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Sumatran Orangutan

Species Range: Currently only on the northern tip of Sumatra

Conservation Status: Critically Endangered

Individuals left: ~14,000

3 Facts:
1.   Almost exclusively arboreal, living among the trees of tropical rainforests.
2.  Orangutans are frugivores and play a vital role in the dispersal of seeds over a huge area. If orangutans were to disappear, so would several tree species, especially those with larger seeds.
3.  Habitat loss and hunting is playing a huge role in their disappearance.

Sumatran Rhino

Species Range: Currently only small areas of Sumatra and Borneo

Conservation Status: Critically Endangered

Individuals left: <80

3 Facts:
1.  Smallest of living rhinos
2.   More closely related to the extinct woolly rhinos than any of the other rhino species alive today
3. Threatened primarily by habitat loss and the wildlife trade.

Bornean Elephant

Species Range: Sabah, a Malaysian state in northern Borneo

Individuals left: >1,500

Conservation Status: Endangered

3 Facts:
1.  Smallest Asian elephant subspecies
2.  Considered to be the least understood elephants in the world.
3. The primary threat to the population is the loss of continuous forests. In the last 40 years, Sabah has lost 60% of its elephant habitat to cultivation.

Sun Bear

Species Range: Southeast Asian tropical forests
Conservation Status: Vulnerable

Individuals left: Unknown

3 Facts:
1.  Populations have declined globally by more than 30% in the last 30 years
2. The smallest of the eight living bear species, they have many disproportionately large physical features, which give them phenomenal strength relative to their body size. The Bornean sub- weighs around 40% less than its mainland and Sumatran counterpart.
3. Threats include habitat loss, alteration, and fragmentation; illegal hunting and commercial trade; and mortalities related to human–bear conflict and the pet trade.

Sunda Clouded Leopard

Species Range: Currently Borneo and Sumatra

Conservation Status: Vulnerable

Individuals left: ~4,500

3  Facts:
1.  Only identified to science in 2006, when genetic research indicated they were a separate species from the mainland Clouded Leopard
2. They are largely arboreal
3.  It is estimated that approximately 30% of the Sunda clouded leopard’s forest range has been lost over the past 10 years, mostly due to clearance for settlements, oil palm plantations and other agricultural purposes

Helmeted Hornbill

Species Range: Currently some forest in Southeast Asia

Conservation Status: Critically Endangered

Individuals left: Unknown

3  Facts:
1.  Researchers unexpectedly found high concentration of them in western Borneo
2.  Once used to be a common sight but are now on the verge of extinction
3. Heavily targeted by hunters and illegally traded. The species has a solid horn or casque on the upper side of its beak, which is highly prized.

Sunda Tiger

Species Range: Currently Sumatra

Conservation Status: Critically Endangered

Individuals left: <400

3  Facts:
1. Although they are now only currently in Sumatra, they previously existed in Bali, and Java
2. Threatened mainly by deforestation and poaching
3. Most tigers in Sumatra are killed deliberately for commercial gain. According to a survey from TRAFFIC, the global wildlife trade monitoring network, poaching for trade is responsible for almost 80% of estimated Sumatran tiger deaths—amounting to at least 40 animals per year

Proboscis Monkey

Species Range: Currently Borneo

Conservation Status: Endangered

Individuals left: <20,000

3 Facts:
1. Noses of adult males hang down over their mouths, and can extend past their chins
2. They frequently leap from tree branches into the river and out again. Their webbed feet help them to successfully out-swim aquatic predators, such as crocodiles, and to swim across deep waters to find food or escape potential danger on land.
3. Their biggest threats are deforestation, fires, hunting, and the illegal wildlife trade

Sumatran Serow

Species Range: Thai-Malay Peninsula and Sumatra

Conservation Status: Vulnerable

Individuals left: Unknown

3 Facts:
1.  Very little is known about the animal
2. It is largely solitary but there have been small groups spotted
3. Although protected under Indonesian law, it continues to be hunted for food and for traditional medicine and is sometimes caught in traps meant for other animals. It also largely threatened by habitat loss

Borneo Bay Cat

Species Range: Borneo

Individuals left: <2,500

Conservation Status: Endangered

3 Facts:
1. Thought to have been a subspecies of the Asiatic Golden Cat before genetic testing
2. They are only about the size of a large house cat
3. Habitat loss and poaching are the largest threats to the cats

Sources:
- WWF.org
- https://www.bearbiology.org/sun-bear/#:~:text=Conservation%20Status,in%20most%20places%20%5B57%5D (https://www.bearbiology.org/sun-bear/#:~:text=Conservation%20Status,in%20most%20places%20%5B57%5D)
- https://news.mongabay.com/2021/03/in-sumatra-a-vulnerable-mythical-wild-goat-lives-an-unknown-life/ (https://news.mongabay.com/2021/03/in-sumatra-a-vulnerable-mythical-wild-goat-lives-an-unknown-life/)
- https://animaldiversity.org/accounts/Capricornis_sumatraensis/#conservation_status

- https://en.wikipedia.org/wiki/Bay_cat

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Added micron detail to hair and horns when dry

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Added micron to his whiskers and and ears when dry

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Went back in and added and some more micron after it dried

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Reduced the size of the paper to have some more variability in size

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Sunda Clouded Leopard background in progress

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Sumatran tiger painting w/ o background 

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Helmeted hornbill finished w/o background

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Helmeted hornbill painting in progress 2

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Sumatran Orangutan finished without background. Used a lot of water and some paint to add some of the hair under his arms.

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Sumatran Orangutan drawing/in progress painting

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I only outlined parts of the orangutan with micron because of the large amount of hair it  has and because I thought it would odd. Instead, I painted directly on the pencil erasing lines as I went on.

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Micron drawing of Helmeted hornbill. First I printed pictures of each animal I was painting, then covered a blank piece of paper in graphite and taped the picture to it. I then traced the outline with a ballpoint pen onto watercolor paper. After that I traced the pencil with micron.

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Experimented with zooming in on one small part of a landscape and changing colors

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Watercolor and art deco marker on Bristol paper

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Experimented with combining different colors of watercolor paints without mixing them first and adding an art deco marker as well

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Experimented with a more simple design and more neutral colors

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Experimented with using watercolor on Bristol paper

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Experimented using watercolor on raw canvas

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Watercolor and art deco marker on canvas paper

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Experimented drawing with art deco marker first before adding color and added a very light pink wash in the background

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Experimented trying to convey somewhat of a story into a painting and further tried blending colors

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Experimented trying to draw a landscape and blending colors together smoothly

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Experimented using different shades of one color

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Experimented switching colors of objects to give the painting a different feel

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Experimented using just two colors on with an abstract subject

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Experimented using watercolors and painting from a picture

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Experimented trying the acrylic paint on the raw canvas compared to the canvas paper

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Oil paint, “open” acrylics, and “closed” acrylic on Bristol paper

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Experimented with putting oil paint and two different acrylics onto one piece to try and see the difference

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Experimented using some of my leftover paint to create a new painting and experimented with trying a more geometric feel

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Experimented using the oil paint on Bristol paper. Also added heavy amounts of cold wax medium to the oil paint.

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Experimented using larger amounts of oil paint and using a more limited pallet. Experimented using pallet knife in many areas instead of a brush.

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Experimented using text with oil paint

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Experimented using Galkyd Lite with oil paint and adding some text

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Experimented using Neo Meglip in oil paint

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Experimented trying to blend subject into background more

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Experimented with a more realistic subject

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Experimented with using soft gel gloss

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Experimented using using acrylic on paper for contrast and added coarse pumice gel

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Experimented using art deco marker and more detailed designs

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Experimented with trying to create a painting using heavy amounts of paint and not pre mixing colors as well as adding extra heavy gel matte

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Experimented using the oil marker

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Experimented with adding texture to painting s by adding larger amounts of paint in some areas

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Experimented with mixing different colors of acrylics and used as a reference

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1. What specific creative/technical risks did you take in this group of studies?

I tried working with a lot of different paints that I hadn’t before like the oil paints and the closed acrylics. I’ve also never really tried abstract art so I did a lot of that in my studies. I also tried to vary the materials that I was using a lot, even if I initially thought that they would not work for the medium. For example, I did not think watercolors would hold well on Bristol paper, and although they did not, I liked how they looked there better compared to on canvas material. I experimented with mixing mediums a bit as well when I used an art deco marker with my watercolor and painted open acrylics, close’s acrylic, and oil paint side by side to see if there was any noticeable differences. I also experimented a lot with color and tried changing the colors of objects to something completely different.

2. What were the various subjects you explored and what remains interesting to you now?

I tried to do a large mix of subjects in my studies. A lot of them were abstract just from my imagination. For others I used references I found online and based my painting on that like with my watercolor painting of a pine tree and flower or my oil painting of a crab. The most interesting for me right now is nature based scenery.

3. Which are the most interesting/most “successful” studies to you? Give specific examples of formal elements/imagery/concepts and discuss why those are strong/engaging.

I think my most successful studies were my watercolors. I found that the water colors more smoothly blended together than other mediums. With my pine tree study for example I was able to blend a mix of oranges, reds, and yellows into the background, and added some gray as well after it dried a bit since my original ideas was for the pine tree to be in the foreground of a forest fire. For the tree itself I blended a few different greens together. Although my original idea was for the background to look like a forest fire, it could be perceived as a sunset depending on how you look at it which I think makes it more engaging.

4. Which are the least interesting/least “successful” studies to you and why? How might you improve these if you were to continue working on them or to try the study again?

I think my least successful study was my dark green acrylic circle on canvas. I had never added texture to a painting before so I wanted to experiment with that and put a little bit more paint than usual down. I also tried to add some yellow to it to make the color more interesting. It looked very slightly better when the painting was still wet but when it dried you can not really see the added texture. If I were to do it again I would use more paint for the texture and add a different color that stands out more from the base one as well so you could see the texture better.

5. Describe your studio practice during this project.

In terms of studio practice, outside of class I tried to come in before my classes or after my classes at night. I also came in on the weekend.