Shanon Richmond

Form and Light Study 04 - Graphite on Paper (A4), 2021

Capturing the difference between light on skin and fabric. In this piece I explored different blending techniques to help give the subject, foreground, and background differing textures. 

Form and Light Study 03 - Graphite on Paper (A4), 2021

Toying with angled lighting and unusual postures. In this piece the model kneels beneath an angle light, casting shadows in an unusual manner. Capturing the pose accurately proved difficult, especially with the angle of the leg branching out behind her - but overall I am happy with the outcome of the piece. 

Form and Light Study 02 - Graphite on Paper (A4), 2021

This piece ended up becoming one of my favourites. The subjects pose feels very natural, with nice flow from the right leg, up across her back and over her arms. 

Form and Light Study 01 - Graphite on Paper (A4), 2021

In this study I wanted to accurately capture the powerful essence of the model. The confidence of the pose communicated through the drawn back shoulders, as well as the stern look on the subjects face.  

Anatomy Study 04 - Graphite on Paper (A4), 2021

In this piece, my focus was on the skin folds surrounding the eyes and how they sit when viewed at different angles, as well as the reflectivity of the eyeball itself. 

Anatomy Study 03 - Graphite on Paper (A4), 2021

Focusing on differing facial structures.

For this study I found references that each had different facial structures and tried to communicate these differences. 

Anatomy Study 02 - Graphite on Paper (A4), 2021

Feet study. Focusing on the form at different angles. 

For this study I wanted to capture the many shapes feet can take when put in different positions. 

Anatomy Study 01 - Graphite on Paper (A4), 2021

Hand study, focusing on form and details.

In this study I captured the form of hands in many different positions. The contrast of light and dark provided depth to the pieces, aiding the communication of twisted fingers, a bent wrist, or a flexed palm. 

Movement/Gesture Study - Graphite on Paper (A4), 2021

For the first study I tried to capture the movement of a dancer, limbs fully extended. For the second I chose the opposite, I used seated/crouched references to capture how the body folds in on itself in different positions. 

"Hollow Woman” - Graphite on Paper (A3), 2021

Toying with the female form, I attempted to draw the body as if an old tree, semi-entwined with nature. The limbs and head extending into the darkness with no direct cut off symbolize lost roots and ambition. The hollowing out of the stomach suggests a lack of nourishment, despite it being a well matured body pictured. 

If I were to make the image more anatomically correct, proportionally, the rib cage needs to extend down further. There may also be more distance between the two collar bones and the serratus could also be reassessed. 

The contrast of the surrounding leaves against the deep black background makes the figure almost the last point of interest, this is also supported by the piece being compositionally balanced (No direct interest points we are immediately drawn to). However, given that the woman was meant to fade into the background - this is not too big of an issue.

Wanna play something I made? 

The Inbetween is a 2D platform Horror/Adventure game released free to play on PC, June 30th 2021.

“Untouched” - Acrylic on Canvas (A3), 2021

An exploration into dynamic symmetry. 

As a beginner artist I struggled to utilise composition effectively across more than just the horizontal or vertical planes in a singular piece, so for “Untouched” I decided to branch out (slightly). 

I firstly found my dynamic symmetry guide, then physically composed my scene in a way that helped add interest across the diagonals, this ultimately helped me utilise levels and encouraged me to play with the angles of my objects.

You can see here how the diagonal heading upwards from the right hand side is communicated through the angle in which the apple lies, as well as the way in which the skull continues that flow through its placement ontop of the books. The shadow cast beneath the apple is echoed by the black book covers and the highlights on the apple and skull both fall on the meeting points of the intersecting lines. 

The diagonal from bottom left to top right is communicated through the corner point of the book, loosely followed by the skulls teeth and then guided further by the leaves. 

Empty space on both sides helps draw attention to the centre objects and ensures the image isn’t busy or overwhelming. 

“Back to basics” - Acrylic on Canvas (A3), 2021 

Toying with contrast and shape. 

I set my scene up against two wooden chopping boards in the hopes of capturing the contrast between the red of my subjects and the deep brown backdrop they provided. 

Using such simple composition I feared my subjects might feel detached from their environment, so I switched the flowers over into a clear vase and let the colours from the backdrop bleed through - resulting in a much more connected feeling between the wooden backdrop, flowers and apple. 

“One Winters night” - Acrylic on Canvas (A3), 2021

Inspired by cold winters nights in the small town I grew up in - where the stars were always visible and the sky seemed to stretch for miles. 

This painting is composed as if viewers were standing on the sidewalk looking up at the sky above. The rule of thirds is implemented to help give viewers a sense of both the sheer scale of the sky and relative perspective.

Contrast is also used to draw viewers attention upwards, with the white lining of the central clouds against the deep blue of the starry sky being the highest point of saturation. 

The suggestion of my maunga, Putauaki, can be seen sprawling out from behind the edge of the buildings. Its diagonal edge providing a natural sense of flow between interest points (building, light post, sky).