Overall, this piece inspired me to create a piece that was:

• Of Ariana Grande during the 2020 positions era

• Using a smaller variety of colors

• Centered around texture

I made the drawing using just one color marker and used stippling as a texture to let the piece come to life. I chose blue because this piece honors Washington and Lee University, and Lee University's school color is 'mighty blue.'

Why was it a mistake?

Because the little one was supposed to be less detailed, I focused more on the larger one and just as much detail on the smaller one as I would on the larger one. It's not necessarily bad. It just doesn't accomplish the goal of focusing more on the larger one and bounds me to put just as much detail in the little one as the large one.

Criterion B: 8 or 9

Criterion C: 5 or 6

This is a concert poster for a character I made that's based off the soda, 7up. He has radioactive hair, hence the “Radioactive Menace” heading and the long hair, which can't be cut.

The silhouette, background, and “Radioactive” heading were all made using vector shapes, hence the clean lineart.

I used a variety of brushes. The silhouette, “Radioactive” heading, and black border all use the “rough pen” brush, and the sketchy lines in the background use the “dry ink” brush.

45.72cm x 60.96cm (Digital)

1296px x 1728px. 72dpi (Digital)

Title: “Radioactive Menace”

Digital art made using Clip Studio Paint.

Criterion C: 6

Medium: Air dry clay

This sculpture is designed as a female torso with velvety fabric draped around it in irregular, natural folds. It was inspired by wet drapery techniques of famous sculptures, such as “The Veiled Virgin” (Giovanni Strazza). For originality I later transformed my goal from wet drapery to simply shrouded fabric, the thicker folds implying a velvety material. I used air dry clay throughout and water to soften and make moist details, with a portion of the inner structure being cardboard rolls.

Criterion C: 9

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Medium: charcoal pencils

Dimensions: 30x40cm

This drawing was sketched upon the image of a real sculpture. I wanted to recreate the effects of the folds and dips through shading and also put emphasis on them in a stylistic way, by darkening them to build contrast overall with white and dark gray to black. I used multiple layers of charcoal pencils with different softnesses so that I could play with the different dimensions of shading and in some areas create softer shapes and harder lines in others.

Media: Micron Ink on Index Card

Dimensions: 10.16 x 15.24 cm

Description:

Taken after the Wall Street Journal and Gracie Abrams cover art for her album, The Story of Us. The piece closes up on a head, capturing details of the face through texture alone without color. This is to emulate the ink of the newspapers.

The header is more rough and chaotic to emphasis the chaotic nature of the character, and the posing is meant to emphasis strength. 

The same background from the previous piece is reutilized here to make them feel more connected. The pieces can hold up as standalone, but are meant to appear together.

45.72cm x 60.96cm (Digital)

1296px x 1728px. 72dpi (Digital)

“Morphing Monster”

Digital art made using Clip Studio Paint.

Criterion C: 6

Medium: Charcoal pencils, XL Sketch Paper

This drawing was sketched upon the image of a real sculpture. I wanted to recreate the effects of the folds and dips through shading and also put emphasis on them in a stylistic way, by darkening them to build contrast overall with white and dark gray to black. I used multiple layers of charcoal pencils with different softnesses so that I could play with the different dimensions of shading and in some areas create softer shapes and harder lines in others.

Be sure you include more rigorous process, your criterion score, EX text, and we will have another critique. Pieces must be matted.

Keeping with the ongoing theme of designating certain colors for specific characters, green is 7up and orange is Modifanta. Black outlines are used to emphasise the characters and also bring a bit of that comic feel into the piece.

“Double Run” (Subject to Change)

Dimensions: 30cm x 20cm

This piece was drawn from a photograph I have taken of my mother’s hand. I chose a hand because I think hands reflect the work someone does, whether through calluses or harsh fingernails. I took this photo on a plain surface so I could add shadow to the drawing with no distractions. I used charcoal pencils and started with the foundations of a singular finger and worked outwards. I originally worked with more smudged charcoal and ended with the small details in the knuckles and harsh lines.

I used my pangea laptop and my Macbook and pulled up a colored screen. I toned down the brightness for the green because the green overpowers the red: This is not good because I want red to be the most dominant color. 

I began by lightly sketching the basic structure with vine charcoal, focusing on proportions and gesture. Instead of rigid outlines, I used loose, gestural strokes to establish the shape, ensuring the fingers felt dynamic and natural. I paid close attention to negative space, allowing me to refine the form and prevent distortions. Once the general structure was in place, I started blocking in the shadows, considering the direction of my light source. The darkest areas—such as the creases between fingers and the underside of the hand—were built up gradually with layers of soft charcoal. Blending tools helped smooth the transitions while keeping some areas intentionally rough to maintain a sense of realism.

Source 3: https://www.wsj.com/articles/SB10001424052970203440104574406903628933162

Exhibition Text: This is a Wall Street Journal “hedcut” of my father, John Cameron Humphries. A Wall Street Journal hedcut is a nod to my dad’s earlier years in his career. Hedcuts are hand-drawn, pen and ink illustrations, to resemble the old style engravings that give the journal its iconic look. The suit is directly inspired from the hedcut of John Hamm as Don Draper.

I wanted to expand on my previous attempts at a collage, but with a more rich and diverse style. The semi-simplistic background adds depth and draws attention to the characters. The background was originally fully simplistic, but I decided against that as I wanted to add more detail and have the graffiti on the side building.

This piece captures the iconic gates of Indiana University, a symbol of its tradition and during the season of autumn, which defines its stylistic look. The autumnal palette evokes nostalgia and bright colors of red, brown, and green, which are considered to be the best look of Bloomington, Indiana as a whole as it is known for its nice seasons. Through the fluidity of watercolor, the scene takes on an ethereal quality, emphasizing the richness of the colors.

Originally it was only going to be one piece, but during iteration of different ideas, I decided to feature multiple versions of the same piece. The pieces are ordered from left to right, top to bottom, in the chronological order I made them.

Despite this, the colors and overall esthetic of the pieces stayed consistent.