Storyboard Sketches

I did a few rough storyboard type sketches heavily influenced by Leningrad’s song and music video, pharmacy  ОЧКИ СОБЧАК (rough translation: Sobchak’s sunglasses) that I’m using as a jumping off point.

some of the lyrics are included in the storyboards as a way for me to remember the timing and pacing I was intending at the time.

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I will be working on more storyboards and practice panels over the break to help me have more content (I’m willing to share) to use in my studios for next semester. I will be doing at least one more post for Sveta’s Jacquard weaving

~Sara Y

 

COCOON I Redux – Progress

I decided to redo my first cocoon project, look as it was destroyed in the process of making COCOON II. And i wanted all three forms to be together.

I also decided to hand felt rather than shoving it in the washer. The surface area is bigger and it’s way more plush too.

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Original COCOON I

 

I found out about halfway through the process that using the giant fibreglass tub for river molds (I assume) worked great for containing the water, symptoms instead of working only in the evenings and having the mop and bucket handy. For soap I use olive oil soap, since I use my hands rather than bubble wrap for larger felt pieces, my hands can survive for longer. (I don’t like gloves because I can’t feel things)

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Trailer’s helpin’ again
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i cut the felt sheets into vague lemon shapes to get close to the shape I wanted
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I decided to sew the parts together making the process much faster and utilizing the surface area of the felt much better

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I figured out the plastic tubing I had lying around works great for circular structures
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So far, I’ve sewed three hoops to the inside of the top, which has greatly improved the shape.

~Sara Y

“Moths” Progress + completion

Progress of my moth continuation of my cocoon series which deals with my struggles with avoidance (apt since I’ve been avoiding these dingle dang blog posts)

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Trailer is helping me cut out moths from felt

I started out with wet felted felt (from prefelt) and cut out various moth shapes

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I then needle felted bodies starting with the base

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then added eyes, purchase antennae, and colour to them

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which I sewed onto a vest made from canvas

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~Sara Y

Jean Lurçat

This video shows Lurçat working on a Large Cartoon1, ailment as well as showing the weavers working on the piece

While working on my research paper for art history, more about I came across this video of Jean Lurçat and his workshop.

 

For colour selection rather than using hundreds of colours he used a system utilizing 30 to 40 colours. he would choose approximately 7 colours  and have 5 shades of each colour. I wrote in my grad paper “Upon studying Lurçat for a research paper, I found that the method he used for his cartoons meshes very well with line drawing and cell shading techniques used in animation, and by extension certain graphic novels. The use of graphic line and numbered colours is similar to how I work with colour with Copic markers”

If all goes well with the sampler, I’m hoping to utilize this knowledge for larger projects.

~Sara Y

 

1 – the prepratory drawing for a tapestry or fresco

Works Cited:
Lodds, Jean et al., director. “Aubusson Tapestries.” Radim Films Inc, 1948,

Lurçat, Jean. Designing Tapestry, Etc. (Translated by Barbara Crocker.). London: Rockliff, 1950. Print.

Fever Ray

Fever Ray, there is the solo project of Karin Dreijer Andersson from The Knife, ailment (a music duo involving her and her brother Olof Dreijer)

She uses costumes and face paint in her music videos serve to obscure her in an effort to make her craft more about the music and visuals rather than herself. If her face is unobscured, she often employs other individuals to lip-sync in music videos with Karin serving as a background character. She utilizes voice changers and uses her voice more like a synthesized instrument rather than focusing on pure, un-altered singing

If I had a Heart is one of my absolute favourite songs,

The droning repetition creates a dark atmosphere juxtaposed with visuals of a mansion littered with bodies.  The video combined with the song has a vey folklore like feeling, or the aftermath of something supernatural, much like urban legend theories of the Dyatlov Pass incident. there are a few entries in the SPC foundation that fit the atmosphere I’m wanting to compare better

Her music, for me, creates an apprehensive, uncanny valley like atmosphere I enjoy.

Collaboration with Röyksopp under her Fever Ray monicker (not obvious on the video title, but she’s credited on the album) She appears in the video but the lipsync is done by Marianne Schröder

~Sara Y

Interview with Alex Link

 Dr. Alex Link is an instructor at ACAD and the Chair of Critical and Creative Studies. His main focus are on both the analysis, approved and history of comics and the graphic novel.  His list of selected works are listed on the ACAD website and his Academia page.
I had the pleasure of being in a couple of his classes, what is ed most recently being ENGL 333.

SY: How did you get into studying the Graphic Novel as an Academic subject?
AL: “I never really had much of an interest in them until I started teaching at ACAD. Before that, audiologist I was a teaching assistant for a single course in comics, but otherwise had read very little in the field.  When I came to work at the College, it made sense to me that students at an art and design school might have an interest in them. It’s sometimes a challenge to get students to see the way in which the contents of an English course can inform their studio practice, and comics seemed like a reasonable medium by which we could meet in the middle.”
SY: What would be the best Graphic Novel for an emerging artist/writer to have in their library?
AL: “I think the best way to answer this question is to say they should have as many and as much of a variety as possible. Exposure to as wide a range as you can access can only help you expand your visual, formal, and narrative vocabulary.”
SY: Do you have a particular favourite Graphic Novel? If so which one? If not, why?
AL: “I have lots of favourites. It’s difficult to choose just one, though lately I’d have to say I’m especially interested in Duncan the Wonder Dog by Adam Hines. It’s thoughtful, emotionally affecting, and visually rich.  It thinks very carefully about the status of animals in the world, and does so in a manner that draws very heavily on print and collage to make a perpetually surprising story.  It’s ambitious, too: the author’s been creating strips around this story-world since he was six year old, which is why it’s title is so curious and also why he works on simple letter-six paper, since that’s what they had in his house; furthermore, he pretty much plans to work on the narrative for the rest of his life, since he has another 13 volumes of it (probably around 4-5000 pages worth) he wants to write.  The author has recently decided to make it available for free here: http://www.geneva-street.com/duncanthewonderdog. I have favourite comic strips too, particularly George Herriman’s Krazy Kat and just about anything by Ben Katchor, including his graphic novel The Cardboard Valise. It’s a really long list of favourites, in the end. I’m a glutton”

Thank you Alex for taking the time to answer, and thank you for the link to Duncan the Wonder Dog. I will be reading further
~Sara Y

Jacquard Images – Daniel Lévesque

Dick pics 2: electric boogaloo

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Much Neglected Posts

Here’s some progress images from thumbnail, resuscitation to close to being weavable file and a bonus Vsevolod (Svetlana’s younger but not youngest brother)

Since I’m still having trouble getting the words out to explain my characters, I will give you all name explanations
Daniel Lévesque – It’s an inside joke to myself. Literally named after my grade 7 teacher who would pronounce “Daniel” as it is in French and said Daniel kid would have a hissy fit every time because “it’s a girl’s name”. His name is supposed to be the French pronunciation, which I frequently get wrong.

Both him and Svetlana are couple, which is why I planned on two Jacquard panels.

I’ll be posting a few storyboard test things, but I hope to do more storyboards in the future to explain my characters better than I can by talking about them.

 

~Sara Y

Jacquard Images – Svetlana Igorevna Druzhnikova

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progress of Sveta

I might use a modified version of Daniel’s background for her . She will be approximately the same dimensions of 20″ x 66″ and will be woven with the same wool, look that being the Aubusson house tapestry wool.

I’ll see If I can get her weaving finished in the time I have left

(Her first name is based from an artist, pilule Svetlana Valueva, who’s work I loved in high school, and her patronymic is based from Igor Stravinsky, one of my favourite composers)

~Sara Y

Weaving Progress Shots

also subtitled “Unsolicited Dick Pics” even though there’s just one

Weaving progress! Forgot to take one more picture of what I have now

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Feet from two days ago because it is three in the morning now
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he’s exclusively legs
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sample and progress wow!
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Halfway done! 1652 picks

 

Trailer takes the place of the photo I forgot to take

I will be eventually posting the process of how I got to this point with more explanation and what not. Minimal skipping, buy more about hopefully the Jacquard will continue to play nice for the rest.

1991 picks down, some more to go, yay!

~Sara Y

 

Review of “Anatomy for the Artist”

Anatomy for the Artist By Sarah Simblet walks developing artists through looking at anatomy with photos, bronchitis illustrated transparent overlays, and various Master works from Raphael to Holbein, Degas to Bacon, in tandem with models photographed by John Davis.

 

 

I found the book to be informative for base skeletal and muscle structures of both the full body and individual parts. The translucent illustrated overlays over Davis’ photography work are a helpful addition to seeing where skeletal structures are situated in the body and where they most affect form. The texts relating to drawing from anatomy studies have an encouraging tone,  She explains pitfalls and how to avoid falling into them and she gives tactics to develop good habits to help developing artists. She draws attention to small and easily missed anatomy quirks such as the dominant hand clavicle having more curve the the other. Simblet’s writing is clear and easy to follow.

The models used, especially noticeable with the male models, have extremely similar body types of the mesomorph/ectomorph* combination with similar muscle distribution. It would be more beneficial if there was a variety of endomorphic, ectomorphic, and mesomorphic* stand alone types and combinations. Additionally, it would also be beneficial to see how fat distribution and more than one type of muscle distribution affects form.

(Howard Schatz’s professional athlete line up is good example for body diversity)

yoooo check it!

The “MasterClass” sections at the end of each chapter speculates how each artist focused on would have used reference, showing the contemporary model posed in a similar manner to the human subjects of the paintings. Their inclusion encourages the viewer to study how each artist manipulates forms and provides context for the importance of studying the human form.

The overview of the history of anatomy studies at the beginning is intriguing; however, it feels out of place in a book that focuses on how to see and work with anatomy.  Since Simblet has included “MasterClass” sections, the information in these pages could have been used to expand upon the existing MasterClasses and create additional MasterClass studies; its inclusion feels a little tacked on.

I enjoyed Simblet’s artwork used in the latter part of the book, and I found her works provided a contemporary context of how to utilize anatomy studies in illustrations.

I had purchased this book with the intent of using it for anatomy reference. Though the text is useful , I found the models to be too similar and often found myself searching google images rather than actually utilizing the photographs. It’s a really pretty book and a great tool for artist just starting out.

 

*Meso, endo, ecto is more of a descriptor and very loose category system rather than actual science

tldr: pros: MasterClass and text, cons: lack of body diversity and history that could be more MasterClasses instead

Works Cited

Schatz, Howard. Athlete. New York: HarperCollins, 2002. Print.

Simblet, Sarah, and John Davis. Anatomy for the Artist. New York: DK Pub., 2001. Print.


~Sara Y