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The sketching phase resulted in me making a warped version of garrison with strange proportions, a mohawk, and some gnarly sunglasses. Ants were added in shortly after with the intention of having them be crushed by Garrison's fist. The cuts in the paper were all the work of Sage after I was done, so they had no affect on the final product.

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For my last project I decided that I would involve Garrison in my work. I had already dedicated two works to other friends so I wanted to have a set of at least three, Garrison happened to be that third.
The quadrants I used for my project on  the grid were Abstraction, Wet Media, Application, and Warped.
From the beginning I new that this project was going to be of a wilder cut than that of my previous works, since the main focus of the project was to warp something. I did this by taking the average form of Garrison and twisting it beyond recognition, which is why his proportions are so strange. I also had him sitting criss-cross apple sauce since he never sits like that.
I worked with water and oil paint, a strange combo with unfamiliar materials. I originally had no idea what to do with the tools I was given, and by the end I'm still not entirely sure.
My technique was messy experimentation with colors and strokes, seeing what would stick. I would say that the strongest part of my piece would be Garrison's face since it's the lightest and easiest thing to recognize in the painting.
If i could go back and change one thing I wouldn't. The point of this piece was to show what I could do blindly with very little guidance. Trying to go back and fix it would be like erasing a sign of progress.
I've now learned about the medium that is oil paint, and an uncommon way to use it.

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Stencils, Poetry, Geometric Shapes, Spray, Letter.

I began by making a base formation of one giant J, then sprouting out others from the bottom. I then made an assortment of small stencils with geometric shapes, with the intention to spray them onto the paper. But before I did any of that I first constructed a haiku so that my work could start with an extremely loose guide.
"Life begets more death, Jazz begets even more death, Jellyfish don't die."
My original plan only deviated once I realized that there were only three spray colors, so I used acrylic paint to add in some other colors. In the end I also penciled in a vague instrument, some notes, and a couple of jellyfish in order to bring everything together.
I believe the black spray paint definitely comes out the strongest, while the brighter colored pencils work as a background.
I was finally able to get my hands on some spray paints and see how the media worked. I also used homemade stencils for the first time.

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The main concept of this piece was to show how text could lead to terror. The patterned yet disorganized formation of the word "text" shows how information can be formatted online. A spider is seen picking through specific text and then twisting and exaggerating them, this is shown by how the spider has two different sides. One with four calm and skinny legs, representing the factual and uninteresting world supported by an orderly web. The other side of the spider is much wilder, with no safety web or sensical amount of legs. These legs spindle up spider silk which reaches the general populace and fills them with terror. The reason I decided to use colored pencils was because I wanted to give a gestural mark to the threads and the face, to show how frayed everything was. If I could go back and change one thing I would add more to the text portion of my piece.

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My thumbnail sketches were based of the concept of fear, mainly because it was almost halloween and I wanted to do something spooky. I drew a scared face, a representation of heights, and spider. When it came time to start my project I decided to mash all three thumbnail sketches together because the three sketches seemed to work off each other.