it rainy today:
.
.
in more ways than one
his bee-ing flew into me
and my heart he dun stung
.
.
i sit and i wetten :
writ wet writ wet witty
how dare u be truth and lie so pretty
-------------- - - - - - - - - -----------
a leaf is but a wet green
an always but a maybe
a truth lie forgotten
our man but a baby
i cradled u close
you tempered precision
your manner is both
new and revision
a creature a teacher
a robot a heart
cut away my silhouette
and mangle my parts
you crazy you laughy
you cry-ee you shame
you blessed you evil
you lovely you pain
Saturday, September 5, 2009
Thursday, February 7, 2008
i'll be gone
Before each wave laps on the shore, it must vanish... rippling through dark blues, exploring depths, traversing past misty whites.
The blog was for a painting class, it was mandatory. I have an issue with the myspace/blogspace/facebook thing. As in, I'd rather not have any.
I'm leaving this up for now, but will likely delete it within the next month - along with any other cyber evidence that I'm alive.
If you want to contact regarding painting, illustration, other such quiet activities - or you're just curious and feel the need to reach out - natalieahosn@gmail.com
I promise to write back
Take care of your heart and thanks for stopping by
The blog was for a painting class, it was mandatory. I have an issue with the myspace/blogspace/facebook thing. As in, I'd rather not have any.
I'm leaving this up for now, but will likely delete it within the next month - along with any other cyber evidence that I'm alive.
If you want to contact regarding painting, illustration, other such quiet activities - or you're just curious and feel the need to reach out - natalieahosn@gmail.com
I promise to write back
Take care of your heart and thanks for stopping by
Wednesday, May 2, 2007
Cima: Computer Intelligence Make Adobe
A fellow classmate raised an interesting issue today in class.
"we're bieng forced to do graphic design [...] when i use a computer i get stuck. like, where do i go from here?"
Marcelo pointed out that creativity can be applied to every medium, everything if the person has the intent.
I'm not implying that Cima doesnt have the intent, as those of us who know her are well aware of her curly depths....but ive taken this opportunity to show her what i would do with technology....even though i have created something with my "finer" art skills.
First i grayscaled my image to see if my contrasts where suitable.
Then i reversed the image, an advantage that Caravaggio using his camera obscura didnt have. Thats why a lot of his painting were visually "tense" with more people leaning to the left rather than their more comfortable natural right sides.
Then i tweaked the colors to the potential i might have and weak point in the painting.
It's upto me and oils to figure the rest out.
Thank you all for your input today.
I especially appreciate it coming from people like you, who are so talented.
You've motivated me and made me happy to be an AUD student. That in itself, seriously......!
"we're bieng forced to do graphic design [...] when i use a computer i get stuck. like, where do i go from here?"
Marcelo pointed out that creativity can be applied to every medium, everything if the person has the intent.
I'm not implying that Cima doesnt have the intent, as those of us who know her are well aware of her curly depths....but ive taken this opportunity to show her what i would do with technology....even though i have created something with my "finer" art skills.
First i grayscaled my image to see if my contrasts where suitable.
Then i reversed the image, an advantage that Caravaggio using his camera obscura didnt have. Thats why a lot of his painting were visually "tense" with more people leaning to the left rather than their more comfortable natural right sides.
Then i tweaked the colors to the potential i might have and weak point in the painting.
It's upto me and oils to figure the rest out.
Thank you all for your input today.
I especially appreciate it coming from people like you, who are so talented.
You've motivated me and made me happy to be an AUD student. That in itself, seriously......!
The Painting : Process
It's been about 2000 brush strokes since my last entry
Which explains the delay.
I have been consumed by this painting as it demands my constant attention during its birthing process, like a newborn.
I havent got much to say as I am still absorbing all the lessons the folds of fabric are teaching me (i feel i could write a song just based on those shadows), the layers of washed acrylic and the feelings present in the eyes of my subjects all hold valuable insight into not just myself but....yep...life in general. As most things have the potential to hold.
My next steps, altough our critique was finished today, is adding an ambitious oil coat to the work.
The underpainting, in greys and green shades as Caravaggio did
Building the contrast
Adding Color
Which explains the delay.
I have been consumed by this painting as it demands my constant attention during its birthing process, like a newborn.
I havent got much to say as I am still absorbing all the lessons the folds of fabric are teaching me (i feel i could write a song just based on those shadows), the layers of washed acrylic and the feelings present in the eyes of my subjects all hold valuable insight into not just myself but....yep...life in general. As most things have the potential to hold.
My next steps, altough our critique was finished today, is adding an ambitious oil coat to the work.
The underpainting, in greys and green shades as Caravaggio did
Building the contrast
Adding Color
Monday, April 23, 2007
Martha
The following pictures detail the process of photographing of "Martha"
Here is our original reference point
1. The lighting
In this instance the face is dark. In the picture of Mary, if you recall, her face was lit rather well. Besides the technical significance of nothing this fact, it is also an emotional choice by the artist as Mary is "stepping into the light". Martha's role is downplayed somewhat by this fact. Here is the way the light moved, with or without the model.
2. The Hands
The most captivating part of Martha's pose is the pleading hands. It took meticulous observation to stage.
3. Aya as Martha
This picture, as the set up was preplanned and I had worked with the photographer before, was exactly what I had envisioned.
Here's my photographic thank you to Al and Aya :)
Here is our original reference point
1. The lighting
In this instance the face is dark. In the picture of Mary, if you recall, her face was lit rather well. Besides the technical significance of nothing this fact, it is also an emotional choice by the artist as Mary is "stepping into the light". Martha's role is downplayed somewhat by this fact. Here is the way the light moved, with or without the model.
2. The Hands
The most captivating part of Martha's pose is the pleading hands. It took meticulous observation to stage.
3. Aya as Martha
This picture, as the set up was preplanned and I had worked with the photographer before, was exactly what I had envisioned.
Here's my photographic thank you to Al and Aya :)
Painting Sketch
I was getting horribly impatient and was aching to paint something.
So I sketched the diorama roughly after the background was painting and using Noha's facial expression as a guideline, included some figurative representation in the rough image.
The following is the original sketch:
I then began to tamper with effect on photoshop so I could see where the different interpretations of this work. The more imagery and flexibility I add the more dynamic this work could turn out.
So I sketched the diorama roughly after the background was painting and using Noha's facial expression as a guideline, included some figurative representation in the rough image.
The following is the original sketch:
I then began to tamper with effect on photoshop so I could see where the different interpretations of this work. The more imagery and flexibility I add the more dynamic this work could turn out.
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