One: Those four clothing/accessory drawings weren’t due until next Tuesday.
Two: We received two extra weeks to work on our final Symbol project.
I’ve been asleep most of today, because I didn’t get home last night until 10 PM and didn’t take my medication until after dinner at 11 PM, then didn’t get to bed until 1 AM. Generally, I’m supposed to take medication at 9 PM (so I’m not wiped out the next day, like I was today) and be in bed by 11. At 9 PM last night, I was still in class.
I’ll be glad when this semester is over.
I did manage to take photos of all my Figure Drawing assignments so far, though. With the clothing assignment, my teacher wants me to work into my drawings with at least 2B-4B pencils. As it was, I only used HB, and she could tell. 🙂
I’m kind of wanting to rework one of my drawings, as well: it’s a quilted vest, and I didn’t realize how off my proportions were until I started trying to draw in the “quilted” part. On the other hand — if I hadn’t been trying to fill up the page (like people keep telling me to try to do), it wouldn’t have been as distorted.
Yeah, I kind of want to harm that drawing…but in any case, I’m told that I don’t need to draw in every quilted line; that the observer can infer the rest of them if a few of them are suggested. This will keep me from needing to make everything mathematically accurate.
At Critique, we showed our extended drawings on toned paper. I got two hints: One, don’t make shadows really deep, even if you see them as deep, because they tend to look like they’re stuck on the paper. Two, don’t outline shadows with a dark line, because then they also tend to look like they’re stuck on the paper. Aside from that, I am pretty sure I did a good job.
In Creative Process class, I’m pretty sure I did an OK job on my test, unless I used too much information that I had learned outside of the classroom in characterizing the early 1900’s. Because I’ve studied that time before, in relation to: psychic exploration, Spiritualism, Theosophy, and more occult movements such as the Hermetic Order of the Golden Dawn; Gardnerian Wicca; Thelema; and other later movements (including Huna, the Andersons’ Feri Tradition, Neopaganism, and others), I had some clue about the general cultural climate.
People from the West, in the late 1800’s and early 1900’s, were really entering into a more “modern” mode of globalization, where they were able to travel and get a sense of other cultures on a global scale. They were still relatively blind to the fact, though, that they had their own cultural lenses through which, they were viewing the rest of the world. Because of this…they tended to misinterpret cultural signs and symbols of cultures not their own, thinking that there was one global, common culture (theirs).
This was right smack in the era of “Modernism” in Art History (different from the era of “Modernism” in regular History, which starts before the American Revolution). Postmodernism, in contrast, came later, starting around the 1970’s — and accounts for differences in culture, age, geography, gender; things that constitute the context in which a piece of art is made by a particularly situated artist; and therefore what it signifies within that context. Modernism assumes universal meanings are possible. Postmodernism does not.
I didn’t really have enough space to write all that out, though.
I figured it was OK to spend most of the day asleep today, as yesterday was such a big day for me. I really wanted to get on here and write at about 11:45 PM last night, but knew it was a bad idea.
As regards my Creative Process class: I need to do some work on brainstorming thumbnails, and also on fleshing out what is going on with the story I have in mind — as this will likely generate more ideas for illustration. One concept came to me last night as I was trying to sleep: this is the idea of “soul” being “condensate of spirit.” I arrived at this insight several years ago in talking with an online friend. It’s another one of those mystic insights as to the nature of water possibly substantially paralleling, or being a mode of understanding for, the nature of spirit.
One of my thumbnails did include rain, and it was interesting to think that if the oceans were a metaphor for consciousness, what then were the rain and clouds? It’s interesting to think that a particular soul is like an individual droplet falling through the air, and that death is essentially just rejoining this large pool of Spirit.
It makes more sense than death being the threshold at which light can no longer penetrate, thus being unconscious, anyway. I did at one time envision a scene where the serpents take my main character down past this threshold into the world of Death — where he becomes a serpent — and then they accompany him back up where he becomes human again. They remember all of this, but he can’t remember any of the time below the threshold of darkness — this indicates that he is fundamentally different from them, even if they do tell him that he “has always been one” of them.
But hey, who has to say that my serpents have to be trustworthy, yea?
I’m hoping to work on fleshing this out, anyway. First, though, I have to work on getting it straight in my own thoughts. Blogging about it, helps. I should work on some diagrams too, though. My huge paper pad (behind me as I write this) should help.
As regards Watercolor: that’s tomorrow, and I have nothing due there, that day. I did clean out my new and larger palette (which has slanted, rather than flat, wells) along with about four watercolor tubes which were in danger of sealing themselves shut. (My prof isn’t as clean about the pigments, as I am — and he was the last person to touch two of these.) I used nitrile gloves to protect myself, and wet Q-Tips to rub off the dried paint from around the tube threads and inside the caps.
I’m not really sure that nitrile is impermeable to watercolor paint, but the package did say these gloves could be used for painting. I’m just not sure whether they meant for house paint, or any paint — granted that a lot of synthetic colors in the paints we use in watercolor, acrylic, and oil painting were first industrial colors for things like plastics and car paint. (I’ve heard that sometimes, using the wrong glove can be worse than using no glove — just, FYI.)
So tomorrow, I will basically have to refill my palette. It is larger, with fewer wells; but I am only using 10 colors, in this class. I’ve emptied out the majority of my watercolors and gouache from my toolbox, so I won’t have to worry about accidentally forgetting it or losing it. (Note to self: all of those paints are now in the black pencil case, on the craft table.) I can use what’s left in my Yasutomo palette for homework, until I run out of what’s in the pans, there.
It may not be a bad idea to get a large tube of Cobalt Blue, either — my prof often does underpaintings in this rather neutral and nonaggressive color, and says it turns into not-even-a-secondary color by the time he is done.
I should ask him why he first has us working in the nonstaining primaries (Permanent Rose, Cobalt Blue, Aureolin). He makes a distinction between staining colors (the Winsor colors: Naphthol Red, Phthalo Blue [Green Shade], and Arylide Yellow) and nonstaining colors…but I am not sure what the significant differences are between staining and nonstaining (other than one doesn’t stain), and why the difference is important.
I can ask. In any case, I can dry out my palette and throw it in my tool case along with my water cup, before I forget. No idea what we’ll be doing, tomorrow — but at least I don’t go to work, then.