Watercolor eyes

    

     The above drawing models the step by step procedure of making eyes with watercolors. As a watercolor user myself, I found this model helpful and informative. I'm familiar enough with how to use watercolors, but this drawing was able to highlight the finer techniques of creating depth and value with the paints. I especially commend the artists creative and diverse use of color--avoiding "dead" colors as is traditional with watercolors. Though first hand experience is a good teacher, sometimes learning from external resources can be just as helpful.

Artist Statement

Art is not "something" to me. That is to say, it's not something I can simply categorize from the rest of my being. It's at my core. I have a great knowing that art will always be with me. In second grade, despite my teacher's reprimands and my own moral discomfort I always ended up doodling in the margins of my math homework. They might as well have been telling me not to breathe. Today, I still doodle in the margins of my math homework, and science homework, and pretty much on everything. Art is like anything else about me from my brown eyes to my personality--it will always be there. But like people, art is always changing and developing. Art is a life long journey of discovery: always expanding, improving and reflecting me in my present state. It's always there, yet always changing. In my current Art Foundations class, I have gotten the chance to experience art in a diversity of ways I never had before. I have always loved water colors, and drawing people, but I feel as if those are only two pieces of a puzzle I'm still at this momment putting together piece by piece. I love color. That is not to say necessarily that I love flashy and multiple colors, however, no matter the project, inspiration, or concept I take special care with color schemes, the emotions they convey, and furthermore, their meanings. I do admit to a penchant for the bright, but also the pastel, and perhaps more. In short, I love color schemes teamed with emotion. Also, aside from the translucently layered, even meticulous watercolors, I have grown fond of pastel crayons. Each line is bold, makes a statement, and can always be "canceled out" by another line. I love charchoal, ink, and even paper machè yet colored pencils have attained a certain flatness for me. What else? I'm not sure, I'm still in my experimental phase as an artist, if it's even a phase. Though I may think certain characteristics are staples of my artistry, how can I know without experiencing the alternative? I prefer 2-D art, painting, sketching, portraits over landscapes, "pretty" color schemes over the less so...yet all this is subject to change.

Blizzard

   The below image I found an intriguing portrayal of a blizzard. The art itself is very 19th century-ish-- this for me increases the art's intrigue-- specific techniques create a specific atmosphere that's related to a specific era-- it's retro, if you will. Furthermore, I'm in awe with the composition. The artist achieves a flawless balance of negative and positive space weaving together into one blizzardy storm: the horse trudging forward, cranberry red sled in tow while daringly approaching the "dead zone" of the painting-- assumed to cross hypothetical paths with a man and his dog moving in the opposite direction on the other side of the composition-- of which are also approaching the dead zone, yet not quite there. The composition is masterful, the whole "dangerously close to the dead zone" thing implies great. struggling movement. Such as we Vermonters know all to well, is inevitable and heavy correlated to "walking" in deep snow. I like the crossing paths aspect of the art too, this also emphasizes movement. All of this is enveloped by a mystic winter wonderland: an average, rural street transformed into a fantasy land that would put Narnia to shame.

Mask inspiration

The mask below is a classic example of a Venetian mask. I especially commend the artists' subtle transition from mask to face in the eye area-- it's done so masterfully, the woman's' face almost seems part of the mask. The colors are also breathtaking-- a captivating yet paced and by no means color scheme of silvers, yellows and other "moon, sun and sky" colors leave one in awe. Though it may give the illusion of being simple, a second look reveals that this mask was no easy creative accomplishment. Intense detail on the minutely perfected outlines of the silver stars and moons on the cheeks to the very deliberate, exact gradiation of the crisp yellow "eye-shadow" all point to one conclusion: this piece of art is a masterpiece.

Portrait

The portrait below is by the well known 20th century artist Henri Matisse. Matisse uses bold, textured strokes of paint at opposing angles to give the illusion of value and exaggerated, saturated colors to further emphasize this illusion. I find this piece of artwork interesting because even decades after its production, it comes across as unique, fresh and creative. Even if I don't necessarily want to use the same techniques in my art than Matisse, his work is nonetheless inspiring because of its outside-of-the-box "embrace the shake"-ness.

Vincent Van Gogh

The picture below is a painting by the famous impressionistic painter Vincent van Gogh. I like van Gogh's use of simulated texture within the artwork. Another aspect that strikes my fancy is his bold, extracted use of colors, and a "color scheme" that is very aesthetically pleasing. I also like the on and of again use of contour lines that succeeds in heightening the interesting mood and aesthetic atmosphere of this picture. Overall, it's a very nice piece of artwork.

Carlos Amorales

Though I am by far no expert on the work of artist Carlos Amorales, a hasty Google Images search had lead me to conclude that of what I have seen, the below is my favorite of Amorales'. For one, I admire his use of texture and pattern with the "dots"over the silhouettes.  Another technique I commend is the concentrated use of a motley of colors within the dots in contrast with the stark boldness of the monochromatic reds, blacks, and whites of the silhouettes and background. As usual, Amorales' silhouettes are impeccable, but what captivates me especially is the three-dimensional, actual-wall aspect which signifies this artwork was made big and bold. Overall, contrast, texture, pattern, color, dimension and movement all work very well together to create a captivating, original work of art.