Lindsey Flowers
 We used white colored pencils and white charcoal on black paper to create drawings based on ribbon like pieces of paper to work with value and shape. |  First Room Contour This was a trial to see how much detail and accuracy we could fit into a more modified contour of our surroundings. Apart from one or two things being off, I'm content with this piece. |
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 This was our first trial drawing. Given the instructions of "draw your hand" we were set loose to wreak all the havoc we could. This is my main drawing style. |  Blind Contour #1 Blind contour drawings are created by not looking at the paper at all while drawing using one continuous line to capture the outline and details. I knew what to expect going into this based on previous experience so it was fun to do again. |
 Blind Contour #2 My second attempt at this made me happier than the first because it was more spread out and began going in the right direction before it turned into a blob. |  Modified Contour 1 This piece was made by alternating my view from my hand to my paper and shows more detail and skill on the others. |
 Modified Contour 2 I was quite pleased with how this modified contour drawing came out, more detailed and life-like than my other pieces. |  Backpack Contour In drawing this, I had problems with getting the proportions right and adding all of the details so that you can see what the object is. |
 This is a pencil drawn first impression of fabric hung 'artistically' from the ceiling. Step one in a process of fabric drawing. |  This was a charcoal drawing of the same fabric as previously drawn in pencil. I enjoyed how the values play up more with the charcoal. |
 After the original charcoal drawing on white paper, we were instructed to try it out on colored paper and with multiple colors of charcoal and I do like the contrast of the three colors most. |  These were the composition sketches for the still life drawing. I put effort in to ensure that the basics, as well as the details were clear. |
 This sketch is of a Hershey's chocolate bar in order to prepare for drawing our transition piece and the wrapping on candy. |  This was a trial run, per se, of using prismacolor colored pencils to draw a small version of a colored still life. |
 These are first try sketches using chalk pastels drawing an egg. I had to learn how to blend the colors without combining the colors too much. |  This was a learning experience with chalk pastels. Using two contrasting colors to show depth and shape without blending them into a brown was difficult to figure out at first. I am happy with the way this ended up, as the colors all compliment each other and stand out vibrantly. |
 First try of doing a portrait of a partner. |  After watching video of how to draw an eye, first attempt. |
 After watching video of how to draw an eye, based off of real life. Second attempt. |  After watching video of how to draw lips, first attempt. |
 First attempt at a realistic self portrait after being shown how to draw each area of the face. Not terrible. |  Machine portrait idea - sketch. |
 Zombie portrait idea - sketch. |  Second zombie portrait idea, detailed and more dramatic sketch. |
 First sketch of movement and texture with a dancer for the scratchboard project. |  Final sketch of dancer for movement and texture in the scratchboard project. No ideas on background yet, possibly backlit? |
Final Room Contour
-A contour drawing uses a fluid line and this is evident where lines double back on themselves and where things are connect where they usually are not.
-Practicing with contour lines before a final piece helped me learn how to ensure that my lines would connect and that the size remains constant and true to real life.
-A contour drawing includes details with one connected line while an outline drawing only captures the bare basics and rough features of an object.
-Interpretation of line is necessary in order to realistically resize the room and include necesscary details that will convey the space to the viewer.
-From completing this drawing, I learned that details are essential in contour drawings and they are extremely difficult to achieve. If I were to recreate this piece I would put more effort into the textural details in order to more accurately portray the piece.
Final Fabric Drawing
-For this piece, I used a range of values; however, it could have a wider range. I used the paper behind, gray prismacolor, and black and white charcoal to create at least four different values and then created even more with pressing down more or less with the pencils and charcoal.
-My practice studies helped me to choose what medium I was most comfortable with. I also got accustomed to imitating the folds and draping of the fabric.
-Highlighting the edges and using flowing lines helped me to achieve this style, as well as differing pressures to fade into each other.
-I interperted the texture as smooth and flowing but also scrunched up to create texture. In my piece, you can see how everything flows into eachother, but at the top the crinkles are more defined.
-If I were to recreate this piece, I would focus on blending my shading together more and adding the small creases instead of just 'swooping' the lines together. I also would've probably chosen a different colored paper to emphasize the shading.
Final Still Life Critique
-My still life does have clear edges with defining lines, solid blending, and a variety of values. I could have used a little more work on the smudging and fillng the empty space to completely fill the paper however.
-My values and shadows are semi-realistic, lacking in some aspects, like where the shadows ought to fall below the flowers and canvas. I included a multitude of values, which are essential in creating depth and differentiating shapes in a work.
-There is not a defined source of lighting, shadows are present; however they do not illustrate a clear light source.
-The compositional sketches were essential in finding a basic outline of the still-life and determining a light source, as well as a general placement of the objects.
-My final drawing is successful in the fact that I pushed my darks as well as my lights, I included detail in every piece, and I shaded well to illustrate the multiple values present.
-The proportions, structure, and perspective are all accurate and demonstrate the life-like veiw from the table.
-Placement and grouping of the objects is aesthetically pleasing because it differs in texture, shape, placement (back/fore/front grounding) and depth.
-The vase of flowers, with dark values and complicated shapes is the center of interest and located to the top left, not immediately front and center, which draws focus well.
-In the process of time and resources, I should have focused more on the main still life, instead of outlining and my composition sketches. I ended up having to focus on one part of my still life because the other side is empty.
-I was challenged in pushing my darks and expanding the range of my values of this project. I just darked my colors slowly but surely and experimented with erasing and layering lead to get the values I needed.
-I tend to draw in a similar style to still life, but I learned how to highlight the details and push my values.
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Progression Critique
-In the progression drawing, value is irreplacable. Value creates a sense of depth, shadows, and perspective, to show the veiwer what they're looking at and how it appears in reality.
-While creating this drawing, I was faced with the challenge of boredom, mainly. After drawing the same object multiple times, it tends to lose it's interest. To overcome these obstacles, I bounced from project to project to break up the monotony.
-Having the crisp, hard edges on the wrapper brought a sense of real life to the drawing, instead of the flowing, continuous lines that remind you of a dream. It shows the actual points and folds in the wrapper, where it stands up and stands out.
- My interpretation of texture was essential in capturing the look of the lollipop. It brought the viewer into my point of perspective in how the lollipop looks through my eyes and my style.
-If I were to do this project again, I would put more work into my values, add the details on the wrapper (words, pictures, etc.) and I would ground all of my objects. I learned more on how to create a still life and how to illustrate change and movement.
Opacity Project
-My drawing was executed well, being neat and vibrant; however it could have been layered more and more realistic.
-The green background color of the paper highlighted the orange color. The close up view from under a clear wrapping highlights the covering over the fabric.
-I used contrasting colors to make the prismacolors pop and ensure that each color would stand out alone, as well as together.
-As I stated above, I used colors to contrast in my drawing, between both the main and background colors, as well as the color of the paper itself and the main color. I also incorportated contrast in black and white as well.
-I used texture to illustrate that the drawing is of fabric, and that the plastic on top of it is not completely flat, but instead, crinkled. Highlights illustrated where the fabric or plastic was lifted or reflective, and shadows illustrated the overlapping of both the fabric, and the plastic over it as well.
-Understanding the media you use in a project is important to maintain details, get the colors right, and be able to control where and how the media is used in the piece.
-I had difficulties in layering the white over other colors, and maintaining the color depths over the tooth of the paper. I also wish I had been more successful in demonstrating that the cellophane covered the fabric, with differing depths of white and lighter colors.
Who am I? Self Portrait Project
-My drawing is a stylized, zombie-fied self portrait. There is a great color contrast and attention to detail to ensure that the piece captures interest from various degrees of viewing. There is unfortunately no defined light source, however there is implied movement of the dangling eyeball. The textured colors were made with prismacolor and could have been more well executed, especially in the hair and colors/texture of the skin on the face.
-Depth and value were created by carefully chosen shapes and colors to enhance the look and feel of the piece. I chose this style because I enjoy art that is slightly creepy and almost-realistic in style. The most important aesthetic quality of the piece is the color choices that create depth and take a flat piece of paper and make it three demensional. My choice of medium and style made an interesting experience, seeing as they worked to creep out most of the other students (happily), my background contrasts and makes the actual portrait feel more realistic in comparison.
-A disturbed feeling is the immediate reaction to this piece. That being the goal, I am content. I used the torn and stand-out gangrenous skin and mismatched eyes, as well as the opposing color choices go to create this effect for the viewer.
Implied Movement Scratchboard
-The subject matter of my artwork is one of my dancer friends. The meaning is to express the freedom of dance and expression.
-The crosshatching texture of the dancer's body contrast with the flowing texture of the floor and background, as well as her actual movement, to set her almost off of the page.
-As stated above, the texture contrasts to balance the piece, and black and silver take up equal parts of the board to show highlight the motions and figure of the model.
-I implied movement in my drawing with the dancer leaping in mid-air, legs and arms outstretched, and hair flowing behind in the wind.
-Since I was unable to think of a background before I began my scratchboard, preplanning would have been helpful in that area, and perhaps adding more detail to create a more realistic piece that stil conveyed what I wanted it too.
- Scratching out different thicknesses of lines created a wide range of values and using crosshatching also maintained the differences of in black and silver to make a variety of combinations to fool the eye into detecting multiple values.