I've been told by someone in my class that "all great artists need an art blog" so I managed to squeeze this little posticle out of the Filth Factory today.
The first thing I wanna show is the portfolio I handed into Seneca for animation, since it took a painfully long time to make.... Not that each piece took forever, but the fact that I redid each part over the course of four months (I know... I am a ridiculous creature, like an aardvark).
Generally I took the long way around from what I've been told, fully inking and rendering a lot of stuff that shouldn't have been.
Like I said. A ridiculous creature.
Like an aardvark.
These salty little bastards took the longest, mostly because my room is a filthy place where the vermin of the world congregate. Took about 3 days each, but that's also because I fully inked each one (another unnecessary that filled my portfolio...).
Well these two drawings certainly are a commentary on how I generally feel about my work. Why? It's 'cause if it's older than a week I practically disown it. That's why I scrounged these two "favourites"; assuming I would like them.
The first is a self portrait, complete with a fat disgusting guy in the background (the highlight of any day). The second is playing to my strength (at the time) which was grotequely ugly people in heavy shadow.
Since they're past their weekly expiry date... I HATE THEM. Well... not really. Moving on....
Commonly known as hands. The funny thing is these two poses were nearly identical, so I pulled a filthy trick when I handed in the portfolio... flipping one horizontal.
Pretty smart, eh?
And yes... I know I have the hands of a 12-year old girl.
These two came from my self-imposed exile into the Toronto School of Art over the summer, a time filled with non-stop unabashed displays of nudity. All-in-all, a good time. These two were the strongest in my opinion, and this was back when I had a crazy method of drawing with conté.
Rough outline with charcoal.
Pencil in muscles.
Fill in with conté.
Hard outline with charcoal.
I know it's insane, but when you grow up fighting on the streets like me, it's the only method you got.
I learned a valuable lesson the day I drew the camera. And that lesson is never attempt to draw a perfect circle under any circumstance, ever. It only ends in tears and violence. Mostly tears. It burns my soul looking at it. Anyways...
The helmet I thought was way better than the camera, especially since it had a much more organic shape. My ineptitude at drawing anything geometrical translates into my work even now... oh well, just another hurdle.