If I were to describe my artistic style, I would have to say it's a mix between Erté, Hayao Miyazaki, and Leonardo da Vinci; my style is traditional yet open to changes, bold yet soft and whimsical as well as detailed and loose at the same time. I am interested in abstract ideas such as fantasy worlds and characters as well as solid, rational concepts like human anatomy. Those three artists have not only influenced and helped shape my technique, but they have each made significant contributions to the world as I hope my work will too.
Probably the most significant artist in my life, Leonardo da Vinci, master scientist, mathematician, and artist, taught me the fundamental principle of art and design that I would go on to adopt as my personal and aesthetic philosophy. Like Leonardo, I believe that design encompasses all three elements of science, math, and art. (I call them the Awesome Thr33some.) Take his rendition of Vitruvius’s Vitruvian Man for example, those three elements are inherent and obvious in the mathematical divisions of the proportions and in the genetic make up of the body itself that allowed Leonardo to draw and depict the subject accurately. Seeing that, I have no doubts that the human body is a product of divine design. Henceforth, I have always revered and loved anatomy; Leonardo taught me to love every curvature of the body, every protrusion of the bones, and every role of the muscles. Leonardo’s work has also thought me something of equal importance, if not more important-- his numerous inventions made me realize that a good designer must always keep an open mind and explore new challenges as art and design is not only about aesthetics, but also about solving society’s problems.
In the same way that Leonardo is connected to my rationale, Hayao Miyazaki is connected very much to my emotions. Miyazaki’s simple technique of watercolors and graphite takes me back to an equally simple time: my childhood. Even as an adolescent, I wish I can escape to the beautiful Star Lake in Howl’s Moving Castle or visit Totoro in his mossy cave. Because I, like Miyazaki, never want to let go of my inner child, I often create and escape into imaginary worlds of fantasy characters. Another Miyazaki theme that has a profound impact on me is his mastery of nature. Miyazaki, who tends to always place his characters in the midst of nature, taught me the importance of environment: that a well drawn organic environment adds to the whimsy and tranquility of an art piece. To me, that also seems to comment on the social issue that the relationship between man and nature is whimsical but also essential; although nature calms us down, we humans will only return to nature for a brief moment. Because of that, Miyazaki has inspired me to capture that fleeting moment of tranquility and beauty of the natural world within my artwork. Similarly, Mr. Miyazaki’s work also showed me that colors are equally instrumental in determining the feeling a piece of art projects to its viewer. That said, I am also compelled to evoke the same emotions in my work as Miyazaki does with his soft, pastel watercolor palettes or his dark, abysmal, and heavy color choices.
Although my love and respect for the French fashion illustrator Erté is recent, it is just as deep as my reverence for both Leonardo and Miyazaki, for I have also adopted many of Erté’s techniques and morphed them with my own. One of the most important things that I have learned from Erté is professionalism and the significance of clean lines. Erté’s crisp, bold, black and white illustrations state that he knows what he’s doing. In the same way that his lines signify his expertise, the stark contrast of the black ink of white paper proves his confidence in his field. Even if my illustrations at times fall short in skill, I can at least feign confidence with Erté’s signature style. Details and patterns, also a major facet of Erté’s style, proves the point (to me, at least) that art can be therapeutic. In the same way that Erté meticulously draws every hair of a fur coat, I diligently dot every inch of my pointilism projects and I enjoy it. Rather than seeing it as a repetitive and monotonous process, I fall instead into a peaceful trance that allows me to escape from my everyday problems and finish intricate projects rather quickly. Erté’s techniques taught me that as cliché as it sounds, art is my escape and that’s okay.
Previously, I stated that those three artists (Leonardo, Miyazaki, and Erté) not only influenced me, but also the rest of the world. Yes, that’s true: Leonardo gave us a timeless and accurate diagram of human proportions, Miyazaki thrilled children and adults alike worldwide with his fantastical creatures and worlds, and Erté inspired fashion designers and illustrators worldwide with his bold, detailed drawings of garments. Similarly, I aim to influence the technique, philosophy, and ethics of future artists like my heroes. Although their shoes might be hard to fill, I still hope to step into them little by little.
...i really hope that i'm not off topic. omggggggg.
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