<p><a href=”https://vimeo.com/216929714″>Rohan-Dean Thomas’ Character</a> from <a href=”https://vimeo.com/user56606101″>ROHAN-DEAN THOMAS</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>
By making my hand a face the most prominent part of the image I wanted to show the importance of my had and my eyes. I wanted to highlight this because it’s what gives me the ability to draw well. The colors I used for the glasses were based on my actual glasses that are branded on my logo. The tattoos on my hand are supposed to represent my spirituality and my interest in Buddhist and Hindu culture. The reason I did the majority of the image in black and white is because I wanted to test my skill in using this medium for my art. I believe that I did a very good job in capturing my likeness on the canvas. I think this will help me in focusing on detail in future classes in the DMA Program.
Samson’s Subjugation Artist statement
The colors that were used in the composition of the sculpture of Samson are supposed to show a dark time in his life, just before he dies while pushing down the columns of the Philistines’ colosseum. The black and red background represents Samson’s blindness and bleeding eyes. The white columns represent Samson’s final goal, destroying the columns the holds up the roof of his enemies. Samson’s hair is dark brown/black and is wildly rising in the air to show his Godly strength and his will to destroy his enemies.
While creating this lamp I chose to do a historical event because it allows me to depict a specific scene in clay. It was a learning experience because it’s my first time using clay. I think that I achieved my goal in my sculpting. The lampshade is also a learning experience for me and I did very good on it as well. It shows a galaxy mixed with my most recent drawing.
The reason I used this much shading and dark areas in the right side of the page was to bring the readers attention to where the story begins. There was a lot of time spent in the detailing for the characters and scenery. A traditional Edo Japanese art style with a mixture of modern Japanese manga style were used, reason being that The story I am depicting is based in Japanese Shinto culture. The background’s brown papyrus texture was used to help bring out an authentic ‘Japanese work of art’ vibe and I believe that I have done a good job at achieving this.
A high uses of foreshortening and perspective shift helped me depict the action I intended on creating. I tried to avoid a uniformity to give the illusion of movement in my characters. My character’s design were based on my prior knowledge of what Edo Japanese style clothing. I looked into what demons look like in Japan and I decided to give Izanami a horn and pale skin. Considering that she’s dead she lacked lacked blood and I gave her blood thirsty eyes to push an idea of hostility.
Izanagi’s design was based on casual Edo Japan fashion. His hairstyle and wooden shoes were common among the people of Japan in this time period. I went a little further with his hair to give him a common trope seen in modern manga of stylized hair and very sharp eyes. His eyebrows and facial hair are meant to show some type of masculinity and strength, emphasizing this with the wrinkles present in his forehead.
This project is relevant to the program because it encourages me to think about how to plan, research and draft out a plan in order to create something worthy of presentation. I see this skill helping me in DMA and in the work world for the next few years.
Izanagi and Izanami
The gods of the sun, moon, and ocean ruled the natural world of the ancient Japanese people. Legend said that these deities were descended from a sea of darkness, a shapeless mud that formed the world at the beginning of time. Out of this cheerless chaos came the kami, or divine beings.
One devoted kami couple became the parents of Amaterasu and her brothers. They were called Izanagi (the male who invites) and Izanami (the female who invites). According to one myth, other kami gave the couple a jeweled spear with which to create the earth. Standing together on the Floating Bridge of Heaven, Izanagi and Izanami plunged the spear into the formless waters and vigorously stirred them. When they pulled the spear up, some drops fell from its point back into the sea. Those drops formed the Japanese islands. The land was beautiful, filled with mountains, rivers, trees, fruits, and herbs, each possessing its own unique spirit. They then gave birth to Amaterasu to rule the new land and give it life.
According to Shinto beliefs, life and death are not far apart. The latter is a painful reality, even for the kami. To their sorrow, Izanagi and Izanami discovered death. Yet, they redeemed themselves by finding a way to overcome it.
Izanami, in her role of life-giver, gave birth to many other kami, including fire. While fire was beneficial, it also proved fatal to Izanami, who was burned by it and died. She tried to conceal her death from her mate by hiding underground, in the world between light and darkness. In his anguish, Izanagi followed her to the underworld and soon discovered the awful truth. Nothing remained of his beloved Izanami but a rotting corpse.
Furious at his discovery, Izanagi fled back across the barrier between the two worlds. When Izanami realized that Izanagi had discovered her secret and left her behind, she promised that she would kill a thousand people every day for his leaving her. In response, Izanagi vowed that he would give birth to one thousand five hundred new people every day!
The story of Izanagi and Izanami explores the fear humans have of the nothingness of death. As they were torn apart by forces beyond their control, their separation and struggle explained the earthly cycle of birth and death. The myth also introduces the idea that death has the power to pollute the living. On his return to the land of light, Izanagi saw that his body had been soiled during his journey in the underworld. To cleanse himself of the impurities that clung to him, he bathed in the ocean.
S.H. and D.D. “Izanagi and Izanami.” Calliope, vol. 8, no. 7, Mar. 1998, p. 12. EBSCOhost, ezproxy.alfredstate.edu:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,uid&db=f5h&AN=350272&site=eds-live&scope=site.
Here I used a photo of Georgia O’Keeffe, taken by Alfred Stieglitz, to illustrate the human skeletal system, specifically the hands and skull.
My primary goal was to capture the skeletal figure in her hands and head. I kept the image achromatic to resemble an X-ray image. My initial approach on how I was going to shade the image was to fill in all of the dark areas with a solid black color and work off her skin as a form of negative space. I spent most of my time on the bones and the shading of the bones to make them look real. I think that I have accomplished my goal for realism here and I feel that I have better control over my medium when I draw. I think this will make my future art work in the DMA major more controlled and thought out.
In creating this room I had to learn how to use Maya and how to use polygons. The room I made is supposed to represent an art nouveau style. I made the sky a galaxy because the room is supposed t be an observatory. The time is night because it would be hard to see stars at night. I sues wood in the walls and the molding because it compliments the style I worked with. I populated my wall with pictures of my drawing to fill in the empty space present in this section of the room.
The image uses shading as a way to show movement and motion. The darker shades are either used to show things that are farther away or that is intentionally made to draw your attention. The components of the image includes:
My reflection in a window, what is behind me in the reflection, what is in front of me in the reflection and what it is that I am currently thinking about.
My reflection can be seen clearly in the center of the image. I use the shading to direct the flow of the viewer’s eyes.