Completed Camera Drawing

 For this piece I chose to use pencil and paper (11x17). As was mentioned in a previous blog post, this piece was intended be mainly a practice for studying freehand perspective and different shading techniques. There was a fair amount of time that was spent drawing and redrawing the lens portion. This is something that will just have to come over time with a decent amount of practice.

 When this piece was critiqued there was not very much constructive criticism. Many believed that the piece was well executed, especially in regard to the shading. Though it was well received by the audience, there are certain aspects, such as parts of the perspective which will have to be improved upon in the future. 

 As noted earlier the main strength of this piece is its shading. One of the primary reasons for this is because it was what the most time was spent on. Once again, improving the perspective would be most easily executed by taking more time to set up the structure of my drawing.

Lily Mae Martin Artist Comparison

 The artist I chose to compare my most recent piece with is, Lily Mae Martin. She  resides and works in Victoria, Australia. The piece of hers I chose is similar in two main ways. First off it is an older camera, an old Kodak Brownie to be specific. The second and most important reason is because she uses similar shading techniques such as crosshatching, and line weight using pencils with different softnesses. All lines in this work appear to be prominent and quite crisp. This causes it to really pop out at the viewer. 

In Process Camera Drawing (Minolta Maxxum 9000)

 This is an in process freehand drawing of an old Minolta camera. I originally started this piece because I needed several observational drawings in order to meet certain college portfolio requirements. As a lot of my artwork shows, I tend to be more abstractly and hands-on focused. I have done observational drawings in the past, but it was awhile back. My main goal for this piece was to use it as a way for me to delve into more observational drawing and different shading techniques as well as improve upon my freehand understanding of perspective.

Octopus Drawing Update

 For this piece I decided to add some color to give it a bit of umph. This decision was made once again after receiving comments about doing something to remove the excess white space. I though this was a great idea although I didn’t want to use colors that one would usually associate with an octopus. So, giving it a little thought I chose to go with a pop-art sort of feel, choosing to give the drawing a bright colors and clean lines. 

Table Drawing Update

The only change made to the table drawing was the finishing of the grey floor. This was changed mainly because I had received several comments on the floor and how it did not appear to be finished. After making the change I the piece was almost instantly more visually appealing to me.

Artwork #3

For this piece I chose to use pencil and paper (11x17). To most, this piece portrays an octopus, however it is truly up to the viewer to express what they really see. This piece is made from a series of somewhat simple scribbles, but in a way the small parts all work together to create something bigger and better. In the words of my art teacher, these smaller scribbles create an “implied line”.

This piece was never intended to be about anything. In a way, it came into its’ own existence from letting my mind wander while I happened to have a pencil in my hand. It is something from nothing. I had no idea this fun little doodle would eventually turn into a larger creature. I believe many others will see the octopus as I do, however there is still leeway that allows the viewer’s mind to wander. This piece tells its own story of how something came out of nothing, and how something originally thought to be abstract, would later on be altered, creating a new idea.

As noted earlier one of the main things this piece is good at doing is creating a false sense of order and shape. Its many small pieces help create an implied line. Others have suggested the addition of color into the “creature”, however I am convinced that doing so would distract and subliminally suggest what the piece is rather than let the viewer decide for themselves.

Artwork #2

This piece was created with pencil, pen, and colored pastel, on paper (roughly 17x11). The viewer will notice the conceptual table design, and how it may look in a certain space. The viewer may also get a better understanding of how I wish the table to look simply due to it being drawn in perspective. I also tried making the table seem up close, and the walls back several feet.

This piece is specifically aimed at helping viewers visualize my ideas for the design of this table. To me, this piece is mainly a step forward, and a step closer to having a final design and actually creating this table. I think others would agree on the design of the table as well as how it was presented to them in perspective. As many from the Wellington art community are aware, this piece does in fact tell a story that continues to be told. So far, some of the key points on which this story touches, is the ability to grow people’s minds through bring ing design awareness into our community. It represents not only the design of a great table, but the people and great ideas needed to make it possible.

From my understanding based on others’ opinions, and my own, this piece shows understanding of color, shading, perspective, and overall design as well as clean/crisp lines. I believe that there is room for improvement regarding certain aspects of my perspective, such as scale and depth. There really is only one thing that I might have, and still may do differently which is to fade out or just completely color in the large white portion at the bottom of the page. I am mostly thinking about coloring it all in, and therefore making it part of the floor.

Comparing My Table Design to Another Artists'

The piece I chose was a work by Graham Coulson, a custom furniture designer. There are several reasons that I compare his piece with mine. Yes, it is a table, but an interesting one. Similar to my table design, his table catches the viewers eye by sleekness and and simplicity. All lines within both his piece and mine are quite clean. Another reason I compared his table to my design is based on his attention to detail through quality and material. His is made from black ash, a simple yet sturdy wood. One last thing in a way I found somewhat comparable was the symmetry of his table that caused the legs to form a ( W ).

Columbus Idea Foundry (CIF) : In Process Thoughts on Indiegogo Video

Intro:  A goal in mind, (create something to share with the community, but at the same time convey students minds through the design process 

Interviews:  Approximately 30-50 sec. a piece, (have at least 4)  

Table Clips, (Obviously)

I really want to push and try and get a concept drawn up on solid works or some other rendering software, (Give People a Reason to Donate). Want people to see where we’re going with it, especially if their money is involved. 

Talk about joining the project with CIF and how we are working with them for resources/materials and overall getting the table built the way we want.

Also mention for certain ranges in donations, what the supporter can expect in return, (Their name somewhere on the table, etc…)

Closing:  Explain how we’re looking forward to delivering a great finished piece.

Inspiration

     An artists motivation is one of their most defining attributes yet one of the hardest to describe. For many it is truly a combination of aesthetics and emotion, but that's just it, not one person will describe the world to you in the same way.

    Many of my motivations consist of how I learn and interact with the world on a daily basis. Here I present to you 10 things that influence my work and who I am as a person in order to give an idea of where my art comes from:

1. How Things Work:  This is my life. If I'm not drawing, designing, or building something, I'm taking things apart to understand why it works the way it does.

2. Nature:  Seeing the beauty in what others may take for granted. Finding those places in the wilderness that cause an upwelling of emotion and interest from which great intrigue presents itself.

3. Architecture:  There is something about greatly designed buildings that drives my to create, whether it be from the clean crisp lines of a skyscraper, or the wonderfully decaying structure of an abandoned house.

4. Curiosity:  Tying in with how things work, I am drawn to learning more than general knowledge and instead delving deeper to fully grasp the understanding the history behind and object or place. There is always more to the story than what your eyes alone can physically see. It takes imagination to obtain the entire story.

5. Perception:  How others perceive abstract art and how you can get a message across by showing rather than telling.

6. Telling A Story:  The drive to not only deliver a great piece of work, but to illustrate the incredible yet sometimes difficult story behind it.

7. Color:  Not only for me, but for many, colors help portray mood/emotion allowing us to create vivid and intriguing imagery. I am always thinking about how I may best use the colors at my disposal to my advantage.

8. Tactility:  I tend to be attracted towards materials and processes that require high amounts of hand eye coordination in which I, the creator am directly affecting the piece. For example, building something with my own hands rather than drawing or describing it.

9. Functionality:  Creating a piece of work and understanding how it works within the area it is displayed. Is it in motion, or is it stationary.

10. Interactivity:  More times than not I find myself creating something 3 dimensional. I love artwork that can be picked up, and though a drawing on paper can be held, it cannot tell the story of a stained glass window. This example is great, because not only does it really give you something to picture in your head, but a piece in which you can physically feel every bump, and every mistake. In a way this causes your piece to come to life. Every feeling allows you to better understand how and why it was made.

    If I were required to come up with an artwork assignment for myself I would choose something that interested me, i.e. (building something). I would choose a certain material to work with and that would make up the majority of the piece. So for my assignment the instructions would be this:  First, select a material that you see in you everyday life. Take into account of what the objects intended purpose is, now throw that away. Come up with an intriguing and creative new way to make your object do or portray something it was never intended or designed to do.

    Another less detailed list of things I find Visually Appealing:

1. Cars:  The body lines and curvature that give it its personality.

2. Optical Illusions

3. Abstract Line Drawings

4. Two Point Perspective Work

5. Tilt-Shift Photography

6. The Unpredictability of Nature:  A surprise around every corner.

7. Shading:  How it can enhance or hinder your perception of reality.

8. Complicated Machines:  The task of each individual part. 

9. Landscapes:  The scenery that makes up a location.

10. Detailed Artwork:  Pieces in which you must get very close to understand how it was made.