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Three Shiny Objects and Artist's Statement

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            In this piece, I tried to paint three objects with only 7 to 10 patches of color alla prima, making it look like one of Peggi Kroll’s work. To make this possible, I separated my colors into shapes and tried not to separate colors into as many shapes as I had done before in previous works such as the one in “Don’t Touch the Edges”. My piece had a nail polish through which the viewer could see the green paper in the background as the light penetrated the glass in it. There is only one shadow on the green paper as I tried to use as few patches of colors as possible. The most challenging part was the nail polish in the center because it was the center of attention and needed more work done onto it than the other two objects—a mechanical blue pencil and a red cup. But, I do believe that the nail polish in the center worked out pretty well.             This time, my p...
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"Paint the Pond" Turns Into "Sketch the Thinker"

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I was going to draw the "Paint the Pond" assignment as was everyone else, but Mr. Gaudreau deemed it best I drew the Thinker instead. Sketch the Thinker In this piece, I tried to show texture by using dramatic lightning and lines. To do this, in places where I saw lots of texture, I used cross hatching and where I saw smoothness, made the lines go in the same direction. The most difficult challenge was getting though the sketch even in days in which I was not motivated to sketch. To overcome this, I kept looking ahead and instead thought of how good my sketch would look if I gave it my all. But, that wasn't enough. In the sketch, it is very easy to see my progress each day because of the difference in technique. It didn't turn out so badly, though. My sketch really worked when I was sketching the left arm. In it, The arm was noticed to be smooth while the hand showed lots of texture. From Mr. Gaudreau, I learned that a dull pencil made for a dull sketch, th...
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Don't Touch the Edges and Artist's Statement

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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. ...
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