Foundation 3D Assignment 2

Reflections (1:31) :

When making the first line model, I’ve already made the mistake of trying to shave down the pointed end of the stick which landed me with an uneven hexahedron. Therefore, I made a second one, final one without shaving the sides down while still keeping the sides below 25cm.

The second planar model was way more difficult to make than I thought. I took inspiration from the first picture in the A3 reference sheet. I initially wanted to only use rectangular planes to imply the form of the hexahedron more clearly however that would show a lack of creativity.

Since this was my first time making a structure, I decided to use the rectangular forms first, as a guide. So that I can more easily visualize how the other shapes will come into play and where to place them for increased visual interest.

This brings me to my next draft of the planar model with the added shapes. The shapes that were added brought more visual interest and was still able to show the form of the hexahedron. However, there were some angles which weren’t as interesting as others. Therefore, after the second consult with Sherry, I added two more planes to the final model and remade the model with a different board and more clarity for better workmanship.

Working off the third draft of the planar model, I had the idea and drafted out a third lines and planes model. I added “wires” looping around the second model with repeated shapes going around it to show the disintegration or breaking away. I made this draft using cardboard. However, after looking at more references as well as Sherry’s suggestion, I used a fusion of the first and second model instead. The sticks held the broken shapes together as they jut out of their cubic shapes and seemingly breakaway from the initial form. The curved wires used, placed around the form was to also use the idea of repeated shapes to show the breaking away and to tie the third model with the second while making it more visually interesting. By doing this, I was also able to retain the form of a hexahedron as much as possible.

Sam Peng

Using a string. The cluster of rounded lines to create the emotion of entrapment.The lines are bold and thick to further show the heaviness of the feeling of being trapped. Added curvy lines as a sort of “tail”, to further imply a group going in one direction together.

Adding the “escapee” which gives the emotion of freedom. The individual has the same lines and curves as the cluster but heading in a different direction. The lines are cleaner, to show more carefree-ness and lightness.

After using a pen to illustrate what a nervous line would be, I understood that nervousness need not come from the thickness of lines. Just placed the tip of the umbrella/toothpick on paper and drew out what nervousness felt to me.

The jumpy, irregular lines that create the sense of uncertainty. The thinner lines show the effect of temporality, like nerves. The added thick strokes in random areas of the lines show the jagged effects like our jagged breath when we are nervous.

Keeping the idea of using thickness and darkness of the shape to represent the build-up of hope. Using my thumb and diluted ink, I stamped the prints, irregularly. Then with the same diluted ink, created strokes that are more constant before proceeding to the main dark shape. This is to represent the build-up of hope, quickly increasing.

As the shape continues to rise upwards, it builds up the expectation but instead of soaring, the line curves downwards instead of upwards and quickly gets less concentrated and weaker. Representing lost hope and disappointment of being let down.

The challenge I had for this image was how to build up the shape effectively. So I used the thickness of lines, the opacity and the values of the shapes.

I kept the confident lines and the intertwining of both the lines. The circles and curves evoke a positive, almost dreamy emotion, the edge of both the lines are pointing towards each other which further pushes the emotion of affection, keeping the form enclosed and whole-looking.

The thinner disrupting lines are still present but only at the point where both lines intertwine with one another. It further shows the timeline of affection, of boldness to lesser confidence but still intertwined nevertheless.

A challenge that I faced with this emotion was using the string to create these bold curves without them breaking, having to keep the circles whole and uncut. The ink on the string seems to dry out or not come onto the paper which meant that I had to do the same motion over and over again until I got a perfect unbroken line.

The lines are made with diluted ink and styrofoam net. The curved lines start thick at the start and slowly fades out into thinner, more airy lines. The larger negative space between the lines create an aura of lightness and contentment. Not being weighed down by anything.

I used the same bubble wrap for the final image. The ink is thick and gloppy from the beginning, revolting and nauseating. As it expands, the ink gets more diluted and less dark. The negative space increases and the dots decrease in size. This creates the feeling of the smaller dots seeing the big, nauseating glop and running away from it or breaking away from it.

Self Portrait Process

EPEGNOSTHEN – I Am Known

Epegnosthen explores the concept of what it means for me to be fully known by an all-knowing and all-loving Creator. To be fully known through the process of creation itself, through the context of Psalm 139 of the Holy Bible.

Reference Verses:

“Where can I go from your Spirit? Where can I flee from your presence? If I go up to the heavens, you are there; if I make my bed in the depths, you are there. If I rise on the wings of the dawn, if I settle on the far side of the sea, even there your hand will guide me, your right hand will hold me fast. If I say, “Surely the darkness will hide me and the light become night around me,” even the darkness will not be dark to you; the night will shine like the day, for darkness is as light to you. For you created my inmost being; you knit me together in my mother’s womb. I praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well. My frame was not hidden from you when I was made in the secret place, when I was woven together in the depths of the earth.” Psalm 139: 7-15

Reference Artists:

• Isabella Bubola

Isabella uses light and different colours to create a dreamlike setting/ambience in her self-portraits.

• Rosie Hardy

Rosie effectively uses props to tell the story about her in her self-portraits. For example, using butterflies to show her state of vulnerability. Similarly, I was inspired by her to use a prop (yarn) to tell my own story of being knit.

Process:

Initially, the idea was to show the different beliefs behind creation (Christianity, Atheism, Hinduism) but realised that firstly, I do not know enough about other beliefs to form a work out of it and claim to connect to it, especially as a self-portraiture. Secondly, was reminded that it would not fulfil the brief’s intention of it being a reflection of the self as it would be speculative instead of a self-portrait.

Draft 1:

The work then developed into something more personal. A personal experience with this belief/truth that I subscribe to. It would explore the personal relationship I had with my Creator. The story would be told through the use of lights to create the dreamlike ambience, with different colours telling different parts of the chronological story.

Draft 2:

Experimenting with lights:

• Turned off the lights in the room at night to create an environment where no unwanted light will enter the room so that the lights shown will be fully controlled.
• Shone the light source (IOS App: ColorScreen) on the white wall space
• Experimented with the saturation, hues and double-light set up to create the setting that I was going for.
• Used a cup over the iPhone flashlight to create a spotlight effect.

I did face some challenges like being unable to control other light sources in the room like light from a fish tank that can’t be turned off. The issue was partially resolved by placing a cardboard over the light.

Other than experimenting with lights, I also experimented with yarn. Trying to make it seem that the yarn was coming right out of my skin, using my skin-coloured powders and clay. I also used coffee grounds as “dirt” to make myself look more scratched up or dirty in the “third” portrait.

Test Shots:

Final Work:

My Creator knit me together in my mother’s womb. I am moulded and designed with purpose and care, thread together by fearful hands with the Creator’s own breath in my lungs. I am fully known and loved by the One who holds the needle.

Though perfectly made, I am made imperfect. I am forgetful of my identity and what it means to carry it. I’d wilfully run towards the first thing that gives me an alternate sense of self and fall into this endless pit of loss and fear. The further I stray from Him, the more I lose my identity.

Yet even in my misdirection, this identity never changes. Though I’m minute, disloyal and stubborn, I am still and forever will be a child of my Creator, fully known and loved by Him.

Critic:

• What was the rationale behind the positioning of the pictures?
• What is the symbolism of redness? Contradictory to what they understand (red = satanic ≠ holiness)
• Suggests that redness = fetus status in the womb
• White dress worn is all encompassing.
• My focus on the light suggests my focus on the Creator.
• The cheerful expression suggests a good relationship with the Creator.
• Got the impression through the statement and portraits that though I described myself as minute, I was still important.
• The composition of the portraits or where the light is coming from could further hint at the chronology and improve the flow in which the eyes would be directed.

What I Would Improve On/Reflection:

E.g. Changing the position or direction I am facing from left to right. So that my arms could act as a pointer to where the viewer’s eyes should focus on, all while the light is still coming from the left to keep the position of the “Creator” constant throughout all portraits.

The process of taking these self-portraits challenged me to see life in art and vice versa. To be more vulnerable in the way I view art and using these techniques to tell a message/story through the images.

Foundation Drawing Self Intro

Functions of Drawing: It is to visualize what is imagined, crystallizing these ideas and concepts. It can also be used to theorise concepts. However, the reason why I draw is because it’s humbling. It’s something that is extremely challenging for me to do and understand well. When I draw, I feel a little threatened but that’s a good thing in the long run as it trains me to work harder. Even though I’m not as experienced as my peers, drawing or doodling does improve my creative thinking and concentration.

I would like to draw more things that are simple for a start. So that one day, I would be able to draw bigger concepts and ideas that I won’t be able to capture on film. These skills would also aid in my creative thinking skills and overall my journey to be an artist.