The first 3 weeks of Semester 1 of VIS1010 were made up of Foundational Drawing.
Each week was a series of exercises, and a resolved work based on the preceding exercises. The resolved works will be presented in a separate entry, and the exercises for week 3 were as follows;

Week 3

Exercise 1 – Realism Botanicals: Recreate a botanical as accurately as possible

Exercise 2 – Realism Portraits: Grid both an A3 reference image and blank A3 page and replicate the image

Exercise 2 – Grid Portrait [Note: I really enjoyed this exercise when I started in graphite pencil. I then attempted to add depth with charcoal and found that the image got further from the reference and proportions became skewed.]

Exercise 3 – Life Drawing

At the end of this session there was a life drawing session. As these were on butchers paper and their proportions cannot be captured on a photocopier, they will have to be photographed at a later date.

Resolved Work Drafts: Combine Grid Portrait and Botanicals with Cinema Still Capture

I love botanicals but I find them difficult to accurately replicate. I do however have experience rendering portraits.
So to challenge myself, while bringing in my penchant for horror media, I selected the climactic scene from “Midsommar” that presents the main character clad in hundreds and hundreds of flowers.
The image itself is a more palatable exercise as it was a close capture, but the main reason for this particular scene was that I wanted to capture an interesting facial expression. This moment is where the main character is essentially accepting the death of their former self (and literal death of their fiancé), and if I can accurately recreate it, I believe it will be a poignant piece.
The final product will be in watercolour and waterproof ink.

The Blessing: This is one of the tracks from Midsommar, and one I listened to heavily while creating the resolved work. The track is reprised in the final scene’s track Fire Temple, which the still is from.

Resolved draft – photocopy of pencil draft, rendered in ink to test topographic lines and establish highlights and tones

Resolved Watercolour: The scanner adds a level of contrast that is absent in person. The colours are very smooth in the physical painting.

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