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Feeling a bit let down by my earlier black-and-white takes on Chinese banquet scenes, I went on a hunt for something fresh and stumbled upon Marisa Purcell's artwork. Her canvas is like a playground of bold colors and shapes, where she crafts these mesmerizing spaces with just dots, lines, and splashes of color. There's something about her style that's both simple and deeply moving, and it got me thinking: why not bring some of that magic into my banquet illustrations?

So, I took a leaf out of Purcell's book and started playing with lively colors and shapes to capture the essence of banquets. I dialed up the color intensity, inspired by the way she mixes hues, and focused on making my lines flow and planes pop, aiming to mirror the buzz and connections you find at these gatherings. This shift towards a more vibrant and dynamic style didn't just spice up my art; it felt like I was finally doing justice to the colorful tapestry of Chinese banquet culture.

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After getting inspired by the earthy vibes of slate carvings and Chiharu Shiota's clever play with lines, I dove into sketching out four scenes of Chinese banquets, setting them against a stark black backdrop with striking white lines. My goal was to snag that gritty feel of the carvings and the dynamic swirl of lines in mid-air, blending the old-school with a dash of the new to bring the banquet buzz to life. But when I took a step back, something felt off. The textures were spot-on, but the whole black-and-white gig just didn't do justice to the banquet's colorful spirit and cultural richness. It was like the visuals were hitting the right notes, but the tune was missing its melody.

That bit of letdown got the wheels turning in my head. I figured that maybe just playing around with lines and sticking to a grayscale palette wasn't enough to capture the whole story and vibe of these gatherings. Sure, lines and shapes are great for setting the scene, but they needed a splash of color to truly bring out the life, the noise, and the heartfelt moments of the banquets. So, I'm now on a mission to dial up the color in my art, to really paint the full picture of Chinese banquets—making them pop with energy and emotions, and hopefully, striking a chord with anyone who takes a glimpse, making them feel the warmth, the joy, and the rich tapestry of stories woven into these traditional feasts.

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After diving deep into research, I decided to shake things up with some experimental art, trying to snag the vibrant vibes of Chinese banquets with nothing but white lines. The whole thing was sparked by my fascination with slate carvings—those lines are so simple yet so powerful, telling stories of history and culture. It clicked that this style could totally vibe with the deep-seated traditions and history of Chinese banquets, kind of linking the past with the now.

I went with white lines because they're perfect for catching the lively spirit and the chit-chat at these gatherings. Plus, in Chinese culture, white's got this whole purity and spirituality gig, which just felt right for showing the cozy get-togethers of kith and kin at these banquets. With just this straightforward but super expressive approach, I was aiming to not just show off the hustle and bustle but to dig into the cool, intricate ways people connect at these shindigs.

Jumping into this experimental vibe was a wild ride, full of challenges but also packed with chances to see and show our rich banquet culture in a whole new light.

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During my deep dive into artistic styles for our project theme, I was totally captivated by artists who rock lines in their work. There's this Japanese artist, Chiharu Shiota, whose stuff really caught my eye. She's all about using lines—whether they're jet black, crisp white, or bold red—to spin up her own take on time and space. In her world, lines do more than just fill space; they link up people in this intricate dance that's all about connections.

Getting hip to Shiota's vibe gave me a serious jolt of inspiration. It got me thinking about Chinese banquets, you know? Those gatherings are like a mini-universe of folks—neighbors, the long-lost cousins, the tight-knit buddies—all tangled up in this social net that's as complex as Shiota's line work. I figured, why not use those snaking, mingling lines to capture the whole lively scene of a banquet? It's a killer way to show off the dynamic buzz and the web of relationships, all set against the rich tapestry of Chinese banquet traditions.

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For Project 04, we're diving into "Visual Authorship and Space". Thinking about "space" got me picturing the lively buzz of mealtime get-togethers. That sparked the idea to use a bunch of swirling lines to capture the lively mess of it all. Imagine these lines dancing around each other, sketching out both the snugness of the crowd and the vibrant hubbub that fills the air.

When it comes to "Visual Authorship", I reckon it's all about figuring out how to make your piece chat effectively with the folks looking at it. With that in mind, I'm picturing my creations popping up in magazines or books, maybe with a quick snippet about the ins and outs of Chinese banquet culture. Just a few visuals and a bit of text to give everyone a taste of the banquet vibe. Considering my past work was all about painting pictures without words, flipping the script and mixing in some text for this round feels like a cool new twist. It's like serving up a cultural feast for the eyes, making the whole experience a bit more relatable for everyone.

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PROJECT 03

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https://youtube.com/shorts/7c_0GFt1LKA?si=IjEl_HRTSUdFR8Bv

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In my project, I hit the realization that simple flat drawings just weren't enough to capture the whole vibe of "movement". So, I decided to get my hands into some clay and shape it into a cool installation. But why stop there? I cranked things up a notch and whipped up a looping animation to really bring the motion to life. While I was elbow-deep in clay, I made sure every twist and turn got its moment in the animation, making the whole concept of movement pop even more. It's like I had this static clay piece chilling next to a groovy animation, playing around with the whole motion vs. stillness thing, which honestly, added some fresh layers to my art game. Going through this whole rigmarole not only got me all jazzed up about the beauty of motion but also leveled up my skills in turning brainwaves into actual, touchable art, giving my creative journey a pretty solid shake-up.

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While I was diving into the clay installation, I got all artsy with some nifty tricks up my sleeve – think fancy shaping, getting down to the nitty-gritty with sculpting, and throwing in layers of colors to give it that extra oomph. It was all about making sure the piece had that cool, textured vibe. Trying to nail the whole motion thing meant I was constantly tweaking and testing out new ideas, which honestly, was a bit of a workout for both my skills and my creativity.

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After a thorough analysis, I embarked on creating a looped animation. It was only when the character's arms moved rhythmically in the animation that I truly appreciated the essence of the theme "movement." Additionally, to better establish the rhythm of the scene, I personally recorded the white noise of cooking activities.

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After mixing in the character and scene designs from my digital class, I whipped up a full-blown illustration that was all my own spin on things.

But here's the kicker - when I stepped back to take a good look at what I'd done, a few light bulbs went off. The biggest thing was realizing that my flat picture just wasn't doing the trick. I mean, trying to show the lively dance of cooking and the zen of chopping in just one still frame? It wasn't cutting it. It felt like I was trying to capture a marathon with a single photo. So, I started noodling on the idea of maybe turning the whole shebang into an animation or getting my hands dirty with a 3D clay model to really bring the kitchen chaos to life.

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This reminded me of a character design I created in a digital class, based on an ordinary person cooking in the context of Chinese banquet culture. This idea perfectly matches my current focus, prompting me to delve deeper into research grounded in those initial designs.

Banquets often require chefs to put in a great deal of effort as they usually cater to many guests. As a result, they sometimes perform numerous tasks by themselves, with repetitive motions and bustling figures. This inspired me to design the character with four arms, reflecting their busyness.And I also think that four arms is a feature of the character design, because the banquet is usually a large size and there is often more than one chef, so the chef is designed with many arms.

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Gustav Klimt's work, "Death and Life," intrigued me due to its thematic and compositional parallels with my current project. The painting is divided into two distinct sections representing life and death, with a stark contrast between light and dark colors, which initially drew me to further explore his art.

Digging deeper into Klimt's portfolio, I was totally wowed by how he rocked different materials, especially in "The Kiss". That piece is like a feast for the eyes, all thanks to his genius with gold leaf, silver foil, and the works. It's like he's throwing a party on the canvas, and everyone's invited. This whole mixing-and-matching approach got me thinking, "Why not jazz up my own stuff with a cocktail of mediums?"

This lightbulb moment was right up my alley, considering I've been all about mashing together different art styles from the get-go. Seeing Klimt's flair for turning a bunch of materials into pure magic made me want to roll up my sleeves and get my hands dirty with all sorts of art supplies. It's like he's handed me a secret recipe for making art that not only catches your eye but also tugs at your heartstrings, and I'm all in for giving that a whirl in my own creations.

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Diving into "Sequences and Time" had me zeroing in on the big life moments—like a baby's first-month celebrations and funeral feasts. I got lost in snapshots of these events, trying to catch the essence of what makes them tick. This whole adventure really peeled back the layers on why these traditions matter so much.

Paying close attention to these ceremonies not only sharpened my eye for detail but also got me thinking deeper about how to weave those rich cultural vibes and emotional undertones into my art. It hit me that making art that speaks to people isn't just about the pretty pictures; it's about stirring something inside them, making them feel the weight and warmth of those traditions.

This deep dive into capturing life's milestones gave me a whole new angle on the dance of time and life. It's like I've unlocked a new level in my art game, lighting up a bunch of fresh ideas for where I can take my creations next.

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Taking a lesson from my earlier try, I shifted gears to put the spotlight on the folks having a blast at the banquet, making sure those wedding vibes were still in the mix. Zooming in on the joy and buzz of the celebration felt more in tune with what I wanted to show, and honestly, it made the whole picture come together just right.

But then, just when I thought I'd nailed it, I hit a snag. The vibe of my drawing had this modern twist that didn't quite jive with the old-school cultural feel I was shooting for. It got me wondering if my slick, contemporary take was doing justice to the rich, cozy traditions I wanted to highlight. This little hiccup sent me back to the drawing board, thinking hard about the kind of materials and textures that could bring out the real warmth and soul of the scene.

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I gave it a go at doodling all the bits and bobs you'd typically find at wedding feasts, getting a good feel for the color vibes and figuring out how to sprinkle a bit of that magic into my next pieces.

Diving into documentaries really brought the whole world of Chinese wedding banquets to life for me. I got the lowdown on how things roll at these dos, from the colors that pop to the knick-knacks that play a part. And the way those docs spun a yarn around each event? Totally gripping. It's got me thinking about weaving a bit of storytelling into my own creations, curious to see how a tale-spinning twist might jazz things up.

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I created a storyboard that transitions from long shots to close-ups, primarily documenting the character's cooking process in detail.

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Draw the character's environment and related elements.

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Drawing inspiration from the artist, I'm attempting to blend character design with a few environment elements and objects to create an atmosphere rich in narrative.

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Regarding my design, since hosting a banquet is a large-scale event, the cooks are often extremely busy. Therefore, I designed a character with four arms, symbolizing their capability and efficiency in handling the multitude of tasks involved in preparing a feast.

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In Jamie She's Character Design course, before designing the character, we first determined the character design based on the theme of ESP course's Project 00. Since my Project 00 revolves around the Chinese culture of banquets, I was inspired by the people who cook at these feasts. Therefore, I decided to design a character who is engaged in cooking.

To gain a better understanding of the environment in the kitchens of rural Chinese banquets and to enhance the accuracy of my depiction, I researched various photographic works, identifying essential elements for my composition.

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The character designs by Korean visual artist George Park have immensely inspired me. He creates a rich narrative atmosphere with just a few simple elements and props. His use of brushes that leave spaces, creating a hand-drawn delicacy through the layered colors, is particularly striking. I greatly admire his artistic methodology and thus plan to incorporate similar techniques in my work. This includes blending characters with minimalistic environmental items to evoke storytelling and employing a hand-drawn style in my illustrations.

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Based on the montage shot language, I constructed the key shot frames of my video.

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Based on the montage shot language, I constructed the key shot frames of my video.

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Opening Shot: A child's joyful walk after school, a back shot moving through the campus, showcasing the school environment.

Exterior of the Auto Repair Shop: Display a full view of the auto repair shop, focusing especially on the ice cream cart at the entrance, using a level or low-angle shot for visual impact.

Details of the Ice Cream Cart: Close-up shots showing the ice cream on the cart, including details like hands scooping the ice cream.

Child's Expression: Capture the excitement and anticipation on the child's face upon seeing the ice cream, possibly in a medium or close-up shot.

Child Buying Ice Cream: Show the child paying for and receiving the ice cream from the vendor, alternating between close-ups of the child and the seller.

Enjoying the Ice Cream: The moment of happiness as the child eats the ice cream, using a close-up or medium shot.

Time Jump: Fast editing to show the passage of time, such as rapid day and night transitions or swiftly turning calendar pages.

Return in Adulthood: The protagonist, now an adult, walks the same path to the auto repair shop, with a nostalgic and contemplative expression.

Alternating Between Past and Present: Using the montage technique, alternate between shots from childhood and adulthood, creating a stark contrast, highlighting the change over time and the continuity of emotions.

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In my digital class, I gained an in-depth understanding of the video production process for the first time and attempted to write a script by myself. I learned about video editing, grasped the concepts of project planning and storytelling, and how to use a sequence of shots to create a specific rhythm and narrate a story chronologically. As I delved deeper, I began researching videos and films.

Storyboarding, primarily used in film and television production, is an art form that previsualizes a film's visual elements through a series of frames, allowing for precise control over film scenes. It involves presenting a complete story or action through various shots, angles, and framings. In simple terms, imagine if an action is a straight line, we segment it into three separate parts, capturing each segment from different perspectives like eye-level, low-angle, and high-angle shots. These are then woven together to form a nuanced, undulating narrative.

I started pondering how to create connections between individual shot images. In digital class, we discussed a film editing term, 'Montage', which means assembling a series of shots to convey ideas. I plan to apply and experiment with this knowledge in my ESP project.

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I've wanted to write a letter to the auto repair shop across from my elementary school. Although it was a repair shop, there was a very simple ice cream cart right at its entrance. After school, I used to always stop by to buy an ice cream. Now, nearly a decade later, I often find myself reminiscing about that ice cream. I've never again tasted anything quite as delightful. In a video I'm planning, I want to use the longing for that ice cream as a pretext to reminisce about my childhood and the ease with which I found contentment back then – a sentiment I'm now trying to relearn.

I plan to share this video on social media, aiming to inspire others to rediscover their own ordinary yet cherished memories from the past, and to share my own nostalgic journey back to my childhood.

Storyline overview

The video will be narrated from the first-person perspective of a child, depicting the journey from school to the auto repair shop to buy ice cream. The final scene will transition from the image of the ice cream to reveal the child has grown into their twenty-year-old self.

Character description

Rely on the first point of view of the picture to tell the story, without dialogue.

Look and feel, cinematography

film texture, vintage feel.

Casting, performance direction notes， Costume, hair and make up

Everything has the feel of a documentary, and all the details refer to ten years ago.

Who would you need on your team?

Colorist, editor, photographer

Editing direction and style

Slow.

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In my digital class on moving images, I learned content that greatly intrigued me. The course provided detailed explanations about the preparation needed for video production. First, it covered what the video aims to convey, the feelings it intends to evoke in the audience, and where the video will be showcased. Next, we delved into the overall plot of the video, including character design, setting up scenes, and more. We also learned about the team collaboration and technical support required for video production, as well as how to enhance videos using graphic visuals and sound. I gained a wealth of detailed information from this course and started my first steps in video production through some small experiments.

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Experiments with borax and acrylic paints

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Experiments with borax and acrylic paints

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Getting a taste of Gustav Klimt's artistic buffet, where he mixes up all sorts of mediums like gold leaf and silver foil, really flipped a switch for me. It's like he's showing off that art isn't just about paint on canvas; it's a whole world of textures and shines waiting to be explored.

Now, I'm itching to get my hands on everything from etching printing to zapping designs with laser cutting. I'm all about diving into these techniques to see how they can jazz up my work. It's like I'm on a mission to find out how these different tools can bring new vibes and feels to what I create, making it a feast for the eyes and the soul for anyone who takes a peek.

And let me tell you, playing it safe with the same old methods just isn't my jam. I'm geared up to keep pushing the envelope, mixing in a bit of tech magic with traditional strokes. It's all about keeping that adventurous spark alive in my art and seeing where this wild ride of experimentation takes me.

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By procreate

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After summing up those questions, I tried to design three zines with sketches. For the front and back covers, I designed a lot of thematic elements that can represent death and new life, such as babies, baby objects, bottles, dolls and so on for new life, as well as coffins, graves, candles and so on for death. In order to reflect the idea of the cycle of time, I designed the cover of one of the zines with a baby lying in a coffin.

Secondly, for the font design, I added the element of scythe and cross to the font "END" to symbolise death.

Regarding the inner page design, for each zine, I drew half of the page to represent the newborn and half of the page to represent the end. In other words, I wanted to draw half of the baby's first month banquet and half of the funeral banquet. And the theme of birth to death is highlighted by the contrast of colours and patterns.

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I proceeded to research some of the rural back kitchen environments.

The entire kitchen environment tends to be concrete floors, dirt walls, red brick walls, wooden furniture and other elements. As well as some pots and pans and spice bottles hanging on the wall.

Colour summary: brown, grey, beige

Ambience: warm, pyrotechnic exuberant, busy

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Building upon the character design I plan to present in my digital class, I decided to further explore the visual research I had conducted on Chinese banquet kitchens. During this exploration, I meticulously observed the kitchen environment and noted the prevalence of wooden furniture, along with walls and floors crafted from clay.