1 + 2. Anatomy and proper reference
I know I have the skills and capacity to have figures with a wonderful sense of structure and flow. But the problem I faced (mainly with my comics assignments) was that I was really struggling with other areas (like story-telling, figuring out the flow of the story, finding a comfortable way to work, etc) so I let other areas fall to the wayside. Basically I would speed over using proper+SPECIFIC reference, and would rely on my ~weak~ imaginative figure painting "skills" at 6 in the morning. There are so many panels I look back at and cringe. I think...did I REALLY paint that horrid gestural pose?....did I really just forget that humanoids have rib cages?.....is that an arm or a cape?
It's funny because I LOVE painting the figure, but I have alot more facility with the face. So it'd become very apparent in the moment when I'd fudge facial structures, and I'd take the time to redo it and use proper reference.
Basically: USE PROPER REFERENCE ALL THE TIME. I NEED TO OVER REFERENCE IF I HAVE TO.
3 + 4. Story-telling and composition:
As far as I'm concerned, I should ALWAYS try to improve my compositions haha. With Story-telling, I have trouble formulating stories that intrigue me, and that are simple enough for me to visualize. I need to pick the right stories/moments to illustrate, and really think of how compositions will propel the story of the image.
Recently I've been looking at alot of Tarsem, Disney Pre-production art (tangled), and I bought Framed Ink: Drawing and Composition for Visual Storytellers
5. Hierarchy of Light
When I paint, I tend to see in terms of hue and temperature. Subtle value changes aren't as apparent to me. So I need to start identifying those value changes, and then how those values create hierarchies of light throughout the image. I also need to copy the masters of light, study light sources, create dramatic lighting, and see how it leads the viewers eyes throughout the picture plane. This all goes hand in hand with point 6.
6: Systems of color and how they affect composition:
I'm very comfortable with mixing colors accurately, but now it's time to step it up, and think more and more about how to create systems and rhythms of color and how this effects composition. I think this will come naturally (since I'm always concerned with hue), but I need to state it to make sure that I'm aware. My work will improve by lightyears if I managed to really think of systems of COLOR and VALUE in terms of COMPOSITION. But that would just mean that I was REALLY AWESOME. haha.
7. This is less of a visual thing, and more of my intent as an artist:
NO CULTURAL APPROPRIATION.
I've started to inject alot of ideas and concepts from different cultures in my work, and I really need to make sure that I respect the traditions of that culture, or make it very clear that my work is a departure from what they actual cultural idea is.
For instance my final for WYS was focused on nigerian mythology, prophets, griots, the alusi, etc.
And I was walking a very fine line throughout that project.
On one level I was trying to present the richness of nigerian mythology in my work, but I had to make it very clear that the mythology was fuel, rather than what I was exactly presenting.
But there's still problem, because I may not be respecting the tradition and meaning of the mythology.
For alot of people, this was their first exposure to nigerian mythology. But I was using some of the original myths, names, traditions, etc...while inventing my own storylines for these myths, and tieing them with other cultural ideas. And honestly it's not like I'm this scholar who fully understands the mythology and context of the mythology in nigeria.
Hell my representation of them alone is very western, but I am western...so it's just difficult to know if I'm doing the "right thing". At this point, all I can do is be aware and continue to question what I'm doing with this Nigerian/African/etc influence, and then make my intentions clear.
8. Create a range of emotion with my work
I think alot of my work has this sense of mystery and drama. But I've yet to explore my light-hearted or humorous side in my artwork. I would say I'm an optimistic and goofy guy, but I don't think alot of that comes through in my work. It's mostly MYSTERY CELESTIAL DIVA, and there are definitely opportunities to be ~foolish~.
haha but my "humor" is also about ridiculous Beyonce gifs, and things that make me go ~ding dong~.
So I guess I really need to explore my sense of humor and how it functions in the big picture, and then implement that into my work. I think I really need to explore and question my identity and interests to further my work at some point.
For example why divas?
Why was I drawn to certain imagery as a child?
etc.
Ah anyway it's time for some sleep.
But I'll quickly say some immediate goals/ideas/things I want to do during Wintersession (just so i remember later):
- Color Keys/sketchbook mania
- Tangled Fanart (yes I went there)
- an original piece inspired by the fall and Twin Seven Seven
- revisit old artwork; and I mean old like...4th grade old
- Lizard gods
- bjork/beyonce/willow smith medley: search for the diva dust hahahaaaa
- explore my inspirations, and go to their parent inspirations
- new year? new look?
- dance dance dance + record dances
- INTERNSHIPSSS
