AA...in progress

It's aaaaalmost done. I have to fix some of the painting and the rim lighting, but essentially this is what my completed Action Analysis assignment looks like. Short, but hopefully sweet. :) Huge thanks to Chris for helping me composite and to San for the painting feedback.

Next semester there'll be about 30 of these to take care of while making our film. Phew. Wish me luck!

AA Background

Well, hopefully this is a step up from box in a room. This is my background for the Action Analysis assignment this semester. We are finally making a completed scene with fully coloured background and animation. I will be sure to post the finished scene as soon as possible, but I wanted to show the bg first because as soon as you add a moving character to a composition that's all you watch.

The piece isn't entirely finished, but with the hectic schedule I've had recently, it might be as far as I get with it for a while. Anyway, enjoy for now.

paintin' a cardboard box

So, San's been teaching me some fancy-schmancy digital painting techniques, and what you see here is the result of one lesson. This is my first real digital painting. A simple cardboard box in a room. San said, "Make the sexiest box in a room you can." Or something like that. It's been good practice for my Action Analysis project, which has a similar feel and colour scheme. Hopefully, I'll have more dynamic compositions to show soon.

Cairo

Our group film is underway, and although things are really busy I thought I should throw up a concept piece. I am really stoked about this project, and I will be sure to update now and then as to the development of the film. Until then, enjoy the sunset.

On That Note...

I know I just said I was going to take a break, but then I discovered something exciting. Ain't it always the way? I've been studying more Rembrandt, and I decided to try an experiment with mixed media: oil and digital.





I would love to paint my fourth year film in traditional oils, but I also realize that it's extremely time consuming, plus I also need a lot more training with oil. Here, I've started the piece with a traditional oil block-in (above) and finished it in Photoshop (right). I know I can't be the first one to do this; however, it's really exciting because I feel it has the texture and look of traditional media, but I was able to use layers and undo!

This study is from a black and white textbook photograph of a Rembrandt, but I still got what I wanted to get from the exercise. I'll just have to get to Europe to paint from the real pieces. Someday...

Rembrandt 'n the Dutch Gang

My friend, San, is at this very moment tromping around Europe. He's going to world class galleries, and I am very jealous. Although I can't get to the Louvre, I do have the Vancouver Art Gallery within arms' reach.

Normally, I wouldn't be keen on seeing the same old Emily Carrs that the west is so fond of, but right now the VAG (seriously, that's the acronym...yeah) has an exhibit on loan from Amsterdam called 'The Golden Age of Dutch Art' that includes Rembrandt and Vermeer. Sick.

It was amazing to see these 17th century artists' work. Such fine draftsmen and colourists. I learned a great deal about composition, lighting, paint application, texture, and more. I fully understand why students are to learn from the Masters and see the work in person. It was an honour to walk straight up to the painting to see exactly how the brush stroke accomplished a certain effect.

Above is an oil study I did of a Rembrandt self-portrait. You're not allowed to paint at the VAG, so I did this a week or so ago in preparation for the big exhibit. Apparently Rembrandt rarely used more than red, yellow, and black in his compositions. I gave it a shot here, but added a little white for the accent. I wouldn't hold this next to the original, it's too embarrassing, but if you are still curious it's here. I also just learned that Rembrandt had his students copy his self-portraits as part of their training. Kind of a cool coincidence (and a little narcissistic).

I understand that art today has evolved, but I would love to see more artists striving for that impeccable level of discipline that existed in the Golden Age of painting. Perhaps it has always been few and far between who have mastered gesture, character, line, colour, and so on. Maybe that's why we see the same artists in all the museums across the globe. Maybe that's why they are called Masters.

The Hand

Recently, the Sheridan second years were lucky enough to get into the University of Toronto Medical Labs. (Picture lots of severed and sliced body parts floating in formaldehyde.) Given a few hours to sketch the specimens, everyone was intensely working away.

Inspired by my friend, Sam Bradley, I tentatively brought out my watercolours. A while later, this hand emerged. Not the best scan of the piece, though, so I'll try to update the picture shortly. Until then, creep yourself out.

San Fan

Caught my dear friend, San, watching a film--a whole film, which is unusual for the workaholic-- and decided to do a quick oil portrait. I'm sure he liked Raging Bull more than his expression here shows. I was paying more attention to the shapes and values rather than his hypnotic state. Actually, I was foremost studying the media. I've wanted to try oil painting for a while now, but I don't really know what I'm doing with it. lol If you have any tips, please share them!

Shape

Seems like the word of the week is "Shape". I wish it had been the word of the last couple years because I now see how important it is to drawing, painting, and overall design. The concept is still a little zygote in my mind. I need to take some time to nurture it, but I am really looking forward to the discoveries to come.

Figure Painting 101

I've recently been brave (or foolish) enough to try figure painting with watercolours. Being inspired by the bold colours of Charles Reid's figure paintings, I've definitely taken some liberties here. I do not profess to have anywhere near Charles Reid's capabilities, but hey, 'ya gotta start somewhere. Plus, slapping colour around is fun, and that's what really matters in the end.

And Scene

It's over and I'm alive! The end of term is here along with Christmas, family, and sleep! I thoroughly enjoyed the courses offered this semester, and I know why people say second year is their favourite at Sheridan. After learning the basics we're finally able to express ourselves more effectively.

I think of art school like learning to dance. At first, you have to stay at the barre perfecting your tondue and other simple steps, and it all seems really mundane. You're then allowed to grace the floor with a bold grand jeté, for example, and you feel the excitement of the practice. Finally, you're able to choreograph steps together, and all of the sudden you're dancing! You combine traditional, ancient motions with original moves of your own, and all the tedious practice at the barre has given you the language required to communicate exactly what you want on the stage. The technique doesn't hold you back, it allows you to be free!

These are two painted layouts that I allowed myself to explore a little more freely than in the past. The above morning view of a nondescript Chinatown was created in about two hours with ink and watercolour, while the night scene below was analyzed for several hours and painted with gouache. The thumbnails are below if you'd like to see the process from tonal to final. Both methods have their advantages and disadvantages, so I suppose the trick is balancing spontaneity with overkill. Ha. Cinch.

Royal Winter Fair '08

It's that time of year again when everyone seems to know each other and cow dung gets stuck to your shoes. The Royal Winter Fair is in town and packed with hard-working farmers and equally determined art students. Above are a couple of little critters hanging around the petting zoo, but more importantly I wanted show you the piece below.

This is the work of four year-old Anna who, after looking over my shoulder for several minutes, wanted to paint as well. I offered her a page, taught her how to use the water-brush, and made sure her mom was cool with it. After a few strokes, I asked Anna what she was painting.
"What?" she replied.
"Yeah, what is it that you're painting?" I repeated. After a long, confused pause and without looking up, Anna said,
"It's just painting."

IT'S JUST PAINTING. Well, didn't I feel silly. This four year-old was just painting for the pure enjoyment of putting colour on paper. She would rejoice when she saw what colour showed up on the page and was neither under a time constraint nor the pressure of having to hand in her work.

There was a time when all of us believed it was "just painting", so thank you, Anna, for showing me the big picture. I'll try not to forget it.

Bye, Bye Nelson

Ah, the summer's over. How bittersweet. I once had a teacher friend tell me that the first day of school is one of the best days of the year (along with the last day), and I know what he's talking about. I am anxious to see my friends and get started on new courses with new, talented instructors.

Nelson, BC is a quiet mountain town that allowed me time to read tons of art books, breathe fresh air, and regroup for the 2008/09 school year. I am grateful for all the wonderful people I've met and sights I've seen, like this view on the left.

People actually live like this. This isn't a camp site, it's someone's driveway. While everyone else was building a deck, I sat and painted. It's an old quickie, but it best describes Nelson, I think.

Hopefully, I'll be producing amazing second-year work asap, but until then, wish me luck on the upcoming year!!

Shambhala, Baby! (PART I)

A few weeks ago I was asked to do a mural for the 2008 Shambhala Music Festival, and if you haven’t heard about this 15 000 person, week-long party then you should really check out their site. It’s a Canadian Burning Man. If you don’t know what Burning Man is, there is no help for you.

The awesome staff at Shambhala gave me a blank 8’x 8’ wooden canvas to do with what I would. That’s a lot of space to fill, and a little overwhelming, so I thought “What does Shambhala mean to me?” Having gone to the 2007 festival, I had a fresh recollection of the fiesta; killer DJs from across the country, crazy crowds dancing from dawn ‘til dawn and dawn again, costumes, body paint, nudity, and an overall freeing zest for life. Easy. lol

Without further ado, here’s the progression from rough sketch to finished product. My only hope is that you might feel 1/100^th of the excitement Shambhala brings to everyone who walks onto her ranch and through her forests.

Click on the above pics to see the various stages of the piece.

Hours and days later, the beast is finally finished and ready to find its place in the woods amongst the pumpin’ beats, screams, and lights!

Preview for PART II:

After the show, I’ll be sure to post people’s reactions and get some great shots of the mural partyin’ away at the festival. Peace, om, and all that jazz. - j

takin' a stab at watercolour

This is the same painting

taken first with a camera (right) and second with a scanner (below).

I think the actual painting falls somewhere between the two.

But here you have it, my first full watercolour painting!

(I usually hate flower paintings, and would never have tried this, but it was actually harder than I thought.)

Here is an early attempt at using gouache paint. It's one of the many lake and mountain views around Whistler, BC. I spent the summer of '07 out there, and I highly recommend it to anyone who loves adventure and great people.