drawing

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Above is one of my very first motion media projects – one of my first ever stabs in the dark with After Effects. It’s not bad I don’t think, for a beginner, but I’ve come so far since then.

When I first got to SCAD, I had no idea what I wanted to major in. I knew I didn’t want to go back to Painting because I could not bear the thought of being alone in a studio for the bulk of my professional life. I know myself; I know I can’t be trusted to be motivated enough when left to my own devices. So I chose Production design, thinking this would be an opportunity to paint [sets] on a grand scale in a collaborative environment. But it just wasn’t the right fit.

A friend suggested Motion Media. It was both an alluring and scary proposition. IĀ wanted to animate, but with a background of working in only two dimensions, I didn’t think I could do it with four (line, shape, volume, time). I entered college with pretty developed skills in drawing and painting. I skipped right into the advanced classes freshman year. I was used to being one of the top students in class.

But I also was used to being frustrated, as I witnessed the leaps and bounds by which my less-experienced classmates improved, while my work stagnated. I grew at MICA freshman year, but admittedly, I had less ground to cover.

That’s a huge reason why I chose motion media. I knew nothing about animation going in – about any program other than Photoshop, really – and nothing about how to design for things that move. How do you come up with transitions? How do you sync image with audio?

Starting from scratch. Having nowhere to go but up.

A full year after my first motion media techniques class, I’m really proud of how far I’ve come. A full year after the above animation was made, and I’m already in the process of interviewing and applying for internships. I’ll be graduating in two quarters. It’s kind of unbelievable, but very, very exciting. It’s really hard sometimes because I still think I don’t know enough, and there’s not enough time to learn it all. But I try to see any and all shortcomings as an opportunity for growth, rather than just a gap in my skill set. To me, learning (and seeing the results of what I’ve learned) is way more fun than just practicing.

Next up: a Principles of 2D Animation class in the Spring, some self-tutelageĀ in Cinema4D (3D graphics program), a senior project, a Summer internship. I can’t wait :)

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Are there many other things out there as satisfying as filling up a sketchbook? I don’t think so. It takes a dedicated artmaking habit to complete one. I remember when I first started seriously keeping a sketchbook, during the pre-college program at Ringling in 2007, where one of the RA’s suggested I look at the sketchbooks of James Jean. Since then, I have always tried to model my own art journals after his. I don’t think there’s any shame in that – he is amazing and his personal sketches continue to be my favorites among his work – more so than his commercial illustration or recent fine art.

Art journaling has become even more important to me now that I’m studying motion graphics. I work so much on the computer these days, that it’s refreshing and reassuring to return to my pens and microns and paints. Working with my hands, drawing what’s interesting to ME, collaging, pasting, tearing away, erasing, covering up, uncovering – it’s an intrinsically personal process. I used to write more in my sketchbooks; personal thoughts and entries, but that became troublesome when the time came to share my work with others. Now most of the writings are notes, names of artists to look up later, fleeting insights, etc. I look forward to continuing onto the next book – always the Moleskine Landscape Watercolor – and visually ideating in terms of motion and design in addition to the figures and portraiture. Read the rest of this entry »

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Dipstick

I made this drawing as a Christmas present for my boyfriend’s dad. Their cat, Dipstick, is such a weirdo. He loves attention and always looks directly into the camera, which is why I had such a great shot to work from (maybe I’ll add the original photo later). Vine, willow and compressed charcoal, and black and white charcoal pencil on 22×30 Rives BFK.

Click on the image to view a larger version.

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close-up detail:

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white and black charcoal on black paper, 8x8in.

From the 16th century Baroque painting “The Repentant St. Mary Magdalene” by Domenico Fetti