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Before today, I usually started shading by drawing light lines to separate the darkest areas from the lightest ones. Those lines helped me organize where each value would go before blending. However, today I tried a different approach by only using the outline of the sphere and starting the shading directly, without drawing lines to divide each part. This made me focus more on gradually building up values, which helped create a smoother and more realistic finish.

One part that felt familiar was blending, especially blending darker areas into lighter ones and integrating lighter tones from the dark shadows. What felt new and challenging was focusing only on shadow shapes without relying on outlines. I had to really concentrate on the subject because it was sometimes hard to tell the differences between the darkest shadows, midtones, and highlights.

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The meaning behind my artwork stems from my perspective on my family and the connection we share. My piece combines half of my mom’s face and half of my dad’s face to form one complete portrait, showing how two different people come together to create unity and balance. It also reflects how I see myself as a mix of both of them, carrying parts of who they are within me.

My inspiration came from Chuck Close, who is known for using blocks and blobs of color to create realistic portraits. I was inspired by how he made something detailed and lifelike using abstract techniques. I applied this idea by layering and blending colors to make my parents’ faces look realistic while still showing their differences.

My process started with a grid drawing to make sure the proportions of both faces were accurate. Then I used gesture drawing to block out the main shapes, followed by detailed contour lines to define the features. For coloring, I used oil pastels on both faces, leaving the middle blank at first. After completing both sides, I blended the colors to connect them smoothly. I also went in with tinted charcoal to bring out certain features and add definition. Furthermore, instead of using black, I built up depth with layers of blue, purple, and brown to create shadows and contrast while keeping the piece vibrant. I used the same approach for the hair and clothing to keep the artwork consistent.

The final piece represents unity and individuality, showing how differences can come together to form something whole.

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Kelly's Art Foundations: Drawing Styles Self Assessment

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Copy of  Art Foundations: Line and Shape Self-Assessment

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This artwork explores the relationship between the human figure and its surrounding environment by adding more lines around the figure that represent the emotions at play. In this artwork, specifically, the harsh and thick lines convey the intense emotions the character is experiencing. Additionally, since the wires are in all random directions, it gives us more insight into what is going on.

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The event in the past that I wished I had taken a picture of is going skiing with my cousins. This was memorable because when I was younger, during all my winter breaks and Chinese New Year's, I would always go to Lake Tahoe with all my cousins. Watercolor connects well to skiing because its soft washes can capture the light, airy look and feeling of the snow while still showing the main idea of the scene. The subtle shadows and layering of colors also bring out movement and atmosphere, making the memory feel more alive.

For the wet media artwork, I added darker colors to the hills and mountains on the ski slope. I also adjusted the color of the sky, though it may not be very noticeable due to the lighting.

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Add a photo when I get it

Does the creation of your sculpture give you a better understanding of Antony Gormley's concepts of a figure in space?

Yes, it gave me a better understanding. While working on the sculpture with my group, I noticed how the tape lines connecting the figure to the poles created a sense of motion, almost as if the body was stretching into the surrounding space. At first, we struggled with getting the proportions of the figure right and making the tape hold its 3D shape without collapsing. But once we saw how the lines of tape could show movement and energy, it really clicked that Gormley’s art is about more than just the figure itself; it’s about how the figure activates and interacts with the space.

What was your big light bulb moment from this experience?

My big light bulb moment was realizing that even the mistakes, like gaps or extra tape hanging off, weren’t really mistakes at all. In the beginning, I kept worrying about the loose pieces, but later I noticed that those extra lines actually looked like lines of action, almost like they were showing how the body was moving. It also made it more alive and expressive-looking. That changed the way I thought about the whole project, because I saw that imperfection could actually make the art stronger.

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The event in the past that I wished I had taken a picture of is going skiing with my cousins. This was memorable because when I was younger, during all my winter breaks and Chinese New Year's, I would always go to Lake Tahoe with all my cousins. Watercolor connects well to skiing because its soft washes can capture the light, airy look and feeling of the snow while still showing the main idea of the scene. The subtle shadows and layering of colors also bring out movement and atmosphere, making the memory feel more alive.

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The event that happened this summer that I wish I had taken a picture of is going peach picking with my family. This was memorable because I had so much fun, and I wish I could relive it. Although there were many flies, being with my family and being able to pick and eat as many peaches as I wanted made it so much better. Dry media connects well to this event because the pastels capture the textured look of the peaches and the details of the tree. Also, the sharpness of dry media makes it easier to show the shapes, lines, and vibrant colors, which helps the memory feel full of life.

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The event that happened this summer that I wish I had taken a picture of is going peach picking with my family. This was memorable because I had so much fun, and I wish I could relive it. Although there were many flies, being with my family and being able to pick and eat as many peaches as I wanted made it so much better. Dry media connects well to this event because the pastels capture the textured look of the peaches and the details of the tree. Also, the sharpness of dry media makes it easier to show the shapes, lines, and vibrant colors, which helps the memory feel full of life.

To improve the artwork, I made several changes. First, I darkened the sky and added clouds. Next, I used a darker shade of brown on the tree to enhance its details. Finally, I recolored the ladder, which had blended into the sky during the recoloring, and darkened the peach buckets to give them more contrast.

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In my collage, I’m looking forward to many things this year, such as discovering new artists and songs, debate, traveling, going to the beach, celebrations, eating healthier, having fun, spending more time with family and friends, and capturing those moments. I will achieve this by staying open to new experiences, making time for the people and activities I love, and maintaining balance in my life. For the design, I used mixed media by drawing some of my friends and writing down different words. I chose pen because its clean lines allowed me to clearly express my ideas. Overall, I believe I communicated my ideas well, since the items and pictures I included clearly show what I’m looking forward to this year, and the pieces sticking out of the paper add more dimension.

For this collage, I added legs to my Kermit the Frog, added an airplane and tracks to the globe, and changed the balloon to resemble a destination point. The final thing I did was take a photo of my artwork on a black piece of paper to give a better contrast.

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In my collage, I’m looking forward to many things this year, such as discovering new artists and songs, debate, traveling, going to the beach, celebrations, eating healthier, having fun, spending more time with family and friends, and capturing those moments. I will achieve this by staying open to new experiences, making time for the people and activities I love, and maintaining balance in my life. For the design, I used mixed media by drawing some of my friends and writing down different words. I chose pen because its clean lines allowed me to clearly express my ideas. Overall, I believe I communicated my ideas well, since the items and pictures I included clearly show what I’m looking forward to this year, and the pieces sticking out of the paper add more dimension.

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How did focusing on line and shape change the way you drew?

Focusing on line and shape made my drawings feel more accurate and organized. Instead of jumping straight into details, I could first build the overall structure with simple shapes, making me realize that the overall figure is just as important as all the details. This helped me capture the figure’s form and movement more clearly, and I noticed that my drawings looked more balanced because of it.

What was hardest about simplifying forms into basic lines and shapes?

The hardest part was identifying the lines of motion, since they’re usually hidden within the figure. It was also tricky to keep proportions right when I could only use simple shapes, because one small mistake could throw the whole drawing off. Learning to see past the details and break the figure down took some practice.

Which sketch shows your best use of line and shape, and why?

I think my first ballerina drawing shows my best use of line and shape. Even though the lines of motion don’t stand out, I used them as the outline of the figure, which helped me capture the pose more accurately compared to the picture. If I could improve it, I’d add more visible motion lines around the shape to show the energy of the dancer, make it look less stiff, and give it more character.

How could this practice help your future drawings?

This practice can really help me improve the structure of my drawings before I focus on details. Starting with lines and shapes gives me a stronger foundation to build on, which makes the final piece look more realistic. It could also make me work faster in a better way, since I’d be able to block in the figure quickly before refining it with shading and details.

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Explain your rationale for the placement of each element in your comfort, risk, and danger zones.

In my comfort zone, I placed value, line, shape, and space. I chose these elements because I use them frequently in my daily sketching and warm-up exercises, so I feel confident and familiar with them.

In the risk zone, I included texture and color theory. Texture is something I don’t often incorporate into my pieces, but I would like to explore how it can add depth and emotion to my work. Similarly, my understanding of color theory is not very strong, and I know it is an area I need to practice more. Learning how to combine colors and use undertones more effectively could make my artwork a whole lot better.

For form, I placed it between the danger and risk zone. I’m not fully confident in my understanding of it, and even though it may seem simple, I feel there is a lot more to learn about how form creates the illusion of three-dimensionality in a drawing. Developing a stronger grasp of form would help me push my artwork beyond flat sketches and give it more realism.

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In the picture above, I added comments identifying where the elements of art appear and explained why. I believe this demonstrates a deeper understanding because I was able to pinpoint specific areas where each element is used and provide reasoning for my choices. By not only locating the elements but also describing their purpose, I showed that I can recognize how they contribute to the overall composition and meaning of the artwork.

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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?

Experimenting with different tools and materials can completely change the variety and expressiveness of my marks. Each medium emphasizes different aspects of the artwork; for example, charcoal can create bold, dramatic lines, while ink allows for precision and contrast. Using different materials also lets me respond to my surroundings and highlight certain parts of the piece, making the artwork more dynamic and engaging.

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?

The choice of media has a huge impact on the mood, texture, and meaning of a piece. For this artwork, my partner and I mainly used bright colors to create a cheerful and exciting atmosphere. The textures of the pastel lines made the drawing look more three-dimensional and added visual interest. The softness of the pastels also connected to our theme of happiness, giving the artwork a playful, uplifting feeling that reminds viewers of joy and childhood.

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?

As I layered and repeated my marks, I thought carefully about balance and control. I wanted to spread the colors evenly across the whole artwork so that the sense of happiness was shared in every part of the piece. At the same time, I left room for spontaneity in how the pastels blended, since their chalky texture naturally created playful, unpredictable effects. The pastels also gave the piece a nostalgic feeling, almost like drawing with chalk on a sidewalk during childhood, which added another layer of meaning to the artwork. We also added our first initials into the piece to represent ourselves and make the artwork more personal.

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September 11 - Blind Contour and Contour

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September 11 - Blind Contour and Contour

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The picture above was my final attempt at a blind drawing - Putting everything I learned into this.

Blind contour:

How can the “imperfections” in blind contour drawing help you embrace experimentation and discover new expressive possibilities in line?

The “imperfections” in blind contour drawing can actually open up new ways of experimenting with line. By letting go of the pressure to be perfect, I’m able to try new approaches and turn mistakes into something expressive. The looseness of the lines gives the drawing more energy and emotion, and since I usually like things to look precise, this practice pushes me outside of my comfort zone. It helps me access new ideas and possibilities that I wouldn’t have thought of if I were only focused on accuracy.

Contour:

Why might the practice of contour drawing be more about understanding structure and relationships in a subject than creating a polished final image?

The practice of contour drawing is less about producing a polished final image and more about understanding the subject’s structure and relationships. By focusing closely on the edges and outlines, I learn how different parts of the subject connect and interact. This process trains my eye to observe carefully and improves my ability to capture proportion and form. Even if the drawing doesn’t look “finished,” the exercise builds a stronger foundation for creating accurate and meaningful artwork.

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What strategies could you use next time to strengthen the connection between looking and drawing?

Next time, I could slow down my eye movements so my hand has more time to follow along. I could also try to match the speed of my hand to the speed of my eyes, making the connection smoother. Another strategy would be to focus on smaller sections of the object at a time, instead of rushing through the whole outline.

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How did your hand respond to what your eyes were seeing during the blind contour exercise?

During the blind contour exercise, my hand moved in response to where my eyes were looking, almost as if it were tracing the path of my gaze. Since I couldn’t look at the paper, most shapes turned out distorted, and facial features were all over the place, but they reflected the details I was truly focusing on. It felt like my hand was directly translating my observations into marks on the page.

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Which of the three drawings felt most successful, and why?

The contour with details drawing felt the most successful because I was able to look at what I was doing, which made the lines cleaner and more precise. The proportions also turned out better, and it actually looks closer to the reference. This drawing is stronger because the features are more accurate and show a clearer relationship to what I was observing.

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Starting with the positive shape contour helped me set up the overall outline of my classmate, which made it easier to keep the proportions accurate and balanced on the page. After that, layering gesture drawing and lines of action gave the figure more energy and flow, showing how the body was positioned rather than just appearing stiff. This step also helped me bring out some of their personality through the way they were standing or moving, which made the portrait feel more alive.

When I added details, I focused on ensuring that the facial features and main parts of the figure were placed accurately so that it still resembled my classmate. At the same time, I didn’t just copy the photo; I used more colors and experimented with different marks and textures to make the portrait stand out. These creative choices helped show more of my classmates’ personality and made the outcome feel unique and expressive instead of just a direct copy of the photo.

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The grid system greatly improved the accuracy and proportions of my drawing. It helped me measure and compare different parts more precisely, making sure everything stayed balanced and realistic to the inspo picture.

Using the grid made it easier to see exactly where each object or feature belonged in the drawing. It helped me break the image into smaller, more manageable sections so I could focus on one area at a time. It also made it easier to tell the size of each strawberry so they looked even and correctly spaced. However, it was still challenging when I accidentally mixed up certain boxes or drew something slightly too big or too small, which I later had to adjust.

In future drawings, I plan to use the grid method whenever I want to make something look realistic and well-proportioned, especially for faces and body figures where proportions matter the most.

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When brainstorming, I ensured I had variety within each draft by not only changing the appearance but also the materials used. For the first draft, I did it fully in charcoal so that it's black and white. For the second draft, I used oil pastels, which made it colorful. For the last draft, I did a mix of charcoal and oil pastels, so that it has little sections of color. However, for all three drafts, some things stayed the same, including using the grid system to ensure accurate proportions, using positive contour, and using detailed contour. Stylistically, I explored how color, texture, and value could affect mood; black and white gave a more serious tone, while color added warmth and emotion. This exploration helped me decide how to best communicate the feeling of closeness in my final piece.

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Picture of One of The Drafts I Did (Ended Up Picking This Design)

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September 30 - Final Project Reflection Cr2

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September 30 - Final Project Reflection Cr2

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Exploring a variety of materials helped me understand what combinations worked well together and how to use each one effectively. I tested how charcoal and oil pastels blended and figured out the best order to apply them, realizing that layering oil pastel first and adding charcoal afterward created smoother transitions and more control over shadows and highlights. These experiments helped shape my overall vision and guided my choices for the final piece.

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October 2 - Final Project Reflection Cr2

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October 2 - Final Project Reflection Cr2

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For my project, I used the grid system to create a strong foundation and keep the proportions of my parents’ faces accurate. Then I used positive shape contour to outline the main shapes and organize where each feature would go. After that, I applied detailed contour to focus on smaller features and textures, which made the faces look more realistic and expressive. I also took inspiration from the artist Chuck Close, putting my own twist on his techniques by blending my parents’ faces together to create a smooth and seamless transition from one person to the other. During the process, I made a few changes, like adjusting proportions that looked slightly off and softening some contour lines to make the overall drawing appear smoother and more natural.

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October 6 - Final Project Reflection Decision

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October 6 - Final Project Reflection Decision

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For my final project, I chose to work fully in color using mainly oil pastels with some colored charcoal for finer details. I used color because it captures the bright, happy mood of the photo in a way charcoal couldn’t. My process starts with gridding the canvas for accurate proportions, then adding positive contours for main shapes and detailed contours for facial features. When coloring, I begin with darker tones to build depth, then layer lighter shades on top. Around halfway, I complete the eyes and mouth, since adding them early helps bring the portrait to life and shows what areas need adjusting. During the process, I revised by testing different layering methods and color combinations. I found that pure black looked too harsh, so I replaced it with deep purples and browns for a softer, more natural look. These adjustments refined my technique and made the final piece more balanced and expressive.

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October 8 - Final Project Reflection Production Day 2

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October 8 - Final Project Reflection Production Day 2

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So far, I have gridded the canvas and drawn out my parents’ faces, including all the main details. Then, I lightly erased the harsh pencil lines so they would still be visible for guidance but wouldn’t show through the oil pastels. In today’s class, I started working on my dad’s face and completed the cheek, nose, parts of the forehead, and the under-eye area.

My plan moving forward is to complete the forehead first, then work on the eyes and mouth to achieve the full expression and adjust any areas of the skin as needed. After that, I’ll move on to the hair. I’ll follow the same process for my mom’s face, starting with the cheek, then the chin, forehead, and under-eye area, followed by the eyes, mouth, and nose. Once both faces are complete, I’ll touch up the skin tones, blend their features for a smooth transition, and finally finish the hair, clothes, and neck.

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On Saturday, I finished my dad’s forehead and eye area, though it’s still missing some highlights and depth, which I’ll add later. I also worked on the darker parts of his glasses and plan to add the white areas at the end since they’re the lightest. After that, I started on the mouth and the area under the nose. I also began my mom’s eye, focusing on the darker sections of the eye, eyebrow, and mouth. To create smoother textures, I mixed oil with the pastels to get a paint-like consistency, which blended nicely and gave me more control over the details.

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I chose these three photos to go alongside my artwork because they all share a strong use of color and connect visually through their organization and composition. Together, they tell a story about childhood and family dynamics, showing how people and relationships shape who we are. Each image focuses on human subjects and expresses similar meanings of connection, emotion, and togetherness, which link closely to the theme of my own piece.

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The meaning behind my artwork stems from my perspective on my family and the connection we share. My piece combines half of my mom’s face and half of my dad’s face to form one complete portrait, showing how two different people come together to create unity and balance. It also reflects how I see myself as a mix of both of them, carrying parts of who they are within me.

My inspiration came from Chuck Close, who is known for using blocks and blobs of color to create realistic portraits. I was inspired by how he made something detailed and lifelike using abstract techniques. I applied this idea by layering and blending colors to make my parents’ faces look realistic while still showing their differences.

My process started with a grid drawing to make sure the proportions of both faces were accurate. Then I used gesture drawing to block out the main shapes, followed by detailed contour lines to define the features. For coloring, I used oil pastels on both faces, leaving the middle blank at first. After completing both sides, I blended the colors to connect them smoothly. I also went in with tinted charcoal to bring out certain features and add definition. Furthermore, instead of using black, I built up depth with layers of blue, purple, and brown to create shadows and contrast while keeping the piece vibrant. I used the same approach for the hair and clothing to keep the artwork consistent.

The final piece represents unity and individuality, showing how differences can come together to form something whole.

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What principles are comfortable and why?

Emphasis, pattern, and contrast are more comfortable for me because I use them all the time, so they come naturally. They are the base of most artworks because emphasis makes something stand out, patterns can appear in the background or clothes, and contrast shows the difference between colors or between the figure and background.

What principles are risky and Why?

Movement, proportion, and alignment are risky principles for me. Firstly, movement has to match everything else in the artwork and be carefully planned to make sense. Secondly, proportion can be tricky because if it’s off, the whole piece can look weird. Lastly, alignment needs precision since it involves straight lines, though it’s not as hard as the others. I can make these principles more comfortable by using them more often in my artworks, so I get used to applying them and improve over time.

What principles are danger and why?

Unity and balance are the most challenging principles for me. Unity is hard because all the elements have to work together to make the piece look complete, which takes a lot of effort and planning. Balance is also tricky since you need to make sure nothing feels too heavy on one side, and different mediums or designs still have to fit together evenly. One way to overcome these challenging principles is to practice them more and observe how other artists use unity and balance together in their work. This helps me understand how to make different elements work together and create a more even, complete artwork.

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1. Proportion: throughout the whole piece because it's scaled from the top (mountain) to the bottom buildings

2. Balance: There are different buildings in both sides but in the same allignment, and the road is balanced half and half.

3. Unity&Variety: Although everything is varied and unique, they match up well.

4. Emphasis&contrast: The gray road has emphasis since it has contrasting colors with the buildings and surrounding

5. Movement: there are cars that are moving down the hill are identified.

6. Repetition: Houses are similar except for the colors and roofs.

(+) Using contrast, variety, and emphasis, the houses and the road is divided up into three proportions. Additionally, with the houses there is a variety of colors, insuring that similar shades are not next to each other. The light blue line in the middle of the road emphasizes the division of the buildings and the middle road with color and difference in texture.

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November 11, 2025 - Principles of Design Card

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November 11, 2025 - Principles of Design Card

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In my artwork, the main principle I focused on was emphasis, which I showed through the large blue “X” in the center. This principle is a comfort for me, so the exercise helped reinforce how colour, scale, and strong outlines can work together to make one element stand out. While creating the piece, I also noticed other principles appearing naturally, such as pattern through the repeated X-shapes, movement created by the diagonal arrangement and pink motion lines, and a sense of balance from how the shapes are spread around the page. Even though emphasis was my focus, the process helped me see how multiple principles connect and support each other in a single composition.

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November 13, 2025 - The Element of Space

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November 13, 2025 - The Element of Space

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Focusing on the negative space helped me get the proportions right because it made me look at the shapes around the objects instead of just the outlines. This helped me see how everything fit together. The contour drawing technique from Unit 1 was useful because it taught me to slow down and really observe the edges and details.

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1. In my Notan design, I used positive and negative space by letting the black and white shapes mirror and interact with each other. I arranged the shapes so there weren’t any big empty areas, which created balance and made the composition feel more dynamic and intentional.

2. Notan helps me understand how contrast and balance can shape a composition. By noticing how light and dark areas interact or how they create a yin and yang effect, I can make future drawings, photos, or mixed-media pieces more intentional. It also helps me think about how to arrange shapes so the whole artwork feels clearer, stronger, and more visually engaging.

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I chose a nature theme for my Notan, with simple shapes like a tree, clouds, the sun, birds, a duck, and a small cottage. I used layers of black and white shapes to create more depth and detail, which made the overall scene look more complex even though the shapes themselves were simple. The contrast between the positive and negative space helped the different elements stand out and work together, turning basic cut-out shapes into a more detailed and visually interesting picture.

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Creating a collage using the six depth techniques helped me better understand how space works to create further depth in an artwork. When I analyzed my pieces, I noticed how overlapping and placement helped the cow collage feel layered, while size changes and diminishing details made the football players look like they were at different distances. In future projects, I’ll think more intentionally about how I use size, placement, and detail to make my compositions feel more dynamic, visually interesting, and clear.

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In my design, I used balance, contrast, emphasis, and unity to create a strong visual idea. I achieved balance by placing the floating city in the center so the top section and the underside visually support each other. I used contrast by making the upper part more open and recognizable while the underside is denser and more mechanical, which makes the viewer notice the difference between the two. The main landmass acts as the point of emphasis because it immediately draws the eye. Unity is created through repeated shapes such as windows, arches, and building forms that connect the top and bottom and show that both sides belong to the same city.

I am planning to present this floating building and city design because it clearly shows my idea of a place that has two sides that are connected but unique. The top half represents the visible and familiar part of the city, while the underside shows the hidden world beneath it with its own details and special features. Even though both sides look different, they share similar architectural elements that show they belong together. This concept makes the design interesting and visually strong, so I think it will be the best one to share with my group.

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December 5, 2025 - Invisible Cities: Lesson 2

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December 5, 2025 - Invisible Cities: Lesson 2

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Since day one, our idea has developed a lot, especially as we continued practicing the iteration process. Originally, we imagined a more grounded structure, but my partner and I decided to change the plan so the sculpture would appear “floating,” allowing it to be more fully three-dimensional. This way, viewers can see the houses on the mountains from different angles. After today’s work, our vision became much clearer because we finalized the overall concept and now fully understand how we want to build it.

Even just through planning, a few unexpected questions came up. The biggest one was realizing that if we want the sculpture to float, we need to figure out how to support it without making the strings or structure too obvious. This wasn’t something we originally thought about until we wanted the full build to be 3D. Since we haven’t started building yet, we only have one idea, which is using clear or white strings attached to poles or some kind of frame to give it that floating effect.

Although we haven’t finalized the full materials list, we have a rough idea of what we will need: a lot of cardboard, clear or white string, newspaper, glue mixed with water for paper mache, sticks for interior support, and paint. I think the rest of the supplies can likely be found easily in the art room.

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Today, we finished the basic planning for the artwork, and I focused on constructing the Rome-inspired building. The texture challenge influenced how I used the cardboard for different parts of the structure. For example, for the poles on the front and sides, I peeled off one layer of cardboard to create a smoother, thinner surface. For the top sections, I used the ridged interior of the cardboard to help the pieces stick together more securely.

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During today’s studio time, I finished building the Rome-inspired structure and began working on another sculpture that will be placed on the side of the circular base. While constructing the Rome-inspired building, the poles kept coming undone because they were attached using double-sided tape, so I had to fix that problem. I also worked on smoothing the edges of the building by shaping pieces of smooth cardboard around them.

We still have a long way to go with the artwork, as we need to complete the city side, begin and finish the amusement park side, and add color to the entire piece.

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Since I don't have a progress photo, I will be describing what I completed in class.

First, I finished the building that will be placed along the edge of the circular base. For this sculpture, I cut large windows into the front and added a thin sheet of plastic to create a more dimensional effect. Because the building will sit on the curved edge of the base, the walls needed to be slightly curved as well. This was a challenge, since I initially planned for both sides of the building to be the same length, but the rounded shape meant the sides had to be slightly different. For the inside of the walls, I peeled away the top layer of cardboard to expose the rough texture underneath. I think this added a strong sense of detail and texture, making the building more visually interesting while also fitting the theme of a modern city. I ultimately decided to leave the roof open so the space would feel more open and less confined. I also began working on the styrofoam balls, which were originally intended to become seats for the Ferris wheel, until we realized they were too large.

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One of the most challenging parts of today’s work was bending the wire to fit the shape I wanted for the roller coaster tracks. Originally, I planned to use only cardboard, but I realized that wire would be both easier to work with and more realistic. However, I didn’t expect molding the wire to be so difficult, especially since the tracks needed to curve up and down as well as side to side. Once I achieved the desired shape, it was hard to maintain it while working on the other side to create matching curves, so I taped the wire to the cardboard to hold it in place.

Overall, we are close to completing the artwork. We just need to add a few final details and paint the carnival side of the piece.

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Today in class, I used egg carton containers to create small roller coaster seats. I connected them with sticks and added a bar inside each seat to represent the safety restraint. I also finished coloring the entire piece.

Because the roller coaster travels through both the city and carnival sides, I decided to paint the tracks half dull and half with paint splatters to show how color develops once it passes the halfway point. I used the same approach when painting the egg carton seats. I chose paint splatters instead of fully painting the surfaces for three reasons. First, since I wanted to show a gradual transformation from the city side to the carnival side, going straight into full color would have looked uncohesive. Second, this approach helps connect the city and carnival themes: while roller coasters are typically associated with carnivals, their construction and structure feel more urban and industrial. Third, the paint splatters add more energy and life to the piece, making it feel both intentional and spontaneous.

I also painted half of the cardboard base to resemble grass using a sponge and different shades of green. Finally, I painted the table using the same color palette as the ferris wheel and roller coaster so that all elements of the artwork feel visually connected.

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When I used clear value shapes with hard edges, the forms looked more solid and three-dimensional. The sharp transitions between light and shadow made each plane of the object stand out more clearly. Instead of blending everything smoothly, the hard edges emphasized where the light stopped and the shadow began, which made the blocks look more structured and realistic. It also made the cast shadow feel stronger and more defined.

One challenge was making sure the hard edges didn’t look too harsh or unnatural. It was sometimes difficult to decide exactly where the value should change, especially between midtones and darker shadows. Also, making sure that parts of the lego weren't just one color, even when it may look like that in the picture.

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February 10 - Anatomy of Light and Shadow

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February 10 - Anatomy of Light and Shadow

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I chose this photo because you can see both shadows and highlights throughout the image. Additionally, the various objects in the photo create contrast and depth, making the composition more interesting. The story of life in this photo is how whatever you say will always be heard one way or another. This is shown through the wires connecting the lips to the ear and the twists and bends in the wire show how words can also twist before it gets to someone. I will begin my sketch with creating grids on the image and the same on my paper. Then, I will block in the shapes and do the details and shading techniques later.

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In this drawing, I used observational sketching while drawing from a photo I took of the objects. I started by blocking out basic shapes like cylinders and boxes to help with placement and structure, using light pencil lines. One success was that I completed the rough sketch, and I was able to mostly get the proportions in the right spot. A struggle was making everything look realistic and accurately match the photo, so I had to redraw some parts a few times before it looked decent.

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March 4, 2026 - Progress and Reflection 

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March 4, 2026 - Progress and Reflection 

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Today, I started on the line work for my drawing. I started with the tube on top of the lips, making sure I use both hatching and cross-hatching techniques properly, so that you can differentiate the different values. I also worked on the lips, using both cross-hatching and stippling. I also mostly finished the tubes on the ground and hanging down from the lips, using mainly cross-hatching. Lastly, I started working on the ear, starting with the cross-hatching on the top of the rectangle and using stippling for the details of the ear.

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March 10, 2026 - Value Drawing + Artist Statement

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March 10, 2026 - Value Drawing + Artist Statement

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The name of this artwork is Twisted Communication. The story behind this still life is about how words are always heard in some way, even if they change before reaching someone. The wires connecting the lips to the ear represent communication, and the twists and bends show how words can become distorted or misunderstood as they travel. The objects around them add complexity, suggesting that communication is not always simple or direct.

In the drawing, cast shadows, form shadows, and core shadows help create depth and connect to my value scale. Darker values appear under the tubes and around the ear box, while lighter values appear on surfaces facing the light source, like parts of the ears and lips. I used cross-hatching and hatching on the tubes, allowing me to build darker values through layered lines. For the ears and lips, I used stippling to create lighter areas while still being able to build shadows with layered dots. Additionally, I used scribble shading in larger shadow areas like behind the ear box, because it allowed me to quickly create darker values. Lastly, I used stippling on the ground shadows to show a gradual value transition as the shadows fade farther from the objects.

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March 6, 2026 - Invisible City Photo + Statement

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March 6, 2026 - Invisible City Photo + Statement

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The city Sophronia is divided into two halves; an amusement park with attractions like a roller coaster and ferris wheel, and the other is a plain city with factories and banks. The city side is permanent and dull, representing everyday life, while the amusement park is temporary and lively. When the park departs, it removes the city’s color and excitement with it, making the city feel incomplete until it returns.

As a team, we wanted to highlight this contrast by making the amusement park colorful and lively, while making the city side plain and dull. At the same time, we kept the model connected by letting color gradually flow into the dull side. For example, the ground transitions from bright green to neutral brown, and paint splatters from the roller coaster spread slightly into the city.

To construct our city, we used materials like cardboard, foam balls, plastic cups, sticks, clay, paint, and wire. The plastic cups became roller coaster seats, the foam balls formed a gondola above the city, and the paint helped show the shift between excitement and dullness.

Our team divided the work by each building different structures and working together to paint. It was important as a team to keep the buildings properly scaled and proportioned to ensure the overall model looked unified.

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From my drawing, someone can tell what the surface feels like based on the different lines and shading I used. The cliff wall and stone look rough because I drew uneven, jagged lines with heavy shading and irregular shapes. The tree trunk and wood plank show a wood texture through long, vertical lines and repeated grain patterns, making them feel slightly rough but more organized. In smoother areas, like the left side of the stone, there is less shading and fewer lines, which makes it look flatter and smoother. I also used hatching, darker lines, and varied line directions to show deeper grooves and rough areas, while lighter, simpler areas suggest smoother surfaces.

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In class today, I experimented with white colored pencils and charcoal by layering them on top of graphite. I liked how it turned out because it made the drawing stand out more, especially against the brown background. The white added a strong pop and helped highlight certain areas. For my final drawing, I plan to use white colored pencils to add highlights throughout, which will improve the realism and create more depth in the artwork.

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I challenged myself by trying new techniques and materials that I don’t usually use. Instead of just doing pen art, I experimented with straight ink, using it like watercolor for lighter washes and also applying it directly for darker, more pigmented areas. I combined different materials by layering watercolor ink with regular ink and sometimes adding white colored pencil on top. I also tested mixing charcoal with ink. This was challenging because I’m not used to working with these materials, especially ink in this way, and it took more time to figure out how to blend different media effectively.

While experimenting, I was surprised by how well different materials could work together even though they are very different. Layering actually made the drawing stronger and more interesting. For example, using watercolor ink as a base and then adding charcoal on top helped build depth, and I could then go back in with more color and detail.

This inquiry will impact my final drawing by encouraging me to use a mix of materials instead of sticking to just one. I plan to layer ink, charcoal, and white colored pencil to create more contrast, highlights, and depth. Because of this experimentation, I feel more confident making my artwork more detailed and visually interesting.

I did have trouble taking risks because I was afraid that going outside my comfort zone would make my art look bad, even though I was just testing materials. Next time, I can try to ignore that fear and remind myself that experimentation is just for learning. It doesn’t mean I have to use everything in my final piece, but it will help me better understand the materials and techniques I have available.

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Today, I started my artwork by sketching out where all the buildings would go, trying to get the proportions as close as possible. In the beginning, I blocked out the major shapes, and afterwards I went in to get a more detailed shape of the building.

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I worked on developing the values and forms of the objects, especially the table and the large structure on the right. One skill I applied successfully was building value through layering. For example, on the table I added darker ink gradually to create shadows, which helped it look more three-dimensional. I also used contrast by making some areas darker and leaving others lighter so the main forms stand out more.

An area of growth for me is making smoother shading transitions between light and dark areas. For example, in the sculpture in the back, the coloring is uneven and looks less refined, with the contrast between dark and light being very harsh. To improve this, I plan to slow down my shading, blend more carefully, and observe my reference more closely for better accuracy.

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For my drawing, I focused on the shaded areas of the table, the ground, the ferris wheel, and cleaning up the form on the left. What caught my attention during studio time was how I could slowly build up value to make the objects look more three-dimensional. I started by using the watercolor made with ink as the base and lighter colors. I worked on it by layering darker tones of watercolor as well as using straight ink to color in the darker sections. In addition, I made sure to keep some areas lighter to show where the light hits. For texture, I used different types of marks, with softer shading for smoother surfaces and more visible, rough strokes for areas that needed more depth and variation. This helped separate the objects and make them feel more realistic instead of flat.

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While working on my texture and value drawing, I am focusing the most on value and texture from the elements of design, and contrast, emphasis, and balance from the principles of design. Value is important because I am using light and dark shading to create depth, especially under the table, in the background forms, and the roller coaster. Furthermore, texture helps me show different surfaces, like smoother areas on the buildings compared to rougher, grass floor.

For principles, contrast helps me make the darker areas stand out against lighter sections, which improves the realism. In addition, emphasis helps guide the viewer’s eye toward the main structures, and balance helps keep the composition stable so one side does not feel too heavy. These elements and principles are directly connected to areas I want to improve, especially smoother value transitions and more consistent shading. At the same time, they are helping the success of my piece by making the forms clearer, more detailed, and more three-dimensional.

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As we get closer to completing my drawing, I made sure to meet my goals for today by focusing on developing more detail, contrast, and texture throughout the piece. I was hoping to complete most of the shading and ink work on the larger objects, especially the wheel, table, and structures on the left side. Today, I was able to finish building darker values, add more texture using cross-hatching and layered ink, and create stronger contrast to make the objects stand out more from the background. I also completed more of the ground shading and worked on the smaller objects such as the mushroom and the roller coaster seats.

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To make revisions to my work, I have been analyzing my drawing critically and applying techniques I learned from previous skill builders, especially with value, texture, and contrast. I also got feedback from my friends, who suggested that I add more detail to the floor and create stronger contrast between the dark and light areas. They recommended using more charcoal and white colored pencil instead of relying mostly on pen. I applied this constructive criticism by deepening the darker areas with charcoal, adding highlights with white pencil, and developing more texture and shading on the floor to make it more complete and realistic. I also continued adjusting smaller details and values throughout the drawing so the objects stand out more clearly.

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This artwork is a black and white illustrated version of the Invisible City of Sophronia. Sophronia is a city made of two contrasting halves, one permanent and structured, and the other temporary and carnival-like. When the two halves come together, joy is brought throughout the city. I transformed my three-dimensional sculpture into a two-dimensional drawing using pen, ink, charcoal, and white colored pencil to explore how value, texture, and depth can create the illusion of form and space. To create this artwork, I first used diluted ink as watercolor to build a base layer. I then used direct ink from the jar along with pens to develop darker shading, texture, and detail, applying techniques such as cross-hatching, hatching, layering, and varied line weight to create dimension and define different textures. After building the structure of the drawing, I used charcoal to deepen the shadows on both the larger buildings and smaller foreground details, creating stronger contrast and a greater sense of depth. Finally, I added white colored pencil highlights throughout the artwork to emphasize reflective surfaces and bring attention to certain features, especially the roller coaster seats, which appear more transparent. Throughout the drawing, I focused on contrast, texture, value, and form to make the objects feel realistic and visually distinct. The darker layered marks and rough textures create a more chaotic atmosphere, while the cleaner geometric structures provide balance and organization within the composition. By combining multiple materials and mark-making techniques, I was able to communicate the contrast between stability and temporality that defines Sophronia while transforming the original sculpture into a detailed and dimensional final artwork.

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At the art party, my groupmates and I worked together to create an environment where students could build their own structures to add to our cardboard city. For me, this experience was really fun because I enjoyed the cardboard unit and being able to use my own creativity to make different things. I also liked seeing how everyone created unique structures using the same materials.

One challenging part of this experience was teaching others the skills needed to build stable and creative structures. Even though we showed a video demonstration, students still had to think independently about what they wanted to create and how they would use those techniques.

This activity strongly connected to our cardboard unit because we used many of the same techniques we learned, such as scoring, folding, layering, and attaching pieces securely. We also had to think carefully about space and how each structure would fit into the overall cardboard city. Overall, this experience helped me apply the skills from the unit in a creative and collaborative way.

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This piece stood out the most to me throughout the Invisible Cities exhibition because there is so much happening throughout the artwork, making it interesting to look at. The space-like background, floating objects, and detailed textures all work together to create an imaginative atmosphere. Some techniques I notice in this artwork are emphasis, contrast, movement, texture, and balance. Emphasis and contrast are created through the bright white galaxy and stars against the dark black background, immediately drawing the viewer’s attention toward the center of the piece. Movement is also strongly shown through the swirling galaxy, flowing clouds, and twisted lines that guide the viewer’s eyes around the artwork. Additionally, texture is represented through the detailed linework, shading, and stippling techniques, especially in the clouds and cardboard-like structures, making the piece feel layered and complex. Finally, the artwork uses asymmetrical balance. Even though the objects are unevenly placed, the composition still feels balanced because the details and forms are spread throughout the piece evenly. Overall, the artwork creates a sense of imagination, motion, and depth that makes it stand out to me.

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In this class, I spent a lot of time thinking of ideas to draw, so I only ended up with one sketch of a topic. However, I'm sure that I want to do a drawing of either my family or my friends. The first idea I had was my grandparents, as the reference photo I had was their 50th anniversary, which is a big milestone. I am considering using either oil pastel or colored pencils for my topic.

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I was able to come up with three ideas for my open project, as well as finalize which one I wanted to do. For my three ideas, I have one of my grandparents, one of my 2 best friends, and one of my brother and I when we were younger. I chose these topics as all these people are important to me. I decided I wanted to do my grandparents' for my final open project because I really wanna capture and give them this gift of them as a drawing.

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(I'm not sure why the photo is so yellow, sorry) 

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In today's class, I focused on testing one of the materials I planned to use for my final. Since I've used oil pastel before for my parents' drawings, I decided to focus on testing how colored pencils compare. Personally, I think colored pencils are a bit harder to use than oil pastels because they require more going over and being extremely careful about the strength I use when coloring, as it's hard to blend out the darker colors. Because of this, I've decided that for my open project, I will use oil pastel to draw my grandparents.

(Also, since I'm not sure if I would be able to finish this with the amount of classes left, since I have oil pastels at home, I can do it even after I run out of class days.)

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Today I drew out the grids for my drawing and finished drawing on my grandparents' face and body. I asked my friends and Ms. Aura for feedback on the facial proportions as they started to look a bit off as I was drawing them.

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Today, I was able to complete most of the skin on both grandparents' faces and start a bit on the clothes. The skills I’ve needed to refine are blending, shading, creating realistic skin tones, and keeping facial proportions accurate. As I finish the project, I’ll also need detail work, contrast, and precision skills to make the portrait look polished.