This page is collected my thoughts while I was working, include ideas, problems I met, and experience I got.
研究到康定斯基我才真正感受到作为一个艺术家的自豪之情。
不是因为他对现代抽象艺术的贡献之大，而是因为读到他的理论和看到他的画作令我发自内心的愉悦，是感动和共鸣，而不是评价。
When I was doing the research about Kandinsky,I just started to feel proud of being as an artist.
Not because Kandinsky's great effect to abstract art,but the sympathize and heart-touch with him, nothing about judgement.
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声音,音乐,舞蹈是我可以具体表现的成分.如果说要跟观众沟通些什么的话,应该就是情感的共鸣.
Sound, music,and movement are the elements that I am trying to express. What the important information I should communicate to the audience, must be the sympathize of emotion.
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我要做的是传达感觉,而感觉这种东西却因人而异,他具有可变化的不永恒的属性,所以这种从听觉翻译成视觉的作业方式是不具有唯一性的,它不会成为一门固定的语言,但是一些共性及常识的利用可以让观众的接受度提高,我可以做得应该是列举一些元素,让它相对的成为一种风格和不恒定的模式.
What I am doing is to communicate the feeling, but how? feeling could be really different from various people even just for one thing, feeling is unsure, changeable, so my work which is translate the hearing to seeing doesn't have a tangible formulation, It wouldn't become a kind of immobility language, but the common sense could be the key word for my work to make it more acceptable to different audience. What I should do is list all the elements and comparatively make it a style and give it a form.
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对于最后成品的形式可以选择平面的图形,也可以尝试用立体空间来表现成品,如果用立体的形式来表现的话,张力似乎可以更加充足.
For the final piece I could choose to make 2D proportion, also could try describe the 3D space, but I prefer to give it a sense of space, because when the sound go across our body, it's like put our into a new world. Also give more tensile force to my work.
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来自于几个视频的灵感,对于音乐的表达少不了舞蹈.肢体语言的张力可以被提取,夸张,放在画面的合适位置,对音乐和情绪的表现必然有所助益.面部表情也是很好的表达感情的元素.
Inspiration from some of the videos, there might be good to add the dances to my work, the tensile of body language is wonderful to express emotion, put it in the proper place in the picture must be better than nothing, the countenance is a very direct way to tell people what the feeling should be.
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我有时会想我的作品太像纯艺术中的抽象画了,而事实上我的确借鉴学习了很多抽象派的东西,作为插画的交流属性被大大降低,我想要为作品添加肌理的失败实验似乎也反映了我在有条理的思考上的欠缺,如何用逻辑分析来让我的作品更像具有强烈交流功能的插画呢?
或许我应当试着从最基本的元素组成开始分析我的作品,然后在作品背后建立一套理论,再从理论里生成新的作品,这样应该就可以让新的作品有着强烈的条例性了.
Sometimes I would thought that my work is too far to recognize as an illustration work but more like abstract fine art,of course the fact is that I actually learned many things from abstract expression masters,so the communication function has been decreased a lot.The failure in the texture experiment also reflected my lack of ordered thinking, how to use the logic analyse to enlarge my work's communication function?
Maybe I shall from the start, from the fundamental elements to analyse.Set up a theory behind my current work,and use this theory to produce new work.Then the new work should have those strong clear ordered characters!
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在安排画面的时候应该有很明显的节奏对比,在气势统一的情况下,疏密和流动性是表达中的重点.
When arrange the proportion, I should be aware of the fierce rhythm comparison, and base on the unified atmosphere, the density and fluidity is the key elements I should emphasize.
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音乐对于感情的影响是无与伦比的,最近我爱上了摇滚乐,这种强烈的情感释放实在是太狂热了.而且我意识到单纯的从CD里听音乐和看MV或者是演唱会现场是不同的,因为有了视觉的加入,有了听觉和视觉,就几乎能给人以足够强烈的情感影响,剧烈的改变一个人当下的心情.不过我们的生活里视觉听觉从来都没有缺失过,听CD的时候我们眼睛也是睁着的,眼前的景象却并没对我们造成任何影响,这说明不同的感觉要统一到一起来才会造成更强烈的影响,否则就会被我们单独对待,甚至相互干扰.
所以我对我插画的理解基本是基于非视觉形式的艺术,在视觉方向上加强它给观众的影响.
在视觉上表现出的相关联想要和"被插画"的艺术紧密贴合,与原作越统一,作为单独的视觉艺术越出色,我的作品的评价应该就越好.因为这样不同形式的艺术之间紧密结合之后对观众的影响就越强烈,传达的信息就越明确且有效.
there's a incomparable strong emotion impact by hearing, and I just fall in love with the rock music recently for its fiercely strong emotional release,it's a cult! And I realized purely listening to the music from CD without visual activation is much less strong than that in the live concert for double stimulation.So it seems that is more way of sense, more stronger our emotion being influenced.Of course we have never been lack of sight, we listen to the CD while we were watching around somewhere we were,but the sight we have watched doesn't work well for influencing our emotion, so we can safely make a conclusion that the combination of different way of sense only can work well, influence stronger by harmonized unifying, otherwise it will be recognized separately,sometimes even jaming each other.
So I prefer to regard my FMP as a emotional motivator for the music,which makes the impact of the music stronger in visual way,that means explain the same feeling by different sense.If the information I made in my work is harmony enough with the music,the work I made is be judged enough to be "good",so the communication could be regard as successful and accurate.
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在画成品的时候我发现在对材料的掌控力上我欠缺很大,需要经常试验,比如灰色的晕染效果在第一遍画的时候效果很好,但是在覆盖了多次颜色之后自然的混色就没有了,我应该多多注意"到位了就停手"应小心对待"画过了"这个问题,而不是总觉得可以修改就放肆作画.
When I was making the final piece,I found out that my ability on controlling the material really need to improve, for example, the grey color-gradation technique seems good at the first time I paint on the canvas, but when I paint on it the 2nd time, it just massed up,I should be more aware of the appropriate time to stop paint, it's not the more I paint the better results I will get,really should take care of over-painting problem,it's not free to revamp on the canvas!
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草稿不仅仅存在于作画开始,在作画中间也可以打草稿,如同效果预览,长期作业中途没有草稿是愚蠢的.
Drafts is not merely existed before the start of painting the formal work, in the middle of working I should have more drafts to preview the effect of the next step I shall do, if there's no drafts anymore in the middle,it means the final out come won't be perfect as I expected.
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