Unfortunately there are some projects that I do not have copies/photos of such as my last batch of small paintings (one of which I absolutely love) and my final wood sculpture (although I asked for the photos my teacher took, which I think she'll be sending soon based on her reply I just received).
Anyway to begin I'll start off with life drawing assignments. My narrative self portrait one that I haven't posted yet and our final triptych:
After being exhausted with the countless self-portraits we had to draw, this one didn't seem that bad since we had to work from a photograph and incorporate the background somehow into our piece. Having just done self-portraits in photography, I used one my partner took of me and also took a section of one of the panoramas we did for photography as well for my background.
Credit to Jesse C. for the photograph.
I used the rooftop of the school as a background along with a bit of the funky windows.
Rough sketch I did on newsprint.
Final ink and watercolour on watercolour paper (18 x 24). I attempted to create a vibrant nightlife in the background in contrast to my dull colour and confused look since I don't see the interest in any of that...stuff.
For the triptych we needed 3 divided pieces that conveyed movement, manipulation and memory in any manner the artist wanted. So you didn't have to have each section of the triptych as one of the topics, it could be in each one as long as it works together since, well, it's a triptych.
For mine I decided to depict the three through mainly the line work and the pose (mainly sport poses). So for line work, who else would I look towards for inspiration? The Line King, Al Hirschfeld of course. After watching videos of how he worked I noticed, contrary to the look of his swooping lines, he works in a very meticulous manner. He sketches in the line bit by bit, almost like an amateur drawer, going over the lines again and again. So I proceeded to imitate the way he works to create my pieces.
For movement I went with rounded and curly lines; it drags your eye up and down the figure. I did a running pose for obvious reasons.
For manipulation the first thing I thought was to elongate the arm of a throwing pose (either javelin, discus or shot put). I decided to go with wavy lines to mimic Dali's work since it was chock full of manipulation.
For memory I decided to draw the way I would normally draw but since that is far from Hirschfeld's look, I needed to pull some of his style in the third one so that they all looked cohesive. I chose the tennis pose for memory since it's the only sport I enjoyed playing.
This was the set up during critique, all are on a 10 x 15 illustration board. I added the shapes last and forgot to take a photo of them. The above photos have a faint sketch of them if you look closely. I did triangles to show more movement and contrast the round lines, quadrilaterals and red to show strength, and a circle as a reference to most of Leyendecker's covers having a red circle or a circular frame surrounding the head.