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I'm a person who dreams a lot. At first, dreaming often affected my sleep and made me annoyed. But I gradually realized that dreaming allows me to experience different things every night. After thinking like this, sometimes I find myself looking forward to dreaming.

Sometimes, I may want to share my dreams, but I find it hard to describe the feelings and scenes in my dreams with words. So, at least for now, I prefer to show elements or scenes related to my dreams in my later illustrations. Some of my dreams are illogical and chaotic, and when I wake up, I may only remember some scattered bits. For these kinds of dreams, I want to create an abstract and messy atmosphere, which can also leave more room for the audience to think freely. Sometimes, I also dream of some spectacular and strange scenes. For these dreams, I want to draw detailed and specific scenes. Ideally, I hope to convey the shocked feeling I had when I saw these scenes during the dreams.

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If I were the creator of the world, I would like to create a pure and beautiful fairy tale world. When I was young, I always thought that the world was beautiful and simple, but as I grew up, I realized that it was not. There are many poor people who are suffering from different kinds of pain, whether it is disease, or poverty, or war, or other disappointments and grievances that they have experienced in life. Many people after these experiences, their inner innocence and hope are worn away by the ordeal, replaced by the fragile and scarred heart. Therefore, I hope to create a pure and beautiful fairy-tale world, where there are fairies and righteous messengers to fight against the bad emotions of those who have experienced hardships (I want to materialize the bad emotions and present them with the image of villains). I hope that the hearts of these people who have experienced hardships can have a place where they can be infinitely inclusive, cared for and given love.

My initial conception of my picture is that there are three factions in the picture, which are fairies representing love, innocence and courage, and children representing people who have experienced hardships (the reason why I use children to represent them is that people who have experienced hardships are often fragile and insecure in their hearts, and they are their inner children who need to be loved and cared for). The third is the villain monster image representing trauma and bad emotions. I wanted to see a group of three - and four-year-olds hiding behind a beautiful, brave fairy. The fairy is using a long branch to drive away the dark evil little devil in front of her, and the other hand is desperately protecting the children behind the Lord. Some of these demons are angry, some are sad, some are numb, some are decadent.

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Hello every one, here is your brief for week one.

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I want to create a world where "what would happen if there were no lies".

Inspiration: Throughout history, many traditions have been invented to prevent people from being deceived in their interactions, based on the idea of "curses if you lie".

What I want to express: Lies have a negative image in people's minds, but the emergence of "good lies" has brought about the necessity of their existence, and I want to explore the reasons for their existence and their significance through images that bring an eerie atmosphere to the audience.

My opinion and feeling: I can't have a clear attitude towards lies (lying behavior), because in some cases I judge that lying can avoid trouble, but I feel angry when others lie to themselves. But I guess I'm all for well-intentioned lies, and I'm fairly results-oriented, so it doesn't really matter how the process goes as long as the result is what I want. (If the goal is not to enjoy it.)

I choose to be specific in my pictorial expression. Images that are close enough to reality to bring about the exact inclination of fear, such as a lying person who has to swallow a thousand needles, I would choose to draw a person with a wry smile having blood dripping from his neck from long needles; such as a lying person who will lose his tongue afterwards, I would choose to draw a scene of a refined and decent person having a meal, but the meal on the plate is his own tongue.etc

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What I want to draw is closely related to my school life.

My school has very strict rules and schedules, a bit like the army. It feels a little like being in a prison sometimes. Every day is the same, and we don’t have much freedom. School life can feel very serious and controlled. Even small actions, like talking to friends or relaxing for a moment, are closely watched.

For my world, I used the idea of the golden apple. In legends, the golden apple stands for wisdom. I imagined teachers as golden apples because they are wise and guide us. Students, on the other hand, are different colored apples. The red apples are the good students—those who follow all the rules and set an example for others. Everyone wants to be a red apple, but not everyone can. It takes a lot of effort and often means giving up what you really want.I got my idea from Jeremy Bentham’s Panopticon, a prison design where people are always being watched. At school, it feels similar. Teachers are always watching us, and it’s hard to be ourselves. We feel pressure to act perfectly all the time. Instead, we focus on following the rules to become red apples, even if it means hiding our real thoughts and feelings.

The last thing I want to convey is that I want parents to feel the students' learning situation in school and their mental health problems.

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The world I want to draw is a virtual world that exists in the form of data. There are many kinds of virtual animals living inside, and the human media they live on are all electronic virtual, similar to sound recordings, display screens, pixels, and words and symbols.

I want to create a more imaginative, joyous and diverse atmosphere, and I will use brighter colors.

I will leave appropriate white space in the picture but not too abstract I will draw the subject clearly:

Birds

Sonic wave

fish

Computer screen

pixel

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Topic: Violating others' boundaries

Inspiration: There should be boundaries between people, but in reality there are many unconscious boundary violations in close relationships, such as between close friends and family members. For example, friends will unconsciously use jokes to belittle each other or pry into each other's privacy. At home, parents also unconsciously impose their personal expectations and values on their children. For example, at mealtimes, my parents will bring me what they like to eat and also ask me to like it as much as they do; this request is unconscious, but if I show that I don't like it, they will show their resentment.

As well as in public, when I wear some clothes that are not the mainstream aesthetic, I will also be stared at and gawked at by others, which will also make me feel that my sense of boundary is violated.

In the first drawing I wanted to draw the sense of boundary that is unconsciously violated in family relationships

Image Content:

Idea 1: To be more specific, the overall use of the painting-within-a-picture format, starting with the innermost layer of the painting, painting a dining table with a circle of people around it while they all look at the person sitting in the main seat, identifying the protagonist of the picture through the guide of the line of sight, at the same time, being gazed at brings about a sense of oppression, like the feeling brought about by a boundary being touched, and there is a wide variety of food on the table, with a large amount of food being piled up in front of the protagonist. There is a hole in the middle of the table, and a line extends out of the picture, drawing a fish head hanging from the line, representing the inner world of the protagonist, which is like this fish head, at this moment, at the mercy of others. Colour character style would like to refer to bosch or Chagall

Idea 2: the picture is more abstract, the protagonist outside the package of a space, with this element to replace the sense of boundary, can be a small house or something, and then painted this small house is squeezed, outside a hand want to squeeze this small house, make him crooked and broken, and the house can be painted inside the limbs entangled with each other, on behalf of self-protection gesture, or crooked and twisted characters, to show the outside world touched the dissatisfaction, this is more focused on the expression of the squeezed. This one focuses more on the feeling of being squeezed at the border. Overall, I want to use black, white and grey to represent the relationship of sketches.

Reference Artists: Bosch and Chagall

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was inspired by a kitten before me. It spent a long time with me. When I thought it would never leave me, it suddenly fell ill and died. I often see it beside me in my dreams. Whenever it rains, or when I feel lonely, I can always hear some faint cats barking, as if it is still with me. I want to create a world about the undead of small animals. In this world, it belongs to the undead of small animals. Their death will not disappear in this world, but will accompany their masters in another way, their appearance. The entrance to this world is a winding path, in the morning with water mist. Small animals can miss their owners or stroll on the grass inside.

The form of small undead animals can change. They can be a gust of wind in real life or a shadow. In their lives, they can't communicate directly with people in real life, but in dreams, they can do the same things as before their lives to connect with their masters.

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In my life, I like to observe the ecology between plants and animals, so I think about what kind of world it would be if it was not humans but other creatures who were in charge of the world now, and how they would live.

I wanted to create a weird world, like an alien planet, where all the plants and animals are different but very similar to those on Earth, where the creatures are bred from the soil by the plants, and the nutrients in the soil come from the magma in the center of the earth, and the roots of these plants are connected to the same huge core, and when the creatures die, they will be absorbed by the soil back into the core, and then another thing will grow. It's like a loop. Then some creatures developed intelligence and created a nation, and they would have a patron saint of faith, a giant ancient synth, and I wanted to draw some history of this world, like a mural to record it.

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I want to create a utopian sky world where humans and nature coexist harmoniously, with an exceptionally perfect survival system. However, this perfection inevitably has its flaws. One day, someone suddenly realizes that this world is frighteningly perfect—so perfect that it evokes suspicion and insecurity. For example, everyone wears the same smile, the same clothes, even the angle of the sun is ideal. There’s never bad weather, only good weather.

This person starts questioning, saying, “It feels like we’re sheep trapped in a pen.” The harmonious and idyllic state of everyone else fills him with dread. “Why am I the only one feeling this way? Why doesn’t anyone else notice?”

Driven by these thoughts, he resolves to destroy this false perfection. He leaps from the sky city into an underground world, determined to dismantle the fake perfection of the sky world. He believes someone must be working behind the scenes to maintain this superficial beauty, and he wants to uncover the truth hidden beneath it. He starts recruiting others, through persuasion or threats, to join his cause. Together, they begin attacking the perfect world, trying to force the truth to surface.

Strangely, the perfect world seems to remain unaffected, as though it is doing nothing in response. Yet the opposing forces dwindle in numbers, which raises further suspicion. This bizarre phenomenon also prompts some people within the perfect world to become aware of its flaws. Combined with the rebels’ propaganda, they decide they don’t want to fight but also refuse to remain bound by the perfect world’s constraints. These people descend from the sky city and establish a neutral zone on the surface.

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I want to create a world where greed, anger, and obsession are harboured in everyone's heart, and demons, the very shadows that these obsessions breed. Those who are greedy will raise demons that devour everything, those whose anger is unrelenting will have demonic fires burning themselves out inside them, and those who indulge in fantasies will end up trapped in their own nightmares, turning into empty shells without souls. Demons are not foreign, but part of a person's own being, and as their obsession deepens, they grow in strength and even replace their masters, becoming ‘new people’. When the greed, anger and obsession of a place are intertwined to the extreme, it will become a ‘demon realm’, so that all those who step into it will sink into it, making it difficult to escape. And in the dark part of this world, there also exists a market that only demons and half-demons can enter, where desires can be traded, destinies can be exchanged, and even human souls can be bought and sold at marked prices

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When I was in sixth grade, I briefly experienced symptoms of depersonalization. What impressed me most was watching a movie in the cinema. When I saw the touching plot, my tears broke down, but my heart was numb and not sad. I looked down at my limbs, and they felt strange. The mind and the body seem to separate. I am a small person living in this body, the real me sitting at the French window, holding the window with my hands, watching everything happening outside, but I do not understand why this body is crying. I was trapped in this dark little house with one window.

It was an amazing experience for me. I have always wanted to express this feeling in the form of painting, so this time I tried. In fact, the theme of this painting is different from the idea I uploaded before. I extracted the word trauma from the idea. This word brings back the word depersonalization, because depersonalization is actually a protective mechanism of the body after a traumatic experience. What's even more surprising is that depersonalization is a condition experienced briefly by many people in the world, as well as by many people with depression and anxiety, and yet it is poorly studied medically. I decided to capture this magical feeling of depersonalization in the form of a painting.

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People's desires are endless, and when there are more desires, they don't want to rely on their own efforts, and when these desires are more than enough, a deity is born out of human greed to fulfill their desires, and the deity is born through their greed, relying on people's supplications to maintain their existence and power.

Some of the things that people covet are wealth, power, love, and eternal life.

For example, in the case of wealth, a person may start out wanting his family to have a better life, he first starts working hard and gets some money, but as time passes, as his wealth increases, he wants more and more, a bigger car, a bigger house, more power, his greed grows bigger and bigger, and finally it becomes a bottomless pit, he grows less and less satisfied with the rewards of his hard work, and starts praying to the gods, hoping for a heavenly fortune. Gradually, this man was not satisfied with the normal accumulation of wealth, and began to become distorted, selfish, out of control and uncontrollable, and even went out of his way to get money, he began to exploit others, cheat his friends and even hurt his loved ones, and finally became destitute, but there was no turning back. But there is no going back.

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I often do many things that make me regret or feel sorry. At such times, I would think it would be great if time could turn back. So I plan to create a world of time fragments.

• Settings: In this world, time is no longer linear but exists in the form of fragments. Everyone can enter different time points by touching "time fragments", but these fragments are randomly distributed, and the time point entered each time is unpredictable. Some people specifically collect time fragments, trying to piece together the complete history, but each time of piecing together will cause confusion in the timeline.

Everyone can access the time fragments related to their own past, but some important memory fragments will be kept by some of the fairest and most authoritative departments.

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I often do many things that make me regret or feel sorry. At such times, I would think it would be great if time could turn back. So I plan to create a world of time fragments.

• Settings: In this world, time is no longer linear but exists in the form of fragments. Everyone can enter different time points by touching "time fragments", but these fragments are randomly distributed, and the time point entered each time is unpredictable. Some people specifically collect time fragments, trying to piece together the complete history, but each time of piecing together will cause confusion in the timeline.

Everyone can access the time fragments related to their own past, but some important memory fragments will be kept by some of the fairest and most authoritative departments.

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These are some of the character Settings, and why people and nature can coexist harmoniously

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This image depicts the people of the Forest World and the lord of the Underground City gazing into the distance at Sky City. At this moment, Sky City is dumping waste, polluting the forest.

Sky City is a mobile city with no fixed location. Every so often, it stays for a few days, dumps a massive amount of garbage, and then moves away, leaving the creatures of the forest in misery.

But the three protagonists are ready for action. They have identified the next dumping site. When the time comes, they will climb up along the discarded waste, infiltrate Sky City, and uncover its darkest secrets.

I used the distant land as the horizon to separate Sky City from the protagonists, aiming to create a sense of looming disaster. However, the final result didn’t fully achieve the effect I wanted. Additionally, the coloring was done in a rough, sketchy manner rather than with precision. I hope to see significant improvement in my next piece.

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This painting presents procrastination in a surreal style. In the picture, my mother glares, and breathing fire from her mouth to pointing at the "me" who is looking at the mobile phone, extremely angry. Despite her constant urging, I still haven't taken any action. The room is in a mess, with clothes flying around like ribbons, and books and other items scattered everywhere. Many exaggeratedly shaped alarm clocks surround me, representing the passage of time and the emotions of anger and helplessness.

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In this surreal illustration, the scene depicted is me having dinner with my family outside. The restaurant is suspended in mid-air, surrounded by clouds and mist. My family is dining leisurely, while I am sitting on the table with my homework infinitely enlarged, covering the entire table. Due to my habit of procrastination and the approaching deadline of the assignment, I have to finish it while having dinner. Time is personified as a devil who holding an hourglass, hovering above my head and constantly urging me.

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This painting is about procrastination, with an abstract style and rich colors. At the bottom of the picture, a little girl is sitting at the desk, originally planning to do her holiday homework. At the top of the picture, the colorful area shows many wonderful entertainment scenes, including fireworks blooming, smiling faces, playing with family members, watching movies and other pictures. The little girl is deeply attracted by these and is completely immersed in them, having no time to take care of her homework. In the lower right corner, a small figure looks distressed, suggesting that time has passed, but there are still a large number of tasks unfinished.

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https://kdocs.cn/l/cvEVEYiNAXHu?f=301

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In the ancient period of this world, the species will be more abundant, and the combined species will be more diverse. But nowadays the species that grow out of the soil are much poorer, or even just a single species. Today, these small insects worship the giant Chimera of ancient times, worshipping these scrolls in the hope of gaining blessing and power.

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In this world, all living things are bred by plants, but they can look weird, like a combination of plants and animals that we are familiar with. After death, these strange-looking creatures will be reabsorbed by the energy bodies in the soil, and after regrouping, they will grow out of the soil again.

This is because there are energy blocks in the soil that nurture the organisms above the soil, and when the organisms die, these energy blocks will break them down and absorb them.

The ground is divided into soil layers and magma layers, and the energy blocks in the soil are divided by the huge core of the magma layer, which are connected to each other and transmit energy to each other. The energy of the giant core comes from the magma in the center of the earth and the light received on the ground.

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The first painting is set indoors. Sometimes on the internet, one’s sense of boundaries is violated, so I painted a girl who is being controlled. She is under surveillance, and those hands are trying to pull her into chaos, much like people online who pry into others’ privacy. The second painting is set outdoors. The protagonist is like an exhibit, put on display, and the eyes and ears represent watching and listening—just as in real life, where intrusive stares reflect a lack of respect for personal boundaries.

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I tried to paint this in the form of surrealism

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Here are the collages of my inspiration and the references of some artists, which can help me find references in the later painting.

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Here is the final brief for this course. Keep creating the amazing work you have been doing.

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While developing the content for "A World Without Lies," I encountered significant challenges, which led me to revise the narrative. Except for the final image, all the others are draft illustrations for this world setting. The last image represents my brainstorming for a new world concept.

Below is the introduction to the new world setting:

Theme of the Story: Freedom without rules is not true freedom.

Medium of the Story: Various types of plants.

Indoor Setting: A greenhouse.

Outdoor Setting: A harsh winter.

World Setting: Inside the greenhouse, the plants have formed a small society. The resources of this society consist of the fertilizer and water (nutrients) provided by the caretakers. The temperature in the greenhouse is maintained at an average level, sufficient for tropical plants to grow, but the greenhouse cannot replicate the true tropical environment, resulting in the plants being stunted in size.

Plot Summary: The plants believe that the caretakers have mistreated them, citing the significant size difference between themselves and the plum blossom trees and other cold-resistant plants outside the greenhouse. A cluster of blue snowflowers (a type of tropical flower) decides to reclaim "their rightful rights" and plans an escape. However, the other plants doubt the success of this endeavor and urge the blue snowflowers not to cause trouble. Ignoring their advice, the blue snowflowers seize the opportunity when the caretaker is preoccupied with preparing nutrient solutions and sneak out.

The next day, the caretaker finds the blue snowflowers frozen to death in the heavy snow outside the greenhouse.

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This painting is a place I am familiar with. I recall the time I used to be with the kitten. I usually don't care much about it, and I feel guilty and remorseful about the death of the kitten. The image of the kitten gradually began to become blurred and distorted.

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In reality, I struggle with loneliness every day. The death of the kitten makes me unable to put it down and can't bear the loneliness of a person. Its death was so sudden that all she was left was an empty room and memories.

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n the world I created. The kitten is free from illness and pain in it and can live in the way it likes. For example, flying in the air, or communicating with small animals.

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Thank you for your suggestion, I will refer to the form on the photograph to create it. I've perfected the first diagram a bit. I wanted to incorporate this worldview into slime molds, and the slime element was based on the original story, and I would start to think about how these stories could be developed and presented through the elements of the first picture.

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Here's a sketch of the slime elements that I drew and I thought about how I could fit them into the story

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I am very sorry for the long delay in producing a substantial amount of work, as I spent a great deal of time trying to determine the composition and drawing style.

Here are the key sentences I wrote for myself, around which the composition revolves:

1. Show how plants gain self-awareness.

2. Depict the greenhouse keeper's care for the plants, but the plants feel that the keeper is restraining them. (A disconnect in emotions)

3. The plants, in turn, take control of the keeper, with various carnivorous plants attacking the keeper. (A reversal of roles)

4. A tropical flower finally escapes to the outdoors, but unable to adapt to the cold, it dies in a snowdrift not far from the greenhouse, with a cold-resistant plum tree standing beside it. (Contrast)

6. The difference between protection and restraint can be shown to the audience by drawing wild plants growing in the cracks of a wall.

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"Greenhouse"

1. Researchers standing on the second floor hold research reports, comparing the size difference between the plants inside the greenhouse and those outside. On the first floor, researchers are dealing with the escaped climbing plants and recording plant data, while the plum tree outside the greenhouse is in full bloom.

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"Protect"

2. The researcher/administrator, with a loving gaze, caresses the glass dome protecting the blue snowflake flower, her waterfall-like hair cascading down, evoking a sense of confinement. Unbeknownst to her, the spiky plants behind her are about to launch an attack. The blue snowflake flower gazes at the sky from beginning to end.

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"For Freedom"

3. The carnivorous plants (man-eating flowers) break through the laboratory door, attack the researchers, and escape the greenhouse.

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"Release"

4. The blue snowflake flower leaves the greenhouse but dies in the soft, cold snowdrift due to its inability to adapt to the low temperature, while the plum tree continues to grow strong.

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"Different Worlds"

1. The climbing plant grows wildly in the crevices of the wall, while another plant of the same species is weak in a pot, requiring a support frame to grow slowly.

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This is the first one I finally produced