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I used the warm yellow to make the purple cat high contrast and stand out. Since the purple is colder it creates strong difference between the warm background. I placed some leaves over the top of the cat to help make the illusion of depth as well.

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I used cool colors for the background of my painting, then for the raccoon I used warmer colors to give contrast to the painting. I also used warmer colors to give the raccoon more life especially because they are grey and black usually. I liked to use light and deep cool tones to show more depth in the background. 

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For the background I used a cold blue with touches of darkness while for the jellyfish I would use warm oranges and yellow

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I Used a cold blue and green for the background so it would contrast well with the oranges and browns of the cow. background the blue middle ground the cow foreground the leaf in the front 

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in the cold and warm landscape, i used cooler and darker colors in the background and warmer and darker colors in the front to bring them forward. In this piece I used bright colors to surround the neutral colored dog to draw attention and add juxtaposition to the piece.  

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I used darker and cooler colors for the background. I used warmer colors for the dog to make it warmer. In the middle I did a wash to blend it and make it transparent

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Explain the diffence between your cold/warm landscape vs. your animal painting in creating the illusion of depth (background, middle, and foreground).

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Water Color portrait reflection: 
When it comes to portraits color and the love you have for that person really makes the painting come to life. I made this portrait of my best friend Ava, the color of the lighting from the sun making her glow, the soft blue of her dress making her hair pop, and the colorful background making the painting more entertaining to look at. I used only primary colors (red, yellow, blue) for the portrait part, using blue for shadows and darker areas, yellow for highlights and brighter areas, and red for all the neutral areas. This was only for the base, as it progresses mixing and building on top of other colors really brings it to life. With a very colorful or very neutral background can make the person really pop, this is why I picked such a colorful background. You can tell how much an artist likes the subject or person they are painting based on how much they love that subject or person. So, the color and love are what really make a portrait/painting come to life. 

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I started my watercolor portrait by adding a dull layer of primary colors. I started with the lighter hues of yellow and red to make the parts of the skin and hair. Then I went in with blue to create the shadows on the face, making sure to leave the highlighted areas mostly white. I added multiple layers of color, starting with lighter values as the base layer and  highlighted areas, and ending with darker values for shadows and fine details. while transitioning from dark values to light values I used increasingly smaller brushes to create detail with dark values, such as the eyes and mouth. I used the contrast between dark and light temperatures to make the lighter areas stand out more, especially in the background behind the face. I used several different techniques, like the removal of watercolor using water in highlighted areas in my painting to further emphasize the highlights. I also used wet-on-wet painting to create the background and a better flow of color between the dark and light values. Layers of different hues, values, and temperature and also different techniques such as layering, wet-on-wet, and watercolor removal eventually worked together to create a realistic portrait with depth and detail.

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To start, I used a cold yellow and blue to use as a starting layer for the skin as shadows and light. Next I would go in with a red, peach, and brown to use as the skin color. To make it all blend together I would use a very transparent coloring, with the method of feathering to blend in the harsh lines. After the skin I moved on to the hair where I used a cold blue violet and black, and a more dark brown. For the clothes I would go again with more water so it isn't so opaque and saturated. To make everything have more value and not look so flat, I would go in with a darker shade from the original color and paint in the shadows. For the tiny details I would use the smaller brushes, while for the more larger areas I would use a bigger brush.

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I started out with light, cold primary colors to allow a good start to the painting. I then added darker and darker skin colors to create dimension by using small but still larger brushes to keep the painting from getting too crazy. I kept adding more detail over the different washes to make it more realistic. With the smallest brush, I added hairs to the side of her face and in her hair to make it more defined. As well as adding the details to her sweatshirt. I also used the liner brush to add freckles and eyebrow hairs. 

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I've learned that impressionistic and differentiated brush strokes add depth, emotion, and weight to a painting and what it tries to convey - not everything needs to be blurred and softened. I also, while trying to save my lights, wanted to bring out detail with my liner brush.

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I used used light, layered typical of watercolor, with clear attention paid to value by starting with a light yellow and building up from their . I uses warm, earthy tones for the skin and hair to make them darker , with cool blues and whites for highlights and shadows to add depth.  I used the angle shader brush to make the hair wispy and for large areas, And I used the round brush for the details. 

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I originally started with a very light wash of cold primary colors. Then I began to darken the shadows of the face with a cold blue using the big wash brush. The with the round brush I started to add more depth to the face by taking a warmer peach tone to the skin over everything while still keeping light spots. Eventually I mixed deeper colors like cold blue, cold green, and cold red to darken areas like the mouth, eyes, shirt, and nostrils (with the smallest brushes). I continued to dry-on-dry layer with warm skin tones and colder dark details. The background also helps make a happy atmosphere.

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I went with cooler hues because of the skin tone. I used a lot of layers to build the depth in the hands. I used a lot of water to feather the textures on the face. I also used occasional hard strokes for more defining details.

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I used hue, value, and saturation by carefully and slowly adding layers to create this piece I did it by using my basic colors (hues) first, then slowly adding more saturation to needed areas and adding value where it is need too. I used atmosphere to show some depth in the painting. I also used feathering to help with harsh lines and blending of colors, along with layering to add more depth, saturation, and value. Some specific examples within my piece would be layering red, blue, and yellow to create a skin tone, and using feathering to help blend in the facial features to make them look more natural. 

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I chose more warm colors due to her skin tone. I added water and compliments to dim every color to make them less vibrant. I wanted to show more organic blending to give a more natural watercolor look. Wet on wet allowed me to create that look because it created bleeding and blending between colors. I used wet on dry to make things less blended like the eyes and jawline. The organic lines give off a care free emotion to my art piece, which matches the playful and colorful background. 

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I used a filbert brush to blend colors and I began with lighter less saturated colors like peach and yellow. Then I mixed the temperature and used blues to add value and layering. The contrast shows shadows and differences between values. I did some removal of paint to ensure the value wasn't too dark. I used a brownish color to blend the peach and blue hues, mixing the temperatures. The emotions are portrayed by red and blue hues contrasting in value to emphasize shadows and create expressions. I did the wet-on-wet technique to blend the red and brown expressions to blend in the darker values and to blend the temperatures more naturally. I used dry-on-dry to illustrate big contrasts. 

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Sherry Moseler- Watercolor Mixed Media Portrait

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Copy and Paste your reflection here.

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By using graphite paper this allowed me to outline a woman. I then followed by using watercolor paint to color the background as dark as possible, i used the flat brush and once i was done I repeated this step but for the water and the hands. Once everything was dried I used an orange yellow to use as my base for the light shining. For this step I used the angled brush. By using the outline of the woman, I colored her white using white charcoal to help smooth and blend the color. After a while I added shading and used more white charcoal to highlight the light more. The bright color white girl is, in the void of darkness, represents new beginnings while the dark colors represents evil holding her back. Evil things like conformity, insecurity, negativity, etc. My artwork represents courage by the girl being strong and confident while discouraging hands tries to keep her trapped with them.