I have begun working on how I want to use the black light paint in my work. This is my first attempt at getting a good water to paint mix without diluting the paint.

Concept Art

http://linesandcolors.com/2012/08/20/patrick-faulwetter/

For Becky and Tyler

Advice on Jobs in Concept Art

One of my three possible pathways for senior studio is concept art for a short story, as if it were going to be animated as a short film. While researching concept art I came across an interview with the artist Jonathan Guzi, a recent graduate from the Fashion Institute of Technology.

His journey to becoming a concept artist sounds a lot like my journey as an artist. In the interview, he talks about how he likes to draw and knew that he wanted to do wasn't just book illustration. He was inspired by watching films like Lord of the Rings, and movies like that.

Right now, Jonathan is working at 2K games as an illustrator and concept artist. I included some of his images below, and a link to the interview.

http://conceptartworld.com/?p=38701

This is an animated student short film called "One Day". It was created by Joël CORCIA, Bung NGUYEN, Thomas RETEUNA, Laurent ROSSI, and Bernard SOM (among others)  who were all students of a Parisian visual arts school called Gobelins.  Gobelins produces some of the best animated student films you can find, and this is one of my favorites. "One Day" eloquently tells a story in less than 5 minutes without a ton of dialogue. It doesn't feel rushed and it has a satisfying conclusion.  The animation, background art, and sound design are all great. It accomplishes more than most longer films. It takes less time to watch this film than it does to buy a coffee, but the story has stuck with me for a couple years.  This is the standard I will be striving for with my short film. Further tests and discussions may prove a film of this length and quality to be an unrealistic goal for one person, but I can learn from this example of what makes a great short film.

And I have an arm

So the base structure of the arm is done. Things I have left to do are to print the gears that attach to either side of the elbow. Make the fingers and thumb. And figure out how it will interact (painfully attach) to a human shoulder. Also attach the rotator to the shoulder as it is currently only 50% painted and still separated from the arm (sitting to the left of the shoulder in the photo). Update I have the hand mostly in place idea wise. I need to add a movement system.

Doug Rickard & Appropriation

"A New American Picture"

A link to one of the artists I am drawing a lot of references from with the use of appropriated images.  I would also like to incorporate screencaps from Google Maps into my project to build off the concept of appropriation.  Rickard re-photographs these moments from Google with his own camera and then displays them. Perhaps a method like this is something I can look into with my own repurposing concept.

Lee Jeffries did a series on homeless subjects around the world and used lighting during production as well as post production editing to get the final products. Not really my idea but it is an example of photos that have as much work put into it during production as well as the work put in afterwards.  http://leejeffries.500px.com/homeless

Urbex photos for Adrienne

Adrienne (and anyone else that can benefit from this, I suppose), here's a handful of photos I have from wandering around abandoned houses/hospitals back in the day. I've got tons, ask me if you want any more to reference ever.

This semester my work will take one of three directions.

Pathway One –

           

            A series of medium sized paintings that react to collections of ordinary objects arranged according to interrelationships. They will have an underlying mathematical structure like the work of Richard Ryan. The application of paint will be direct with an emphasis on contrast of brushstrokes and color similar to the style of Claire Sherman.

 

Thanks to Micheal I was just turned onto the work of still life painter James Aponovich. I think his paintings resonate with my first two proposals. 

Pathway Two-

            One or more large paintings that contain still life arrangements among figurative, abstract, and landscape elements; thus altering the context of the still life to suggest dreamscape. I will look at the work of Georgia O’Keeffe and Rockwell Kent.

Pathway Three-

            A series of small paintings that show single objects close up to depict an object in a way that is both literal and abstract. I will look at the flower paintings of Georgia O’Keeffe. I will use the old master style of oil paintings in which glazes are applied to a black and white underpainting, or grisaille, like in the work of Dennis Wojtkiewicz.

Imaginative Realism

     In acquiescence to your suggestions, I will narrow down my fantasy illustration proposal somewhat. I will be exploring the theme of realism through fantasy. This is still a potential minefield of semantics and oxymorons which I'm going to have to organize into a coherent defense. A very useful aid in this task will be "Imaginative Realism: How to Paint what doesn't Exist" by James Gurney. This book examines methods of painting the impossible/imaginary in a realistic manner. It isn't a step by step instruction book on how to paint dinosaurs or some such nonsense, rather it takes a look at how to "stretch the imaginative muscles".  James Gurney's artwork is super pooper dooper relevant to my proposal, and I will be delving into his long running blog for further research: http://gurneyjourney.blogspot.com/2009/09/why-i-wrote-imaginative-realism.html

Artwork below is by James Gurney