Drawings (:

dear Xue ning, i am gonna randomly shared just a few of drawings to you. i have not finished taking all of them and it's a LOT!! haha. for the first few lessons we were introduced to do mark-makings, expressing your marks in different material,mostly dry and or ink (; 

As an artist,you also need to feel for yourself.PHYSICAL IMPACT + ATTACK ON PAPER)

sounds funny right (: 

Playing with positive and negative as well, drawing only the outline (contour line drawing) ,drawing with eyes closed, with two hands,with your memory, by looking only at the subject and not the paper AT ALL,drawing with both hands....explore a few weird ways and you will find them all interesting (:

the black black one on top we did it under spotlight, changing all the reflections of light to black, it was difficult at the beginning, Because the brighter it seems for the subject, the darker you have to make it in your drawing (:

 for the same bottles, we were asked to go against the traditional way of composition. The other three pieces are very weird, the whole big paper maybe there's only the cap of the bottle popping out from the bottom of the edge of drawing paper,THAT'S ALL !(: 

there's also one thing that we dont just sit far from still life, (still life can be anything around you,it's not something being purposely displayed in front of you).

We were encouraged to use our five senses when drawing, so you smell,you touch,feel,and express them in whatever ways, subjectively,objectively, or this want it called GESTURAL DRAWING -scribbling. 

(:

under spotlight too, this is "SHADOW CASTING". with charcoal and charcoal pencil.

this is done by soft pastel, i smudge it with my fingers (too smooth,some people thinks).

After taking photos from outdoor,we have to do a representational drawing,in A1 size.

(photo is blur ;( )

there's another one which we combine few things from different photos together again, but we have to have SELECTIVE FOCUS. 

Pastel+ charcoal

alright, this is real fun. before cutting this out, we have to draw in A1 size, considering the interlocking of space, overlapping, "push and pull" effects, contrast of tones,repetition, mark-making, texture,etc to complete the drawing(creating movements)...

then, you have to divide planes while drawing.

Finally cut them all out into pieces, "DARE TO DECONSTRUCT AND RECONSTRUCT",

,now it's based on your 心态 in contemporary composition，and your flexibility in looking at it. 

i have done a few attempts and this is my final decision. haha(: 

Lastly in pencil ,we have engine drawing. haha (: we took lots of photo from the car engine and we have to make one representational, and unlimited EXPERIMENTAL DRAWINGS on different disposed paper or cardboards,or wood you can find. using dry or wet materials, even prints, collage or whatever you can think off (:

well this is one of it, i printed out few pictures in black and white. before cutting them to stripes ,i used thiner to transfer the image to tracing paper,then i cut all the tracing paper to random shapes. for the picture, i cut them to stripes,mix them out, and combine each part to a different part. 

after sticking on the box, i used 8b pencil to draw some parts partially, then i sed bitumen to paint on top (:

this is the corner where i display my work for assessment and those you see in the picture are my different sizes of experimental drawing.

i even used white gesso spray and other materials.

show you one day (: 

thanks for your time <3

Paintings for semester 2 (:

there are seven different techniques,first row on the left is wet on wet. basically you paint from the colour that squeezed out from the tubes ,using them "fresh and immediate" and apply them layer after layer without waiting for the first few layers to get dry.

On it's right is called smooth blending. Just make it as smooth as possible.

the second row first one (most left) is called extended Alla Prima. It's a fast way of quickly protraying still life, required to finish as soon as possible. The layer should be thinner, but if you touch up and make it heavier textured, it's called "extended" Alla prima.

On it's right is called Rubbing. You paint the whole canvas board with a colour, then you use turpentine to rub out the colout tone and build form. Using cloth,brush,even your fingers.

Next one is called "glazing". a lot of western masterpieces used this method and that's why now you know it makes sense on painting for up to three years. It's possible. Because this method required you to glaze the colour layer  by layer. what we do for this is we colour it black and white, and if we want the colour orange,we glaze yellow, then another week red, following next week yellow again...goes on and on,never ending. We wont be able to finish it, but there's a way called Scumbling which you apply white again to touch up and make some parts lighter (:

Last row first is Alla Prima. I wasnt satisfied with it that's why i did the extended one.

Next to it is dry brush, you need to squeeze the colour on a newspaper and leave it dry for a few days only you apply on the canvas board (: 

Last one is abstract :" Impasto" is the name. You can docollage or make your own texture,then you paint it anyway. No subject-matter (: (: 

i sticked cloth,dry leaves,textured paper,and gesso before painting it.

Crazy stuff ;p

The next painting we were asked to go around taking photos of flowers,leaves,it has to be with foreground,middle ground,and background.

photo of this painting is not that clear. basically i came out with this composition with different photos.

This painting requires us to work on Impressionist, i chose Monet as artist reference and i used a lot of pallette knife in applying paints to create rough texture.

I do not think i have fully made it impressionist but it's just a guideline to work on this piece so it's still okay (: 

during the finishing process, actually the middle of the bunch of flowers weren't there from the beginning. But when it's almost done, lecturer said the main subject of this composition has formed a very obvious straight line.

(Cover with your hand and you'll see)

So it's not good in viewing for a tradisional way of composition,so i have to add a bunch of flowers that lead people's eyes to go down and go up again (:

The second one,same composition but we have to make it Expressionist or Fauvist(野兽派）

. I can say it's the beginning of making it ridiculous. The colours for everything is subjective, and i felt very awkward throughout finishing this thing. Yeah the colours are bright for fauvist, and it's also flat. 

Meant to be this way??

Till now i still cant really take it ;p

the last three were in bigger canvases. We have to make one indoor,one outdoor,and one with both. the requirement is either two needs to be impressionist,one has to be expressionist or fauvist again. and one composition has to be asymmetrical ,one symmetrical, one approximate symmetrical.

This composition was taken under the long railway that we took our dinner(xue ning) (: that time with Chris,qiu ning, remember??

Artist reference :Cezanne (post-impressionist)

The main thing that i take from Cezanne is a little of his brushstrokes style.

We always have a habit of our own brushstrokes style, every individual has one. And lecturer asked us to breakthrough and experiment more first before fixing on one. It wasn't easy,subconsciously you'll always go back to your own style.

So i chose a flat bigger brushstrokes for this painting.

Second one,artist reference Edgar Degas(Impressionist).

I have always felt that my colour need some improvements. So i chose a few of his paintings,get the colour in my mind,referring to his paintings while painting mine. Even the brushstrokes i loosen out and make it a little alla prima style (:

i love this the most ;p

But lecturer said it's a bit too grayish. There's one thing in oil paint, if you mix colours with white too much, as time passes by, your painting will eventually get grayish. But not so soon,slowly slowly..(:

another silly one~

I chose red and blue because it gives you a strong weird feeling when looking at it.

Artist reference: Henri Martisse( Fauvist and Expressionist)

As i progress on, lecturer kept saying it's not bold enough. So i have to try using weird colour combinations,weird things to complete this painting. i Created strange texture here and there ;p

thanks for your patience (: