Lolaso

            My goal in the piece was to not exceed twenty-five strokes to depict a thing, in this case, it was a candlestick. I did several sketches in which I marked each color as a shape; I did easily this with previous learning from “Don’t Touch the Edges”. My painting does not portray any shadows (besides those on the candlestick) as I had run out of strokes before getting a chance of painting something apart from the candlestick itself. In fact, I had even thought of not painting the background because of being scared of running out of strokes; but I managed. One thing that my painting does have is really thick brush marks because I loaded my brush with paint to use a minimum number of strokes; it can be noted especially on the background when I believed I had two strokes left, only leaving place to improvisation. Not exceeding 25 strokes was the biggest challenge I had to face. It is really hard to make something come alive just using 25 strokes. Even more difficult tha

In this piece, I tried to separate colors into shapes and refrain from touching different colors. To make this possible, I first made sketches to know where I was not to put paint on. My piece had reflected the papers onto the ball, along with some light which I believe came from a set of windows. It also had a dramatic change of light between the ball’s shadow and the paper itself, which was painted with a thick layer of paint. The most challenging part was, not shockingly, the part in which I couldn’t touch the edges, especially since my brush is not one like the ones I used to paint with. Normally I changed brushes depending on what part of the painting I was working on, using a smaller brush in a place with a lot of detail, for example. At first, I worked on the shadow, which trained me for my work on the ball (supposedly the focus of the painting). By the time I got to paint the ball, I had already gotten better at “not touching the edges”, so that worked out pretty well.

1.        When examining other people's art, one can pick what to blend in with one's way of art, to modify it into something more desirable for the artist him/herself What did I learn from Kroll's work? Don't focus on the details. Try to work fast so that you won't focus on details and end up repainting--wasting paint and time--and loosing previous flow. When following the steps, one can achieve the alla prima look.  (Not really in Peggi Kroll's work, but as we go further into studio 2, it will help) After one gets to the point where his/her painting looks like a Peggi Kroll painting, one can go back to add as much or as little detail as one wants. What is meant by "Mapping"? After extensive research, I found out mapping is incorporating maps, or something of the likes, into art. Such as making art out of what was a map, making a once bland map into unique art. Before this lesson, I didn't know how important it is t