Development of smoke drawing

I furthered the smoke drawings because I was interested in the soft aesthetic, the natural movement and the chaos that it created. The particular smoke technique that left the suggestion of eyes, a nose and a mouth, led me to consider creating the illusion that the smoke merges into realistically drawn faces so to suggest that the structure (symmetry of the face in this case) is produced by, or lies within the chaos.
I begin by drawing a section of a face, or facial features alone and then apply the lighter technique. I go back into the drawing and lowlight the smoke in areas with pencil, to enhance the flow from realism to the chaos.
I do like this idea but I am yet to be satisfied with the outcomes. I feel that so far, the drawing itself looks to be the focal point, when my intention is to depict the features as part of the smoke. To me, the realism draws the eye to it at first glance; I feel these pieces would be more effective if the smoke stood alone aswell so that the drawing can be lost and found, and I’m going to try applying more smoke to them to experiment with its effectiveness.

In addition, I also noticed that by applying a humanistic feature to something, automatically makes the viewers eye assume the figurative possibilities within markings.

I want to move this idea of finding precise and structured within the turbulent back to the painting’s I produced by flattening the acrylic between the two sheets of acetate. I have observed the popularity of those pieces within the studio space at university and get the impression that they attract attention and curiosity and so I want that to continue in order for them to consequently escalate the concept through people. I’m planning on creating the illusion of the idea by firstly painting the humanistic features and then achieving the same effect as the squashed paint around it: I will try and depict this by copying the typical outcomes by hand because I know from previous attempts to include imagery within them, that because of the lack of control over the paint’s direction between the acetate, the images tend to get lost underneath layers of paint. After hopefully creating that illusion, I will apply a layer of unpainted acetate to the top so to imply the same method as the flattened paint pieces, particularly if displayed together.





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