Reflection: This is a portrait that I took of Santi outside our classroom, and it seems a lot more brighter than the original photo with how I touched it up. The type of emotion I feel when looking at this photograph is satisfaction, considering how proud I felt of how it came out. I believe that some things can be worked out in this photo, but it overall has a good amount of values. The depth of field does help with that since the picture mainly focuses on Santi and not much else, it makes him seem pretty clear! Unfortunately I don't think I thought about the rule of thirds when taking this photo, and it shows. I don't think I implemented any message of the sorts for this photo, due to how I was mainly testing the camera out and seeing how it worked. If it did, it would've been something like, "can you tell what kind of person he is, and if so, what is it?" Perhaps I should've made him pop out more and not include how bright the background could be. Overall, the image seems to be successful in how I brightened up certain highlights in the photo, such as the shine in Santi's hair and how the sun hit his face. What I'd change would be to make it seem as if I had a message in the first place, haha!
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I'm able to see that there's a fire going on in that city in the background, with a crowd on one side of the sidewalk, and another person yelling at them. What did they even do, I wonder? Also, are those people in the back? Anyway, It seems really sad to me about that fire in the background, whatever will be done about it? The work is organized in a way that is up to interpretation on what's going on. The background really contrasts the people up front in terms of color and lighting, the image has a good enough range of values, I think the depth of field could've been better, but it helps support the image's idea, and the image is composed of the people being up front while the background could be an accidental focus point. Now, I was trying to communicate someone telling off a crowd for letting a tragedy like the fire in the back keep on going and not doing anything about it. I think if I had brightened up the colors more to make them more vibrant, and had inserted masks onto the crowd like I intentionally wanted with this piece, there would've been a more clearer message. Unfortunately, there were time constraints even though I gave myself more time on this piece. Overall, it might be successful in getting that message across, but again, if I had more contrast with the colors and added the masks on, the image would've made more sense.
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Photo for now
Critiquing Alejandro: I notice that there are two photos in the cover, both in which the subject has makeup messily put on his face. One of the photos has a blur effect. Looking at the cover, I feel as if I understand what's going on and feeling bad for the subject in question. Based on the elements and principles of design, the contrast of the colors of the makeup with the setting is very nice. It nearly seems as if there's some unity with the colors, and the emphasis of the makeup is perhaps strong! Unfortunately, there isn't much depth of field going on, as there isn't much to notice aside from what I described earlier. Therefore, the cover needs more focused information. However, like I mentioned, there was a message behind it that I noticed. It seemed that the subject was unhappy with wearing makeup, as if he didn't like contributing to this social role of his thanks to society, and his life kind of seemed out of focus in a way (I could have put this in better words, but that's what came out of my brain, so sorry if it seemed odd). That's what I got simply due to what I was picking up with the photos in terms of emotions...I'm not sure if that made sense either. Now, overall, I feel as if the image was successful in terms of sending a message. The only changes that would be made would be to maybe put in more stuff to focus on. Take that as either something to consider in your cover or just a silly little nitpick of mine. Whichever one works, haha!
Magazine Cover
This is one of Claude Monet's many paintings from his lifetime known as "Windy Day." What I very much like about this one is how lovely the colors are, and how you can actually sense how windy it is in the painting thanks to his painting style. His art style is what drew me in more after finding out about him a few years ago. From this painting, I'll be drawing elements of his painting style. The colors in my upcoming artwork will have more cooler colors than here.
This is one of Ansel Adams' many photos from his lifetime known as "Moon and Half Dome." What I very much like about this photo in particular is how much depth it has and has the type of tone I'm looking for in my upcoming artwork. It's like some type of loneliness going on, you know? Speaking of my artwork, I'll be drawing elements of the tone, depth, and the setting from this photo. For sure my artwork will have color in it, haha!
Critiquing Annie: From what I can see of this work of art, I notice a girl sitting by herself, she's cradling a stuffed animal in her arms, and there's a lovely drawing directly in front of her. Aside from that, nothing else surrounds her. With her two artists chosen, I can definitely see some resemblance from one of them, which was Joseph Beus. The other artist being herself, she didn't really borrow anything from the work of art she showed, she simply used her artwork as a prop (unless that was the point). Anyways, the work is organized as having a sort of balance with how much is in the work of art, and having a focal point set on the girl near the bottom of the artwork. Luckily the artist considered the composition by having the viewer travel their eyes to the bottom of the artwork to find what's there. The apparent message is most people not seeing what an artist typically goes through a certain experience. The question is, for me, what type of experience is being acknowledged? In order to make this messagemore clearer, I would perhaps suggest more grainy-looking photo quality? More art pieces laid about? Or a different position to emphasize the message more? What I'm getting from this is an artist being so drawn away from reality that her stuffed animal friend and the joy of creating artwork is what's giving her comfort. Overall, the message could have been more clearer, and this personally feels...blank in terms of what's there of interest. However, this feels very eerie and mysterious, and I very much like that. Another suggestion for change could have been a different set of clothing, but that would've been confusing at the same time, haha!
Cycles Questions: 1) I have chosen to depict the emotions cycle, particularly depicting how positive and negative emotions co exist. 2) I've chosen this cycle due to how I've been depicting my emotions these days; more notably this year. 3) Emotions are a big part of my life, both as of recent and how I've been experiencing certain emotions, and how controlling them has been necessary for some parts of my lifetime. 4) Emotions just about impact everyone in their own ways, and it's almost always a challenge handling them for the most part. 5) In particular, I'm going to depict how positive and negative emotions co exist in a yin and yang form (the disscusion about it was very very interesting). 6) If this cycle stopped, we would all be braindead robots, practically. 7) Happiness and Sadness, as well as other major emotions, are other possible cycles within the emotions cycle. 8) THE 613 OF YOUR PASSAGE Here, the intelligent hearts, the ordinary hearts, the vulgar, stingy, dull-witted, hybrid, foul, rusty ones. Pea-sized hearts, hearts made of duck's liver. Those that're snakes in the grass, that like to take a siesta, watch you out of the corner of their eye and wake up singing like lunatics. Here, too, the hearts that won't ever see you again, those that saw you but you didn't see them, spying, nose pressed up against the window. The constipated heart, the offal heart, the one of pomp and circumstance, the heart gone with the wind. The puro cuore, glib and nothing more than yada yada yada. The ones that're garden-variety, dirt cheap, made of plywood. Common and carney hearts, the heart that wants to love but cannot, the compulsive liar and forked heart.
There are hearts soused in vinegar, port and champagne, hearts that bring you bad omens that are split in two by lightning the where-are-you heart and the "why did you leave poor Lou alone" one. wrinkled and starched hearts hearts that are better lost than found hearts cut on the cross at acute angles. gold, silver, platinum, many emerald hearts. Hearts that send you their invoice, hearts that’re a fountain of youth and the fingers of god at dusk in Galilee. Cinderella, forget-me-not hearts
Queen of hearts, play your hunch.
By Luisa Futoransky
For my Cycles Project, I will either interpret the phrase, "reaching out for hope," on a bit of a literal sense, or incorporate how and why happiness and sadness should coexist with each other. Symbolism will be the device to use in my project since, whichever composition I choose, depending on which one is favored more, symbolism will be a huge factor in either art piece. I can't exactly explain how, but it will be..!