For this exercise, the task was to use random dots on a page to develop shapes and then volumes by using the shapes as vertices.
I started as the exercise instructed by filling an A2 page with dots using a pencil. I was not sure where to start in terms of shapes, so I started by simply creating some triangles using a pen. I started seeing similarities with my Illustration Sketchbooks exercise exploring pareidolia. I tried to unfocus my eyes a bit, to see if my brain would start to see images emerge. I started to lock into more shapes coming together, and I soon started to see the outline of an animal. The triangles reminded me of how 3D meshes are created for character models in illustration and the entertainment industries. This "lower-resolution" has been adopted by 2D image-makers in a format sometimes referred to as "low-poly" in homage to simple 2D models using a limited amount of polygons as vertices. You can see an example below where the artist has taken a photo of a lion, and reduced it into simple shapes, letting the local values of the colour combined with the implied angles of the shapes create the three-dimensional effect.
With this approach in mind, I started to flesh out the image being formed in my mind's eye from the dots in front of me. Soon I had created the image of a puppy! Buoyed by this initial success I look for more shapes and soon had discovered and rendered both a palm tree on a desert island as well as a simple heart shape.
Whilst initially I sought to try and create the images from only triangles in a true low-poly approach, I soon deviated to using more abstract shapes as well. I think this was necessary given the random placement of dots on the paper and allowed me to think about the effectiveness of the images I was sculpting from the dots. It did get me to think about two of my favourite illustrators who are both very skilled in using shapes in their work.
Liam Brazier is sometimes referred to as a 'low-poly' artist, but when you look at his work such as this excellent piece depicting musician David Bowie, you can see that the work is extremely well thought out, and certainly not limited to just triangles. Not only does the artist think about how the local values provide a sense of dimension, but also how they work with the shapes themselves to give a chiaroscuro effect.
What I particularly like is his ability to think about how his shapes appear to be layered, bisecting each other while never truly overlapping. You can see this to great effect in the lightning motif layered across the large portrait section, mimicking the artist's "Ziggy Stardust" persona.
Brazier's content is often related to elements of pop culture - particularly films, music and science fiction, which adds to the appeal of his work to me. It's a good demonstration of how he mixes his interests and personality into his creative voice, and no doubt has influenced his process.
Jonathan Edwards is an illustrator I have admired for some years and was the focus of my earliest OCA exercise. I really admire the way he uses shape and colour as a language to depict multiple dimensions in images that, without proper thought, would be extremely difficult to read.
His approach is different to Brazier's in that he doesn't limit himself to straight lines, which gives him more flexibility in his shape language. It's clever in that it gives him the additional ability to evoke texture through the shape language, which you can see in the brickwork of the Portmerion painting, and the contrast between the different species of trees in the image.
His graphical shape-focused approach is not limited to landscapes, and I think some of his most powerful and effective work is his portrait work, like the images of Andy Warhol and Jean-Michel Basquiat below.
The notion of the planes of the face is not a modern concept and is a central aspect of drawing instruction. Andrew Loomis's work has informed generations of artists. You can see in the images above how the simple breakdowns have that 'low-poly' feel to them.
Edwards uses these planes in a much more detailed and nuanced way. He also experiments with his use of shape. In the example above the portrait of Warhol initially seems to be much more focused on simple triangles and trapezoids. However, when you look more closely Edwards has deviated from the simple low-poly approach by layering his shapes to get the benefit of mixing the two limited colours. In the right-hand portrait, his shapes are far more abstract and expressive, but each is contained.
Summary
Thinking about how these artists embrace shapes in relation to the work I produced for this exercise, it has been interesting to approach the problem from two directions:
Starting with patterns to create a sense of representation and meaning
Starting with representation and how to simplify and capture the essence of scenes and objects.
I think both perspectives are useful in different contexts. I can see how I might use simplification to understand the visual dynamics at play before I approach a piece of work. I think if you could cultivate the skill of identifying the essential dynamics, it opens up lots of opportunities to then experiment around the fringes without losing the nature of the subject.
I can also see how this approach could be used as a generative exercise: one could try and tap into expression, letting the dots fall instinctively, before seeing how you can then establish dimensions through shapes to evoke meaning or representation. This could also be used at times when a starting point is unclear, as a way of proving to yourself (or maybe more accurately your conscious mind) that you (and your subconscious) is instinctively abundant, and you are capable of generating ideas and images. To push through the thinking to doing and then seeing where you need to take the work next.
References
Brazier, L., n.d. Rebel. [image] Available at: https://images.squarespace-cdn.com/content/v1/59d4125af5e231a226bc2af6/1557952537506-WN093E1ATFATAY1YTZWU/DavidBowie-WEB.jpg [Accessed 15 December 2021].
Edwards, J., n.d. One hundred and thirty one faces. [image] Available at: https://assets.bigcartel.com/product_images/258440894/IMG_0907.jpg [Accessed 15 December 2021].
Edwards, J., n.d. Portmerion. [image] Available at: https://static.wixstatic.com/media/b6331c_abfa4b6ee061425b9e825baf72337df6~mv2.jpg [Accessed 15 December 2021].
Loomis, A., 2011. Drawing the head and hands. 11th ed. London: Titan Books, p.33.
Maurya, N., 2016. Low-poly lion. [image] Available at: https://www.juegostudio.com/wp-content/uploads/2016/11/lowPoly-art-img.jpg [Accessed 15 December 2021].
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