3D Illustration: Narrative Scene

 

 

 

 

 

 

 

 

The story I chose is “East of the Sun and West of the Moon” from a book by the same title.

I have been drawn to this story since I first read it, partly because of Kay Nielson’s gorgeous illustrations, but also because of the role reversal of genders in which the female protagonist is the adventurer. For this project, I’m choosing to ignore the sexist undertones that still exist within the story, and take it as the fantastical fairy tale that it is. It has many similarities with the story of Cupid and Psyche: Girl marries invisible person. Girls family convinces her to look at him while he sleeps. Girl discovers that her husband is gorgeous, and while senselessly gawking she accidentally spills candle wax on him. Husband was cursed by a witch. Girl has to go through trials to get her guy back.

The three scenes I am illustrating:
The beginning. The father gives his daughter to a polar bearing exchange for riches. While she goes of her own volition, it is because her father convinces her. the polar bear is in it’s very basic form.

three is an important number in this—and most—fairy tales. The girl goes to look for her guy after he and his castle disappear. She meets three women who each giver her an item to aid her in her quest.

The girl is dwarfed by the north wind as she rides it to the castle. The stones show through the clouds int he distance, and the castle walls are monolithic and imposing.

I had the intention create a sort of shadowbox with the 3 scenes, but time constraints plus unexpected travel led me to create blended 3D/2D imagery.  I Created objects and models out of armature wire, paper clay, cellu-clay, paper-clay, and paper tape.  I then set these objects on a fabric backdrop that mimics the vertical linework of Neilson’s original illustrations.  I then used Photoshop to draw over the images to add details.

 

3D Illustration: The Editorial Illustration

Is it a coincidence that the rise of anti-vaxxers and measles outbreaks are happening concurrently? Should religious exemptions for vaccinations be allowed when facing the threat of a highly contagious disease?

I made small 4 small dolls out of armature wire, foil, cellu-clay, and paper clay: 3 children, and one plague doctor. The plague doctor represents the values of pseudo-science, where suspicion and misinformation are valued over actual scientific advancements. Actually sculpting the characters was fairly straightforward.

Originally, I had planned to make scenes with multiple characters, passing the measles back and forth like a ball, facing off with a real doctor, and so on. Unfortunately, I ran out of time. Luckily, because I decided to color and detail digitally, it gave me more flexibility to compensate for the shortcomings of my 3D figures.

I colored digitally in Photoshop. I traced the outline of the figures and added details with a fine brush tool. Clothing was drawn using a textured pastel brush because I wanted to achieve a flat, 2D scribble. I used minimal color in order to make the red measles spots stand out. Lastly I drew a measles cell in photoshop. This would be used as a design motif around the actual article.

3D Illustration Projects 1 and 2: The Tardi-Bear

Project 1: The Artist Toy

I began by looking at bears. They are such cute bumbling critters, as I so wanted to make something fuzzy. Then I stumbled across this fleshy-looking critter: a foreskin with a face and claws. The tardigrade. The Water Bear. The strange and beautiful creature. I wanted to make a tardigrade bear. A Water Bear-Bear. A Tardi-Bear.

My main goal for this project was to learn how to use a sewing machine. Unbeknownst to me, this meant making multiple prototypes and edits to the initial pattern.

The initial idea was to create something more bearlike in appearance: bear face, rotund body, and surface fuzz. This is where my imagination had to make a compromise with my skillsets though. With limited sewing ability, I had to create a pattern that would allow for multiple iterations of a plush toy without inducing a frustration-related nervous breakdown.
Creating the Tardibears was an exercise in making something cute while still maintaining the strange and grotesque aesthetic that defines my artistic style. The initial prototype was a Frankesteined disaster-bear made up of too many different types of fabric. It was rather lumpy, and not very squeezable. I was very unhappy with the results of this bear. The pattern was fine, but I realized I needed to minimize the different types of fabric used. T-Shirt fabric was too stretchy, and the colored fabric was too busy in appearance.

The next iterations were bowling-pin-shaped Tardi-Bears with bobble-heads. Much cuter, and much more squeezable. Their faces had a donut-shaped mouth hole and a button in the center. Their heads were wobbly. Despite being much more abstract that I had intended, I enjoy their sort of Modernist aesthetic. They are minimalist and bare (bear!), and act as a fairly blank canvas for future iterations.

 

 

 

 

 

.Project 2: the installation:

 

As a continuation of the previous project, I wanted to make an immersive diorama.  My constraints: The diorama must be contained (ie. fit inside of a small box,) It must be squishy, and it must incorporate my 2D Illustration style into the space.

The tardigrade pit is a bottomless put of plushies an squishy things. In this room , Want to encourage people to take off their shoes and jump in. I wanted to make something cute and grotesque and squishy, and making many iterations of the plush would enable me to create something large-scale and ridiculous.

I liked the idea of a comforting and squishy installation because stress and sleep deprivation leaves me wanting nothing else. Perhaps others feel the same way, experiencing the world like a dream. Why not create a comfortable space for them to contemplate their existential quandaries, or a creature for them to wax poetically to? It is the kind thing to do. The world can be so cruel.

The Tardi-Bear room is for napping, dreaming, climbing, throwing, and jumping. Interactive art encourages visitors to step beyond the role as viewer, and to become part of the art. As visitors become immersed in the tardigrade pit, the solidity of the room come into question. People move within the plushies, the ground moves, the wall quiver. The plushies are brought to life. The installation transformed. The Tardi-Bears are magnified to be human-sized, or the humans are shrunk to exist at Tard-Bear scale. This room serves as a reminder the overlooked. The unseen come visible. The microscopic becomes macro. In  the pit of Tatrdi-Brears, one can relax in the quiet and contemplate these opposites and hopefully leave feeling a little more at ease than before they entered.

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Midterm Progress: 3D Illustration

Mid-Semester Report for 3D Illustration

 

Project 1: The Designer Toy

I have the pattern and have started sewing the Tardi-bears. I have to give up on creating an army, because time does not permit it. Focusing on making 3 really cool Tardi-bears is more important at this point.

I took Paul’s advice to go for the grotesquely cute. To do so meant straying from my original idea of a more realistic bear/microbe hybrid, and instead making a big eyed/big-headed/squishy weird thing.

Some troubles I’ve had is with sewing in general. I have not used a sewing machine in years because I find fabric to be the most frustrating medium to work with. I also sewed 8 left arms for the Tardi-bear, which is unfortunate now that I no longer need extras for my army. I am slowly re-learning how to use a sewing machine, which is exciting. In general, this entire process is proving to be incredibly anxiety inducing though. I spent the weekend fighting with the sewing machine, and nearly completing one Tardi-bear, only to be unhappy with the results. I’m thinking of making them smaller, because currently they look like bowling pins with big heads.

Preliminary Sketches:

 

Preliminary Patterns and Tests

           

 

The result as of 3/25:

This sad misshapen creature and my disaster of a living room.  I don’t want to look at either right now.

 

Project 2: The installation/diorama

My original plan: Make an army off tardigrade plushies. Why make only 3 Tardigrade bears when I can make 50? Who came up with this brilliant plan? I admit, this idea was incredibly ambitions and I am currently re-evaluating my life decisions that led me to this place. I wanted to make something cute and grotesque and squishy, and making many iterations of the plush would enable me to create something large and ridiculous. I liked the idea of a comforting and squishy installation because stress and sleep deprivation leaves me wanting nothing else. Perhaps others feel the same way. Why not create a comfortable space for them to contemplate their existential quandaries and a creature for them to cry into? It is the kind thing to do.

The new plan: TBD. All is lost.

Project 3: the Editorial Illustration:

Two doctors face off: one with a vaccine, one with incense and a plague mask. Children play together, passing a ball back and forth, their skin spotted with red bumps. Is it a coincidence that the rise of anti-vaxxers and measles outbreaks are happening concurrently? It feels like a battle between science and misinformation.

The measles children have been brought to life but are incomplete.The characters have been created from wire armature, foil, paper tape, and paper clay. Clothing is required. I don’t know how to clothe them yet. Eyeballs are needed to show their haunted expressions. Measles must be applied to their flesh. Do I want to do this traditionally, or photograph them and apply the virus digitally? These are the questions that keep me up at night.

Project 4. The Story Illustration

The story I chose is “East of the Sun and West of the Moon” from a book by the same title.
I have been drawn to this story since I first read it, partly because of Kay Nielson’s gorgeous illustrations, but also because of the role reversal of genders in which the female protagonist is the adventurer. For this project, I’m choosing to ignore the sexist undertones that still exist within the story, and take it as the fantastical fairy tale that it is. It has many similarities with the story of Cupid and Psyche: Girl marries invisible person. Girls family convinces her to look at him while he sleeps. Girl discovers that her husband is gorgeous, and while senselessly gawking she accidentally spills candle wax on him. Husband was cursed by a witch. Girl has to go through trials to get her guy back.

The three scenes I am illustrating:
1. The beginning. The father gives his daughter to a polar bearing exchange for riches. While she goes of her own volition, it is because her father convinces her. the polar bear is in it’s very basic form.

2. Three is an important number in this—and most—fairy tales. The girl goes to look for her guy after he and his castle disappear. She meets three women who each giver her an item to aid her in her quest.

3. The girl is dwarfed by the north wind as she rides it to the castle. The stones show through the clouds in the distance, and the castle walls are monolithic and imposing.

I had the intention create a sort of shadowbox with the 3 scenes, but I’m still figuring out the logistics. I am currently working on creating the separate pieces to join together (mostly armature, cellu-clay, and paper tape), and might be looking into the addition of found objects.

The North Wind:

The Bear

 

DVP Final Project: Video Interview

 

 

“I aim to make my work a counterweight to destructive forces operating in the world. Since the surest way to predict my own future is to try to create it myself, I look for inspiration in light and color. As a painter of landscape and still life, I choose to create images inspired by nature’s energies. Giving visible shape to my internal vision fosters healing in myself and others, moving artist and viewer alike from where we are toward some better place.”
-Annie Shaver-Crandell

 

Annie Shaver-Crandell sits across from me on a wide bench seat with floral pillows. Green fronds from potted plants grow unruly, crawling to the window by her corner. She wears jeans and a paint-stained dress shirt. The late afternoon light trickles through the window, painting her face with a soft glow. I fumble with the camera and the tripod, forgetting the questions I meant to ask. I think I arrived right after she woke up. She watches me patiently, stoically. We have met twice before, under the pretenses of a family affairs. I know little of her, except that she is distantly related too my boyfriend, and is an artist. She’s sort of intimidating, despite her relaxed posture. I stumble over words and say “Umm” a lot. She says, “I’m putty in your hands. ” Then we begin.

Originally from Oberlin Ohio, Annie Shaver-Crandell moved to New York City to pursue a graduate education in Art History, specializing as a Renaissance and Medievalist art historian. She taught at City College of New York, and is now a semi-retired painter. For the last 50 years, she has resided in NYC in her NoHo loft, where she also teaches art classes in the sunny, spacious back studio. She reminds me not to take pictures of her students work, which litters some of the easels. “I don’t even make a mark on my students work without their permission,” she says. “I hate when teachers do that.”

Within her apartment, the walls are a gallery of oil or watercolor Still Life paintings and Monotype prints. Much of her work is based on nature: flowers, animals, or scenery. Her paintings have spontaneous brushwork, energetic colors, and soft edges. Its easy to see the influence of impressionist painters. Because much of her work is done “Plein Air” style, the images must be captured in the moment. Light and subject matter are impermanent, so quick brushwork is the only way to ensure that she can capture the essence of what she sees. She also has a sort of “so what” attitude to painting: Make one and go on to the next.

One can observe many types of opposition in her work: spontaneity and control, light and dark, color and contrast, and even in her own life of city living and nature escapes. She says she’s attracted to “boundaries,” something particularly apparent in her Plein Air paintings. The boundaries in her paintings feel expansive though. They offer serenity without redundancy, and vibrate with color. There is an emphasis on the separation of land by water or sky, and afterwards, from a colorful painting and a white gallery wall.

    

Yeti Cat Cafe: The Process

 

The basic Idea for the cat cafe was to create something that would be collapsible (thus more easily stored in a NYC apartment).  By using interlocking pieces and support beams I was able to create 2 story puppet theater.

The Concept Sketches:

 

 

The Laser cutting:

 

The Finger Cats:

 

 

 

The Yeti HEad:

 

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