WEEK FEB 2nd

Following up on last week's activity, we continued practicing our observational drawing skills. On Tuesday, my classmate Silvia took the role of the model, and later in the week, it was my turn to be drawn by my peers.

The goal was to follow the same process we established previously: starting with the articulation points, connecting them to form the body’s structure, and finally adding the final details. This experience was particularly interesting because it allowed me to see the exercise from two different perspectives, both as the artist and as the subject of the drawing.

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WEEK MARCH 2nd

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This week, we explored an experimental process using a combination of unconventional materials: hand sanitizer, turmeric, and baking soda. This exercise was a great way to see how specific chemical interactions can be used to build a visual composition. The process involved a simple but deliberate sequence. First, we drew our chosen shapes using a mixture of water and baking soda, which stayed invisible on the paper as it dried. Then, we made a second mixture of turmeric and hand sanitizer. When we applied this over the first layer, it reacted to create various shades of orange, effectively revealing the underlying drawing. For my project, I chose to draw the sun from Rapunzel , and the resulting contrast really brought the symbol to life. It was an interesting way to see how non traditional mediums can be manipulated to create a "reveal" effect, showing once again how the choice of materials completely changes the execution and final look of an artwork.
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WEEK MARCH 9th

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 This week, we shifted our focus to the art of relief and intaglio processes, experimenting with printing blocks and milk cartons. This exercise was a great way to see how the physical manipulation of a surface completely dictates the final visual outcome of a piece. The first part of our activity involved working with a printing block. This process required a bit of a reductive mindset; we sketched our designs onto the block and then used a cutter to manually remove any areas we didn't want to appear in the final drawing. In this method, the lines that remain on the surface are what actually catch the ink. After rolling a layer of black ink over the block and pressing it onto our paper, the carved away sections stayed white, leaving behind a bold, high contrast impression of the original design. Our second exercise offered an interesting technical counterpoint using flattened milk cartons. Instead of carving away the background, we used a punch to incise shapes directly into the s...
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PRACTICE 2

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