The bishop was designed to be a hard smooth model. The model had 6 cylindric indentations, with that in mind I used 12 divisions in the y axis for all primitive shapes.
The bishop has 4 major shape changes, which I will call the base/foot, the neck, the head and the cylindrical indentations.
To construct the main shape of the bishop I firstly experimented with combining primitives. A cylinder was created for the base, the inside shape of a taurus for the neck, the outer bottom half of a taurus, a cone, and the top half of a sphere for the point of the bishop. The normals for the taurus neck were flipped. I bevelled the initial boarder edge of the neck to simulate the sharp turn between the foot and neck and the neck and head of the bishop. These shapes were combined and merged to make the larger form of the bishop.
For the cylindrical indentations, cylinders were used as a template. the bottom of the indentation were larger than the top and scaled, following the measurements taken. The cylinder was rotated from a centre pivot to intersect the head of the bishop. Boolean, (difference) was used to cut into the head and form the shape. I redirected the edges that were needed to eliminate n-gons and tri’s using edge slide keeping the shape as a priority.
Other processes I had tried was using a curve following the ouster edge of the overall shape and using the revolve function. For the cylindrical indentations I had extruded several faces inward.
The process of building the overall shape with primitives, was successful. However, the cylindrical indentations had lost their shape. I tried several attempts in the polish to keep the shape of the cylindric indentations.
Instead of edge reduction, I added extra edge loops to hold the shape. I also added extra edge loops around the bevel, to restrict the shape from pulling.
In this blog I will discuss developing gesture to prevent the figure from becoming static. “Draw what the body is doing, not just the body” (Force, Mattesi). Several techniques were prioritised to visualize the movement of the figure. Discovering the s and c curves, looking for rhythm, and determining the weight bearing leg, needed to be established as the foundation of the drawing.
I learnt to imagine the structure below without blocking in the initial proportions and visualize the gesture of the pose. “Feeling the flow and letting the rhythm drive the eye through the figure” (Drawing Demo, Vilppu). A balance of rhythmic curves assisted in the perceived movement, flowing from one mass to connecting another. “Curved lines are more forceful than straights since they clearly show us directional and applied forces.” (Force, Mattesi)
When drawing the figure it is important to feel the weight of the body and a sense of how the body moves. Directional force applies onto the next directional force. (Force, Mattesi) Compositionally I believe these drawing succeeded, using the rule of thirds and a triangular arrangement. However several issues have not been resolved. The leg resting on the lower leg does not depict the force or weight of the limb. If I were to exaggerate the movement of the figure that curves over the hipbone, this would emphasize the core force.
Drawing is presenting ideas through line. Gesture, rhythm, force, and mass were explored throughout this process. These ideas could continuously be approved upon through the balance of motivation, thought and practice.
In this blog I will discuss Life Drawing and the importance of anatomy research. I have previous training, however the priority of my thought process was challenged to accommodate gesture as a primary concern. To improve gesture drawing, knowledge of anatomy and practice of short drawing was required. In the 1-5 minute poses, there is limited time to correct mistakes, so instinctively being aware of anatomy and building muscle memory was vital. “We can know a prior of things only what we ourselves put into them”(The Blackwell companion to philosophy, Kant)
Researching anatomy was fundamental to improving in Life Drawing. It provided knowledge of the underlying structure of human form. I used several references Including Michael Hampton, George Bridgman and Uldis Kondrat to examine the human form. Uldis Kondrat’s book focuses on the structure of the form. I explored the planes of individual muscle masses and cross sections to discover what constructs the structure of the human body.
Bridgman discusses the anatomy to create human forms without compromising on the core mass. “Masses of the head, chest and Pelvis are unchanging” (Bridgman’s complete guide to drawing from life, Bridgeman). In the above drawing, I blocked out form using marks to find the proportions of the body. At this stage my knowledge of anatomy was minimal, and I did not recognize the core masses. If I were to recreate this drawing, I would describe the muscles wrapping around the core masses.
Drawing is a conceptual idea, abstracting from the subject to depict a method of note taking for the artist, and visually communicating the ideas to its audience.
During this 3 part blog, I will discuss my philosophy on drawing and its practice. Referring to artists that have influenced my journey as well as critiquing my work based on what I have learnt.
My endeavor is to interpret three-dimensional form and space through the visual medium of drawing. It is the ability to translate the subject and simplify through line and tone, simulating the world around us. Drawing is created through the balance of motivation, thought and practice.
In this blog I will discuss the exercise of creating texture and tone with pen. My objective was to create texture and a range of values. An excerpt “Creating Textures in Pen and Ink with Watercolour” (Nice) was used as a reference. Using the techniques of cross-hatching, stippling and scribble to mimic individual textures, suitable to the subject.
The texture was resolved by using a combination of techniques, which also created visual interest. The direction of the marks and quantity was also considered, ensuring the volume was not compromised. To expand on this idea, the contour of the form followed the direction or turn of the plane. In addition to, rendering marks to correspond to the tonal gradation of light and shadows.
The purpose of tone is to visually depict objects on a two dimensional surface, and reinforce three dimensions. It suggests the core shadow, direct light, reflective light, and cast shadow. (How to Draw The Figure With Line and Tone, Gnass) In hindsight I would not have formed the linear silhouette but allowed the tone to suggest the edges of the subject. Our mind infers logic to object-related elements.
This theory can also be applied to an imagined light source, ensuring it stays consistent. “You cant light an object, unless you understand the volume of an object”. (How to Draw The Figure With Line and Tone, Gnass)
Claudia Nice, Creating Textures in Pen and Ink with Watercolour, 1995, North Light Books, Cincinnati, OH, (Excerpt on Pen & Ink techniques)
Genre helps us understand the relationship of film, by comparing and sorting the similarities and differences. “Genre may be defined as patterns, forms style structures which transcend individual films” (Attaman). In this Blog I will discuss Monster Horror and its influential genres and its evolution, including German Expressionism, Science Fiction and Kaijū.
Monster Horror is an ideological topic that deals with our most basic instincts of fear and survival. German Expressionism was a style of cinema that emphasized expression beginning before WW1. (Brief History of Horror) Nosferatu, 1922 was a film based on Bram Stokers Dracula. The immortal vampire incited created fear in its audiences killing numerous victims through exsanguination. The lurking shadows of Nosferatu were used as screen irony to create fear in its audiences.
King Kong 1933 was an influential film not only due to its monster but its advances in stop motion and various other film effects. “Film theorist have traditionally classified films like King Kong as belonging to horror, monster or science fiction…” (Mediating Nature) the defining factor that categorizes the various themes and tropes of monster horror is the fear it evokes. “A canoe full of natives from this island was blown out to sea. When the barque picked them up, there was only one alive.” (King Kong, Denham)
Godzilla, 1954 was a reaction to the suffering of a nuclear attack of WW2. The audience identifies with the theme, inventing a monster to depict the destruction brought upon its people. Kyohei Yamane-hakase: “It’s impossible! Godzilla absorbed massive amounts of atomic radiation and yet it still survived.” (Godzilla, Yamane-hakase) Throughout the film Tokyo was oppressed by violent and destructive attacks by Godzilla. The film was a success and influenced a number of sequels, hence inspiring its own genre Kaiji. “Kaijū is a Japanese word that literally translates to monster”. (Gutenberg)
“With Horror Films Falling out of fashion in the 50s, however the only solution was to rebaptize all these films according to the new science fiction fad” (Film/Genre, Attaman)
Genre is a class or category of artistic endeavor, therefore whatever label we assign, it can surpass it by its own properties. In The Creature from the Black Lagoon, 1954 fear is evoked by the appearance of gill mans web hand. It telegraphed a threat or warning, preparing the audience for the monsters emergence.
The films can transcend its initial label by prime common factors and themes. Monster Horror aims to create tension, terror and fright in its audiences. The existence of a supernatural monster, that creates fear, death and destruction and the protagonists journey of survival, identifies the borders of Monster Horror.
Film/Genre, Rick Altman, London 1999 BFI Publishing.
Mediating Nature, Nils Lindahl Elliot, 2006, Publisher: Routledge, UK
In this blog I will explore mise-en-scene from the aspect of visual themes in a sequence of events. I have considered shots separately in order to examine the contribution each one makes…as they unfold on the screen in space and time, fulfilling separate functions.” (Film Art: An Introduction, Pp 146, Bordwell)
Act 1 – An ape discovers the tool in the form of a bone.
“You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression.” (The Film Director as Superstar, Kubrick) The entire fist act is without dialogue and leaves the audience to “fill in” the visual experience themselves.
The “Origin of the species” by Charles Darwin 1859, explains a means of natural selection produced the next progression in evolution. However in Kubrick’s 2001, an out-of-place artifact, (the monolith) sets in motion a progression of higher intelligence. The audiences awareness or “collective consciousness” could have related the sequence of images to the book “Chariots of the Gods” by Erich von Daniken 1968, published in the same year Kubrick’s 2001 was screened. It also explains “artifacts were produced either by extraterrestrial visitors or by humans who learned the necessary knowledge from them.”(Chariots of the Gods, Daniken)
Act 2 – The red room and hard drive of HAL 9000
The internal brain of HAL poses questions of artificial intelligence through the personification of language used by the machine. The Interviewer questions the astronaut, Dr. Poole; Do you believe HAL has genuine emotions? In response “Well he acts like he has genuine emotions…” (2001: A Space Odyssey, Interviewer and Dr. Poole) Hal appears to become increasingly devious throughout the second act. In the scene above to protect human life on board Dr. Dave Bowman needs to disconnect HAL.
As he floats into the hard drive of HAL the audience is encompassed with the colour red. Red possibly projects a physiological response from the audience of danger. Red was associated with danger when women realized red berries are poisonous. “color preferences are wired into the human visual system as weightings on cone-opponent neural responses that arose from evolutionary selection” (An ecological valence theory of human color preference. Palmer & Schloss)
Act 3: The monolith in the sterile room surrounded by 18th century décor.
Dave’s placed in a “hospital terrestrial environment drawn out of his own dreams and imagination. In a timeless state, his life passes from middle age to senescence to death. He is reborn, an enhanced being…and returns to earth prepared for the next leap forward of man’s evolutionary destiny.” (The Film Director as Superstar, Kubrick) Kubrick projects a sense of leaping through space time using montage transitions during Dr. Bowman death and rebirth. The monolith makes its 4th and last appearance, returning to the theme of an evolutionary leap. The score “Thus Spake Zarathustra” (Richard Strauss, 1869) reinforces the relationship between the first and last scenes, providing a tempo and creating suspense and tension for the audience.
Kubrick’s expression in mis-en-scene strengthens the themes of evolution and poses questions on intelligence. The lack of dialogue and the expanse of imagery and score encourages the audience to think about what the shots represent. The audience is given space to draw upon their own experiences and interpret the film for themselves.
2001: Space Odyssey, 1968, Stanley Kubrick, DVD, Metro-Goldwyn-Mayer, United States
Proceedings of the National Academy of Sciences, (http://www.pnas.org/content/107/19/8877.full), Online article, An ecological valence theory of human color preference, 2010, Palmer S & Schloss K Edited* by Paul Kay, University of California, United States
Thus Spake Zarathustra, 1869, Richard Strauss, Music, Vanguard Records, Germany