Pro󰇹󰈩󰈼s P󰈢󰈸󰉄fo󰈗󰈎󰈢 Planning

I began my process by biking

around Milwaukee to find a
Warmth background for my photography.
I knew I was looking for a spot
Investigation that had a lot of natural growth
Beginning the photography project my inspiration changed a couple of as well as dead bush so that the
times. I was having trouble finding an artist that fit with the style of two life vs death could contradict
photography I loved most. I have always been inspired by finding beauty in themselves. I had the camera
everyday life. Eventually I came across William Eggleston. He is an positioned parallel with my face.
American photographer and he is widely credited with increasing This allowed me so that I could
recognition for color photography as a legitimate artistic medium. Williams get the same type of shot that
work centered almost entirely on the way of looking at the world in a William took in his piece.
singularly pictorial style. William's work as inspiration for my own, I want to Continuing, I also made sure to
include his use of everyday objects to tell a story through the photos. In my use completely natural lighting so
photography I also used the same concepts that William used in his work, that my face would not become
such as; claiming an interest in his subjects chiefly for their physical and over exposed. This would allow
formal qualities rather than for any broader significance. me more control over having a
Warmth, 2020 warm hue to my pictures.

This piece showcases the photo I was

looking to recreate so that I could
include an element of self portrait into
the shot. I planned to copy the pose of
the man in the photo in order to directly
show my inspiration from William
Eggleston's pieces.
William Eggleston, Untitled,
c. 1982
 As I worked to get the final shot, I also
experimented with the poses that I stood in so
Warmth that the mood would be consistent with my
intended final product.
Experimentation
I had always had the vision of creating a photo that makes the viewer feel as if they
could be in a dream. I knew that a major part of this would be style and composition.
My original plan was to wear an all monochrome jean outfit. Although I soon realized it
did not represent me as a person. I finalized on blue ripped jeans and a brown vest.
My clothes were cool and warm colors and so I knew I needed to have warm lighting
to balance out the cool hues. I also experimented with the types of clothing I would
wear and how I wanted my hair to looks so that I could really incorporate the "dream
feel" into the photo. I also looked into Williams other photos to find the type of clothing
style he usually took pictures of.

Technique My first photo came out

I set up my ISO, aperture, and looking too gloomy for the
shutter speed for my final photo. I aesthetic I was hoping
used a 35mm lens as well. I knew for. My second location
that my camera should be taking was beautiful, but it had
warmer photos and so as shown too much "life" that it drew
between the first and second photo away from the self
you can see a difference between portrait. My third location
the warmth of the two photos. The was almost perfect, but I
photos below also demonstrate felt as though there was
how I used different techniques to not enough space being
get the right focus, position, and used effectively to truly Trial shot 3, 2020
lighting. The piece really tested my get a "magical shot". Trial shot, 6 2020
technical skills as well as my Trial shot 61, 2020
artistic planning ability. William Eggleston, Untitled, c. 1982
Beneath the Warmth
Investigation
When life is broken down to just color we start to see the true beauty of it. "Beneath
the warmth" is an Oil painting based on the photo "Warmth" by Isabelle Kiekhofer
using these ideas. Inspired by Henri Lebasque, this painting focused on life in plants
and their beauty through the use of pointillism and warm-drawn out hues. The
inspiration for this piece came from the artist Wassily Kandinsky and Henri Lebasque
who are impressionist-pointillism painters. Lebasque was profoundly influenced by
his time painting in the South of France, where his palette became more luminous
and colorful. He would go on to paint both domestic interiors and landscapes
throughout his life, gradually adopting the Fauvist style.
The importance of color in this piece is shown
Process
As I focused on the final elements of my
through the planning sketch that focuses on the
painting I focused on creating a piece that
specific hues that would be used in the painting.
appeared zoomed in and as if a piece to a
In order to do this I madebigger
sure topuzzle.
keep constant sizing in my brush
strokes. This focused the viewers mind on the piece and the overall
shapes of the piece, rather on the line work and the subject matter
itself. Continuing, I planed and placed out a palate I could use for my
piece. By arranging the colors before I started the painting I was able
to find my contrasting and complementary colors more easily.I
wanted to make sure you can see the individual brush strokes. In
order to do this I held my brush at a forty-five degree angle and
Le moulin, ca. 1907 quickly swiped my brush across the canvas. This created a single
droplet like stroke that was very similar to my inspiration.

Lebasque, Paysage à la meule c. 1900
Beneath the Warmth
Experimentation
As I worked on beginning my painting I
experimented between the size of brushes
Color Composition that would work for getting the pointillist
The use of color in abstract style I was working for.
both pieces, Originally, my brush was making large
although similar, are oval shapes that took up more of the
not the same. paper than I wanted. Instead of just using
Lebasque includes the same brush and hoping it look nice, I
the "entire rainbow" changed to a different better shaped
of color, whereas I brush. This can be seen in the bottom
stick to a strict warm right photo that had blocked out shapes
toned color pallet. for the background. I was working on
This shows how the layering up the colors but realized that if I
pieces are even kept using a big brush to layer over the
more original to red then the red would disappear behind
each painter. the second layer entirely.
Technique
The composition of both pieces show no negative space
and include details in forms of small circles all over both
of the pieces. Both pieces look cohesive by keeping their
composition ordinary and having the viewers eyes go all
around the piece rather than just have on singular piece of the
painting completed. Continuing, the points of emphasis in both
pieces are in the middle left of the piece. This allows the pieces
to look similar, and have a direct correlation between
inspiration and final product, while also being two distinctly
different pieces.
Theme
The central theme of my inspirational
research was color and nature working
together. This was shown in my original
photography through the warm tones
and my background, as well as my
painting in the still life I choose to be my
subject. This helped focus my research
on more basic shapes
and use of space.
Digital Planning Sketch
 Self Portrait Process
As I began putting the final piece together I
Inspiration
had had to focus on using my skills as both
The inspiration for this piece
an artist, but also focusing my creativity. I
came from the artist Larry
wanted my piece to cohesively work well
Rivers. Rivers was an
together, while also giving off the complexity
accomplished Jazz musician, a
I was hoping for. I began with some
painter, sculptor, poet, and
experience in doing semi-abstract work and
actor. Rivers’s works were
so I felt confident going into the piece. I
characterized by competent
began by sketching out the final composition
draftsmanship, a fine sense of
so that I could lay it out next to the piece and
colour, and the frequent use of
grid down what I wanted to transfer over. I
complex, fragmentary, and Rivers, L.. 1963 Self Portrait
also focused on making sure I used majority
multiple views.
of the canvas to my advantage.
As I began working out my
Furthermore, for the skin and the eye bags I
planning process for this piece
wanted to have it be a focal point of the face
I knew I would have to be
so that the rest of the piece would fit around
specific about the connections
it. This, although not completely anatomically
that I was going to make so
correct, would add more depth to the piece.
that it could be more obvious to
As I finished the face, I began transitioning
the viewer. I needed to find an
to the background. I wanted to include a
inspiration that showed use of
non-realistic background so that it would
color to create tone, while also
stay similar to Rivers. This gave the
being abstract for the viewer to
most simplified version of a
look at and enjoy.
background I could figure out. Finally,
Shown to the left
is the technique
the hardest part of putting the project
that was used for together was definitely figuring
the first layer of Self Portrait, out how to finish the piece.
the hair. March 2021
 Self Portrait
Experimentation
In my past experimentations with art, I have not focused on creating such a large scale Lessons Learned
piece. This creates a struggle for me when I choose to challenge myself composition I 1. Manipulating paint when it is wet is hard
choose to use. I first began my piece by focusing on just the final composition of how I to do if you want to keep the same color.
would connect my inspiration to my final creation. I knew that I wanted the piece to look 2. The colors pink and blue are good to
cohesive, while also being made up of several different components. So I experimented contrast, but come out looking rather basic.
with different shades of color for each element of the painting, as well as adding other 3. Planning out every layer is important for
unusual shapes that would shadow around the piece. the final integrity of the piece.

I also experimented with the techniques I used to paint the

shapes. I used both tape and free hand painting in order to
create the background. This trial and error was very helpful for
learning in the future how to plan out my piece. Furthermore, the
hair was supposed to represent the both the layers of complexity
of the piece, as well as a shield to the mouth. This was very hard
to do because of the lack of experience I had. This was something
I struggled with originally because it was an aspect of the piece I
wanted to include, but I was unsure how to get it looking correctly.
Eventually I was able to have a final creation that resembled hair
and did not take away from the focus of the face.
Close up of faces
in both paintings.

William Blake, The Punishment of the Thieves
from the Divine Comedy, 1824
Focus Points
1. A head piece that takes over the person
wearing it
2. Wide mouth- to show gasping and taking
in a lot to the body
3. Caged like appearance- to show emotion
holding the person jailed by the snake
The central idea/theme of my inspirational
research is power and greed. I wanted my
piece to be both graceful and unpleasant
so that the piece would give off the same
theme that the painting did.
Hybrid Heroes
Inspiration
This piece was inspired by William Blake. Blake
depicts a scene from cantos 24 and 25, where it is
explained that snakes steal and manipulate the
bodies of thieves, who must then search in vain for
a home for their soul. While completing my artwork I
was able to clearly identify the cause and effect
relationship between my inspiration and its effect
on my artwork through the discussion of focus point
and theme. My inspiration directly was influenced
from the pose of the women and how much of their
bodies were being taken by the snakes. This
showed an obvious cause and effect relationship.
Process
As I began working out my planning process for this piece I knew I would
have to be specific about the connections that I was going to make so
that it could be more obvious to the viewer. I needed to find an inspiration
that showed use of theme to create a meaning, while also being
fascinating for the viewer to look at and enjoy. I came across the painting
"The Punishment of the Thieves". This painting showed a snakes taking
women because of their greed and bad relationship with the gifts of life.
Continuing, in order to create the best quality piece that I could, I focused
on my technique a lot. For example, I focused intently on not having the
hot glue show on the surface of the piece. This would promote better
composition of the piece in the end. Furthermore, I focused on having the
edges on which I cut the cardboard to be clean and done well.
 Hybrid Heroes
Experimentation
In my past experimentations with art, I have not
focused on creating a three-dimensional piece. Lessons Learned
This creates a struggle for me when I was given 1. Manipulating felt is not
the opportunity to create a piece entirely out of easily done without
cardboard. I took this into account when I started learning specific
my piece. I also experimented with the techniques along the
techniques I used to attach the cardboard way.
together. Originally I tried attaching the two 2. The colors brown and
pieces together with elmer's glue, but as soon as I white are very easily
ben bent the piece, it would start to rip apart. This associated with a
led me to using hot glue, which ultimately was cardboard, and thus
most successful. Furthermore, the composition of good to alternate
the entire piece was extremely important. This can between when I wanted
be interpreted in many ways but ultimately had to more definition.
Planning Sketch One be focused onto one singular meaning. 3. Planning out every
Eventually I was able to have enough layer is important for the
ideas that I could create a singular focal final integrity of the
point, while also looking like it was a piece.
cohesive piece. Finally, with these
concepts, I was a was able to create a
piece that flowed and used line and
balance to create a snake like mask and
body. Using my new skills surrounding
technical art, I had a better
understanding of using felt to create a
three-dimensional art work.
 Negative
Inspiration
Media will consume everyone if they let it. The piece "Consumed", is an example of a
man fighting against the urges to play more video games and travel further into the
realm of media. It was inspired by Njideka Akunyili Crosby, a mixed media artist.
Overall, this piece reminds people to slow down before they have no control left.
Many of Akunyili Crosby's images feature figures - images of family and friends - in
scenarios derived from familiar domestic experiences: eating, drinking, watching
TV. Rarely do they meet the viewer's gaze but seem bound up in moments of
intimacy or reflection that are left open to interpretation. This allows the viewer to
have a wide range of possible interpretations of the work.
Planning
Similarly to how all great things start, I needed a step by step plan in order to have
my piece look cohesive with both the colored pencils and the magazine scraps. I
began first by finding magazines that had a lot of colorful interesting images. This
Njideka Akunyili Crosby, would allow me to include lots of color and emotion into my piece, similar to my
“The Beautiful Ones Series inspiration. Once I had all my magazines I knew I had to had to figure out what
#6”, 2018
shape of collage I would want so that I could sketch out and then make a collage in
the same shape. This meant sketching out my final piece. When I first
began sketching I struggled with what drawing should be my center
piece. Eventually I realized that a portrait would make most sense.

As shown in the first picture, I began with the hair and slowly worked my way
around the piece. While I worked on the colored pencil, I also prepared the
college that would be the man’s beard. I focused on getting clean straight
edges with the magazine. I bettered my skills in color theory, shape and
design, and overall a better understanding of how to use colored pencils.
 Experimentation
I first began my piece by focusing on just the final
composition of the man’s face. I knew that I wanted him to look old,
but not dead. So I experimented with different shades of white for
his face. I also knew that I wanted him to have very extreme eye bags
so I experimented with different shades of red and purple for his eye
Negative bags. Doing these things helped me better understand how to put
together the final composition for the piece.

Collages are all about having random images that originally would
make no sense together, but when placed side by side correctly, they
create a beautiful image. This was something I struggled with
originally because I could not get the composition quite right. Finally, I
was a was able to decide on a background, hairstyle, and collage
composition that made sense. I adapted and chose to create a
collaged beard, rather than a collage background. Using my new skills
surrounding technical art, I had a better understanding of color
creating mood, and technique with colored pencils.

Lessons Learned
1. Colored pencils are not a very easy medium to
work with, the more blunt your pencil the easier it
is to blend out colors.
2. Creating hair with colored pencils is extremely
hard to do well. After a while blending it out is just
better looking.
3. Exploring background colors is extremely
important to creating the final mood/tone of the
piece. (Green vs white)
 Positive
Inspiration
Unlike what the media tends to present, there is not one perfect body. This
piece shows the beauty in being openly female and showing of what makes
you human. This piece was inspired by Pamela Colman Smith (a tarot card
designer). In essence, this piece aims to enlighten the viewers ideas of what
media teaches the "perfect body" really is. Pamela Smith is an original
designer of tarot cards and this fit perfectly into the type of artwork I was
aiming to create. Pamela focused on single color background with precise
placement for details. She depicted gods and goddess and this was exactly
what I was going to depict as well.
Planning
*These six things helped me to
shape my artwork into a piece that
would truly show grace and beauty
Greer, Bill. 1979 The Star as the main themes of the work. In
order to properly plan this piece I
The theme of this began by laying out what I wanted
artwork was grace. to accomplish each day that I would
These six things* work on the piece. I began with
represent grace in art. picking out a color pallet that would properly fit into the
1. Relaxed posture theme of grace. This would allow me to keep my
2. Calm face creativity balanced with effectiveness. Then, I worked
3. Elegant robes on what my main focal point would be. I planned on
4. Soft features following in my inspirations footsteps, and drawing a
5. Welcoming face women in her most vulnerable form, to show the true
6. Natural beauty beauty and grace of the human body.
 Positive
Experimentation
I first began my piece by focusing on
just the final composition of the
woman's pose and movements. I
wanted the woman to almost be
alluring to the viewer. I knew that I
wanted her to look elegant, but not
royal. So I experimented with
different shades of peach for her
skin, as well as adding other unusual
Originally, I wanted to have
tones such as green and blue. Doing
newspaper showing words of
these things helped me better
love for her body, but I realized
understand how to put together the
it look more like I was covering
final composition for the piece.
her skin and features, than it
Continuing, as I worked on the
Lessons Learned looked positive. This lead me to
project I also experimented with the
1. Elegance can be created, but in realize that I should draw a
composition of the clothing hanging
the end it is all up to how the viewer off of the woman. The clothing was face to match the body.
decides to interpret the piece. supposed to represent the grace the
2. Creating clothing out of color woman had as she drapes it across Planning Sheet 1
pencils is easier done when you do her body. Planning Sheet 2 (left)
not have to make it hyper realistic, The balance of the pieces, although somewhat similar, showcase
stick to the basics for this one. different amounts of background space fulfillment. The background
3. Exploring the tone of the piece as of "The Star" is more balance than the background of my piece. This
you work through it can help you creates two different kinds of balance, one completely equal in
better understand the piece as you subject, and one focusing on balancing out the very detailed
make it. subject. This creates two separate ideas of balance.
 Without Purpose
Inspiration
Lessons Learned As often as humans waste valuable resources, we also expel resources for
1. Using muted colors- Monet art and other forms of expression. This painting inspired by Claude Monet,
focused on muted yellows and was created to highlight the use of unusable materials and make
and pale pinks, so I would do viewers overly uncomfortable. The painting brings forth the discussion of
the same both how hair displays femininity, and how it also portrays illness. While
2. Including one abstract searching for an artist that could mimic the type of art I was hoping to
detail- To allow the viewer to produce I came across Claude Monet's artwork. Both as a person and as
be drawn in just has Monet an artist, Monet was devoted to taking realistic images and making them
did with the purple line or come to life in the abstract form.
orange sun
3. Having a smooth overall More than just his ambitious
look to the piece- Having all figure paintings, works as "On the
the brushstrokes be the same Bank of the Seine", Bennecourt
size (1868) or "The Beach at
These three things helped me Sainte-Adresse" (1867) give a
to shape my artwork into a clear accounting of Monet’s
piece that would truly show advance toward the Impressionist
emotion and show the main style. Overall, his work was
themes of the work. This regarded of some of the most
created an interesting and influential
artwork paintings of his time. This grasp
that had on taking color away from shape
immense and shape from color, furthered
of my interest and lead me to choose
amounts him as my inspiration for my own
of depth. painting.
Monet, C. 1896 House
 Experimentations
Without Purpose In my past experimentations with art, I have
Focus of the Work not focused on creating such a large scale
This piece, although relatively innocent The central idea/theme of my piece. This creates a struggle for me when I
on the outside, has a lot of meaning, and inspirational research was not was given the opportunity to create a piece
this makes it even more meaningful. having purpose. This allowed me to entirely focused on the size of the painting. I
Often times the loss of hair is related to focus my research on finding pieces took this into account when I started my
age, eating disorders, cancer, and many of artwork that served no purpose, piece. I first began my piece by focusing on
other problems and illnesses. To me this other than to be art and to be looked just the final composition of how I would
painting highlights those problems and at. Thus, the hair used in the same connect my inspiration to my final creation. I
allows people to see them as a part of way of not having a greater purpose. knew that I wanted the piece to look
life, that can be helped and improved on. cohesive, while also being made up of
several different components. So I
experimented with different shades of color
for each element of the tiles and shadows, as
well as adding other unusual shapes that
would end up creating the shadows and
framing the tiles. Continuing, I also focused
on experimenting with how to convey the
meaning of the piece and how the hair would
affect the viewers experience when
observing the piece. I needed to have the
hair both represent illness, but also a new
found personal growth. All in all this piece
came to represent the importance of
constants, and how the relationships with my
mother (shown through her hair) will continue
to grow as this piece stays the same. .

Bugs Unclassified
Inspiration
As the world continues to grow,
insects are among the fastest
growing species with it. This linocut
represents the huge population of
beetles that take up the world,
inspired by Wassily Kandinsky's and
Horace Brodzky’s artwork. This piece
reminds the viewers how unique
bugs can be, just as how unique they
can be.
Both as a person and as an artist,
Brodzky was devoted to using line to
tell a story and create a sense of
movement. Originally Brodzky
focused on just the core idea of what
shapes looked like. However,
through his career he grew and
focused on creating pieces of work
that convey emotion and stories.
The central idea/theme of my inspirational research was
curiosity. This allowed me to focus my research on
finding pieces of artwork that inspired creativity and
curiosity in myself. This helped focus my research on
learning the reason of why an artwork was created,
rather than just how it was created.
Lessons Learned
1. Using different thickness of lines-
Brodzky focused on having thick and
thin lines to create shape instead of
just one solid line
2. Including one abstract detail- To
allow the viewer to be drawn in just
has Brodzky did with the negative
space he used
3. Having a smooth overall look to the
piece- Having all the lines be printed
in the same finish (solid or patchy not
both)
Brodzky , H.
(1920).
Vintage
Planning Women .
As I began working out my planning process for
this piece I knew I would have to be specific
about the connections that I was going to make
so that it could be more obvious to the viewer. I
needed to find an inspiration that showed use
of line to create movement, while also being
visually interesting for the viewer to look at and
enjoy. I drew most of the elements from
Brodzky's very expressionist linocuts. The
linocuts had the same color theme and overall
composition, while also having a different focus
and overall feel.
 Experimentation Bugs Unclassified
I experimented with different lines depth for each element of the sections
and shadows, as well as adding other unusual shapes that would end up
creating the shadows and framing the beetles. Doing these things helped
me better understand how to put together the final composition for the
piece. During the process I learned three very important things; including
both thick and thin lines helps to create a shape without using actual
shading, using more ink than you think you will need assures that your lines
are going to look fuller when you print it, and using different sized scoops to
carve out the stamp help with small details in the end.
I also experimented with the
color of paper and the amount
of ink. In the end I choose to have an almost rustic/used
look to the print. In the print to the right the lines are solid,
but it takes away from the beetles and instead the viewer
is drawn into the lines.
Compare and Contrast
These pieces share many similarities while also having their
own person style, creating differences. Brodzky's piece
focuses on the female figure and how contorting the body
can create certain moods. Whereas my piece focuses on the
shape of beetles and how each species can have slight The planning sketches shown focus on
differences, just like humans. Both pieces also use the same the impacts of materials and still life
medium, but focus on using the negative space in different inspiration. Without the physical study of
ways. Brodzky focuses on using the line to create outlines the beetle the accuracy of the intended
and not shapes on the inside of the body. Whereas I focus emotion to the audience would be lost.
on using the negative space to show highlights on the body The correct materials were also vital to
as the piece is printed. my process, thus an extensive amount of
research was done.
 Christian, D.
1955 A-line
Denim Day Dress
Inspiration
In 1998 an Italian Supreme Court decision overturned a rape
conviction because the victim wore tight jeans. This case grew
to spark change and thus came "Denim Day". This dress was
created to cast the idea that survivors could wear anything, but
their clothing will never be an excuse. Clothing has often been
seen as a house for over sexualization and judgment. These
negative concepts often lead people to feel outcast and Focus Points
ashamed of how their body fits in clothing or how a person is 1. Create a pattern for a dress that
presented through the clothing that they wear. In order to spoke to both the feminine and
understand the history of fashion though, it is important to look masculine body
at the time period. This dress was inspired by a 1960's dress 2. Use a material that had meaning
called the "A line" dress. The dress was not focused on hugging behind it, even if it was personal, so
the wearers figure, but rather to focus on a more flare that there was a story behind the
look, resulting in a letter A piece
look. This furthers the focus 3. Create the dress from the
on an gender neutral outfit. beginning, pattern and all, and
photograph it in a meaningful way
Planning
I began with picking out a fabric that would properly fit into the
theme of my piece. This would allow me to keep my creativity
balanced while also being productive. Next, I worked on what my
main focal point would be. I planned on following in my
inspirations footsteps, and using the A-fit detail, the most
interesting part of the dress, to show the amount of anonymity in
the piece. This would allow me to use all of the three elements
listed above to truly show the theme.

Denim Day
Experimentation
I also experimented with the techniques I used to
cut out the pattern and pin it together. Originally I
tried using the same size for the entire piece but
this made the dress to big and it did not have any
defined shape when it was on my body. This led
me to using different sized front and back panels
so that the dress would fit to my body and not stay
box like. I also focused on making sure the dress
kept consistent with
the A-line look from the 1960's. This
meant keeping the base of the piece
would be flared out more than the top of
the piece, creating an "A" shape.
Conclusion
The central idea/theme of my
inspirational research was inclusion.
As I researched the inspiration I
came to the conclusion that often
times people are unaware of the
problems that revolve around sexual
assault. I had to generalize the
reasons for Christian Dior to make the
dresses and use the materials that he
choose because I was not able to get
direct quotes from him through my
research.
The back of the dress was
where most of the detail
work was. The bow on the
back was a mix between a
bow tie, and a bridal bow
to further the gender
neutral feeling of the
dress. The zipper was also
added as to add
accessibility to the dress.
Technical Skills
1. Pinning down the edges of the fabric
and working slowly is vital to having
clean edges
2. Trying on the piece over and over
again makes sure that the final product
will fit your body
3. Being creative with you shape and
not following a pattern allows for a lot
more freedom when creating the piece
 Beetle Chair Jacobson, A. 1958
Inspiration Egg Chair
The inspiration for this piece came from the
artist Arne Jacobsen. Jacobson was an
accomplished designer who often took a
more complicated path than he had to.
Unusual shapes and styles were extremely
important to him, and he enjoyed focusing
on making the consumer both comfortable, and
confused. Jacobsen's works were characterized by
competent craftsmanship, a fine sense of colour, and
the frequent use of complex design and imaging
techniques. He was often inspired by food objects or
other natural occurring things he would see in his day
to day life. All of these things made Jacobsen a perfect
example for my inspiration work.
Planning Focus Points
My theme changed throughout my planning and 1. Only use cardboard for materials to keep
eventually became "organic". This was important consistent color and thus a consistent theme.
for my work because it was to display the 2. Make sure the piece if organic and not
abstractness of a chair design and how it can geometric as to also keep to the theme of the
become a new version of an everyday object. In project.
order to properly plan this piece I began by 3. Use the human body as inspiration for the
laying out what I wanted to accomplish each day chairs final form by including movement and
that I would work on the piece. I began with curves that fit the human bodies natural
picking out a template that would properly fit into Curve.
the theme of my piece. This would allow me to 4. Use triangles for support points so that
keep my creativity balanced while also being a person can sit down.
productive.
 Below: The original planning sketch
Beetle Chair for the chair.
Experimentation
I experimented with different shape for the body of the chair so
that I could understand all of my options. Doing these things
helped me better understand how to put together the final
composition for the piece. I made sure to focus on what
different adhesive techniques I could use so that I could be
happy with the look of the final piece. I also experimented with
Above: This photo shows the
the techniques I used to put pieces of cardboard together. I process of inserting the slots
used both tape, hot glue, and slits in order to create the seat of into the chair so that it can
the chair. This trial and error was very helpful for learning in the support human weight.
future how to plan out my piece. Furthermore, the curve was
supposed to represent both the layers of complexity of the piece, as well
as continue the theme of being organic.
Process
I began tracing out the pattern and using a knife to cut out the shape.
I knew I had to be focused on the lines because I had a limited amount
of cardboard and so I had to use each sheet wisely. I wanted the piece
to be strong, it should be able to hold my weight, without using stronger
materials. This would allow for further functionality in the viewers mind as well.
Lessons Learned
1. Hot glue is easier to use when glueing lines and big surfaces rather than
small cracks. (In final construction hot glue was needed to add the supports.
2. Cutting out curved cardboard takes a lot of time and you have to be careful
with ripping. (Using a sharp blade each time is key to having clean cuts)
3. Cardboard can be very malleable when the corrugation is going the
correct way. (Using water to separate the pieces can be extremely helpful)

Mask
Inspiration
With the world in a suspended state of
chaos, it made sense to connect my
emotions to a tangible human expression.
After losing two people to suicide in the
past couple months, it felt right to create a
mask to expression the sheer anger and
regret. With inspiration from Schoenberg, I
Schoenberg, A. 1910 created a felt mask to bring
Self Portrait
forth true emotions.
The emotional intensity of his paintings and
drawings impressed people for years. The art
works are of interest not only in their own right,
but also for the parallels that can be drawn
between his musical and his artistic output during
these years.
Process
In order to create the best quality piece that I could, I focused on my
technique a lot. For example, I focused intently on not having the hot glue idea.
show on the surface of the piece. This would promote better composition 3. Planning out every layer is important
of the piece in the end. Furthermore, for the skin and the eye bags I
wanted to have it protrude from the face so that the mouth could fit
underneath the cheeks. This, although not anatomically
correct, would add more depth to the piece. Finally, the hardest
part of putting the project together was definitely
figuring out how to finish the sides of the piece. I
decided that I wanted to add texture so that the
piece would not be perceived as flat.
Experimentation
To begin, I experimented with different
shades of color for each element of the
mask, as well as adding other unusual
shapes that would shadow around the piece.
Doing these things helped me better
understand how to put together the final
composition for the piece. I also
experimented with the techniques I used to
attach the felt together. Originally I tried
attaching the two pieces together with fabric
glue, but as soon as I ben bent the piece, it
Lessons Learned would start to rip apart. This led me to using
1. Manipulating felt hot glue, which ultimately was most
is not easily done successful.
without learning specific techniques
along the way.
2. The colors brown and white are very
easily associated with a primate, and
thus difficult to maneuver around this
for the final integrity of the piece.
 Selik, H. Process
Coraline Doll 2009
Coraline
I began by sketching
Film out the body and face,
Inspiration and then working to the
Animation has been a huge part of movie clothing so that the
development and overall different art cultures. This piece would surround
Coraline doll is a depiction of my brother in the style of the face and eyes most.
Tim Burton from an animated classic; Coraline. It This would guide the
depicts a fairy tale version of a person in my artistic viewers eyes to the details of the
minds eyes. Inspired by Neil Gaiman's book Coraline, head and body, rather than the
this doll is meant to invoke imagination in the viewers paint of the face. Next, I had to
mind. Gaimen was a spirit artists that likes to indulge focus on how the head would
in his work completely, until he got interested in a new attach to the body. I needed a
idea that is. He wanted to be down to earth, while also solution that would allow me to
having fantasy mixed in to the rest of the story. have the body have movement. I
Experimentation
Coraline did just that. It allowed was able to create a
I also experimented with the
the viewers to focus on the body out of a clothing
techniques I used to attach the
neglect of the hanger and some clay
fabric together. Originally I tried
little girl, while for the head. This
attaching the two pieces together
also being allowed the arms and
with super glue, but as soon as I
blown away by legs to move, while
bent the piece, it would start to rip
a mother with also looking
apart. This led me to using sewing,
buttons for similar to the doll in the movie. The only
which ultimately was most
eyes. problem was that the head was very
successful, but took a lot more time.
heavy, and so it was fragile when being
Finally, with these concepts, I was a was moved around. The piece itself ended
able to create a piece that flowed and used up being very successful in looking like
line and balance to create a doll that looked my brother.
like my brother. I had a better understanding
Selik, H. 2009 Coraline Film
of using clay and wire to create a 3D work.
 How I Improved My Three-Dimensional Work
When working through my artistic portfolio, it became evident that three-dimensional work was
very prominent in my artistic style. Originally I began by working with small scale pieces. This
included the mask that is seen to the left. The mask was on of my first three-dimensional pieces. As
time went on however, I began to focus on using larger scale designs. This is when the snake
cardboard costume came around. While working on the project for UWM I made sure to focus on
the details of the snake so that even at a larger scale, the piece would still be interesting to look at.
The biggest setback with doing such a large scale piece, was focusing on time management. I
had to make sure that I had time for both cutting out all of the oval scales, as well as designing the
head. This was something that gradually improved as I continued to work on three-dimensional
art pieces.
After the snake design, I began the Coraline doll design. This was a new type of art for me to work
on. I had to focus on both creating a finished project that looked clean, but also connected directly
to my inspiration. I also had to focus on the details of this piece quite a bit. The
Improvements
difference, however, was that the details on the snake were large and repetitive.
Looking back on my process
Where as the details on the doll where small and all unique. This challenged my
and improvements I know that
design skills and helped me learn how to create in a more creative and
going forward I should take
professional way.
more time on the details that
Finally, as I approved my final piece of my portfolio, I knew that I wanted to further
are often not focused on. For
showcase how I progressed as an artist. My final challenge to myself was to create
example, correcting the
neckline of my dress could’ve a piece of art that could be
been the difference between worn on a day to day basis.
being sold and being rejected Thus, I challenged myself
by a company. I will continue to to create and design a
work on the details in my art dress without any pattern.
process, as well as It taught me lessons on
continue to reflect adaptability that I will keep
on the lessons I with me forever.
learn.
 How I Used Multiple Mediums
Another aspect of my portfolio that I knew I had to emphasize
was the use of mixed media in several artworks. To begin, I
took a literal approach to the inclusion of a mixed media
piece. As seen on the bottom middle right, I used both
magazine scraps and colored pencil to create an artwork that
worked cohesively together. This inspired me to take a more
non traditional approach to mixed media artwork. I then
began on the piece in the bottom right. For this piece I used
acrylic paint and colored pencil to achieve to separate
textures in the artwork. I took this idea and ran with it when I
created the shower painting with hair on the left. This piece
focused on using literal hair to create a
deeper meaning than just the physical
appearance of the painting. This secondary
level of meaning helped further my creative
process.
Finally, as was getting to the end of my portfolio I decided that
I would both create a piece that challenged myself, but also
created a piece that could stand alone, and as a mixed media
pieces. This is when I created the Denim Day photograph. I
knew that by having both a dress made completely of my own
design, as well as a photograph that displayed the intentions of the dress, I was
sure to create a powerful piece. All in all, I made sure to have at least a third of my
portfolio include pieces that focused on having multiple mediums. By doing this I
would be able to better my design process, learn new stylistic technique and also
create pieces that have deeper meanings than those that
are seen on the surface level of the artwork.
 BLM Photography Work Full Album- https://myalbum.com/album/vzUCeGvqRf9g
Photography has been an outlet for me throughout my teenage years. Understanding
composition and how to evoke emotion in a viewer was both important to me as well as a
challenge I could use against myself when ever I went out to create. Shown below are a
variety of different worked I have composed and finalized. I hope that the work shown
both tells you a story about myself and my interests, as well as allows you to feel more
emotions than the simplistic idea of happy or sad. Enjoy the work below.
As my photography journey as progressed I have become more involved in social change
movements and thus got invested in the #BLM movement. My goal was entirely to spread
Many protestors information and use my photography to encourage people to get out in their community
drove in cars in and make a change.
order to slow This photo was taken to show the This photo was my favorite when it came down to telling a story. As the
down other traffic for those walking. mass amount of people that march paraded by the Milwaukee City bus the drive began crying from
showed up in support. the pure amount of support she was overwhelmed with. It truly shows
how much power a community has when it comes together.

As one of my favorite photos from the collection,

this photo shows the huge amount of people that
came out to support. It also shows "The Calling"
in the background showing this was a pure
Milwaukee protest. Each face shows pure power
as they stand with their signs held high.

Bibliography
Artworks
Brodzky , H. (1920). Vintage Women .
Christian, D. 1955 A-line Dress
Greer, Bill. 1979 The Star
Jacobson, A. 1958 Egg Chair
Lebasque, Paysage 1900 à la meule c.
Le moulin, ca. 1907 Untitled
Monet, C. 1896 House
Njideka Akunyili Crosby, “The
Beautiful Ones Series #6”,
2018
Rivers, L.. 1963 Self Portrait
Schoenberg, A. 1910 Self Portrait
William Blake, The Punishment of the
Thieves from the Divine
Comedy, 1824
William Eggleston, Untitled, c. 1982
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