Exterior Drawing: Central Village - Front and 2/3 Above Perspective

As the initial starting point, I chose the main entrance of the main accommodation building in Central Village, following the notion of "front to back". The two sketches only focused on the main components of the space and omitted the details, consequently purging me into removing all unnecessary details altogether when doing the final drawings. In these two sketches the perspective is a bit distorted and skewed, which hinted that I'm going to need sketching out the final drawings in a precise manner. Primarily, I did the front of the entrance for sake of simplicity, and drew the outlines in the same manner as the previous 5 drawings - pencil precise sketches with a ruler based on the shaky original sketches made when I visited the space. Since the atmosphere was calm and organized (structured if you will) when I came there, I wanted to see if I would be able to completely shift the tone and preserve the geometrical architecture while adding a sense of chaos and expressionism. Flipping the choice of tools this time, when I added the layer of watercolor over the lines it seemed as something stripped of its contours as if diminished by time and the elements, however, with the profuse infusion of ink, the drawing quickly turned into a colorful, yet eerie and nightmarish setting of the dissolution of existence. Furthermore, because of the inconsistency of the lines along with their thickness, I believe that with a digital copy of the pure watercolors and variations of the ink - all brought and animated together will make for a brilliant shifting background, reminiscent of Samurai Jack's "Nightmare Fuel", where every frame has a distinct and unique flow of ink that makes it chaotically tremendous. Following with the upper perspective, this is where I did NOT focus on trying to implement a consistency of space because the background is susceptible to constant change as it seems like it is not of a solid form, but rather a liquid that can dissolve and distort (reminiscent of a dream/nightmare). I think that the crucial part is the texture and desaturated color of the watercolor that blends with the ink, and along with the perspective, shape, and composition of both drawings, comparatively and individually, the space tells a story about a warped space which floods a person's mind with bleak and murderous thoughts (as through psychology, colors, the absence of them and light has a huge influence on hormones, which can be "distilled" to harness psychotic thoughts (like a sensory deprivation chamber). Just as my previous drawings were fitted for a city in ruination perfect for a story of exploration, these I believe are perfect for the space in which our grim embodiment of our unconscious battles our spirit by trying to overwhelm us with fear, the main emotion that is the root of all consequent negative ones. The element that can bring even the strongest warrior to his knees - fear of his own self, his own mind.