Pattern vs. Surface
My painting sample by Andrea Del Verrocchio was compatible with my terrain sample as they both showed a similar flow. I choose to focus on this multidirectional flow and movement of my samples. My main focus was the central flow line, with attention to the highlight and shadow hotspots. For my grid study, I chose a bottom shuffle grid as it added more dynamics and aided with the movement of my panels. I used curve attractors after offsetting the points to focus on the floor. I choose to keep the panel simple and work with them in terms of height to show variation in highlights and shadows. My light setup for my renders consisted of three to four different directional lights with combination of soft and intense spotlights emphasising the top and lower planes. The chosen renders show the foreground, middle ground, and background, and show the variation in height, the flat plateaus, as well as the extension and height of the panels.
The fabric and terrain samples were compatible in the sense that they both show directional flow within their structures. This similarity allowed for the main focus to be the central flowline, with attention to spots of shadows and highlights. Within the grid study itself a sense of momentum can be seen due to the use of a shuffle grid which enabled variation within the panels. The use of simple pyramid panels allowed for easy manipulation to show highlights of shadows as well as change in direction to aid the idea of flow.
The combination of the grid and panel study formed an interesting hybrid that showed both curves as well as highlights and shadows. The artifact was then focused on creating an extension of the drapes to show multidirectional flow. The artifact has been manipulated keeping in mind the direction of flow of the existing drapery and has been emphasized using variation in height and width of panels to indicate shadows and highlights.
I reworked the composite based on the feedback given by my tutor and matched the flow of the fabric with the panels. I focused on making the painted drapery an extension of the painting instead of manipulating and changing the existing form. The elongated structure pulled from the bottom corner suggests dynamics and movement in the flow of the drapes. The combination of a three-dimensional surface and a two-dimensional pattern is an interesting yet odd final surface to look at. Although the extensions of the artifact are not increasingly dramatic and have been kept realistic, the composite still sits in a realm of uniqueness.
Virgin and Child with Two Angels,
Andrea Del Verrocchio,