Monday, December 5, 2016
- because I'm in love with the brushstrokes I lost sight of the main purpose: study colour relationships.
- the "white" of the canvas is warmer.
- next time with impressionism: paint at 100% opacity to avoid blending.
- maybe muddiness can be avoided by applying pure colours.
- an initial tonal value study is useful.
- to concentrate in colour relationships, work with stains or bigger brushes.
- try to simplify the image into zones.
- identify the colours that are dominant, subdominant, subordinates and accents.
- Monet was one of the greatest!
Thursday, December 1, 2016
What I noticed:
- more details and textures in the foreground.
- less volumes in the backgrounds.
- colours change when placed next to each other.
- do a sketch first! remember relationships to the picture-plane.
- found the horse's tongue to be too bright, it's the first thing I see.
- characters tend to be simpler, easier to read, cleaner.
- a branch has many colours and saturations, the sun touches parts of it.
- work with intention: if I'm analysing colours, then shapes or textures are secondary.
- Eyvind Earle's work is AMAZING!
Thursday, September 15, 2016
A few weeks ago I was part of an amazing group of students eager to learn about composition for visual storytelling. I enrolled in Painting Drama 1 at the Oatley Academy, and had the best time working on the assignments and getting to know wonderful people.
I will be posting the images that accompanied this fantastic adventure once in a while!
Here are a few from the beginning. Our first assignment was to create an image based on the story of the Sirens. But first things first. We needed to come out with many, many, many different ideas, all of them described in black and white, in tiny little thumbnails! The possibilities were infinite! We took photos, we looked for images that helped us understand the forms, we drew and drew, and doubted ourselves, and drew some more.
Then we moved to work in a few comps, postcard size. We explored them in binaries using charcoal so we could avoid drawing details for ever.
Can you see how I started producing images that did not show the story completely? There was a storm, there was tension, there was a boat... but how is the sailor reacting towards this?
From Chris' critique I learned that I was also seeing things in a theatrical way. He pointed out the lack of dimensionality, which is what invites the viewer to be involved, feel like being there, responding.
And making people feel something... that's my ultimate goal with my work! So there I was, eager to learn, wanting to understand, excited and nervous at the same time... as it's the case when one tries to connect with someone, not knowing the language.
More on PD1 soon :)
Thursday, June 9, 2016
Friday, June 3, 2016
Here's a concept art I did for KaruKaru Studio.
Enjoyed the process very much and gave me a few ideas on the colour palette I was going to use, and the relationship these two characters had.
A little bit about it on KaruKaru's blog :)
Saturday, May 28, 2016
“Si vienes, por ejemplo, a las cuatro de la tarde, a partir de las tres empezaré a ser feliz. A medida que se acerque la hora me sentiré más feliz. Y a las cuatro, me agitaré y me inquietaré; ¡descubriré el precio de la felicidad! Pero si vienes en cualquier momento, no sabré nunca a qué hora vestirme el corazón... Los ritos son necesarios”
― Antoine de Saint-Exupéry, El principito.
Dedicado a todos los seres domesticados, incluyéndome.
Con amor, Ana
"If, for example, you come at four o'clock in the afternoon, then at three o'clock I shall begin to be happy. I shall feel happier and happier as the hour advances. At four o'clock, I shall already be worrying and jumping about. I shall show you how happy I am! But if you come at just any time, I shall never know at what hour my heart is to be ready to greet you . . . One must observe the proper rites"
― Antoine de Saint-Exupéry, The Little Prince
Dedicated to all tamed creatures, including myself.
With love, Ana
Thursday, May 26, 2016
Ana & Carlos"