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1. No, just Ryan is fine

2. I chose Animation because I'm really interested in visual storytelling through movement and feeling. I feel more comfortable telling stories with moving or sequential images.

3. Although I do want to work in animation, my biggest dream is to one day make a comic that can resonate with people.

4. I really like the kpop group Stray Kids. I found their music during quarantine and they have a wide range of tones and emotions that I resonate with heavily. They also produce all of their music themselves (which is uncommon in kpop) and I admire their hard work and passion towards their craft. My favorite song by them currently is COMFLEX.

5. I am incredibly passionate about my characters and the stories

I make with them. I use them to express my emotions that i cant normally and what I want to see in media. I'm almost always thinking about and working on them.

6. (Above)

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1. Simple

2. It uses non complex shapes to create the feeling of items on a surface. Despite this, it has a lot of charm to it. For example, the usage of colors is really good, they're all pretty similar hue wise, but then you have splashes of brighter reds and yellows to guide your eye. Furthermore, the brushwork is a bit shaky which adds a nice texture and visual flair. It's also very obvious Morandi is knowledgeable in how lighting affects value, the shadows all follow the same direction (to the right), leading us to believe the ligh source is coming from the left. All in all, I was almost deceived by how simple it seemed, but through further analysis, the nuances of it make themselves known.

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An avant garde jack of all trades (sculpting, painting, fashion, writing)

Born in Japan 1929, she had a fascination with art from a young age. Her mother, however, was not privy to this idea. She would throw away her art supplies and rip up her art, telling her that she was not allowed to and that she would one day have to “marry someone from a rich family and become a housewife”.

In 1957, she went to New York to further study art despite her mothers wishes. First thing she did was go up the Empire State Building and tell herself that she was going to take the world by storm with her art, sculptures and creativity.

She immersed herself in her work there and would paint these ‘nets’ on large canvases that would span out towards the floors and walls, creating an all encompassing illusion of being surrounded, which kickstarted her path to becoming an “environmental artist”, making a name for herself in the states. She did what a lot of other artists could only do mentally, she created environments which took you in and skewed your perception of reality.

After working herself into lethargic illness, she had to move back to Tokyo and build herself back up again.

She now lives in a mental institution, but from 9-6, she works at a studio facility right across the street with assistants and enough space to do what she loves.

She believes her patterns are a form of “self-obliteration”. That the universe is made up of these patterns and aims to melt objects and others (herself), into the polka dot formed universe.

‘Our earth is only one polka dot among a million stars in the cosmos. Polka dots are a way to infinity. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environment’.

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Ryan,

Great notes, and reflections. I love the beginning of your Padlet portfolio so far. Curious to see where you'll take Yayoi Kusama's work!

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I feel like there is some improvement from the still life I did last week. I feel like I am getting a bit better at sighting measurements, though I still have a ways to go. I tried to monopolize on the fact that I usually exercise weight of line, and I think that went well, though it's still a struggle for me to not utilize value. I would also like to expound on my sue of space and just overall spacing, as drawing these planes where everything is farther from the front feels a little flat and boring to me.

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1. Working for home re-contextualized the space of the usual still lives I do in class. There is a severe lack of space as opposed to the classroom. Therefore I had to really hanker down and practice not only measuring, but also different compositions. I also tried not to focus too heavily on one aspect of the drawing, as I often have a problem with.

2. I still struggled with capturing proportions accurately, and then had issues with making different compositions. One of them was really bad. I tried to remedy this by taking a step back and then moving my still life to another corner of my room.

3. I see great emphasis placed on the figure in the center through spacing and contrast of shapes.

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Hi Ryan,

Attached are some edits and comments for your rough draft. It saved a bit weird, but works nonetheless. Nice writing!

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Thank you, Ryan! Very excited to read your paper.