Project 1: My Line Is Emo | Final Process & Project

Hellooo there ūüôā

 

What should you expect from this post?

I will be talking about each of my panels in greater detail as you gradually scroll along the page. Under the various photographs of each panel, I will analyse the different emotions that I have curated. I will also be explaining how I came about the idea of having a deeper meaning between each panel, as well as the process it has taken in order for me to have been able to create my six final emotions.

 

[ CONCEPT / THEME ]

The concept/theme that revolves around my six panels would be Emotion’s relation with the weather and seasons.¬†During the process and entire duration of the project, I was extremely interested in using symbolism as my main anchor with the idea of expressing¬†common elements or objects that others may typically be reminded about when they think of a particular season or weather.

To clarify what I mean by this, I will first talk about how I came upon the idea of relating emotions with the weather and the four seasons – Summer, Autumn, Winter, and Spring. I first set out to explore more about Greek Mythology and its Gods since I was mainly interested as to how the Greeks would give Gods human emotions. I was amazed by the idea that the Greeks were the first people to have given their Gods human qualities and forms and wanted to relate the human quality of emotion back to this.

I did my research and ended up with several possibilities of Gods that could relate back to the six emotions as closely as possible, such as:

 

Sadness

Hades: God of the Underworld/Dead

Anger

Nemesis: Goddess of Revenge

Hephaestus: God of Fire

Ares: God of War

Fear

Phobos: God of Pain/Fear

Joy

Rhea: Titan Goddess of Motherhood

Love

Aphrodite: Goddess of Love

Surprise

???

 

Problem Arises: This was where I ran into an obstacle during my brainstorming session. I realised that there wasn’t really a God or Goddess that had the emotion ‘surprise’ represented. The closest I had come to find was Dolos: God of trickery/craftiness/cunning deception. I soon realised that he did not define surprise but instead evoked the emotion from others through his deceitful actions. This was not what I intended for this project since I was leaning towards the idea of Gods holding that particular emotion, not creating a response of the emotion from others.

Transitional Point in Idea Curation: Knowing that this particular theme was not going to work, I looked into the powers that the Gods possessed. Suddenly, I realised that many of the Gods held powers related to the weather or at least used it to their own advantage. For example, Zeus the King of the Gods used the sky to his own advantage as he evoked frightening weather such as thunder and lighting as a result of his power. On the other hand, Poseidon, the God of the Sea created earthquakes, floods and droughts whenever he was not pleased. Through this connection, I transitioned from focusing on Greek Gods to weathers and seasons. I had the mindset that only through seasonal and weather changes were the Gods able to communicate with the world about how they felt. By making this connection between the two, I also wanted to portray my own interpretation of correlation between seasons and my emotions; that is, my own impression of seasons and the weathers through symbolistic objects commonly seen in literature.

Alongside that, I did not use the primary emotions given. Instead, I floated towards secondary and tertiary emotions. Listed right below are the objects, effects, and emotions I associated the seasons and weathers with, as I tried to convey them in my final project.

 

Winter | Loneliness (Sadness)

Misty, foggy windows. Slight scratches on windows. Light, thin creased layers representing thin and fragility. Icicles. Fallen snow.

Hurricane | Fright/Distress (Fear)

Broken tree branches. Thin mist/fog. Scratched surface. Dripped paint. Some huge patches of thick ink. Some small patches of thin lines. Thinned line spindles. Dragged ink.

Thunderstorm/Typhoon | Torment (Anger)

Smog-like. Rusty. Impact of loud searing sounds of lightning and thunder. Quick-motioned.

Autumn | Astonishment (Surprise)

Subtle swishes of wind every once in a while. Change of leaf colours. Parts of nature fall and float down from above. Nature blossoms unexpectedly sometimes.

Summer | Cheerfulness/Bliss (Joy)

Activeness of nature’s community. Carefreeness and free-flowingness. Sun’s out. Less wind yet there’s a slight breeze in your face as you run. Insects are out mostly during this season. The is a slight blossoming of flowers can be¬†seen.

Spring | Tenderness (Love)

There is an evident tranquillity of the environment. Stream waters float in harmony. Flowers blossom. Bees, butterflies, dragonflies and others interact with one another. Lillypads appear.

 

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CRITIQUE DAY: Photos of final 6 panels on 2 A3 Black Matted Paper pinned up on walls

PHOTO 1: AFTER CRITIQUE. With Sticky Notes (Feedback from classmates).

PHOTO 2: PRIOR CRITIQUE. Without Sticky Notes (Before feedback).

 

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Detailed Analysis of Each Panel

NOTE: I will talk about each panel in the same order of what I went through on critique day itself.

 

SUMMER | CHEERFULNESS/BLISS (JOY)

 

My thoughts:

If someone were to ask me to describe summer in a non-literal sense, it would be this. When I think about summer, I would define it with adjectives such as unity, active, harmonious, and energising. As you can see from the panel above, streaks of lines made with the stamping of a sharp cardboard edge, interlock with one another at diagonal angles and not exactly being perpendicular to one another. A medium solubility/texture of block printing paint was used for this technique. There was a 1:1 ratio of water and ink together. The pressure that was used to stamp was also only of medium strength; not too much pressure placed yet also not too light. I perceived these straight lines as being wheat in an open field; working with one another in unification in order to create this orderly yet visibly appealing field in a huge area. If all of the lines had been placed together in straight lines without having to interlock together in any way whatsoever, the panel would not have been able to look as unified; the stalks of wheat would seem as though they were leading individual, separate lives defying the ability to create this wholeness to the panel (just like the idea of covering the area of an open field filled with wheat). If the lines had been placed perpendicular with one another (just like the structure of crosses), the entire panel would have given an impression of rigidness as well as a lack of carefreeness in a way which opposes the perception of what summer should be like.

Moving onto the ant-like/spider-like/insect-like structures created by the mere edge of a stapler, it follows a similar idea of the wheat in the field concept. The active movement of the creatures are done by overlapping one another at various cross angles but they all appear to move in the same direction. They aren’t all over the place and their movement is also consistent. The insects appear as active beings leading their lives out in a relaxed manner in the open field of wheat. With this tool, I covered the edge of the stapler with a slightly thicker layer of paint and started to stamp the pattern out onto the paper with in a forceful manner. The impact of the patterns would then transition from being thicker to light. This creates a sort of ‘drifting’ effect to the stapler patterns so they appear flow-like instead of being too ‘still in life.’

The appearance of a majority of thin active lines composes the entire panel. If the lines become too thick in manner, the active energy in the summer season would give off the impression of aggressiveness and fury. Just like the word ‘joy’, ‘cheerfulness’ and even ‘bliss’ suggest, the active energy should only imply a slight buzz to indicate life occurring in a playful but relaxed manner, without giving the impression of harshness to life which could imply a drought in the summer season. Although this may have portrayed the season summer, it certainly would not have brought out the emotion of joy.

Using the edge of the cardboard to my advantage yet again, I tried producing another effect with a different method when using the same tool. Instead of stamping this time, I used a paint knife to rub a thin layer of the same concentration of paint to the edge. Using a ‘swipe’ motion (I turned the cardboard at a round angle with harsh pressure), I created the perception of a light breeze. I was aware of introducing senses other than sight to the idea of emotions and decided to introduce the perception of touch and smell. The wave-like structure represents the idea of a slight breeze that tingles your arm hairs as you run around in the open field. It also represents the slight whiff of breeze/air that you breathe in through either your mouth or nose. Not only does it correlate the idea of a breeze that occurs once a while during this season, the wave-like structure adds a sense of volume and an emerging carefreeness through the use of curved lines.

Overall, there is more negative space to the panel. There is a lack of intense blackness to it since the composition does involve more of thin, web-like structures to give off an active look to the piece. The panel is clear and not hazy to give off the impression of a bright, summer day. The panel also appears to have a variety of subtle details here and there so that the surface area does not look too complicated or empty.

 

Materials used / Process seen:

  1. CARDBOARD


 

Through the use of a piece of cardboard, I was able to create some interesting and unique details portraying various kind of effects that may have been possible for the different seasons. For the season summer and emotion joy, I decided to use the lightest effect that was not intense looking to the eyes. I experimented with different amounts of paint and water and observed the results when the paint dried. By swiping a thicker amount of paint and less water across the paper and using the side of the cardboard piece, one may notice that there is more darkness to the composition of the effect than there is of detail. The effect produced may be more suitable within the work if the message conveyed was to be bold and daring. The thicker lines produced appears to defy what they are being told as they overwhelm the thinner details which are being overlapped in a sense. The lines look as though they are more of risk-takers rather than being defined as gentle, synchronized and harmonious (which was what the thinner lines actually achieved).

In the second photo, the circled experiment was the effect I intended for the season, summer. You can see that through the use of a thinner layer of paint, the lines appear naturally detailed with none of them overlapping one another. They appear to move in a harmonious way while doing so in the same direction. This promotes unity as opposed to the other mentioned effect where some lines within, wishes to stand out amongst others instead. This effect gives off an impression of¬†simplicity¬†and¬†tranquility¬†in a way; just like the peaceful roll of the waves or what I was trying to portray in the panel — slight breezes in the air from time to time.

 

2. EDGE OF STAPLER

 

With this mark making tool, a stapler refill, I actually managed to create a wide variety of effects within my experimentation. A variety of ways I decided to interact with the stapler refill would include stamping, rubbing, dragging and scratching. As you can see for all of my explorations with mark making, I have played with various amounts of paint, adjusting and categorizing accordingly to whichever season or weather that best suits that particular effect. Some of the effects portrayed, especially the dragging technique, appear eerie as it starts off with a thick coat of black and gradually transitions into very detailed and immaculate grains. The mark made seems to be the remainders of something sinister that just won’t go away. On the other hand, a rubbing technique made with the wider flat-side of a stapler refill alongside a thin coat of paint creates the appearance of¬†rust¬†that evokes the feeling of¬†itchiness. Another method I had experimented with was dragging thick layers of paint in the format of lines through the edge of a stapler refill. This provokes an uncomfortable feeling to the eyes since the lines vary in size; thick and bold when there is sufficient paint, thin and almost not evident as the paint runs out. Together, they create an effect resembling a monster trying to claw its way out through a metal panel.

 

 

In order to evoke the season summer and the feeling of joy, I decided to use the effect used above but in a more subtle way so that it would not appear intense in appearance. As mentioned under the ‘my thoughts’ section for this panel, the method produced was created by stamping the edges of a stapler refill on the surface with thick amounts of paint. My first impression of it was that the markings resembled active little critters doing their own thing amongst themselves on a summer day. I wanted the markings to be more spread out in my final panel so they didn’t appear as constricted ¬† ¬†in a certain manner or at least rigid-like, just like the effect portrayed above. In my final work, the marks appear much more carefree in manner; seemingly, they are moving at different angles (promoting a certain freedom) while at the same time they are moving together in a singular direction (unified).

 

3. WHITE PEN

The white pen markings were just to emphasize more upon the direction in which the lines were moving towards, as well as the subtlety or harshness of the action taking place. In this case, the motion of the overall piece is gentle and swift so the lines address that by bolding out certain elements that represent this clearly such as the curve of the lines and the interactiveness of repetition and pattern.

 

4. CLUSTER OF COTTON BUDS

 

The first thought that popped into my head as I looked at the different mark makings produced above was that they clearly resembled blossoming flowers which I ended up using for the season of summer alongside another two. I also used this effect to define the seasons of spring (most) and autumn (least). For summer, I wanted to portray life happening but not so much as spring would demonstrate. I also didn’t want to portray as little life as autumn would possess since that season would be approaching winter which is commonly symbolized as being less friendly and where little life comes out to play. Summer would be the middle ground between spring and autumn. To portray this logic, I stamped out dots using a cluster of cotton buds with little paint to give off a hint of life. Only a few thick blobs of paint were imprinted to draw your eyes in and make them pay attention to the less evident dots created.

 

HURRICANE | FRIGHT/DISTRESS (FEAR)

 

My thoughts:

For the panel expressing fright and distress (fear), I decided to portray the feeling of being afraid and having thoughts of not knowing what to do next during the occurrence of a natural disaster; a hurricane. I wanted to demonstrate the impact of objects flying around and colliding with everything in its environment in a very scattered manner. I think of tree branches broken and fallen as well as scratches forming everywhere from the powerful impact of a hurricane and possibly a cyclone. Everything is out of place and inconsistent to evoke the feeling of fear and uneasiness. Thick, massive lines are dragged and scratched across the panel to create a sense of confusion since there is also no focal point to the piece which your eyes meet first. The sudden transition of thick dragged paint to thin trials demonstrate the consequences of the hurricane and what it has left behind; a stillness that broods darkness and a sense of nothingness. Your eyes dart around trying to find somewhere to focus upon but you are forced to take in the entire panel as it is because you have no idea what is going on. Ultimately, you appear to be the victim who is first-hand witnessing the scene of an actual hurricane or cyclone as it damages everything surrounding you.

 

Materials used / Process seen:

  1. L’OCCITANE LOTION TUBE EDGE

 

With the lotion tube edge, I applied thick amounts of paint either on the paper or the flat edge of the tube. With hard pressure, I dragged the paint in several different directions and angles to replicate the idea of going nowhere and simply repeated that throughout the entire panel. This type of mark making takes up most of the panel’s area and it is also the top most layer above all the other layers underneath it. It is most dominant because it simply resembles the impact of the events during the hurricane occurring which unfortunately evokes the feeling of being lost. The feeling of being distressed and frightened overtakes everything else which can be seen in the final panel.

 

2. HARD PLASTIC WRAPPER

 

The subtle, little hints of details underneath the thick strokes of paint (made by the lotion tube edge) were simply created by stamping a thin coating of paint onto the paper with hard scrunched up plastic to create the appearance of slight creases. These small details represent the possibility of a sense of direction which eventually gets turned down by the overwhelming thick strokes of paint that layer over. The little crinkles stamped upon the paper represent an inkling of hope to get out of a mess categorized by confusion by the use of more negative space between each impact (the details of black ink) that is stamped onto the paper as can be seen through the circled area in the picture above.

 

3. RUBBER BAND

 

The use of the rubber band helped aid the direction in which the marks from the lotion tube edge were moving towards. This was done by stretching and pulling the rubber band against the paper’s surface to create the idea of motion. Everything that occurs during the event of a hurricane is fast-paced with no time for tranquility or rest in-between. The rubber band helps to speak in this manner since the strokes end up being fine at the ends in thick midway. When created with repetition over the whole surface area of the panel, the focus is on nowhere and you are forced to take in the chaos that appears to be happening in front of you. Such strokes may be¬†representative of mud tracks created by several tire wheels or even mud being splattered onto the windows as the event continues. It may also represent the fearful feeling of being trapped within oneself as a hurricane is storming within your head, as you are clueless as to which thought to listen to amongst the many swarming inside.

 

4. WHITE PEN

In this case, the white pen was used to dramatized the spontaneity and rashness at which the lines were moving in. I did not want to give off the impression of anger within the panel itself which was why the use of curves within the white lines were introduced. As you can see from the up close shot of the final panel above, the lines are not geometric and are allowed to flow naturally. They are not restricted to lines meeting one another in a structured format but are instead scribbled spontaneously to resemble a swarm of bees.

 

SPRING | TENDERNESS (LOVE)

 

My thoughts:

Spring, to me, is the season that sparks the most liveliness. This is the season where flowers blossom and bloom everywhere, the lily pads on which frogs hop from one to another float down the river streams silently and the atmosphere smells like freshly cut grass. Your eyes are first drawn towards the harmonious wave-like lines working with one another as they all make their way towards one direction diagonally. This symbolizes the slow-paced waters of the streams where everything appears in sync with one another. Next, you get drawn into the rounded patches that represent the lily pads. They too, work hand in hand with the stream as they work together to promote a sense of life as well as tranquility occurring within the peaceful environment. Lastly, you notice a couple of dottings stamped on the paper alongside hints of a¬†gray¬†layer that has been layered upon. The two represent the blossoming of flowers (thin gray splatters) that are beginning to bloom (dottings) as spring has just begun. The small little details within this piece create a tender and sweet approach to the season of Spring. The overall panel is less crowded and the look portrays itself as voluminous, giving the perception of being ‘free-like’.

 

Materials used / Process seen:

  1. UNCOOKED BEEHOON NOODLES

 

As mentioned above, I wanted to portray the effect of natural wave-like lines all moving towards one direction to represent the idea of a stream happening within the panel. I layered a thick amount of paint on one side of a cluster of dried, uncooked bee hoon noodles which was held together by tape and simply stamped it onto the paper. On all areas of the final panel, it is evident that the direction in which the bee hoon had been stamped are all similar in nature (floating left diagonally). The waters of the stream then appeared to move in unison with one another since the lines are rather parallel to one another rather than colliding with one another at a cross section. The waves in the lines give the overall panel a relaxed, calming yet full of motion perception.

 

2. LOCCITANE CAP (FLAT SIDE)

 

This time round instead of using the edge of the lotion tube, I decided to make use of the cap to imprint the ‘lily pads’ onto the panel. By using medium amounts of paint which I applied upon the flat surface of the cap, I started stamping upon the page with little force. I wanted to give the entire panel a more natural look which explains why I have stamped some of them a little further apart from one another while only a few others overlapped each other. Having a circular element to the panel balances out the amount of strokes/lines going on within. It also compliments the curve-like element of the lines made by the bee hoon so they do not contrast with one another too much. Overall, the composition is harmonious and the subtle connections between the different elements have helped to provoke a sense of tenderness. This was what I wanted to achieve for this panel.

 

3. SPRAY BOTTLE + DILUTED PAINT

 

By using a spray method with the help of an actual spray bottle, I wanted to imply and hint towards a new blossoming; the incoming of the season spring. I mixed mostly water with a touch of ink block paint in order to achieve this effect. The dispersedness of diluted splatters help to emphasize the incoming season; it is as if, a sudden spark of life just began, trying to collect and gather themselves together in order to begin the blooming of flowers and nature once again.

 

4. CLUSTER OF COTTON BUDS

 

Just as though I have explained under the season summer, spring will encounter the most blooming of flowers in comparison to both autumn and summer. This is because winter comes right before spring when considering the order of seasons. From a season where nothing blooms and everything is seemingly dead, spring needs to up its game to revive nature back to its own state in order for stability in the environment to take place once again. The use of cotton buds with thick amounts of paint are stamped onto the panel to make you pay attention towards the evident blooming taking place. The intense use of black instead of a¬†faded gray helps to show the positivity and liveliness of the ‘flowers.’ Again, the cotton buds’ circular shape imprinted onto the paper greatly resemble the circular shape made from the lotion tube cap. Both of these circular elements of various sizes compliment¬†well with one another. Alongside that, the curved-like lines created by the bee hoon also help to acknowledge the element of circles.

 

5. WHITE PEN

The white pen was utilized in order to emphasize the blooming of flowers marked by the cluster of cotton buds; the ink blotted circles were circled with a white outline so that eyes are visually drawn towards them making the ‘flowers’ more evident and prominent. There is so much going on in the panel that it might not have been extremely noticeable to the eyes in the first place. The white pen has also been used to outline the flow of the stream waters. This was decided to give a perception of gleaming waters under the effect of the sun’s bright light hitting against the surface. It is intended to give the waters more life.

 

WINTER | LONELINESS (SADNESS)

 

My thoughts:

Symbols that are commonly associated with the season winter would have to be misty and fog-like windows, scratches on windows, frozen glass, hanging icicles, as well as being thin and fragile. The panel should appear isolated and heavy on intense black to emphasize a sense of longing and darkness, thereby giving the perception of loneliness. The bold and thick lines that are dragged downwards transition into very thin and faint lines giving the impression of disappearing while also being caged in. There is no evidence of blooming life within the panel and everything appears straight-like and made out of rigidness. Nothing appears to be curved and all lines move vertically up to down. The thin frozen lines greatly resemble the frost biting into the window’s glass while the thick lines resemble aging icicles caging a lonely person in despite his or her despair. A gentle swipe, here and there, made by thin diagonal lines resemble the scratches of frost bite and even the howling wind blowing outside during a sad, cold and lonely winter night.

You are the victim of the emotion of loneliness. As you stare out of the frosty glass window, you can’t make out much out there since the glass has been scratched and frozen to the extent of never being clear again.

 

Materials used / Process seen:

  1. SCOTCH HARD DISHWASHING MESH SPONGE

 

The tool that has created the dragged-like strokes composing most of the panel would be a dishwashing mesh sponge that is made up of a harsh, brittle-like texture. I applied a medium amount of paint with a tinge of water in order to create my final panel for loneliness/winter. I added layer after layer of the same action (dragging from the top of the panel to the bottom) to emphasize the rigidness of the entire panel. Nothing is voluminous or curvature, which elicits the feeling of loneliness and being trapped. The little details in the background below the thick layers that overlap symbolize a sense of longing, a hope to escape which is blinded/opposed by the thick layers.

 

2. FLAT SIDE OF STAPLER REFILL

 

In some areas of the panel, I decided to use the flat and wider surface area side of the stapler to manipulate a similar effect as the hard mesh sponge had done (through the dragging-like motion). However, the purpose of using this mark making tool was to introduce a greater area of intense black so that the diagonal swipes that follow after (made by the hard mesh sponge as well) do not appear as out of place. If this effect had not been used for the panel, the contrast between the extremely thin lines made by the first layer of hard mesh sponge as well as the full blocks of intense black ink would have been too much to take, visibly. If there is a balance of least, medium and most (amount of ink), the composition of the panel will not be too hard on the eyes.

 

TYPHOON/THUNDER | TORMENT (ANGER)

 

My thoughts:

My best guess of a weather or natural disaster that could be best associated with the emotion of anger would have to be typhoon or thunder. Anger is not an emotion that can be easily described but if it were to be my interpretation, I would describe it as being sporadic and spontaneous in a dangerous way. The emotional characteristic of anger would probably be that it has an ability to build up greater and greater and eventually strike out in a harsh manner at any time. When I think about anger, I think about the emotion having the ability to speak out unexpectedly in a rash manner. Just like how thunder rumbles before it’s about to blow up and lightning strikes without warning in a split second. Just like a typhoon; it builds up through light winds but eventually ends up acting rash, getting out of control and destroying everything in its path.

I wanted my ‘anger’ panel to appear as messy as possible but without looking like it was done without thought. I wanted the lines to look naturally bizarre and to typically comprise the entire panel to demonstrate the intensity of the emotion. I wished to demonstrate the ‘acting out’ part of the emotion as well as to show how it could override the control you have on yourself. The lines are crazy, rough and dramatized as they overlap one another at various angles with no control put in place. Everything appears everywhere and there is also no focal point in the entire panel where you can rest your eyes easily upon.

 

Materials used / Process seen:

1. ROUND HARD BRISTLE FLOOR SCRUBBING BRUSH

 

This mark making tool has the ability to roughen up the strokes made with dragging through the use of full pressure on the surface. In order to produce this effect, I had to apply large amounts of paint on the bristles. The middle portion of the hard bristle brush is used to layer the non-diluted paint on paper while the sides/edges of the brush are used to create faint thin lines at the ends, making overlapping of lines after lines easily visible to the audience’s eyes. The thick, wide lines appear messy and rust-like to express anger, an emotion that resembles; for example, the chemical reaction between water and metal to form rust. Just like the chemical reaction, it builds up over time and eventually creates this ugly thing that arises to the surface; the rust. Again, just like how lightning strikes, the action is immediate and occurs with the snap of your fingers. You never know when this emotion will backfire and hurt someone just like daggers to the heart (it may end up being yourself too). This also demonstrates why the lines I have chosen to use for my final panel all appear point-like with extremely sharp edges to compliment with.

 

2. ALUMINUM FOIL (SCRUNCHED)

 

Making use of the defined qualities of scrunched aluminum, I applied medium amounts of paint upon the surface of the stamping tool. I used this tool to establish the light and intricately detailed imprint as can be seen in the background to give off the impression of smog. I wanted to portray a humorous side to the idea of anger through the saying of, ‘getting angry to the point where smog comes out of your ears.’ The point of having a light, gray-scaled background below the layers of the ‘cutting-edge’ lines formed by the bristle brush is also to demonstrate how the little layers represent smaller problems that may have ticked one off at different points of time and they eventually build up, threatening the individual to blow up at any time.

 

AUTUMN | ASTONISHMENT (SURPRISE)

 

My thoughts:

Autumn would most likely be the best season to represent feelings of astonishment. This season could probably be described as being the most unpredictable since you never know what is really up with the weather at times. The day may start off sunny the first few hours in the day but then somehow, a storm kicks in and you’re drenched outside while taking a stroll. A moment ago, the leaves were calm and everything was still yet suddenly, a light breeze turns into a wretched windstorm and you realize you’re shivering from the sudden lack of clothing. Autumn really holds a key to uniqueness since you really never know when the weather will change ever so slightly or drastically.

In my sixth panel, I have decided to display a contrast of simplicity and detail to demonstrate autumn as a unique and spontaneous season. Autumn is the only season where leaves turn a variety of colors which fall as the season is about to transition onto Winter. Autumn is where changes happen frequently and there appears to be no consistency in the weather. It may rain one day, be extremely the next and even sunny the day after. It is remarkable how much change this season goes through on a frequent basis.

 

Materials used / Process seen:

  1. CLUSTER OF COTTON BUDS

 

Flower blooming occurs least during the autumn season in comparison to summer and spring but it does happen still. To show the difference between these three seasons distinctively, I applied a thin layer of paint onto the tips of the cluster of cotton buds. When imprinted on paper, there is only a faint hint of the marks left behind. This indicates little blooming involved and that it is a rare sight to see since the season is often described as when nature is getting ready for hibernation or a change towards the direction of winter. The blooming of flowers is representative of the detailed side of things that I wanted to contrast, alongside simplicity. The ‘autumn’ panel itself acts like the physical sidewalk next to the roadside. Here, you can see how nature falls along the path that people walk on as they often fail to notice the different changes that take place even along the sidewalks. The cotton buds were also stroked along the paper’s surface to create¬†a drifting effect following the fallen flowers. The fallen flowers would have been kicked around on the side walk by passer-bys and the marks in motion represent the positions they are moved towards as they are kicked.

 

2. ROW OF TOOTHPICKS IN DIAGONAL SETTING (SET TOGETHER WITH TAPE)

 

Going along with the same idea, the panel which acts as a typical view of the common sidewalk during the autumn season also commonly collects the grit and mud stains off of people’s shoes. To demonstrate this motion, I decided to use a row of toothpicks; arrange them in a diagonal upslope manner, get them to stay together by taping the middle section and basically scraping the sides roughly against the paper’s surface. This creates a gritty mark just like those left behind on the sidewalk pavement. With an accumulation of it composing the entire panel, one can see a timelapse of the different people who have walked along this path, accumulating dirt and grime alongside the leaves and flowers that fall as time passes on.

 

3. CARDBOARD

 

Using the edge of the cardboard to my advantage once again, I decided to create sudden strokes within the panel. These strokes are used to demonstrate the suddenness in weather change during the autumn season. Thick layers of paint are used to create two to three impactful strokes within the entire panel to address these sudden changes. Thin and light curved lines also made by the stroking of cardboard edge against paper has a different meaning towards them. The thin curves represent slight or sudden changes in wind currents and directions even as everything else is taking place displaying how autumn is yet again, a unique season which surprises people with random weather changes.

 

The use of simple and complicated details which make up the entire panel show how drastic the changes can be; the weather may be still in nature during one particular moment which may then change drastically to another.

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UP CLOSE FULL SHOT

 

BOARD 1:

 

BOARD 2

 

 

 

 

 

 

 

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