Final Art Project Screens. Sunny K.

Transcription

1 Final Art Project Screens Sunny K.

2 Screen #1 CHOOSE AND BRAINSTORM

3 THEME: JUXTAPOSITION Definition: the fact of two things being seen or placed close together with contrasting effect Url:

4 Why did I choose this theme? How am I going to interpret it? The reason why I chose juxtaposition as my theme was because I thought this theme, which requires heavy imagination, matched with my desire to use creativity to produce works of ideas other people have never thought of. Therefore, I am planning to interpret the theme of juxtaposition as a frame where I can put down my unrealistic, imaginary, and abstract ideas. By this, I mean that I want to explore contrasting matters in my own unique ideas, and allow the audience to view that matter in a new way. Some connections or first thoughts of this theme? When I first read the definition of the word juxtaposition, the word contrast came into me. Then, the impression of the theme settled to me as: thinking of two mismatching pairs that no one else can think of. This made me connect to the fact that extreme creativity and imagination was needed, which also made me realize that I had to get rid of any restrains or limitations that could restrict my thoughts.

5 Initial Sketches of what it means

6 Mindmap

7 EXAMPLES OF ARTWORK Rene Magritte, The Son of Man, Oil paint, 1946 n.a., Death #42, url: lazingabout94.dev iantart.com/art/ Still-Life-with- Juxtaposition-of- Life- Death Stephen McMennamy Url: en/2015/06/22/ humorousjuxtapositionphotography/ Stephen McMennamy Url: en/2015/06/22/ humorousjuxtapositionphotography/

8 Photos I took Sunny Kwon, Bright Flower from dark Water, China, Shenzhen, May 2018 Sunny Kwon, Character on Cup, China, Shenzhen, May 2018 Sunny Kwon, Giant on Model Piano, China, Shenzhen, May 2018 Sunny Kwon, Dog in Business, China, Shenzhen, May 2018

9 Screen #2 Research and Recreate

10 Artist #1: Olga Snell Recreation Information: She is from Canada, Toronto, and she has been working as a photographer for 25 years. She uses photography and vintage imagery to create her own works and collages; now, she uses photoshop to create digital artworks. Her love and passion of nature influences her artworks. Url: Olga Snell, Blue Moon, Digital Art, 2014 Analysis: The artwork is of two girls with pink dress and wings, on green leaves. There is a big blue moon in the background with dark clouds. There are also two birds flying next to the girls. I can tell that the two girls are the emphasis, and there is contrast in the fact that there is humans on small leaves, that are usually human hand-sized. The texture of the leaves as well as the moon is alive, and intense value of the blue sky gives a threedimensional tone to the artwork. To interpret it, I get the image that the two girls are fairy sisters and are seeking for the right time to fly to the sky with the birds. The reason I chose this artwork is because there are series of juxtaposition in this image humans on leaves, both being above clouds, moon emerging out of the clouds, and birds flying as high as the moon.

11 Artist #2: Philipp Igumnov Philipp Igumnov, Cloudhouse, Collage, 2013 Analysis: The scene takes places in a quite rural, green area. There are fences at the front of the scenery, and in the middle of the scene is large clod of cloud with 4 windows and 1 door at the bottom. There is a person sitting on the very right window, and the sky is very blue and pale. In terms of POD, I can clearly see that the cloud along with the windows are the emphasis, and the fact that the cloud is heavily resting on the grass and that the left and right sides of the piece are almost parallel also brings a sense of unity and balance. In terms of EOA, Igumnov s usage of bright and strong colors attracts the audience and brings the rural tone to the piece. We tend to think of clouds as an unsolid matter that disappear after some time, but Igumnov made a Cloudhouse which contradicts this thought. When I first saw this, I felt like if I swayed my hand around the cloud, it would fall apart and the windows would just be fake paintings. I think the Information: Phillipp Igumnov is a Russian artist in his 20s, and he uses collages, similar to Snell, to create his artworks. He was heavily inspired by vintage collages and digital illustrations, which encouraged him to start his artist career. He has been doing art for nearly ten years, and he also has a pseudonym Woodcum. He believes that collages make pieces more unified than mere illustrations, and that s why he chooses to work with the medium. In addition, some graphic artists he was inspired by includes Mark Weaver, Dan Mountford, and Dale Murray. Site: Recreation author intended to give this feeling to the audience the unstableness of it being a house. There is clear juxtaposition in the contrast between its house-like features and the cloud, and this is the reason I like this piece the most.

12 Screen #3 Idea Development

13 How am I going to use my inspiration artists ideas? Both artists had a contrast between a natural matter and a matter that was related to humans, and that contrast created a very fantasy-like feeling. I want to use this characteristic in my own artworks. I can merge human-like qualities with natural forms to create something fanciful, something that appears to look like a fantasy.

14 Composition 1: 2D Chosen for final Natural matter: The mountains and the trees Human matter: The girl and the plates Medium: Watercolor Size: around A3 Colour: Only the natural matters would be coloured and the human matters would be black and white. Idea: The contrast in the girl eating the tree shows juxtaposition, and the plates beside her shows that this is her daily routine. However, this composition also addresses the issue of deforestation, because the impact the human factor is giving to the nature is very evident.

15 Composition 2: 3D Natural matter: Earth, Moon, Star Human matter: Human features: Eyes, hands, arms Medium: Sculpture (Clay) Size: (roughly) 40 x 70 cm Colour: the star would be bright yellow and the moon would be grey. The colour of the Earth would start with bright blue on the star side and change into dark greyish blue on the moon side. Idea: Giving celestial objects human features shows juxtaposition. Not only that, the two sides of the Earth -- Star and Moon -- represents the angel and the devil, or the good and the bad, meaning that this sculpture would also represent the two sides that humans constantly struggle in.

16 Composition 3: 4D Natural matter: Leaves Human matter: Stick figures (humans themselves) and bowl Medium: Digital Animation Idea: One by one, the black stick figures would fall from the leaf into the bowl of liquid (could be anything). The juxtaposition here is the fact that the humans are much smaller than the leaves and the bowl, and the leaves came from the inspiration of the artist Orga Snell. This animation represents the infinite suffering that some humans face. Colour: First it would start with no colour, but as the stick figures fall into the bowl, they would bring color to this piece.

17 Screen #4 Final Work Process

18 Step 1 Step 2 I started out by drawing the basic outlines of this piece. With the advices from my peers, I figured that it was better with not a lot of mountains and more details. Therefore, I decided to draw only 6 mountains, with the emphasis on the first one, and focus on the tree trunks and other details of the mountains. At this stage I only used pencil and eraser because I didn t want to put any permanent mediums down. This is because this was the very beginning stage and I knew that I should make it malleable in case other factors came up that would make me change some parts. Since the theme was juxtaposition, I had to draw objects out of proportion, and this was a little bit challenging because I was used to drawing things realistically and proportionately. After finishing the outline with pencil, I re-outlined it in a more detailed and concise manner with sharpie. The main reason I did this is because I was going to watercolor at the end, so I wanted to make clear boundaries before pouring water. Now that I reflect back on it, I think this stage contributed greatly to the overall steadiness of the piece. It also helped prevent the watercolor paint from going over, and made the matters very clear and standout. I don t think there was much challenge to this stage because it was basically just going over what I have drawn in the previous stage.

19 Step 3 Step 4 I started watercoloring right after I finished outlining. I started with the mountains since that was the background of the artwork as a whole and it would act as the setting for other details to stand out. I think the gradation from dark to light turned out very well, and this was actually the most challenging part. I worked very hard trying to blend the darker green into lighter green naturally and smoothly, so I am very glad that this turned out successfully. I also tried to make different hues of green for different green the mountains in the back are more pure greenish, and the mountains in the front are more blue-greenish. I think this contrast contributed greatly to the fanciful yet realistic tone of the piece. After finishing the mountain background, I watercolored the cut tree trunks. I used tiny paint brush to bring out every possible detail. Even inside the trunk, the shade is very dark around the edges and lights up in the middle; I gave my best effort to articulate with the amount of water in order to create this natural value contrast. I think this part was the most challenging part out of the entire process. Besides the value contrast of the tree trunk, the blending of colour from the tree trunk to the mountain also took great time and effort. This was also a matter of articulation of water. However, after going through all of this process, I feel as if I have now gained much more experience and skill on controlling watercolor and bringing out what I have in my mind.

20 Step 5 Step 6 I finished the watercolor section by watercoloring the sky and the remaining trees that the girl didn t eat yet. I think this part was a little less challenging then the previous section because the area itself was larger which meant that I had a bigger frame to work with, and the position itself was also considered as mere background. However, the darker hue near the mountains did turn out quite well. One challenging part that I faced here was creating the bright, realistic, color of the remaining trees. I have painted many trees before but they were also big trees where I could focus on different sections of the trees to really bring out the details, but these were very small, so bringing out tiny details of the trees like leaves and scratches were almost impossible. Therefore, I tried my best to balance between its size and the depth of details I could put in. This was the last step in creating this artwork. In this step, I finalised the painting by using prisma coloured pencils. I used these coloured pencils to make any adjustments or additions that was hard to do by water color, for example colouring the plates in the exact color and adding more depth to the values of the tree trunks. I also coloured the girl in black on purpose because not only was this my original plan, but it was also a symbol for the fact that nature in entirety is more valuable than human itself, when humans believe the opposite. I don t think the girl s hair color went well, however, because the original fluffiness disappeared.

21 Screen #5 Reflection and Evaluation

22 Final Work

23 Submission Statement The title of this piece is When Fellow Trees are Eaten. The reason why the title is from the perspective of the trees is because the theme behind this piece is the issue of deforestation, which is also where juxtaposition is applied. In other words, this piece was created based on the sympathy for the decimated trees. The fundamental medium for this piece is watercolor, but coloured pencils and marker (sharpie) were also used. I first layered out everything with watercolor and worked on the details using both coloured pencils and watercolor with little water. To describe how it looks like, it consists of 6 mountains with the one in the middle being the largest. The mountains all are covered with snow at the top and have cut down tree trunks with only one or two trees left each. A girl, which is about the size of half of a mountain, is lying down on the biggest mountain in the middle, eating a tree deliciously. There are two plates with pulled trees and leaves on the two mountains behind the one in the middle. The mountains holds a gradient colour of green from dark to light, and the colors of the brown tree trunks blend into the green mountain colour. The girl is hue-less except the heart and the leaves that is in the middle of her shirt. Three Elements of Art (EOA) that are included here are value, space, and colour. First of all, as mentioned above, the gradient colour of the green mountains allows the mountains to have a darker, deeper green in at the top and the edges of the mountain where there would be less light shone, and have a lighter, shallower green at the bottom parts of the mountain where sunlight would directly shine at. This EOA adds a sense of realism into the piece. Secondly, the use of space in this artwork, which is the way the mountains are spread out and are in perspective and proportionality, allows the audience to feel as if they are part of the landscape. It makes the audience feel like they are also in the mountains, and it urges them to feel as if they ought to stop the girl from eating all the trees. Thirdly, the colour depth in the remaining trees and the trunk make the objects stand out. If observed closely, even inside the tree, there are changes in the value and intensity in the green leaves section and the brown trunk section. I purposefully did this by using almost no water in the edges and then using water to blend the two colors. This is why the trees don t look plain and the leaves seem realistic to some extent. The two Principles of Design that are included here are Gradation and Emphasis. The gradation is what I ve explained before the mountain hue change from dark to light. The emphasis is the girl, which can be told by its position right in the middle as well as its size, which can actually be described as being disproportionate. Since the message of this artwork is to show how the human factor negatively affects the nature, I put the emphasis on the main human factor, which is the girl, so that the audience would easily notice that the girl is unwanted by the natural factors.

24 The original idea of this project, as it is described in the composition idea in screen 3, was to depict how the human factor is taking away the lives of the natural factors in order to address the seriousness of deforestation in the world. The plates show how the eating of trees, which represent the cutting down of trees, is normal and that it is just a daily routine that happens every day. I intentionally coloured the girl black because it represents the fact that nature is what people should be focusing on, not the girl. This idea didn t change even as I finished creating this piece because every part was essential a component to this theme. However, the tone of the piece did change from my original intention. At the beginning, I was planning to draw this in a extremely imaginative tone with almost no layer of realism, but later as I started drawing, I realized that then it would interfere with the delivery of my theme since the issue of deforestation is reality. Therefore, I made the proportionality of fantasy and reality more 50:50 instead of 80:20. I also sought advice from my peers to make sure it looked realistic to some extent. How I came up with this idea is another story. I was talking about the theme of juxtaposition with my sister one day, and discussed possible ideas that I could make into composition. I said that I wanted to mix fantasy with reality since this was what I learned from the artists I researched. My sister then said, How about a human eating something of nature? I thought this was a good idea, but I wasn t confident drawing a close-up version of a human eating a tree, so I decided to expand this idea into something more big, possibly a landscape. Therefore, at last I came up with a landscape of mountains with the girl eating a tree with other factors to address the deforestation issue. I connected this issue with my MUN topics like globalisation, since I ve worked in the Environment committee multiple times. Also, I connected to my experiences of hiking as a tool to help me visualise how real mountains and the sky behind them looked like from a bird s eye view. One thing new that I tried was utilizing both watercolor and coloured pencils, since the two materials create different effects and work differently. But I think I managed to balance and blend the two well together. Overall I like my completed artwork because it contains every component that I planned that would deliver my message, but I think I could ve added more artistic features in, like creating volume in the mountains or giving the girl more humanistic features. Looking back, I think the most challenging part out of the whole process was colouring and blending the cut tree trunks, because I didn t want them to be too dark to stand or too light to fade into the mountains. Over many layers of both watercolor and coloured pencils, I finally managed to make the tree trunks stand out in just the right level. On the other hand, colouring and creating the gradation of the mountains was the part I enjoyed the most because I could freely explore with the techniques of watercolor and even if I messed up, I could use water to repaint that part. If I could do this artwork again, I would, as stated above, tried to add more artistic features, especially in the mountains because I feel like I could ve added more depth to them and make them be more three-dimensional. Currently, the mountains look very flat and two dimensional, so I could add volume to them by adding shadows to the edges of the mountains.

25 Self Evaluation 1-2 NOT MEETING EXPECTATIONS 3 DEVELOPING 4-5 PROFICIENT 6-7 MASTERY CREATING You rarely generate and conceptualise artistic ideas and work with limited creativity. You sometimes generate and conceptualise artistic ideas and work with developing creativity. You competently generate and conceptualise artistic ideas and work in often original ways You are in command of your own creative practice, using a variety of strategies to independently generate and conceptualise ideas that are personal, wholly original and imaginative. You organize and develop artistic ideas and work with limited preparatory strategies; such as research, development and experimentation. You usually organize and develop artistic ideas and work with some preparatory strategies; such as research, development and experimentation. You organize and develop artistic ideas and work with very good preparatory strategies; such as research, development and experimentation. You consistently organise and develop excellent artistic ideas with creative and indepth preparatory strategies; such as research, development and experimentation. You refine and complete artistic work using limited strategies. You choose materials and processes with poor judgement to create works that show limited or beginning technical skills and creativity. You refine and complete artistic work using minimal strategies which may show developing compositions or designs for your final artwork. You choose materials and processes with developing judgement to create works that show emerging technical skills and creativity. You refine and complete artistic work using suitable strategies which allow you to always choose the good compositions or designs for your final artwork. You choose materials and processes with competent judgement to create works that show average mastery: good technical skills and creativity. You consistently refine your ideas using a variety of strategies which allow you to always choose the ideal composition or design for your final artwork. You choose materials and processes with exemplary deliberation and maturity to create excellent works that show mastery: strong technical skills, creativity and successfully fulfill your intentions. RESPONDING You rarely perceive and analyse artistic works, using limited artistic vocabulary (EOA, POD) with a beginning understanding of artistic analysis. You sometimes perceive and analyse artistic works, at times using artistic vocabulary (EOA, POD) with developing understanding of artistic analysis. You are able to perceive and analyse artistic works with competence, often using artistic vocabulary (EOA, POD) with clarity demonstrating an adequate understanding of artistic analysis. You are able to consistently perceive and analyse artistic works using specific artistic vocabulary (EOA, POD) with excellence demonstrating in-depth understanding of artistic analysis. You rarely engage with artistic works to interpret artistic intent with a limited degree of understanding. You sometimes engage with artistic works to interpret artistic intent with a developing degree of understanding. You are able to engage with artistic works to interpret artistic intent as well as varied levels of meanings within art works a reasonable degree of understanding. You are able to critically engage with artistic works to interpret artistic intent as well as varied levels of meanings within art works with a depth of maturity and understanding. You lack communication of ideas, insights and views to apply criteria to evaluate works with a limited understanding of artistic works. You may communicate few ideas, insights and views to apply criteria to evaluate works with minimal or developing understanding of artistic works. You communicate some ideas, insights and views to apply criteria to evaluate works demonstrating proficient analytical, critical and contextual understanding of artistic works. You communicate your own ideas, insights and views to confidently apply criteria to evaluate works demonstrating advanced analytical, critical and contextual understanding of artistic works. CONNECTING You rarely synthesize ideas and personal experiences with unclear understanding. You sometimes synthesize ideas and personal experiences with developing understanding. You are able to synthesize ideas and personal experiences with adequate understanding and clarity. You are able to synthesize ideas and personal experiences with maturity and in depth understanding utilizing them to extend your artistic ideas with excellence. You rarely relate your artistic ideas with societal, cultural and historical contexts demonstrating an illogical or inappropriate awareness of the world around us. You may, at times, relate your artistic ideas with societal, cultural and historical contexts demonstrating a developing awareness of the world around us. You are often able to relate your artistic ideas with societal, cultural and historical contexts to extend your artistic ideas demonstrating adequate awareness of the world around us and how it affects your works. You are able to relate your artistic ideas with societal, cultural and historical contexts to extend your artistic ideas demonstrating excellence awareness of the world around us and how it affects your works with great depth and breadth. PRESENTING You select, analyse and interpret artistic work for presentation with limited or unclear understanding You select, analyse and interpret artistic work for presentation with developing understanding You select, analyse and interpret artistic work for presentation with satisfactory understanding You consistently select, analyse and interpret artistic work for presentation with mastery and in-depth understanding Your engagement with your own and other s work to identify, develop and refine artistic techniques and work for presentation is inadequate Your engagement with your own and other s work to identify, develop and refine artistic techniques and work for presentation needs improvement Your engagement with your own and other s work to identify, develop and refine artistic techniques and work for presentation meets expectations. You critically engage with your own and other s work to intuitively identify, develop and refine artistic techniques and work for presentation exceeding expectations.