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Cool Shark(s)(and other sea creatures) I saw at an aquarium.

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I think this was memorable as I really enjoyed my trip to the aquarium, but shooting photos through such thick glass resulted in horrible chromatic aberrations and distortions. so I couldn't get the results I wanted. I used charcoal and my fingers to blend the lines to fill in the negative space. There was no connection between the media and the event.

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I wanted to capture this photo of a duck in a pond that I saw when I was on a car near Waterloo. Because the car was moving, I didn't have enough time to turn on my camera and take a photo of it. I used gouache and watercolor because that was the main medium available. For white, I had to use crushed-up chalk mixed with water because there was no white paint left. There was no intentional connection between the media and the event.

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I look forward to not dying this year because I would like to live. I first need to make sure I am always situationally aware, especially near dangerous situations. I used both dry and wet media in this collage; the dry media is used to fill in the empty space, especially near the bottom and surrounding the body. Wet media was used on the large X because it looks a lot more natural compared to what it would look like if I used pastel. I think it was not fully communicated clearly because I forgot what the prompt I chose was halfway through.

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The main struggle with this piece was our ability to communicate; everybody has their own idea of what and how this piece should be built. This caused the build process to be slow and excrutiating. However, the joy of being able to use tape as the main material brings play into the piece. We(I) still have no idea how we are going to model the body from the tape. Today's start was slow but I think as we progress, the speed at which we work will (hopefully) improve.

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It felt almost liberating to see how far the piece has come since the first day. Although the pose we chose changed, the final result seems great(but it looks like my tape on the hands are drooping).

The communication while doing this piece was amazing; everyone was attentively listening and giving helpful feedback when needed.

The final result was really surprising because of how far we have gone compared to when we started.

Both my definitions have stayed the same. I feel like using tape as the main component is a really fun experience and the main struggle within the team is still communication.

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Exploration of Media
How can experimenting with different tools and materials (e.g., pencils, ink, charcoal, brushes, found objects) change the variety and expressiveness of your marks?

We used a variety of different materials such as charcoal, paint, ink, markers, fat markers, string, and various other liquids. These helped show the playfulness of the creation process.

Intentional Choice
In what ways does the choice of media influence the mood, texture, and meaning of your artwork? How do certain tools help you communicate specific ideas or feelings?

I feel like the large variety of media makes the piece feel intentionally chaotic and shows an almost panicked mood. By using red paint, the piece is able to portray the feelings of anger and frustration.

Process and Reflection
As you layer, repeat, or vary your marks, what decisions do you make about control versus spontaneity, and how does the media you select either limit or expand these choices?

To start the piece off, most decisions were spontaneous, for example, the starting strokes of charcoal and marker. As the piece developed, we added more controlled shapes and colors to fill in the gaps. Towards the end, however, we decided to add extra things such as water splashes or certain blotches which we feel added character.

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Top - Blind Contour, Bottom right - Contour, Left - Gesture -> Contour 

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1. Imperfections allow me to realise that not all details matter, by pertaining the key features, even if they are not in the correct places, you are still able to recognize subject.

2. It allows us to get used to proportions when drawing something we don't have a full reference for.

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1. By doing the positive shape contour first, I was able to make sure the proportions aren't too off. Then, by layering on the gesture drawing, I'm able to picture where I'm going to place the face's details.

2. To balance the accuracy and creativity, I chose to use charcoal, which I found was more fun to use then pens and markers.

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1. The grid system helped improve the proportions by giving me an exact measurement, and also the tiny details that I might've missed if I didn't scan each square.

2. The easiest thing with the square was the proportions, due to there always being a measurement unit and a way to compare proportions. The hardest part of this by far was the amount of time it took compared to a traditional drawing. It really took a lot of patience.

3. Instead of doing small squares, in future drawings, I could use big squares to make sure that the proportions are accurate while not taking too much time.

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Copy of Art Foundations: Drawing Styles Self Assessment

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1. I ensured that the sketches had variety by using different materials for the sketches. I originally didn't plan on using the red ink, however, I felt that the ink may add some color to the black and white piece.

2. I think as I continued sketching, the unintentional theme of mortality or maybe abstract portraiture.

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1. I think the red ink I chose reminded me of blood, so I tried letting the ink drip down the page, which I felt could be executed a bit better. The charcoal is always nice to draw with because it feels fun to draw with and feels nice on paper.

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I wrote the daily prompt in "oct 1 sketch 4"

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Cr2:

1. Gesture drawing - pencil drawing underneath to give gesture to Cookie Monster

2. Positive Shape contour - drawing the shape outline using blue watercolor

3. Detailed contour, shading in the shadows and drawing in cookie crumbs

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1. During the initial planning, I used pencil gesture drawing to establish the posture and proportions. I did it so that I could understand the form and movement of the subject. I also did a rough sketch of the figure's shape.

2. During this process, there was a lot of tweaking of the reference pose, angle, and location of the subject on paper. These changes eventually led me to take too long on the starting phase and lose drawing time.

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I plan to finish the painting by adding color to the drawing and completing the grid drawings on (c1,r1), (c3,r2), and (c2,r3). I spent the class revising ideas and overhauling everything, and eventually ended up with this. Because I had to include 3 drawing techniques, I decided to add grid drawing to some boxes to add contrast to the main scene. I plan to use a different palette of colors for the three boxes, probably darker greens, browns, and oranges, to color in the mountain forests.

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This piece explores the tension between emotion and form through exaggeration and distortion. I was inspired by George Condo's expressive exaggerations and modifications of the human figure in his artwork. I focused on the eye as a symbol of vision and vulnerability. The exaggerated eye breaks from an otherwise structured form of a mannequin, with a marionette controller on top, symbolizing control. I used charcoal because it allows for deep contrasts and added a splash of paint around the eye section to give a sense of anger and chaos. The process involved grid drawing to help with eye proportions, gesture drawing to establish structure, and detailed contour to refine the lighting.

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Bond - Art Foundations: Line and Shape Self-Assessment

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I wish to be placed with these artworks because they all use similar colors and materials. I also notice a similarity in shading and techniques used, which allows for deep contrast.

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The principles that I believe are in my comfort zone are:

Emphasis

I think, for me, emphasis is a principle of design that is easy to forget but also easy to achieve due to the concept of emphasis being very simple.

Variety

Similar to emphasis, this is one that I think is easy to forget but also easy to implement.

Repetition

Some principles that I find risky are:

proportions

I can be more comfortable with them through practice, such as grid drawing or contours.

Proportions are risky for me due to my lack of practice with them.

movement

I can be more comfortable with movement by just practicing drawing movement more, similar to any other principle I struggle with.

unity

Because of my lack of experience in art, unity is something that I'm not sure how to achieve. Like the other 2 before, I think that it can be improved through practice.

I can overcome my hesitation by simply practicing with intention, by focusing on aspects that I am not yet good at.

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Login to access and create your next design.

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I drew rhythm. This piece was a risk. Compared to how most people would use dry media in order to trace the plastic characters to form the letters, I took the risk of sanding the letters down and trying a new method. When creating the piece, a principle that was bound to arise was repetition, as, to have rhythm , you must first have some form of repetition.

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Instead of the usual approach, where I would focus on the positive shape of the object, this time I focused on the negative space. By doing so, I was able to think differently about how shapes and figures are formed, which helped me with proportions. By using positive shape contour this time, instead of focusing on the positive shape of the object, I focus on the negative space surrounding the object and do positive shape contours on that. Simplifying into black and white helps with identifying which is the main focus and which is the negative space.

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I used positive and negative space to create balance and visual interest by making shapes. I specifically chose to cut/crop the paper in order to better center my composition and straighten it. The ideas behind notan are the foundations of art; these ideas can help me better create pieces with intentional contrast and shapes to help guide my viewers' eyes.

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I used lines and shapes to create the environment of this city. I used loose, jagged lines to depict the organic structure of the cliff and mountains for the Upper and Front Angle POVs, while cleaner, curved lines to draw the spider webs that connect the houses. For the lower-angle POV drawing, I used a gradient with spikes to represent the abyss, and in the city, I had hanging pods, rectangular ladders, and suspended walkways.

I used space and depth by experimenting with these perspectives. I used atmospheric perspective by keeping the background mountains faint and sketchy while making the foreground elements, like the web and ladders, darker and more detailed. I also used a worm's eye view (lower angle) and bird's eye view (upper angle) in a nother to show the massive scale of the cliffs compared to the small city of octavia.

Some principles of design that show up in these drawings are rythm, scale, and unity. Rythm and movement are created by the sweeping lines of spider web and rope ladders that hang from those webs that lead the viewer's eye across the gap. Proportion is shown through the tiny size of the houses and elements compared to the mountains and the size of the web.

I think my favorite design that I could show my partner would be the bird's-eye view one. I like the unevenness, composition, and details compared to the other two perspectives. My runner-up would be the front view.

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I did the left and right while my partner did the front and back.

The idea has developed since the first day, as I've added new cube homes and more shapes. By practicing the iteration process, I'm able to have more clarity in what I want to add and what I want to exclude from the piece, and also the placement of those elements.

An unexpected challenge I found was realizing I struggled with drawing complex perspectives like from below or from the sides. However, a pleasant surprise was seeing how well the geometry of the cube looked against the hanging pods. to solve the challenge, I plan on relying on the model to help me understand the 3d space better than my current flat sketches.

List of extra materials:

Aluminum foil

Yarn

Hot glue

Wires

Gauze

Thin Wood

tinkercad link for PR5: https://www.tinkercad.com/things/5QZsPPVXwdJ/edit?returnTo=%2Fdashboard&sharecode=ZBxRsMlmBUpIxbBd860GSr-gYaLRNxStCHyqtFiEjP8

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March 31

From observing and looking back at older lessons, I was able to catch up with lessons and tasks.

Based on my previous explorations in the earlier units,

To make an object feel:

1. Rough: You can use cross hatching, stippling or scrumbling. A visual cue would be frequent sharp changes in light and shadow.

2. Smooth: You can use soft blending and long strokes. A visual cue would be gradual value changes.

3. Soft: You can use short feathred strokes or soft edges.

4. Hard/rigid: Crisp clean edges and heavy consistent lines.

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Reference images and media exploration - April 2 and April 7

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Reference images and media exploration - April 2 and April 7

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As I was not here on April 2nd, I was not able to do media exploration; however, I was able to use my past knowledge and exploration to know that, because this piece was in black and white, ink and charcoal would be an interesting combo to use. By taking a photo I took before the break and by telling AI to add a middleground for depth, I was able to create the photo above, which I will be using as the main reference for my piece going forward.

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I decided that my method of capturing the proportions and outlining would be through carbon paper. and got started on the setup and general lines.

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This is my first day of working on the piece after tracing through the carbon paper. I have decided to use ink and charcoal. I was experimenting with ink concentrations to see which concentration to use for which shade. I decided to fill in the dark areas first then eventually add water as the shades get lighter. Tracing paper seems to be a very cool media to experiment with.

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Today, I worked on filling in the areas that weren't the deep shadows. I found that the brown paper was especially annoying to use due to it causing any ink on top to come out as brown if not concentrated enough. I found that ink was very easy to create a smooth-looking surface, but very hard to create something that looks rough or hard due to how it bleeds around, smoothing the shades out.

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When I was working on my art, I found that the main principles and elements of design I found I considered the most were: Contrast, Variety, and Unity.

I found that I struggled with Contrast and Unity the most. Particularly, when I were to add something that was too contrasty, it would look out of place, and sometimes the transitions would be too harsh. However, when there isn't much contrast, the piece looks flat and boring. It was especially hard for me to make sure that unity was there, especially considering my issues with contrast.

I found that variety was something I paid a lot of attention to, yet didn't seem to struggle with too much. By making sure that the houses were each of different sizes and had different textures, I was able to improve the variety in the piece.

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During this lesson, I added a lot of new things. Specifically, I added new rocks to improve contrast between foreground and background, as well as revisited the houses and added different shades of gray instead of leaving them brown like before due to the brown paper. I talked to Magnus and Mr. Larson to get feedback and continually improve on many aspects of the drawing. In my revision process, I made sure to look at my piece from different angles and distances to ensure I wasn't missing anything that could make it worse.

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https://docs.google.com/document/d/1qo_-wxlJXcHztRrHDlgS-AGH_LbULdWCy3MW3PaEITQ/edit?usp=sharing

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Today I spent the class trying to map out exactly where I want to go with this project, sketching out a few different directions on blank pieces of paper. Right now, I have three distinct concepts that I'm trying to weigh against each other:

1. The Monopoly Commentary: This would be a minimalist piece focusing on corporate isolation and consumerism. I picture a completely barren, flat green field with a tiny, isolated Walmart right in the dead center. The vast emptiness around it would comment on how big corporations swallow up space and kill local variety, using the landscape to create a sense of corporate monotony.

2. The Automotive Profile: For a long time, I've wanted to experiment with clean, graphic layouts using automotive shapes. This concept would focus on a stark side profile of a car, but the core challenge would be strictly applying the 60-30-10 design rule to the composition. I want to see if I can use those strict color ratios to make a highly structural, high-contrast painting where the car shape almost becomes secondary to the color blocking.

3. The Altered Cyanotype Mixed-Media Piece: This idea combines chemical printmaking with traditional painting. I want to create a base print using cyanotype, but then deliberately alter the chemistry by bleaching it with sodium carbonate and staining it with something like black tea to get muted, sepia, and gray tones instead of the standard blue. On top of that altered surface, I would apply the 60-30-10 composition rule using heavy paint layers.

possible themes:

1. war

2. urbanization

3. deforestation

4. pollution

For my materials and processes, I am primarily considering using acrylic paint as an exploratory medium, alongside light-sensitive cyanotype chemicals, heavy gloss varnishes, and watercolor washes. Idea 3 feels the most unpredictable and engaging, so my process will likely involve layering these wet and chemical mediums together on the same surface to see how they react.

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I spent today running multiple tests with the cyanotype chemicals to see how the thig reacts to different papers, image types, and mixed-media overlays before I start working on a massive scale.

My first experiment was trying to use cyanotype over a layer of acrylic paint. I found that they details are very blurry when I do the cyanotype oeer the paint.

Landscape Texture Test: For the second experiment, I wanted to see how well the chemicals could capture fine photographic details and soft gradients rather than just hard graphic shapes. I exposed a landscape image of hot air balloons floating over a foggy mountain valley I took in laos. I had to watch the exposure time closely so the misty tones in the hills didn't completely wash out into white or overexpose into a solid block of dark blue. The test came out clean and showed me that the paper holds onto fine, grainy textures really well.

Watercolor Overlay: My third test was an attempt to mix watercolor directly over a processed print.

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Today I moved away from paper tests and started preparing the actual structural substrate for the final piece. I decided to use a large canvas instead of print paper, but because I want to layer heavy fluids and multiple sheets of paper later on, I needed to make the canvas completely rigid and non-porous.

To achieve this, I used a medium-thickness varnish as a sealing medium. I ended up applying 4 separate layers of the varnish across the entire surface of the canvas. I had to use a wide, flat brush and work quickly to keep the coats completely smooth and avoid trapping air bubbles in the medium. By the fourth layer, the texture of the canvas weave completely flattened out, leaving a thick, glossy, plastic-like barrier. This ensures that whatever paint or cyanotypes I put down next week won't sink into the fabric of the canvas, but will instead sit right on top.

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The project is getting a lot more complex as I start building up the actual visual background on top of the prepared canvas. Looking at what my progress is looking like so far, the primary structural base is incredibly solid meaning the overall composition is shaping up nicely, but not exactly according to plan. I started today's session by painting a solid, heavy layer of acrylic right over the dried varnish coats from last class to establish the base undertone of the piece. Once that paint layer dried down completely, I sealed it back up with 1 more layer of varnish to lock the color in and recreate that slick, non-porous surface.

While that was drying, I started prepping the paper elements that will form the actual core of the final print. I chose to use parchment paper because of its translucent quality. Coating parchment paper with liquid cyanotype chemistry is actually a massive pain, and mastering this even application is a specific skill I’ve really needed to refine along the way. Because the surface is so incredibly smooth, the stuff constantly wants to bead up and dries unevnely. I had to skip the paint brush entirely and use an ink brush and sponge to force the chemical spread to stay thin and uniform.

I prepared 4 separate pieces of this parchment, treated them with the chemicals, and then carefully aligned and laid them directly on top of each other. Stacking these four translucent layers builds up a heavy, hazy, volumetric blue space that will give the final composition a lot of internal dimension once exposed. As I start to finish up my project in the next session, the critical skills that will appear revolve around precise spatial alignment during exposure, as well as managing a washing method without destroying the water-soaked parchment.

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I finally finishd. Looking at the final result, I feel the artwork successfully captures the core tension. I applied a sheet of clear plastic wrap over the entire canvas. Rather than laying it flat, I deliberately manipulated the material, stretching and pulling it to form harsh, chaotic wrinkles across the center. This physical distortion immediately altered the image underneath, breaking up the clean lines of the exposure and adding a layer of artificial texture.

I decided to paint directly onto the wrap using acrylics. I added dense, explosion smoke at the bottom edge to serve as a visual anchor. Behind the jet, I painted a vivid orange and red engine flare, which gives the stark silhouette an aggressive kinetic energy against the muted blue background. Finally, instead of letting the piece air cure, I applied direct, high heat using a hairdryer. The forced heat flash-cured the acrylic and caused the plastic to shrink, melt slightly, and permanently fuse to the parchment, creating a tight, synthetic seal.

Additionally, I painted smoke explosions that got bigger as they got closer to the viewer's point of view.

the cyanotype manipulation and double exposure was a technical challenge, but the resulting physical depth effectively communicates the intended commentary.