A Journey to Concept Art

 3D OUTCOME The 3D project i chose always felt very weak. Using the lino cuts and assemble them in such a way to create a deeper relief sculpture. Therefore, i started exploring concepts. In the theme of style variation and exploration, i thought of using a "graphic design" with a mix of abstract in order to recreate the statue "Venus of Willendorf" which is the most characteristic and well known primitive artifact. FIG.1 Venus of Willendorf (28,000- 25,000 BCE) Referencing these shapes I started drawing my design. These colours are purely out of planing. The material is kapa line foamboard, in the image above we can see the ones painted purple (with the side to the viewer) and the green ( edges facing the viewer). The other was simply to make sure of how many pieces it was in total. The sculpture will be later painted by a design i am yet to choose and will stand at about 30 to 40 cm height and 15-25 cm width.  Reference:  FIG.1 Venus of Willendorf (28,000- 25,000 ...

For this exercise i chose colour palletes, as the usage and creation of it was always complicated to me, and will be useful for the main project. I started by choosing a dominant colour and branch out from there. There were plenty of useful online tools that helped me think and choose colours for schemes.  After creating the variations i made sure the hues would have the same impact on the eye, if it would be too dark or too light. Furthermore i drawn a little simple face where i applied those very same colour schemes. After that i did some variations by using the digital tool of hue changing in the software CLIP STUDIO PAINT.   

 Preparing and transferring the digital designs into traditional mediums Original digital design with the 3 colours. After creating it i came to the conclusion i had to separate all the colours into different linoleum sheets, one for the black outline, the blue main body, the red details and the brown background.  I ended up printing (traditional printer printing) only the outlines, after passing the ink of this print into the lino block i will print it on a paper and press it against other lino block, that way feels harder to create a mistake in the transferring method.  Here i applied hot water so the ink could pass to the lino block, creating a inverted print which when printed from the lino block itself would also be reversed, therefore creating a "right side" print.  The traces left by this method were very faint and not optimal, however, it was enough to use it as a base to carve. After carving i did the printing method i mentioned before and i ended up with 2 ...

 Museum Visit (Inspiration and References) While exploring Leicester's museum i found myself staring at woodblock printing alongside some lino-cut. These works were phenomenal as the exploration of shapes, contrast and story-telling was minimalist yet successful in every way.  This one felt quite in touch with my own project. Very primitive almost abstract shapes of what seems to be a equine alongside some vegetation. The colours were quite interesting and so was the technique. The coloured paints looked deprived of pigmentation making it look a lot like watercolour. 

 Perspective work Ever since i started studying art that perspective has been my Achilles heel. I avoid if possible, not only because im bad at it, but also because i dislike geometrical drawing. Natural, expressive shapes always caught my attention and the precise, thin lines of perspective drawing was always seen by me as "soulless" and unmotivated, becoming more of a chore than a challenge. However, one point perspective is still preferred by me over the others.