2D Project 1 : My Line in Emo (Final Project)

The aim of this project is to visually convey six different emotions by exploring expressive mark making through the use of traditional tools.

 

Project 1 – My Line is Emo

 

OUTRAGE

Definition

An extremely strong reaction of anger, shock, or indignation.

Rationale

Portrayed by sharp and crisp lines swooshing by in a swift manner. When one is outraged, he would go out of control and unleash his fury in all directions, similarly, the lines seem to be flying in random directions as if in a pit of rage. The trails of ink give the lines a sense of movement and the direction they are moving in, making them look more dynamic in nature. The thick trails of ink also gives a contrast to the more thinner lines.

METHOD

Created by chopping satay sticks dipped in Chinese ink onto paper. Trails of ink are created by simply dragging the satay sticks across the paper.

JUBILATION

Definition

A feeling of great happiness and triumph.

Rationale

For happiness, I imagined little children playing in a playground, and therefore it inspired me to portray the emotion as little sprites, who are known to be playful creatures in fictional tales, jovially whizzing through the air. The trail the sprites leave behind creates a sense of movement and direction. The angle of which the sprites are facing creates a sense of randomness as they are not bouncing in sync but at their own pace, making them energetic and full of life.

METHOD

Created by dragging a scrunched up ball of paper dipped in Chinese and monoprint ink across the surface. I had to make sure there wasn’t too much ink on the ball of paper or else the ink trails will be too concentrated and the texture wouldn’t show.

ANGUISH

Definition

Severe mental or physical pain or suffering.

Rationale

The texture immediately reminded me of the sky from ‘The Starry Night’ by Vincent van Gogh. More specifically, I once heard Beethoven’s Moonlight Sonata, which is a slow and sad piano piece, in a video online with this painting as the background. The rough and uneven texture gives a feel of desolation, the way the ink trails in one specific direction and amplitude gives it a sense of lifelessness, reflecting pain and suffering.

METHOD

Created by dragging charcoal dipped in Chinese ink across the paper. The characteristic of the charcoal gives the print a rough texture while the Chinese ink smoothens it out and blends the two.

FEAR

Definition

An unpleasant emotion caused by the threat of danger, pain, or harm.

Rationale

With sharp and jagged elements from the top and bottom closing onto each other, creating little negative space, there is a sense of claustrophobia and uneasiness in this print. The more rough and faded ink give it texture and makes the silhouette of the jagged elements less crisp and clean, and also reduces the negative space in between, creating a greater sense of melancholy.

METHOD

Created by dipping the edge of a piece of cardboard in Chinese ink and monoprint ink. The more watery Chinese ink gives a more textureless result and more crisp lines, while the thicker monoprint ink gives more texture, creating a rough trail of ink that bleeds out.

ASTONISHMENT

Definition

An overpowering wonder or surprise.

Rationale

I portrayed this emotion by having a dense vertical disturbance suddenly interrupting the steady flow of horizontal lines. It shows how something smooth sailing can turn into a nightmare in an instant due to an external force.

METHOD

Created by dragging a scrunched up ball of newsprint dipped in monoprint ink across the surface.

LOVE

Definition

A great interest and pleasure in something or someone.

Rationale

The lack of negative space gives a sense of darkness, with small specks of light whirling around like candlelights and also to give the scene a sense of movement. I wanted to make this an intimate environment with two ‘lovers’ in a dimly lit space. It also looks like an aerial shot where the camera pulls out up into the sky during a kissing scene.

METHOD

Created by painting with a paintbrush. I did not use too much ink at once as I wanted more control so as to be able to leave tiny areas unpainted. The more narrow area around the two central elements area painted using the end of the paintbrush.

 

Scene from Ratatouille

PROCESS

Process Parts 1 and 2 can be viewed in the links below:

2D Project 1: My Line is Emo (Process Pt.1)

2D Project 1: My Line is Emo (Process Pt.2)