Notes

Blind Portrait

In the makings of the Blind Portrait, I hit many different snags. My original idea for the piece had been a good idea, but just that, a good idea. This idea proved helpful, only in the creation of one of the main paper pieces, the colorful praying soccer ball head player, but not much else. With no real idea of a background, I found myself fumbling to find something to pair the colorful figure with. Eventually I settled for a different take, making the other paper piece, a cutout head of the Virgin Mary, and the cardboard structure behind the two papers. During this project I found that many of my claimed great strengths, became my very great weaknesses. My tendency of forgoing plans, as well as preferred focus in figure, did not work in my favor in this project. Sure, I was able to incorporate the mentioned strengths, but only because of my lack of better ability to do otherwise. My strengths limited me, and made my project, at least in my eyes, weaker. In the days I've worked around other peers, or just simply lugged the pieces of the portrait around, I won't deny that I wasn't praised for my work. But even with said praise, my own knowledge of my failures in otherwise different medias, causes me to become displeased with my final product. I will admit, I find some good in the project, and definitely felt flattered when I was praised, but still, this project, the Blind Portrait, leaves me feeling unsatisfied in my own work.

For this piece I simply wanted to introduce one of the characters which would be appearing within my future pieces. These characters themselves are both based on me, and my heritage; this one specifically is mainly about my filipino heritage.

Within this piece I focused myself upon line work. Using multiple different pens and markers, I worked to give shape to the roots, branches, fabric, and hairs within the piece. As my marking went on, I had to take multiple breaks to massage the tension out of my wrist and fingers. Even now, gazing at the work, I find that my hand still faintly aches.

The piece itself is supposed to be straight forward, both portraits are supposed to be as direct as possible. Simple introductions to both character and animal kin, as well as a background to give connection to the subjects within. Not much is needed to be found within this piece, other than the penmanship that makes up the most of it.

There are many things about this piece that causes me to cringe, whether it be the phantom pains in my wrist, or otherwise dissatisfaction with its construction. I can name a multitude of reasons why I don't particularly care for this piece, but I can also name reasons why I'm also satisfied with the piece, for example: The animal and the person- I struggle when drawing multiple subjects. Due to my habit of becoming obsessed with a singular aspect of my works, I tend to ignore the other elements my pieces; I find that I'm quite proud of the proportions of both animal and person within this work. I also enjoy the shape of the roots themselves. Though I don't particularly care for the penmanship of the grooves within the roots, I do like their main shape and movement. I also enjoy the flower at the bottom of the page; I don't consider myself a botanist, I also don't particularly like flowers and foliage in general, but I do quite like this flower, or atleast the drawing of it. The definition in the petals, as well as shape itself, brings me immense pride in its creation.

Now, after my self praise, I must include my (as well as peer) notes: The thick lines at the top of the piece, leaves the bottom unbalanced. The actual line art itself is uneven, there are more lines and definitions in some areas rather than others. The actual arche at the top, is not symmetrical, nor is the Sun itself. There is too much happening at the bottom, and too little happening at the top. Many of these comments are self imposed, but most definitely correct in acknowledgment of some of my weaknesses. The piece itself is good, but there are many ways to make it better.

If I could change anything within the process of this piece, I would've refrained from making it a full body and instead focused actively on the actual portrait (Mid chest and up) of the character. Or, at least had the figure and the animal take up more room within the piece itself.

For this piece I focused mostly on the linework within this piece. After making the first piece, I will admit I started to get more and more put off by its linework and style. This piece, I wanted it to be better, more clean, and detailed. I feel, I succeeded in that regard at least.

This second piece is meant to be paired with my first in both active connection (connecting roots and arch/line) and subject. As before, the character addresses a subject off page and the animal that perches atop them, addresses the viewer. Not much more to it, just posing and planning.

I personally like the line work, especially when it comes to the even lines. I've had a past habit, being unable to pen a straight line, even with a ruler, and I have to say I'm mighty pleased with the results in the linework here.

Notes I mark upon myself for this piece include: The mismatched thickness in the lines of the pattern (seen on the seat the character sits upon, and the wall to their right), the singular out of place line that goes from the top of the right pillar down to the bottom the page is (as stated) out of place, and finally the disconnect between the highly textured character and foreground in contrast to the highly simplistic background.

If I could change a singular thing about this piece, it'd be the background. I'd preferably have taken more time in planning said background, giving it better texture and detail in connection to the foreground.

This piece was a piece I sketch, inked, and painted in the span of maybe thirteen hours total. This statement is not a flex, if anything, it is a large complaint. My rushness, is seen in the posturing of both characters, as well as the placement of the opening and organs themselves.

Now with that major complaint said, the idea of the piece itself is a good one that I think I'll revisit in more pieces to come, and the addition of a third character was not originally planned, but works out in the end. This piece was meant to by nasty and ugly, and (from recalling the class critic) I believe it was seen as just that.

Note from me and my classmates: Anatomy is wrong, appears ruched, "Where is the mouth for the faceless/other character?", the faceless person being out of place, and more.

Praises given to me by me and my peers: Brea's favorite piece, disgust because the mouth and opening is sticky (Personally, I find the stickiness rather fun, really), and finally Mrs. Thomas becoming flustered (due to a comment made by me).

If I could change anything, I would've taken WAY more time sketching this piece. My biggest failure was my lack of planned thought in sketching, and then my rushed inking and painting.

Midterm

The Bearcat

The Raven

Interrupted

2.) Within my Sustained Investigation I will utilize different media in ways to communicate the complex relation between hunger and desire. In this SI I plan to use characters in ways to communicate the themes of: lust, hunger, worship- in a story format.

3.) What are the connections between physical desire and hunger?

How can I use cannibalism to convey desire?

How can I show romantic cannibalism within portraiture?

4.) My pieces show experimentation by branching into different pen markings and shadings, as well as usage of fruits (pomegranate) as paint(juice).

5.) This SI connects to my own skewed understanding of love and relations.

6.) So far I believe all my pieces work together, and are well partnered with the materials I have been using.

7.) The basic inspiration for my SI has been floating around my brain for years. There's never not been a moment, since freshman year I think, that I haven't been questioning and prodding that theme.

8.) My biggest problem in AP is the deadlines and burnout, though I feel that is my biggest problem in most classes. I have a tendency to overcomplicate things, as well as jump from thought to thought, making it hard to keep with a singular idea while also producing assignments and pieces. To help this, I will work to plan my pieces better and stay on track with better written planning.

9.) My time management in this class hasn't particularly been the best. I feel my main problem would be the perfectionist attitude I hold when it comes to my personal pieces. This next semester I will plan more and stick to my plans.

10.) Next pieces: Third character portrait and two different scenes including Bearcat and Raven.