Brainstorming

Research and Reference

After conducting research on recognised artists in the mark-making field, I found the works of Andy Warhol and the impact it made especially enlightening, particularly his 1960 works that portray everyday objects. Upon learning more about the impact he made on the art world through utilising an array of out-of-the-ordinary mediums and techniques (most prevalent in his Oxidation series), as well as giving life and character to regular, everyday objects (through the abstract enhancement of their qualities), I hope to integrate some of the qualities he displayed through his works in my experimental techniques, as well as conceptualising. 

Furthermore, in Warhol’s Shadows series, I found the methods in which he used to create different hues and spots of light innovative. In my experimentation process, I hope to emulate this by adopting different techniques and tools to create hues, textures, and lighting.

Please refer to the following link for a more in-depth analysis of Andy Warhol’s works: https://oss.adm.ntu.edu.sg/vwong005/mark-making-building-blocks-in-art/

Concept

Initially wanting to have a concept that surrounds emotions I face at my workplace (a place in which I spent most of my time before enrolling into ADM), I found using object association as a conceptual basis a more effective approach as it is a more general concept providing much more room to experimenting and using different tools and techniques. Therefore, in my final concept, I aim to represent emotions on an abstract and non-representative level with a theme of composing them in such a way that it uses a variety of visual elements to symbolise an object or sensation that is commonly associated with the emotion in question.

Experimental Process

Mark-Making Techniques

To aid in creating our lines, we were introduced to a couple of mark-making methods – constructing our own mark-making tool and mono printing.

Creating our own tools involved coming up with innovative methods to apply ink onto a canvas; for example, we could come up with a new tool that when used to apply marks onto a canvas, forms certain patterns or strokes that traditional tools (e.g. paintbrushes or pencils) are not able to achieve, or methods of application that involve splattering paint or pouring paint over a canvas. Mono printing, on the other hand, can be carried out by using a machine to flatten materials over a canvas, forming a shape or pattern using ink. In addition to these two methods, I also explored using a range of mediums to form different textures and layers of depth in the hopes of conveying the emotions more effectively.

Breaking Down Emotions

I. Love

Emotion Subset	Objects Associated	Visual Elements Associated
Tenderness Fondness Affection Sentimentality	‘Butterflies in stomach’ feeling Flowers Hearts (literal and metaphorical) Journeys, long periods of time Blushing, palpitations	Wavy strokes Soft textures Hazy backgrounds Faded, watery strokes Paint splatters, spots

II. Joy

Emotion Subset	Objects Associated	Visual Elements Associated
Ecstasy Euphoria	Drugs Heavy patterns Sense of flying; freedom Waves Blurred visions	Radial movements Circular strokes
Thrill Exhilaration	Explosions of energy Masses of energy Fast movements	Fast, spontaneous gestures Sharp strokes Splatters in upward directions

III. Surprise

Emotion Subset	Objects Associated	Visual Elements Associated
Surprise	Widened eyes and mouth Hidden elements Explosive mannerisms Unexpectedness Build up of suspense	Circular motions Gradients Isolated strokes

IV. Anger

Emotion Subset	Objects Associated	Visual Elements Associated
Irritation Aggravation	Pet peeves Scratching, Lack of uniformity	Irregular strokes Mixture of organic and geometric shapes Spontaneous gestures Focus on harsh and textured strokes
Rage Fury Ferocity	Rapid movement Shouting Veins popping out Violence – stabbing, tearing Cracks	Irregular strokes Spontaneous gestures Sharp, geometric shapes and strokes Harsh textures ‘Windshield-wiper’ movements No sense of direction

V. Sadness

Emotion Subset	Objects Associated	Visual Elements Associated
Depression Grief   Melancholy	Pills, medication Unmade beds, untidiness Tears Feeling of stillness, calm Bodies of water Single rays of light Spilled milk Hidden feelings; bottling up Sighing	Soft textures Paint splatters Irregular movement Waves, organic shapes Gradients Haziness

VI. Fear

Emotion Subset	Objects Associated	Visual Elements Associated
Horror	Mystery, hidden elements Veils Tree branches Demons, supernatural entities	Gradients Sharp, heavy strokes Geometric shapes Darker strokes Haziness
Nervousness Tenseness	Tension; tightened grips Breakage Palpitations Nerve signals Scratches, fidgeting	Gradients Sharp, irregular strokes Messiness; mixture of strokes and shapes

Takeaways

Throughout this process, I was able to adopt different methods of mark-making to create visual elements that I can use in my final product. Experimenting allowed me to venture out of my comfort zone and through the use of various mediums, create prints that focus on conveying emotions as opposed to literally depicting them. 

 

For the final product, please refer to: https://oss.adm.ntu.edu.sg/vwong005/project-1-my-line-is-emo

For research on mark-making artists, please refer to: https://oss.adm.ntu.edu.sg/vwong005/mark-making-building-blocks-in-art/