Studio Art

This is my Studio Art class portfolio, 2020-2021.

The Sketch

The Finished Product

Experimental Drawing Project

September 8, 2020

For our ‘Experimental Drawing Project’, we were to create a piece from observation using an ‘obscure’ material in which we were to draw on. I ended up using a page out of an old medical book. We were to incorporate our invented textures, experimental lines, drawings from observation, variety, and the balance of negative and positive shapes. I incorporated my invented textures both in slight areas of the background as well as using an experimental texture on the figure himself. For experimental lines, I did a weighted contour line and added details to the figure and forms similarly. As for drawing from observation, I used a pediatric measuring device and drew it twice in different areas, adding a needle post-observation for effect. I used myself as a model for the figure in the middle of the page, drawing the general form as one would a self-portrait. As for variety, I attempted to depict this in the varying positions of the ‘syringes’, as well as the pose, placement, and colouring of the figure. I also attempted to depict variety through a collage way of spelling sentences out. Finally, for the balance of negative and positive shapes, I attempted to depict this by leaving a somewhat sizable amount of empty area between each form. The materials I used were a mechanical pencil for the initial sketch, and I then traced the sketch from the printer paper to the book page itself with the same pencil. I then lined the piece with a .05 tip illustration pen. I used watercolour pens to then colour the piece, using colours and diluting them to get a softer tint in some areas.I faced challenges in the sense that I restarted the piece after an initial sketch and test. I had determined that I disliked what I was originally going for and decided to retry. In some areas in which I messed up the lining, I then found another book page, cut out some areas, and pasted it over some areas I didn’t agree with. Unfortunately, what I had attempted to fix had turned out in a familiar lackluster quality of what I had tried to fix. For my final product, the sketch was better than the finished artwork itself.During the time of working on my project, I had acquired an old book and had decided to try drawing in it to help improve for my project itself. I followed a similar step procedure- sketching and colouring, though this time I had lined it with graphite. Somehow, the personal projects had ended up better than the actual project. I’ve concluded that this is due to the fact that the book paper (in which I had done my personal projects on) was a bit sturdier than that of the project’s paper, and thus I had allowed myself to directly sketch onto the book page itself and continue from there. The ability to render the initial sketch into the final piece without any transferring or lining made my personal projects of higher quality than my actual project.In my opinion, the most successful part of the drawing was simply the experimentation of it. I’ve found more avenues for art, and that in itself is a success. If physically, I would say the colouring of the piece was the most successful, although it was not even a requirement. As far as least successful, I’d say the entire piece as a whole- the botched form of the figure, the sloppy lineart, etc.- were unsuccessful. If I were to do this differently next time, I would choose to (as previously mentioned) use the same piece of paper throughout the entire project, for the difficulty of transferring and tracing onto a page cluttered with words seemed to detract from what I could’ve had. If I could improve the work, I would simply opt to redo the entire piece, namely the stiffness of the figure in the middle of the page.

Figure in Environment Project

October 21, 2020

The requirements of the assignment was to draw a figure in an environment, and for at least one of the two requirements to be drawn from observation. For my environment, I drew an area of my house’s kitchen from observation, and had my mother take a photo of myself dressed up in the environment to use as reference for my figure. I utilized drawing from observation by using my background to further the somewhat exaggerated form of the figure that I drew from reference. As far as the story goes, I had come up with a post-apocalyptic scenario wherein someone is trying to cook at a stove, but due to being uninformed of how to prepare pre-packaged food, they try to cook the whole can. In my opinion, my utilization of the elements of design is vague and not really used, unfortunately. I’d say that, at the most, there is a certain emphasis set on the figure in the foreground. My proportions are off and the shading is only correct in a set few areas. As far as mediums are concerned, I simply used graphite and an eraser.Challenges or obstacles that I faced during the project was that I found incredible difficulty in drawing the arm of the figure that reaches towards the stove. I redrew the arm multiple times, and instead of ‘solving’ it with something I was happy with, I settled with what I could do. I believe that the most successful part of the drawing would have to be the gas mask itself. Something that I would do differently given the chance to redraw it, I would add more detail to the background and properly shade it, as well as go in and fix the proportions on the figure and the perspective of the background.

Shading Grid Project

For this project, we were to choose an object that we would create different iterations of via different shading techniques. I chose a Bumblebee figurine and rendered pieces both traditionally and digitally. Two pieces were done digitally, two were done in graphite, and two were done in pen and marker.

Perspective Drawing

A study of interior perspective and corresponding furniture. We worked on these during a virtual-school stint that occurred right before Christmas break. I did not finish it, obviously.

Inventive Self-Portrait

February 26, 2021

For this piece I began with taking reference photos of myself. I then did an initial sketch, and worked from thereon with graphite and charcoal. The requirements for this project was that it had to be an ‘inventive’ self-portrait. I fulfilled this requirement in a sense by dressing myself up and drawing a chicken on my head, creating a juxtaposition between the chicken and the formal wear. As previously mentioned, the meaning of this piece is merely the focus on the contrast between my apparel and the rooster. I chose to work in graphite and charcoal because it seemed the least time-consuming in order to get a sense of values. I worked at this size due to the fact that it was the minimum size of paper available for the project, and I used toned paper in order to better achieve a sense of lights and darks with the charcoal.A notable challenge that I faced with this project was that I absolutely despise drawing myself, making the process unenjoyable bordering on frustrating. I ‘solved’ this problem by working through the piece despite my hate for it. Obviously, the least successful part of the drawing would be the part containing myself as a whole as well as the lack of background, and the most successful part would be the chicken on my head. Something that I would do differently next time in order to improve my work is to add more objects to not only clutter the space but to also allow a reprieve from drawing myself.

Social Commentary Project

April 3, 2021

My process for this piece was to lay down the base values for the face in acrylic, and then refine the detail of the face before doing an acrylic pour for the ‘Earth’ and background. My research for this project was that of how humans have negatively affected the Earth via pollution, poaching, habitat destruction, etc. I chose to communicate the aspects of this topic to the viewer through using symbolism, wherein a human is seen eating the Earth. This can also be interpreted as the term ‘bite the hand that feeds you’, wherein the human is ‘taking a bite’ out of the Earth. I chose the mediums and formats that I did primarily because I never work large, and I rarely paint. I also chose to do an acrylic pour because I had never done it before. In a way, this project was experimental for me. One of the problems that I faced during this project was the face being uneven on the canvas, which I fixed by going in and freehandedly measuring one side in order to make the other even. I also had the issue of watering down the paint to the point that I was not getting the values I wanted, and I had trouble with applying tighter detail to the piece. As far as watering down the paint went, I solved this issue by using more paint as opposed to using small bits of paint which I tended to add too much water to. For the ‘tighter detail’ issue, I used multiple reference photos in order to be able to refine the piece to a greater degree.For this piece, we had to have chosen criteria. Some points that I chose for my criteria was to have a detailed piece and have it depict the symbolism behind it clearly. I believe I have come up short on both of these criteria.Something that I believe to be the most successful would be the face of the piece. This is not to say it is good by any means, but it is simply the best of what I painted. The least successful part of this piece would be my conveying of the theme of it. I do not believe the piece paints a clear meaning.If I were to paint this piece again, I would put more time into the rendering of the piece and choose a composition that would best convey my thoughts. To improve this piece, I would use more saturated colours with varying shadows and refine the face.

Collaborative Project

A project in which each individual out of our entire class was assigned two or three colour themes and large papers shaped like puzzle pieces. We were given two weeks or so to finish our individual drawings (which were chalk pastel), and then we hung them up together, forming a 'puzzle'.

Landscape Studies from Photograph (One True to Life and One Using Arbitrary Colour)

April 30, 2021

The assignment was to take photos of landscapes and to choose two to recreate- one would be in 'realistic' colours and the other in arbitrary colours. These two pieces were done in gouache- the one on the left having been done on board and the one on the right on watercolour paper. The initial plan was to paint the scenes and then go over them with India ink, but I decided against doing so (mostly out of fear of botching the pieces). I would have to say the aspect of this project that I struggle the most with was using gouache for the first time. I think it's a neat medium, but it simultaneously takes both the annoying aspects of acrylic paint and watercolour paint and merges them together. All in all, I am somewhat satisfied with the final products but I believe there is much I could've done to improve the pieces.

Class Exercises

We did several studies of plaster hands as a class, applying different shading techniques each time. This one was a subtractive piece. I had never worked in this style of shading and from this exercise, I learned that it affords a certain ease of realism as opposed to other forms of shading.

I believe this piece was supposed to a study on hatching. Unfortunately, I did not clearly differentiate between between different types of hatching in my pieces. It was done with a dip pen with ink.

I believe this piece was supposed to be done in a contour shading style. It was done with a dip pen and ink. It looks a bit flat, and doesn't seem to be very successful at depicting contour.

This one might've actually been the hatching piece. Or maybe crosshatching? I didn't differentiate well enough between them.

A cross-hatching piece, where my adoration of cross-hatching is painfully obvious. I overuse it a bit in this piece, making some areas darker than they probably should. Despite that, I believe it's one of my favorite out of the hand studies.

A study of a skeleton in class. The use of blending white charcoal, black charcoal, and graphite on toned paper was something I took note of and use today in charcoal pieces. The need to focus and pay attention to the complicated form also taught me to be patient and precise.

Artist Statement (End of School Year)

May 19, 2021This school year I've both learned and applied numerous techniques in my art. My rendering is still lackluster and never quite complete, but I firmly believe that my line and form quality is better than that of last year's. I've grown to love certain shading techniques due to studying and applying them in class, and I've used new materials I typically wouldn't have. I now use subtractive shading methods in my free time, and tend to default to hatching or crosshatching when shading pieces. Most notably, I am now particularly fond of oil pastels and dip pens. My process has developed, too, since last year. Typically when I would draw I would try to imitate what I thought the form was, not really paying attention to relationships between form and line. Now, though, I build up what I'm drawing through gestural line relationships and then I go in and work. With larger pieces, I have also found that I tend to do a quick sketch, go in with a kneaded eraser to lighten the lines, and then re-draw on top of the sketch.Due to influences from both of the art classes I took this year, I have been inspired by multiple different artists. In particular, artists and styles that I am fond of would be pop artists, as well as expressionists and impressionists throughout the ages. Toulouse-Lautrec and Warhol are two notable influences.

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