Wow what a busy month! Four commercial spots, a dance collaboration with nine choreographers, a photoshoot, and a dye project from South Coast Repertory? Come at me pro!
Vanessa Walton making faces on set
slow motion reel from Nympheas, choreo Jie Lin How
Check out more of my sketchbook under the Illustration tab!
It's filling up fast!
What's an artist to do when her husband is gone on business for Valentine's Day? Take advantage of that culturally-bestowed guilt trip and go to ALL THE MUSEUMS.
I was able to see some excellent stuff at LACMA and the Hollywood Costume Exhibit. Samurai textiles, Poiret textiles, Conversations on Abstract Expressionism, modern Arab art scene, the special Pierre Huyghe installation (which was also incredible, by the way)... But the nugget of my eye? Haunted Screens - an exhibit dedicated to that special dissonance in Germany between world wars, seen through film.
And the best part? The exhibit included an array of sketches from M to Metropolis. I've included some of my favorite works below. Not to mention the Metropolis borg! vvvvvvv
Costume Designs by Ernst Stern for Waxworks, 1924 (Das Wachsfigurenkabinett)
Art is the strongest voice in the world. Never stop questioning. Never stop speaking.
I have the feeling work like this is going to be my new best friend.
Decided to work on lighting on a subject that is applicable to a wide range of design opportunities: entertainment design, theatre, film, video games, animation. I think with these goals in mind, I was successful.
My original goal was to draw Snow White in the original setting of the legend: Germany, 1550s. Although I got the basics, I'm not happy to call it "historically accurate". Perhaps it's my line-driven illustrative style, but the final work feels too flat to garner that title.
The animals were a portion of the piece I was worried about completing. I don't usually draw animals, but in many ways I think they're the most successful part of the illustration! I'm very proud, and looking forward to the next set of critters!
Perhaps the most difficult part, though, was figuring out the ground line. What a trial! When large flat (meaning detail-less) skirts are involved, I always have trouble making my work dynamic. They're a pain in the butt. But I think my persistence paid off in spades. This is a technique I see myself using on many illustrations to come!