Ego – Process & Final

EGO – Conceptualising myself




Initial Medium – Fashion Collage

I wanted to work with fashion collage as it seemed like a versatile medium to work with colour and to express myself in. I found references on fashion collages and shoots and studied how they use colour to express certain emotions.

Johny Dufort

for Balenciaga 

Use of blue, muted palette – reflect the weariness of the working class

For Re-Edition Magazine and AnOther AW2016

Use of analogous warm tones to express vibrancy

His use of muted colours brings about a softness to the strong colours he use, creating balance. I was intrigued the attractive and beautiful use of colours in his fashion photography.

Acne Studios

Use of bright and vibrant colours – red and blue, muted yellow/ brown

Initial Idea 1 – Using fashion photography and collage to express the various emotions I have in various settings

Possible Equations: (Me+ setting = outcome/ reaction)
Passive me (Wearing colours like green or blue) + Conflict (red – contrasting colour)  = Confrontational Me (orange)
Free spirit me + Stress = Runs away
Oppressed me + Given space to create = Freed me

Possible style for panel:

Photography assignment I did for 4D class

However, there were limitations in this medium as it was not definitive enough and there was not enough room to explore colour palettes due to the lack of sources or materials (in this case clothes) and compositions were insufficient in expressing deeper human emotions.

EGO – Forming Equations

I decided to reconceptualising myself by focusing on the settings that I enjoy and do not, as well as qualities of myself to form my equations.

Initial Medium 2 – Marker and soft pastel illustration

I decided to stick to a traditional medium as I would like to explore the possibilities of non-digital mediums in expressing colours.

Charlotte Ager – illustrator
Evocative drawings and paintings that are full of energy, movement and atmosphere through lines and colour.


I really like the gestural style and unharmonious and “messy” combination of colours she used, yet the choice of colours are purposeful, inspired by the works of post-impressionists, fauvists and cubists (Gauguin, Matisse and Picasso).

New equations      (Me + activities I like/ dislike/ wish for = Reaction)
Medium – marker and soft pastels

1. Empty me + Tanning = Solidified Me

2. Bare/ Cliche Me + Second hand store = One of a kind Me

3. Imprisoned Me + Escaping Singapore = Freed Me

Comments from consultation:
– The gestural style can only be done well by those who have experience and confidence in the medium.
– Rendering of human figures are inadequate, should think of symbols that represent me


Final Idea – Fabric cut-outs and embroidery

So, I decided to work with a medium I am familiar with – Fabric.

Artist references
Tracey Emin – Using of fabric for her art works
“Hellter Skelter”

Fauvism – Henri Matisse’s fauvist paintings and paper cut-outs

“Dance” Use of fauvist palette – the intense warm colours against the cool blue-green background
“The circus” Raw quality of cut-outs inspired my use of fabric cut-outs
Use of vibrant colours to express emotional state

“The clown”                                               “The fall of Icarus”

Fauvism – Andre Derain
Oil paintings of vibrant pure hues and unrealistic portrayal of colour and light to express emotive qualities.

Derain, Andre; Collioure; National Galleries of Scotland;

EQUATIONS – “What you do defines you”

From the qualities of myself , I thought of symbols that represented those qualities.

Fair skinned me – Tofu
Lazy me – lion
Fancy me – fancy hat
Trapped/ encaged me – hamster

Planning of compositions:
I wanted to show the whimsical transition from one symbol to another after the setting, thus I chose different symbols to depict the result.

Final equations:

  1. Tofu me + The sun (tanning) = Bacon me
  2. Lazing me + The devil (authority) = Stone Lion me (defensive and angry)
  3. Fancy me + Meeting with friends = Fool/ clown me
  4. Encaged me + Running the hamster wheel (system that gets you nowhere) = Escaping me



Using fabric has limited me to working with pure colour and I am not able to change the value or chroma of the colour of fabric. Thus, I was inspired by the use of bright, pure and untainted colour in the Fauvist movement. Unnatural colours are radically used,  separating colour from its usual representational and realistic role, giving new, emotional meaning to the colours. Colour could project a mood and establish a structure within the work of art without having to be true to the natural world.

PANEL 1 (Tofu + tanning = bacon)

Colour scheme – I wanted to use cool blue tones to contrast the white colour of the tofu (first) to the bright reds of the bacon (third).

Complementary colour scheme

Image references for composition

Fabrics used
Trying our design for plate – decided to omit this as it was too distracting

Light blue, yellow and grey background – Chose the cool blue tone in the end


Analogous colour scheme used for bacon

Final Panel:

PANEL 2 (lazy lion + meeting the devil = Stone lion)

Analogous colour scheme for the “lazy lion”
Analogous colour scheme of red for “meeting the devil”

Image references

Final composition

PANEL 3 (Fancy me + Meeting friends = Clown me)

Complementary colour scheme of blue and yellow for “Fancy me”
Analogous colour scheme for “meeting with friends”
Final composition

 PANEL 4 (Encaged me + Forced into repetitive system = Escaping me)

Triadic colour scheme of green, blue and orange

Image references

Final composition


Ego – Colour Harmonies Research


Colour theories and the emotions colour convey.

“The Elements of Colour”
A Treatise on the Colour system of Johannes Itten

Colour aesthetics may be approached from these three directions:

Impression (visually)
Expression (emotionally)
Construction (symbolically)

“Symbolism without visual accuracy and without emotional force would be mere anemic formalism: visually impressive effect without symbolic verity and emotional power would be banal imitative naturalism: emotional effect without constructive symbolic content or visual strength would be limited to the plane of sentimental expression.”

Concord of colours

Harmony in our visual apparatus, then, would signify a psychological state of equilibrium in which dissimilation and assimilation of optic substance are equal. Neutral grey produce satisfaction of the eye, creating harmonic equilibrium.

When a set of two or more colours contains yellow, red and blue (may be substituted for the sum total of colours) in suitable proportions, the mixture will be grey.

Mixing of grey:
– black and white
– two complementary colours (contains all 3 primaries) and white
– three primary colours in suitable proportions

Goethe “A particular colour incites the eye, by a specific sensation, to strive for generality. In order, then, to realise this totality, in order to satisfy itself, the eye seeks, beside any colour space, a colourless space wherein to produce the missing colour. Here we have the fundamental rule of all colour harmony”


1. Goethe’s luminosities of primary colours
Harmonious composition – following proportionality of areas: yellow : red : blue = 3 : 6 : 8

2. Harmonies in complementary pairs, triads and tetrads
General statement: All complementary pairs, all triads whose colours form an equilateral or isosceles triangles in the twelve-member colour circle and all tetrads forming squares or rectangles are harmonious.

3. Colour intensity
Equilateral triangle of the colour circle of yellow, red and blue – expresses the highest intensity and force of colour. In the combination, each has its static effect, that is, the yellow acts as  yellow, the red as red, the blue as blue. The eye demands no additional, completing colours and the mixture of the three is a dark grey-black.



Interpretation of subjective colour combinations is not to be based on the several chromas and their expressional values alone. The timbre as a whole is of first importance, then the placement of the colours relative to each other, their directions brilliances, clarity or turbidity, their proportions, textures and rhythmic relationships.

Timbre of subjective colour propensities vary with industry for decorators and designers.
eg. Meat market – light green and blue-green tones, for various meats to appear fresher and redder.
Confectionary – light orange, pink, white and accents if black, stimulating an appetite for sweets

Subjectivity of colour spectrum
If an interior decorator’s personal spectrum is dominated by blue-grey, he will “naturally” tend to do all sorts of interiors in blue-grey tones, these being particularly satisfying to himself. Clients who are chromatically “related” to him will be pleased, but those who are attuned to orange, or green, will find their surroundings uncongenial and will feel ill-at ease.


Contrast of Hue – undiluted colours in the most intense luminosity
Colour intensity:
red/ blue/ yellow > orange/ green/ violet > tertiary colours

Example of use of contrast of hue:
“Composition 1928” Piet Mondrian


Light- Dark Contrast

Examples of light-dark composition:

“Lemons, oranges and Rose” by Francisco de Zurbaran (1598-1664)

“Guitar on Mantelpiece” by Pablo Picasso (1915)


Cold-Warm contrast 

Complementary Contrast

Simultaneous Contrast 

Contrast of saturation

Contrast of Extension – Size of colour

Colour agent and colour effect


Colour Harmonies:
– Monochromes Harmony
– Analogous Harmony
– Analogous Harmony Warm and Cool
– Complementary hues
– Split complementary


Ukiyo-e prints – muted colours×1024.jpg

Henri Matisse cut outs

(More artist references in next post – Ego – Process)