Fusion Is The Style<3

Wednesday, September 12, 2007

Further done: improvement of coloring and the looks of the drawing.

Photo Sharing and Video Hosting at Photobucket

Color improvement

Balancing image

10:37 PM
xXoXo

Tuesday, September 11, 2007

I finally finished the finalised drawing, i really hate drawing so last minute rush it out. Really look a little childish, and not really professionally work done.

With color added in.

1:58 PM
xXoXo

Saturday, September 8, 2007

Further development of my designs on how the drawing should look like.

Design Two

Design Three

1:52 PM
xXoXo

Wednesday, September 5, 2007

From the beginning in the draft character, i wanted to use dragon instead of buffalo to portrait the long-liveness of human beings.

Draft Character

Design one

1:44 PM
xXoXo

Monday, September 3, 2007

Mindmap that i first started out to understand more on my idol; Pablo Picasso.

1:36 PM
xXoXo

Rationale

A lazy little pig and a hardworking buffalo, which one are you?
This pig i drew with its thoughts on how to reach its goals was to portrait oneself maybe lazy
just like the pig, but have lots of goals and often not able to accomplish those goals.
The buffalo i drew with its thoughts having a question mark was to portrait oneself maybe hardworking
just like the buffalo, but does not have a single goal in his thoughts. So here comes the question,
would it be better to be a lazy pig with lots of goals than to be a hardworking buffalo that has no goals ahead of it?

This picture was suppose to show in a setting of mrt train which is what i often see and depict in the current life im in,
so i had my back drawn in the middle to represent that as myself, and used the common colors seen on mrt train's chairs.
And the background as black and white to just protrait the message; should one work hard but have no goals or should one be lazy but with lots of goals?,
can this message be taken as a good perspective of thinking or bad one. I used bright colors for the square bubble thoughts to show that thoughts are always lovely.

This is a fusion of Pablo Picasso's sacarsm in his work which is used, instead of using Pablo Picasso's cubism style.
There is also the combination of my often use of solid colors and lines.

His Style

His works on Cubism:
Les Demoiselles d'Avignon, 1907 Picture 01
Although still a transitional work, this large painting may be called the first Cubist picture. Its combined influences are manifold, ranging from El Greco, the bathers of Cézanne, and Iberian and African art that Picasso had recently seen at the ethnographic museum in Paris. Picasso made innumerable preparatory studies for this work. The title, given years later by a friend of Picasso, is an ironic reference to a cabaret or maison publique on the Carrer d'Avinyó (Avignon Street) in Barcelona. The dynamic power of this work, its expressionistic violence and the barbaric intensity of the five women, especially the two on the right, was unsurpassed in European art at that time. The picture remained with Picasso until 1920, when it passed into the collection of the famous couturier Jacques Doucet. While in Picasso's studio and seen by other artists, the work acquired a legendary reputation.

Analytic Cubism: 'The basic principles of Analytic Cubism (1910–12), with its fragmentation of three-dimensional forms on a two-dimensional picture plane, are embodied in Still Life with a Bottle of Rum (1999.363.63), painted in 1911. '

Still Life with a Bottle of Rum, Summer 1911 Picture 02
Picasso painted Still Life with a Bottle of Rum during the summer of 1911 in Céret, the small town in the French Pyrenees that was so popular with poets, musicians, and artists—especially the Cubists—before World War I that it has been called the "spiritual home of Cubism." One is hard-pressed to see the bottle of rum indicated in the title of this work, which was painted during the most abstract phase of Cubism, known as "high" Analytic Cubism (1910–12). In the upper center of the picture are what seem to be the neck and opening of a bottle. Some spidery black lines to the left of it might denote sheet music, and the round shape lower down, the base of a glass. In the center, at the far right, is the pointed spout of a porrón (Spanish wine bottle). This is one of the first works in which Picasso included letter forms. It has been suggested that the ones shown at the left, LETR, refer to Le Torero, the magazine for bullfighting fans—Picasso being one of them—but they might simply be a pun on lettre, French for "word."

Although still living in France in the 1930s, Picasso was deeply distraught over the outbreak of the Spanish Civil War in 1936. He reacted with a powerfully emotive series of pictures, such as The Dream and Lie of Franco (1986.1224.1[2]), that culminated in the enormous mural Guernica (1937; Reina Sofía National Museum, Madrid), painted in a grisaille palette of gray tones. This painting, Picasso's contribution to the Spanish Pavilion in the 1937 Exposition Universelle in Paris, is a complex work of horrifying proportion with layers of antiwar symbolism protesting the fascist coup led by Generalissimo Francisco Franco.

Dream and Lie of Franco Picture 03
Picasso made two prints in this format—three rows of three scenes—beginning January 8, 1937, that together form an eighteen-scene narrative. This print is the second of the two. Since Picasso worked on the images from left to right, the etched versions read from right to left. In the upper right, the Facist general Franco is depicted as a grinning monstrous figure, devouring the innards of his own horse, which he has just killed; the next two scenes show the results of battle; and in the next two, Franco is in combat with an angry bull, symbolizing Spain. The last four scenes were added on June 7; meanwhile, the Basque town of Guernica was leveled by bombs, and Picasso painted his famous mural protesting that atrocity. Three of the last four scenes of this print relate to his studies for that painting.

In Faun and Starry Night (1970.305) from 1955, Picasso returned to the mythological themes explored in early pictures. Again, incorporating life experience into his painting, he evokes his infatuation with a new love, a young woman named Jacqueline Roque (1927–1986), who became his second wife in 1961 when the artist was seventy-nine years old. In this painting, Picasso symbolizes himself as a faun, calmly and coolly gazing with mature confidence and wisdom at a nymph who blows her instrument to the stars. The picture embraces his spellbound love for Jacqueline.

Faun and Starry Night, 1955 Picture 04
In 1955, when this picture was done, Picasso was once again in love, this time with Jacqueline Roque (1927–1986), a beautiful young woman whom he had met the previous summer and later married (1961). At the time of this painting, she was about twenty-eight years old and he seventy-four. Picasso's choice of imagery—a grizzled, starry-eyed faun and a nubile nymph playing a pipe—is symbolic of his romantic thoughts. Such figures from mythology—nymphs, satyrs, fauns, centaurs, and minotaurs—had populated his work in the 1920s and '30s and often substituted as self-portraits in narratives about love and lust, just as they do here. The very decorative and playful graphic style that Picasso adopted in works such as this characterize his late style and relate specifically to his painted ceramic oeuvre that he began making in 1947.

Biliography
Pictures 01, 02, 03, 04:
The Metropolitan Museum of Art (October 2006),In Timeline of Art History; retrieved from http://www.metmuseum.org/toah/hd/pica/