I was so thrilled to receive my feedback to section four. By the end of the section I had really thought that I had made some progress. It was great for me to get confirmation about the feeling I had inside.
I really appreciated the exercises in section 4, they forced me to reach forward and try some new things, especially regarding texture. Writing this during section 5, I need to be aware that just using texture for the sake of it doesn't denote style. Every time I am drawn to it, I am trying to ask myself what about the texture is calling to me? I can't put my finger on it yet but I am trying my best to remain mindful so I can hone in on what that adds to my developing choices.
I particularly enjoyed replicating other styles. It's helped my learn how they went about their renders, and it's pushed me to not forget traditional approaches. One of the themes in my tutor's feedback has been around developing the lighting in my pieces. I was really pleased that as section four progressed, I did start to do that, and I really tried to make lighting a big part of my assignment.
My fellow OCA students on the Visual Communications Discord server have been a great source of feedback and strength during section four. It made me push my work further, and it's definitely benefited from their feedback. I did try and remember that I don't have to agree about every bit of feedback I get, and I appreciate the chance to curate my choices.
I've really enjoyed a lot of the exercises, the tattoo one in particular. I did have the feeling of how best to create something that supports both aspects of the brief, and I agree I could have done more when applying the illustration to the card to make it softer, and more fun. I think going all-in on the 'fiesta' aspect would allow a mother to appreciate the fun of the card.
The distortion exercise wasn't fun. But it was useful, I am proud I persevered and the effort to focus on done over perfect is a big thing for me. My tutor commented:
Even though it was a real challenge it is fantastic that you got through it and that you solved the block. That is a massive step forward as far as I am concerned. You didn’t give up and you created something really intriguing.
I am really happy with that feedback. My tutor commented on how it might look like actually being made out of Plasticine, and that's really got me thinking about how photography of things can also be used as illustration. I think it's a good topic for me to do some research on. My tutor also commented on videoing the process as stop-motion animation. I am really excited by the idea of animating my illustrations, but right now I feel quite intimidated by it.
The final assignment is something I think that really reflects me. I am not sure I can pinpoint why (!) but it does feel 'right'. It's something I am really proud of and would happily put into a portfolio.
Something I am struggling with at the moment in my work completing section five is sketchbook work. I am still trying my best to use my sketchbooks - the different size/purposes definitely works in my favour. But I suppose my biggest source of frustration is I am having fun drawing and experimenting for the fun of it. It sometimes feels like I have lost my imagination. It's like the imagination I had when I was younger - where I would just draw, paint and doodle about the fantasy, sci-fi and ideas that flooded my head - is just out of reach. Illusive.
I suppose I am less worried about style - if I carry on making art (good or bad) my skills will develop and my choices will make a style. I think the thing I am frustrated about at the moment is where is my voice?
When I went boarding school, I joined the choir. I was 11, and still pre-puberty - unsurprisingly I was a treble. As I got older I was a contralto, contra tenor, tenor and finally, a baritone. Going through those changes in ranges was challenging. I was used to singing a particular way, using my body to create the right sound. It had been natural. I was still a good singer, but this lower range didn't sit well with me, all the things I did before didn't seem to fit.
One day my friend and I were being somewhat cheeky during practice. We had decided to pretend to be the incomparable Harry Secombe, who had a very particular way of approaching his singing:
Rather than earn the ire of my fellow choristers and the choir master they were impressed with my efforts. I was singing from the diaphragm, but most importantly it sounded like me. I had found my voice, but that voice had to also come from a place of skill to make it work.
That's the moment I am looking for - when I find my artistic voice.
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