Miss Mckinley's Sketchbook Portfolio

In her comic-style article you can see there is a lot of visuals as you go through the reading. The visuals throughout the article helps the readers get her ideas more clearly than a regular article with no images. For example, on the first page of the article she talks about homophily and even though she gives the definition before the word, the picture of her in a flock of birds can help the reader understand and visually see that homophily means the groups we associate ourselves that have similar views to us. Not only do the visuals help the reader understand her argument but it also makes the reader look more

She created the “spontaneity and freshness…associated with sketches” through “[painting] on unprimed and unsized white canvas,” allowing her paintings to appear much more in the moment, a hallmark characteristic of Impressionist art. Sometimes, she would leave the edges of the canvas devoid of paint, furthering the sketch-like quality of her paintings. White was dominant in her palette, be it through the application of paint or the peeping through of the canvas, giving her paintings the luminosity she desired. Her palette consisted of vibrant colors that “[were] admirably suited to her essentially feminine subjects” and she created the illusion of depth through

The effect that forms are that of biometric feel beside the people they have more of geometric feel. The colors do impact this artwork greatly because each color is harsh and sot of clash with one another. The colors are black, gold, red, brown, white and light blue. The colors are mixed. The color on the mother's dress is a harsh black versus that of her children which are every light and airy. The hue of the piece of art is very light in some spaces but in other places it can be very dark. The saturation is very different in many places if you look at the woman's dress and in the dog, you can see that it is very saturated but if you look at the two girl's dresses you can tell that its less saturated. When

Wells begins to draw using mechanical pencil after that is complete she draws over it in very light blue ink. Then she erases all the pencil lines and has a line image in blue. Wells uses a lot of watercolor especially in this book. She also uses other art media such as gouache, a method of painting using opaque pigments ground in water and thickened with a glue-like substance, pastel, ink, and colored pencils in her illustrations. Not only does she put such effort in her drawings for this book, she also puts boarders around a good majority of her pages. The boarders in My Kindergarten represent what the story tells on that specific page and wraps around the text whether it’s small images or words used as the

One of the aspects I believe unifies this painting is, as I talked about above, the continuation of the blue of the woman’s clothing continuing up into her hair, which gives the piece a sense of wholeness and relativity. There is also balance in this piece, for while the woman’s head is offset, this is balanced out by the elongation of her shoulder and arm in the right side of the image. Variety is also achieved in this piece through the use of a variation of hues and a lot of tonal difference. Emphasis is placed upon the hair with the use of an unnatural hair colour, as well as the face where light colours are used to highlight and pull the attention. Space is not so much of an active principle in this piece, but is still present nonetheless. Beryl is placed in the middle of the painting, with her taking up roughly 50% of the space, and the rest taken up by background.

Although books full of words are more efficient in delivering and describing what the author feels, sometimes pictures can give a deep meaning depending on how they are organized. The Veil by Marjane Satrapi’s is a graphic novel that’s organized in a particular way, to deliver a certain message through the pictures. Marjane includes different sizes and frames that serve what she is thinking and feeling. Choosing certain sizes, frames and colours isn’t arbitrary. As each box increases in size, it means that she wants to emphasize the message behind that box, or show her relation to that particular text. Contrast is also one of the main elements that Marjane uses in her graphic novel. For example, on page five, there is a big picture of

TXT- His unique style of using separate colored panels to create his subjects are similar to a Cubist painting, but he integrates several elements to construct this piece various colors and include text. Pg

2. In "Self-Portrait With Two Pupils" Adelaide sits in a green and gold upholstered chair. She looks at the viewer a smile on her lips. She wears gold earings that disappear under her curly hair. Atop her head is a fancy hat with a blue ribbon that wraps around it and white feathers that flows over the right side of it. She wears a silky shiny blue dress. The top squared around her chest and the sleeves are rimmed with lace. A bow sits in the middle of her chest and there's one on each arm. Her dress sweeps down and pools around her on the wooden floor. It is also pressed up against the back of the chair. Her left arm comes down and lies across her lap. She holds a bunch of at least 7 paint brushes, a long utensile, and a palette. In her right hand she holds a single paint brush to the palette. In front of her is an easel and canvas. She has her foot her placed atop part of the easel. Behind her stands her two pupils. The one closest in the foregound wears a green dress with white detailing on the sleeves and chest and accessorized in her hair. She looks over Adelaide at the canvas, her left hand placed

By giving the reader a visual representation to go along with the written text, Chast allows the reader to better understand what she is feeling in that exact moment. On page 137, Chast draws herself completely different in each panel. On this page she is describing her dinner experience with her parents one night in the dining room of “The Place”. Elizabeth (her mother) is asking George (her father) how many olives he wants, and this page depicts the back and forth argument that ensues about how many he should eat. In the first panel, Chast draws herself and her parents sitting at the table having a calm conversation. In the second panel, she draws the beginning of the argument, showing her mother’s amazement through her bulging eyes and large speech bubble that covers most of the panel. In a later panel, after making a suggestion that she thought would solve all the confusion, Chast draws herself in a cap and gown outfit alongside a Nobel Peace Prize trophy. This depiction emphasizes how she felt her suggestion would be appreciated by her parents, and also gives the reader the ability to understand her parent’s tendency to create large problems out of small disagreements. In the last panel, Chast’s parents violently scream at her for her suggestion, shown by the the large speech bubble outlined by a jagged edge. Chast was able to express five different emotions in just eight panels without using words to describe her feelings. By doing this, she is tapping into the reader's emotions; not only are the readers reading her story about this moment but they are also in the story with her. By giving the reader visuals that are easily related to, Chast makes the reader they feel the frustration just as she does. On top of showing her exact feelings towards her parents on this page, she also shows her parents’ personalities and how situations just like this one

The medium the artist used was oil on canvas. The artwork was vibrant colors with bold patterns. The artist was very precise with the variety of lines he used. He mostly used his brush to create the artwork. The period of Woman in a Purple Coat is expressionism because in the artwork he expressed himself through the contrast, expressive colors and confidence it reflected as she is portrayed sitting. The genre for Woman in a Purple Coat is portrait because it portrays Matisse’s assistant and companion Lydia Delectorskaya.

On several occasions the artist decides to use bold titles to introduce the topic of their work, sometimes accompanied by a small paragraph near the bottom of the page in order to tell the story or elements behind the piece (these are set out neatly in ‘blocks’). The images of her work (and the work itself if it is in 2D) themselves fill the page (one or two are laid out per side), with a double-spread page being on usually one or two similar topics that (the artist’s work) link to themselves. The artist uses formal (plain) colours for the text, frame, and, background; this makes the portfolio look professional and flow (as there are at least those similarities). To me, that once again makes the portfolio look extremely professional, although some may argue that it limits creativity. However, it shows consistency in the portfolio, as if to say that although the type of work changes (e.g. fine art and textiles), the artist’s style and personality

The monetary contribution from The Mabel de Koevend Memorial Art Scholarship or The Dr. Linda Schele Memorial Art Scholarship would improve my artistic career next year not only financially but also through the opportunity to buy better supplies. I am currently working two jobs to support myself financially. The contribution from at least one of these scholarships would loosen the pressure I have experienced throughout this year, and I feel full-heartily that I could go back to working a singular job versus the two I work now. The contribution from either The Mabel de Koevend scholarship or The Dr. Linda Schele Memorial Art Scholarship would allow me to get better supplies and/or the needed supplies to succeed in my art career not only next

She utilizes the artistic technic of collage to mimic traditional African art. The collage technique allows Marcia to demonstrate the frightening tone of the book because of the jagged lines, and overlapping layers in each picture. It looks as though the Brown stacked materials on top of each other until she came to the final unique outcome of Shadow. Although the figures, shapes, and lines are quite frightening, the colors are magnificent. Most of the scenes take place at sunset, so the colors are gloriously glowing purples, yellows, and oranges.

The black lines that seem to frame the woman into a sort of foreground are also present in the implied background, thus melding them into a singular seemingly flat space. The blending of large areas of color leave the space open, and the intent lines of color are the only implication of space or form. “Space is made ambiguously expansive by means of the slight blurs and partial erasures in and around the figures,” (Ashton). This juxtaposition of open and defined spaces easily mirrors the wily nature of women to contain some sort of depth, while at the same time being of shallow character. Lewison makes note of this contrast saying of the woman that, “she is self-consciously seductive, challenging the male to approach while at the same time remaining aloof,” (146). Although there is an understood figure and a somewhat implied background, the work still has the ability to be flat at one glance and especially deep upon another.

The first artist in the exposition is Hannah Alpha. Born in Egypt, she’s a McGill alumni who uses the minimalism style of painting, which is the art of using simplistic design to create maximum impact. The paintings grab your attention due to their abstractness. However they fail to portray the artist’s meaning. Her collection, called “La danse cosmique” (The cosmic dance), is her search to “attain a state of supreme