Living Composition Check In

Above is the sketch for the Living Composition project. I plan on coloring this with water color paint. Continue reading

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Layered Time Reflection and Manipulation

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Layered Time

I sat in the gallery area of the Hinkle Memorial Library on Strathmore Watercolor paper. The first night I used charcoal pencil, but then I used colored pastels for the other six nights; I wanted to literally layer the nights on top of one another, and I thought drawing each night in a different color would prevent things from becoming completely muddled.

Layer 1 (Black)

  • I spent a lot of time drawing things that were stationary.
  • everything is quick gesture drawing, I paid little attention to proportions.
  • I seemed to have avoided drawing things over each other.
  • There are a few references to my family, especially my late sister.
  • I tended to be more careful when drawing the things that weren’t present (my thoughts); I only put down vague ideas of the physical objects I was seeing, but wanted my “thoughts” to be more recognizable representations, or that I had more control over how representational they were.
  • There is a lot more in the center and bottom of the page; this is probably just from how I sitting with the paper and that I have short arms.
    • Most of the things drawn in these areas was the things presently around me; my “thoughts” are more reserved to spaces on the edges and to the sides.
  • The only very detailed piece of this drawing is the tired eye.
  • I only put my “thoughts” into very blank spaces on the paper.


Layer 2 (Brown)

  • I focused more on trying to get the perspective and the proportion correct.
  • I interacted some with the previous layer; I couldn’t blend the color because I had sealed it before starting on a new night.
  • I spent more time drawing what I could see rather than what was on my mind.
  • The two lights (which reminds me of the eyes of Dr. T.J. Eckelberg from The Great Gatsby) shifted over.


 Layer 3 (Blue)

  • I’ve started drawing people moving past a lot less.
  • I spent more time drawing out things I was thinking; I’m beginning to kind of draw the environment from the experience of the last two layers.
  • The rusty brown color still strongly comes through the blue.
  • I’ve drawn a few things that were around me, but that I couldn’t necessarily see in the reflection or out the window.


Layer 4 (Yellow)

  • I was happy that even though the yellow was a lighter color, it still stands out well; not so much the details as much as the color itself.
  • This layer did seem to smudge more; that might just be because of the lightness of the color.
  • As I draw more things that I can actually see, the more pronounced the doodles of my thoughts seem to be in the emptier spaces.
  • A weaving exhibit had moved into the library, giving me new reflections to draw.


Layer 4 (Green)

  • This is surprisingly the most saturated color I’ve used so far; it holds it’s own against the previous layers.
  • The “eyes” have shifted again; I still layered the green over the other set to see how the color would interact.
  • I was surprised that the pastel still stuck to the texture of the paper, even though it had been sprayed four times.
  • With the exhibit in the library, I noticed it was harder to draw things outside the window aside from lights.
  • I drew more of the grass growing outside the window that I hadn’t paid attention to before.


Layer 6 (Orange)

  • A lot of the orange gets lost in the image.
  • It was harder to draw in some places because of the build-up of the sealant spray; it was like trying to draw on smooth plastic, so there are areas where the orange looks very faint.
  • I hid a lot of little drawings in the condensed areas.
  • Because of how much color is layered there, the focal point is off-center to the left. This is usually where I would choose to start drawing, no matter what subject I began drawing.
  • The eyes have moved back.


Layer 7 (Purple)

  • The stands out against the layers under it; I had expected the warm colors to be more dominant, but it was surprisingly the cool colors that are easier to make out.
  • My proportions were never completely the same from night to night.
  • My chair was facing the other way for this one, changing the way I sat. I sat perpendicular to the chair back each night; for the six previous nights, the chair back was to my left, but it was to my right during this sitting. I was like this to separate myself from a couple of gentleman’s conversation.
  • The center of the image is very concentrated with color; it gives the overall piece interesting depth.
  • Although my process seemed very different from other people in the class, I like how my piece turned out; it’s very busy and erratic even though each night I only did gestures and doodles. It’s like how time and memories overlap each other until everything is a blur unless you dig for something specifically, while other things will always jump out at you.







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Kinetic Typography Redux

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Kinetic Typography Draft

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Storytelling Photo

“I have Dalinian thought: the one thing the world will never have enough of is the outrageous.” -Salvador Dali  

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