This watercolor painting of two bunnies was painted in 2003. The bunnies were initially sketched in pen, and then shades of watercolor paint were added later. The pen sketch was very loose, and each bunny was painted with minimal, muted color. This helps to reinforce the fragility and timid nature of the bunnies, and creates a sense that they need each other to stay strong and warm in their world. Their expressions also give insight to their character.

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This artwork is a slightly abstract cardboard sculpture of two football players. It was created by cutting sheets of card board into various topographic shapes. The shapes were then glued to a sturdy board, and layered on top of each other to give the art work dimension. The subject matter works well for the sculpture because there are many different levels of depth in the scene. This allows for a true 3-dimensional sculpture to be created out of the cardboard.

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These 2 watercolor portraits of a woman and a girl are approximately 3″ x 5″. The subjects are both female, and are painted in varying shades of red, pink, and blue colors. Each painting began with thin black pen lines for form and structure. Light washes were layered after that, and color was applied to the faces. In the first portrait more time was put into the background mountain scene, and white acrylic paint was applied to the hair for highlights. The piercing eyes and blue highlighted skin are given tension by the deep black hair, and the warm and cool contrasting foreground and background colors. The second painting is much looser, with the paint being allowed to flow more freely around the paper, defining subtle shapes around the woman’s face.

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These 2 charcoal gesture drawings were created in 1999 in a figure drawing class. They are about 2 feet wide by 4 feet tall. Each drawing was completed in less than 30 seconds in order to capture the movement and lines in the model’s pose. This technique is reinforced by limiting the time spent on each drawing, and using broad sweeping gestures with the charcoal. The body structure, stance, movement, and proportions of the model are quickly assessed as soon as the charcoal hits the page. Also, the charcoal was kept on the page as much as possible in order to find lines, shapes, and movement that more restrained techniques may miss in the art.

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