probably the most beneficial thing he had done at college and still attends classes now. He uses the human body structure to inspire him when he creates bizarre creatures.

He created one character from a book series but he only had the man himself as he looks now he’s in his 60s and one blurry photo of him back in the day. It was amazing. I noticed as he was speaking that he very much enjoys working with new projects and experimenting, which is why he was thrilled at the chance to make a horse statue. He also says that there are many variables to do with how successful a game is other than just how well the team works… The contract could be running out and therefore time is cut shorter.

He has different ways of inputting his designs onto the computer, one way is to draw straight onto the computer via the drawing tablet and then bulk it out and make it look nicer, or he’ll sketch out in pencil on paper and take a picture on his phone to upload onto the computer and then he would edit it to make it look more professional.

One of his projects was for a game that needed an angel on every level; each one would be of a different element. The one that he showed us on his slideshow was one of a water angel, he told us how the colours had been taken from the striking markings of a colourful tropical fish and how the fins were from an angelfish… The wings were designed from jellyfish tendrils and then mirrored and flipped to mimic the wings of a butterfly.

He told us also of how he often used a base mesh for his characters which enabled him to start the actual design straight away instead of starting from the beginning each time. Once he has made the initial design about how the character should look, he will have to assess each little detail about the character to see if it is believable and functional in real life. He had to redesign the shoulder pads of some of the soldiers and redesign the weapon because it was too bulky and wouldn’t have made sense. Because of all this redesigning, Leavon suggested that you don’t become too precious about how you get to the final stage of your design and instead you should just concentrate on how it looks.

He said that he worked with Hellboy and Hulk and, because he had all the old school comics by the artist that the producer was interested in, he could get to work very quickly. Having reference materials helps you get to work faster.

He says that, although he is working on other projects a lot of the time, he still has time for himself and the work he creates for his own amusement can help him when he does his job because of the practice. He says that work is never wasted and although you may not use the majority of an early design, you may still want to use a character’s shoes or gloves.

There are two ways that he uses to get his work on the go, one is that he will find a picture of someone in a similar pose and drop his design over them and edit it until he is happy, the second is that you can get a thick black pen and sketch out an outline or a silhouette and then define it until it looks like the character you had in mind.

When asked a question about his previous work, he said that most of the games he has worked on have been a positive experience regardless of the final outcome. It all depends on who you work with…

He then said, “If any one fancies rock and roll parties, head to Sony.”

Recycle Poster (4)

I found this image on Google Images and it's delicate simplicity caught my attention. I like how simple this poster is and how the important writing is small to make people have to go closer to the poster to read it. The entire poster is pale apart from parts of the earth, but it works for me. It's addressing global warming and shows the earth melting which is appropriate. Seeing the world in a state of distress will worry many people and hopefully make them want to change their ways and help. The rhetorical question should get people thinking and then the next part of the type is the subtle answer to that question. I have noticed that one reason I have chosen all these posters that are in common with each other is that I like their simplicity, so I plan to keep my design simple too.

Recycle Poster (3)

I really like how this poster has been thought out. I like how the world looks like a screwed up ball of paper  to show how it's being scrapped. It makes people panic and want to change how we treat earth. You are equally drawn into the 'planet' as you are into the type, so both capture your attention and the simple sentence at the top makes you think. The slight slant of the green strip is effective because it's not all straight and relitively boring which is refreshing. The font is open and easy to read which is what you want from a poster, no one will try and read it if it's difficult.