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Field Research Designers

I really like Viki Lee’s illustrations, as the ghosts and monsters that he draws show coquettish and glamorous beauty completely. Some of his illustrations combine human with animals, some combine one animal with another, and even plants are also integrated into them. Under the ethereal background, the ghosts and monsters stand aloofly and nobly with elegance or majesty sometimes. The traditional elements in his illustrations look natural, greatly showing the Chinese style.

I love his grainy pictures, and it must also be fun if motley colors were incorporated into the fabric. By the way, I refer to his blog to study his painting methods. His painting tools are quite simple: a piece of paper, a pencil, a syringe pen, several brushes and tubes of watercolor, while his way of painting is unusual, which makes the difference. He is greatly influenced by Chinese painting, for traditional Chinese painting has always been realistic, using simple lines and freehand brushwork to outline the unspeakable artistic conception.

Another young artist I like very much is Liu Liwen who graduated from the Central Academy of Fine Arts and is a representative of the post-85s genie painters. He spent five years drawing the ancient creatures in The Classic of Mountains and Seas, trying to restore the world's reverence for ancient mythical creatures. In the creation of each beast, the author absorbed the aesthetic feeling of "Chinese realistic" painting and calligraphy in Song Dynasty, and depicted each image with meticulous sketching.

Liu Liwen said that in his search for historical graphic materials, with the accumulation of information, the creation of the image of mythical creatures was invested more and more energy, and he also integrated a lot of his own understanding in the process of shaping the mythical creatures. In addition to their physical features, their habits were also taken into account in the depiction of mythical creatures. From the sketch to the final draft, each painting had been polished for many times.

Works of these artists also have an impact on the color matching of my designs. Unlike the pure white in my previous collection, this time I would like to try the natural color, and also as far as possible choose the fabric of natural fiber textile. In my sketchbook, I try to mix different materials together, such as my visual resources printed in different handcraft paper and glossy film photo paper. It is transparent, and some pictures can mix together to form several new and creative effects. I focus on practicing weaving, machine knitting and embroidery . I want to study Chinese traditional color, that can inspire my collection’s color palette. Some pigment is extracted by minerals and plants. They always are used in Asian paintings. I consider natural dye, creating my own fabric in my garments. Furthermore, I was inspired by China National Museum, going to the website to research artists’s paintings that portray Chinese landscape though traditional painting skills,

\Works of these artists also have an impact on the color matching of my designs. Unlike the pure white in my previous collection, this time I would like to try the natural color, and also as far as possible choose the fabric of natural fiber textile. In my sketchbook, I try to mix different materials together, such as my visual resources printed in different handcraft paper and glossy film photo paper. It is transparent, and some pictures can mix together to form several new and creative effects. I focus on practicing weaving, machine knitting and embroidery . I want to study Chinese traditional color, that can inspire my collection’s color palette. Some pigment is extracted by minerals and plants. They always are used in Asian paintings. I consider natural dye, creating my own fabric in my garments. Furthermore, I was inspired by China National Museum, going to the website to research artists’s paintings that portray Chinese landscape though traditional painting skills,

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