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When watercolours won't behave, pull out the ink pen and Prismacolors.
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Finished, for now. Time to move to the next section.

Prang watercolours with Winsor and Newton process black + Van Gogh burnt umber. On T.H.Saunders 140lb hot press watercolour paper. 9.5"x5"

I seriously need to refine my children-sketching abilities. Heck, people in general, I need to get better at drawing people.

Next semester's task .-.
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Note to self: Remember the illustration board from now on.

Watercolours ROCK. I have so much work to do before monday at noon :D

Thursday I find out results for the Maryland Sheep and Wool Festival cover art competition. Keep your fingers crossed.
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The cosmic energies should be starting to move in your direction when it comes to social and communication matters, and you should soon be able to figure out a new way to solve an old problem. Some issues that have been causing you a certain amount of anxiety could finally be starting to ease up a bit, and your intuition ought to be able to serve you very well right now.

Ah, yes. Working on my illustration project -- little boy sleeping! And, omg, tiny hairs by a tiny little 10/0 brush! Individual tiny little black hairs on that boy's head xx;

Tiny little fingers!

Its good to be back in watercolours again.
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I don't know how many times I've poked myself with the needle felting tool with these. And they're tiny, really. The, uh, sheep and teddy bear, not the needle felting tools. But they're small, too.

Background noise? Oh, that's a coloured pencil piece I started at the beginning of November thinking I'd finish it easily. Whoops. Reindeer :x
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Because I neglected to get images of each of the larger pieces I did last school year, here's a run-down of things:

Crocheted Paper -- for Studio (I) 'Make an object out of 100 identical objects.' I used 100 identical strips of paper :P The writing says 'paper ink yarn' over and over again.

Cathedral -- for Perspective class. We were to replicate the image we were given of the Sistine Chapel. SUCKED, omg. Different grades of pencil.

Life in Chalk -- followed by other various bits and pieces, namely warm up excersises for Figure Drawing I (same lady, pencil; same lady, playing with charcoal and coloured chalks; same lady, pencil sketches; different lady, warm-up poses, pencil; that lady again, pencil; man, charcoal practice; man again, coloured chalks)... I can at least say I did get a lot of figure drawing practice -- this isn't even half of what I managed to get done in this particular class. The 1- and 5-minute warm ups were always my favorite -- we were forced to move to the next pose each time our time was up.

Tetris -- you've seen a low-quality version of this one before, but here's a better one. With the tips of my feet in the picture so you got a sense of how big it actually is -- mid-term for Studio (I). 'Recreate or create a new piece that uses a theme/excersise from the first part of the year' -- Self-portrait, diagram of a routine (though it is slightly messed up), fractal geometry. Eleven hours of work, straight through. Marker and graded pencils.

Abuse Diagram -- the 2-D drawing of the 3-D piece I've shown before. This is what I was working on the night before it was due :P Ink and prismacolour marker, 3-D Design -- 'Create a piece that represents a social issue.'

Sugar Rush -- last minute thrown-together piece for portfolio review. Odds and ends... basically how I sustained myself for the entire week before portfolio deadline. Days and nights without sleep and loads and loads of sugar, sodas and odd things that came out of my head that I ran with. Though sugar does make me sleepy, I don't know how I managed to stay up for days at a time to finish that damn thing. Copper wire, thread, buttons, sequins, transparent seed beads and a 'natural sugar' packet. (Oooooh, I love that kind of sugar!)

Figure Lying Down -- my best figure drawing piece ever. Albert hardly ever said anything to me while I was working on it until the feet, which he helped me with a great deal. Though I can't see worth crap, he spoke of the body in a way I could see mentally and then convert to paper. Pencil on bristol vellum (if you can't get the stuff, don't take his class -- that's all you use).

Fern Column -- coloured pencil over watercolours on marbled paper. The 2-D piece to accompany the 3-D final column project.

There we are, then! Don't say I never gave you anything :P
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That's why I shouldn't be allowed to draw during class. I get nothing done, I just doodle. Sure, it's on topic... but I can't use it for my final.

Ball point pen in my sketchbook.
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For some odd reason I keep relating my illustration project to [livejournal.com profile] theevilstellie and her son Xander :P

Crappy photo of my fingers and the needle felted sheepie....

I've started knitting up that orange and brown yarn. Definitely harsh on one's fingers, that's for sure. It'll turn out an awesome grocery napsack, though. The ball of light orange is that bit Chris had spun and I traded out some of my thin yarn for.... And that's my orange book bag on the floor. Yes, I have a love for the colour orange, bite me :P

Old scrap that I don't think I ever posted.... Another old scrap that resides in the large sketchbook. I've dedicated that one to centaurs only... I think I posted one of them a while back ago, but she's over a year old, now.

Yay, all done. Time for more work.
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So there's the book cover. Watercolours and gouache over pen and ink on watercolour paper. The scanner isn't acting properly so I took what ended up being a rather blurry picture of it. Who cares, anyway, right? I'll end up finding a properly working scanner soon and I'll impose the title and so forth digitally.

And there's the HUNTERS SUCK yarn. 102 yards, two-ply, not for sale. In response to [livejournal.com profile] fiber_friday's prompt 'Leftovers' for December 2nd. Kool-Aid dyed scottish black face wool plyed with a natural brown English Leicester, Salish, and Merino cross wool. Harsh and soft all rolled into one.

That's all for now. Time to go work on my sculpture final. And possibly dinner.
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Hoorah for sketchies! Concepts for book.
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Because I can :P Reposting the two I've posted before (there are differences now, so don't think I'm just posting for no reason....) and all are click for bigger.

Last bit was me trying to figure out how I wanted to draw her :\

Working on sculpture project today. Due 9am Friday. Wish me luck D:
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Because I'm silly I'm going to post all of my drawings from Imagery for Children that I've not yet posted as scans. Other than two, one of which I stupidly deleted and one of which won't scan properly.

Christmas Tree -- the little shepherdess and her cheeky sheep... crow quill nib, speedball black acrylic ink -- done on thin charcoal paper.

Snow Monster -- the little shepherdess out in the snow (response to Snow Shepherdess... of which I stupidly deleted). Crow quill nib, black acrylic ink, washed with watered down speedball black acrylic ink. Watercolour paper.

...that's a branch with dried leaves sticking out of the monster's mouth, btw, to simulate fire being breathed onto the snow sheep :P

Stippled tiger of DOOM -- stippling is the use of a bunch of little dots to create a larger image. I'm insane for liking the technique as it takes forever. I don't have forever.

Close-up of the tiger's face just so you can see how insane I really am. Crow quill nib, speedball black acrylic ink -- strathmore illustration board, 8.5"x11".

Something I'm working on for the Maryland Sheep and Wool Festival. Kinda large (beware). Not sure if I'll ever have time to actually finish it, though. Crow quill nib, speedball acrylic inks in black and white. 8.5"x11" burgandy Mi-Teintes paper by Canson.
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1. sketchbook drivel; last unicorn and the red bull -- will be personal project for the upcoming break (watercolours on illustration board) -- some sort of inking pen over non-photo blue pencil; prismacolor pencil overlay

2. concept: 50/50 -- turned out great! craft: 50/50 -- nice and clean (1/2 late x2 -10) 90/100 B; 2-D Design Concepts homework. Create a piece of work using three 'textures', any way you like. Base it upon the animal you choose from the bowl (got horse). Materials: Page 924 (Photo-Photographers) from the Richmond-Metro 2005 yellow pages; yellow and orange highlighters, black micron inkpen, white gel pen, Paris-France from 1972 National Geographic and the hair of a girl studying in said city from said National Geographic.

As far as the piece I was working on last night/this morning, it has been turned in. We shall never speak of it again.
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Working, still! Finally have it out of the sketchbook and onto illustration board (omg that stuff's expensive :x ) and this is where it is, currently. Paper is 22"x10", just so you know. Oh, and acrylic paint. Oy. At least I can say they're better than gouache!

*fixes image so it doesn't stretch [livejournal.com profile] drazzi's friends page*

Finished product )

Utter failure. Stayed up all night for this and, bah. I should have slept -- I could have chunked this together in the afternoon before class. Oh well, live and learn. And remember to get a better shade of yellow in your paints. Canary yellow is right bit nasty for primary mixing -- red in there never makes a proper orange. You get a sort of horrible salmon colour, instead.

Biology exam at 8am, so there's no use sleeping now.
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Original designings.

What I'm currently working on. (Sketchbook fodder.)
--Catching up-to-date--

1. line work for 2-D design; 2. my first attempt at using Adobe Illustrator CS (if anyone has tutorials, please direct me to them!); 3. column piece, 2-D planning; 4. column piece, 3-D planning; 5. alternate 3-D column plans

Not so very scrappies:

Since I've last updated this, I've done the following:
* been accepted into VCU's sculpture department for Fall 2005
* 2- and 3-D column pieces have moved onwards to the final judging round. Will know outcome May 4th.
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BIG FAT EDIT that belongs near the top: Here we are, then. Up for grabs on FurBid... we'll see how that goes. Link to auction.

FOR SALE. Contact me (or leave comment) if interested. Sorry, this is the best photo I have of this piece (and, unfortunately, I won't be able to use this piece in my portfolio because I don't know of anyone who has a camera and I won't be able to get mum back to the studio before April 1st).

I cannot remember the dimensions, but I believe that they are 32"x28"; oils and acrylics on canvas; sheep in sunset on snow.

18 hours of work in this, but it was worth it :D

(...please don't say demon llamas -- they're kerry hill/western dorset subset sheep. I get enough of the demon llamas from my studio-mates ;) )

We're doing 'abstract' art in studio and have been since day one (January).

Steps (instructions) were as follows:
01. Make a field of marks that vary in size, shape, thickness -- none may touch any of the others, but the entire sheet of paper must be covered.
02. Hand off your sheet of paper to a neighbor.
03. Your neighbor erases all but three (3) of your most interesting 'mark' clusters and makes five (5) shapes of their own; preferably interesting ones.
04. Hand back.
05. Choose three (3) of those five (5) your neighbor made. Reform two of those remaining three to include at least one (1) fully rendered/shaded shape and one (1) 'wire-frame' shape.
06. Go wild with the rest just as long as it's figurative and doesn't allude to anything. (Preferably, please the professor.)

OKAY. And the last day we were working on this particular piece... ugh. Someone said that my can of worms in the bottom right scared them. Why?

Because they thought that they did not look like worms, but like two deformed and diseased penii. And after they said that, I couldn't get around them with any other thing. So the professor said that they would be fine in the corner and just erase all of the other crap that didn't work well with them :Because that little 'phallic' symbol was 'nitty-gritty' while everything else I was doing on the paper was very precise and confined. Eh.

I didn't draw the 'worms'. That was what the neighbor did. -_-;

This is my interpretation of 'abuse' from my 3-D class last semester. We had to represent a social issue in sculpture.

Sculpey, super sculpey, aluminum wire, copper wire plated with acrylic paint, toilet-paper mush (and other things I'll just disregard now -- I had to fix the two fore-legs after they cracked to pieces... bah), gold sequins, acrylic paints. And if you really want to know, there are no eyes. There are only stitches where the eyes should be -- "Blinded by rage."

April 2006



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