In the first place, I'm pleased that the course served to stimulate mental and creative processes and to unlock a constraint that didn't let you finalize the idea. It seems to me that you have grasped the spirit of the search for sources and their concrete application: it is a path of awareness that can be applied to any project. Naturally, when applied to a drawing or a creative work, the discourse of the language and the technique to create it must be done in parallel. The greater the awareness of the technical means and its agility of use, the more interesting the result. But the technique is a "work in progress" and therefore the same subject can be drawn in different periods and always have different aesthetic results. Your project is also interesting because you have chosen to match a person you know, from your daily life, with a historical character of great iconographic impact such as Napoleon. The outcome of the research is a good draft and is well conceptualized. My suggestion is that you now deepen the technical aspects of digital, so as to make the treatment evolve: for example, finding brushes that give you more personal graphic or pictorial effects. Also try a range of colors that make the complexion, for example, more interesting. Kind of like you did with the jacket, replacing the original black with a color you wanted. For example, you could study a triptych of 3 colors each, which you would use to define each expressive range. An outcome that would recall the principle underlying Warhol's serigraphs. Another step, suggesting the character and peculiarities of your character with more personalized elements, not just by superimposing the face and physicality on those of Napoleon: this increases interest in the operation of citation and reference, because your character would also recognize himself in other details that only you know and to which you would give specific importance. It could be the replacement of the Napoleonic decorations with something that your character wears in his daily life and you both know, an element in the hat, the shoes etc. This is a much-appreciated stage of design, as it involves a more in-depth secondary study of fonts and deeper, more nuanced use of citation. Being you at the beginning of a journey as a designer, I believe that these can be further stimuli to evolve in this direction too, without letting yourself be intimidated by the technical complexity (which comes with daily practice and constant observation of reference models). Such a good and intelligent start deserves a "bravo".
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Professor PlusIn the first place, I'm pleased that the course served to stimulate mental and creative processes and to unlock a constraint that didn't let you finalize the idea. It seems to me that you have grasped the spirit of the search for sources and their concrete application: it is a path of awareness that can be applied to any project. Naturally, when applied to a drawing or a creative work, the discourse of the language and the technique to create it must be done in parallel. The greater the awareness of the technical means and its agility of use, the more interesting the result. But the technique is a "work in progress" and therefore the same subject can be drawn in different periods and always have different aesthetic results. Your project is also interesting because you have chosen to match a person you know, from your daily life, with a historical character of great iconographic impact such as Napoleon. The outcome of the research is a good draft and is well conceptualized. My suggestion is that you now deepen the technical aspects of digital, so as to make the treatment evolve: for example, finding brushes that give you more personal graphic or pictorial effects. Also try a range of colors that make the complexion, for example, more interesting. Kind of like you did with the jacket, replacing the original black with a color you wanted. For example, you could study a triptych of 3 colors each, which you would use to define each expressive range. An outcome that would recall the principle underlying Warhol's serigraphs. Another step, suggesting the character and peculiarities of your character with more personalized elements, not just by superimposing the face and physicality on those of Napoleon: this increases interest in the operation of citation and reference, because your character would also recognize himself in other details that only you know and to which you would give specific importance. It could be the replacement of the Napoleonic decorations with something that your character wears in his daily life and you both know, an element in the hat, the shoes etc. This is a much-appreciated stage of design, as it involves a more in-depth secondary study of fonts and deeper, more nuanced use of citation. Being you at the beginning of a journey as a designer, I believe that these can be further stimuli to evolve in this direction too, without letting yourself be intimidated by the technical complexity (which comes with daily practice and constant observation of reference models). Such a good and intelligent start deserves a "bravo".
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