Well, next challenge I suppose is to see if I can keep it up for a month, until May 7th. That'll be a solid month of daily updates, and if I can do a month, I can do two months, a quarter year, half a year - a full year?
Step by step, that's my intention.
33) ToonProps
I'm good at drawing anything I see with full accuracy, given enough time - but drawing stuff out of your head, with no reference, is a different skill entirely than pure representational drawing. I'm not very good at it yet, so because it's a weakness of mine I've been putting a lot of work into figuring out perspective, lighting, volume, mass and form of 3d objects on the 2d plane, entirely made up out of my head. In other words, no references - I can feel that it's using a different, more active part of my brain than the usual right-hemisphere dominance of representational drawing. Drawing like this is a much more active use of the brain, combining the rational critical deliberation of the left along with the more creative right hemisphere in a much more cooperative way than simply translating the optical nerves signals to the arm with as little intererence as possible. The signals for something like this, rather than originating at the eye, originate from the interior brain. The optical perception of drawing purely from imagination seems to be secondary in relation to the drawn image, rather than as in representational drawing, where every motion of the mark-making tool is governed primarly and purely by the reflex of the perception of the optic nerve as translated through the angle of the eye and the contraction of the cornea.
Or a different analogy - drawing from imagination is like writing from imagination, whereas 'drawing-what-you-see' much more akin to summarizing a pre-existing written work. Not transcribing - that would be a photograph.
Regardless, this is too long already, but I hope my point is clear; for me it is revelatory, and something I will be paying greatly active attention to in the future.
34) Gesture3
Some more random gesture drawing samples - I've realized that doing an hour or so of pure contour drawing before these, to get my head in the right space (beta or theta wave, whichever one is just below full concious awareness) would greatly improve these.
35) ColourDifference
My daily painting! This one I wanted to point out how different using flash (the main part of the image) or not using flash (the bottom-left inset) can really change the feel of an image. I'm very keenly becoming aware of just how extrordinarily different peoples perceptions of color can be - for example, try doing that dark room experiment of Newton's, where he took a prism, allowed a pinhole of white light to refract from it into a full-spectrum rainbow. Do that, and mark of either side of the limits of the colors you see. Then have someone else mark off the limits of their color perception - you'll find they vary quite a bit; for example, I'm certain I see at least a full color into the ultraviolet past indigo, and I know of others who can see further both into the ultraviolet and the infrared.
Back to this particular painting, neither one of the combined images here what I see when I turn my head to look at the painting sitting on my desk. Interesting stuff, this ocular perception.
36) DesignControls
Because the preview image is so small, I reccoment you click the image to arrive at my deviantart page, then click it a second time for the full version. This works for all the images I'm posting here, but is particularly useful for this one, where the detail is difficult to discern at this resolution.
Briefly, this is a couple random pages of an exploration I'm making into very specific, deliberate controls of design that can be used to intentionally affect the emotional response of the viewer.
Here, for example, I think they may all be shown, but in this image are examples of Nine seperate controls that can be applied to image creation. They are:
1) Overlapping Planes
2) Counterchange (alternation of hue, value and/or chrome in a controlled alternating fashiono)
3) Line over Mass (most of these are exactly what they sound like)
4) Implied Line
5) Interlocking Rhythm
6) Open Colour/Offset Conture (basically, coloring outside the lines, deliberatly and for intentional effect)
7) Transparency/Translucency
8) Forced Edge (emphasis of a particular edge greater than others in the image)
9) The Dynamic Trellis (useful for handling dynamic linear forces - it provides the maximum linear opposition within an ordered design. Lines are limited to six directions: balancing diagonals, perpendiculars to each of these diagonals, and optional verticals and horizontals)
Once you've memorized that, and begun to apply these very deliberate and specific controls with intentional effect, you'll very quickly achieve the ability to more intentionally create the images you desire, with control over the emotional response and guidance of the eyes over the page.
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