Marysa Gunter, Student Work

Transformation #1: A Still-life

Charcoal on Paper.

36 in. x 30 in.

Transformation #2: Florida Panther

Charcoal on Paper.

36 in. x 30 in. 

        For this transformation I changed to orientation to landscape to follow the angle of the first transformation. I made darker marks with charcoal on this transformation in order for the erased highlights to be more striking. I used water to adhere the charcoal to the paper better to create different mid-tones and to also "paint" with the charcoal. I used a reference of a Florida Panther staring at the person taking the photo, but in this state it is staring at the viewer. 

Transformation #3: Knight Guard

Charcoal and Gouache Paint on Paper. 

Panels of paper taped together on back with painters tape. 

Approx. 4 ft. height. x  Approx. 30 in. width

        In this transformation, I cut the paper to create a taller layout. I was inspired by Knight armor and wanted to experiment with a black, white, and grey pallet. I sprayed water onto the charcoal to spread it with my hands, creating a mid-tone background for the drawing/painting. I mixed a grey on a painting pallet but also mixed the grey directly on the paper, which caused the paper to pebble. The pebbling was not much of a problem since once it was dry, I brushed them away to keep the paper relatively smooth. The gouache paint created opaque layers that were easy to work with, as well as fixing minor mistakes and smudges that occurred during the creation process. I would paint in sections and spray the paint with a spray bottle in order to blend the paints easily. 

 Details of #3 

Transformation #4: Handled

Charcoal and Gouache Paint on Paper. 

Panels of Paper taped together on the back with painters tape. 

Approx. 5 ft. height. x  Approx. 30 in. width.

       To start transformation #4, I sprayed #3 with water and smeared the paint with my hands to create a mid-toned background.  I them rearranged and cut the paper into more panels and taped them back together again. I included red gouache paint to add a higher contrast to the black and dark grey paint. I added white paint for an reflective eye effect, with a small red streak going upwards from the pupil. For this transformation I wanted to create something more representational of feeling than just representations of things that already exist. I had different ideas sketched out but ended with the image of a six-armed figure hiding its face. With this transformation, I explored more into the style that was more prevalent in one of the quick challenges, Water.

 

Transformation #5: Barred Owl

Charcoal and Gouache Paint on Paper. Cardboard.

26 in. height. x 16 in. width.

/\ Pictured with the wing extended and folded in. /\

        For the final transformation, I decided to do a movable piece. After spraying #4 with water and blending out paint, I cut a piece of cardboard into a simplified outline of a Barred Owl's body and wings. I covered the cardboard in the paper and secured the wing to the base of the body. To make the wing uncurl, I put a hole into both parts of the wing, threaded a string between them, and tightly secured the string to a small piece of cardboard. I then covered the wings with the paper to hide the cardboard. With the excess pieces of paper, I cut feather-like strips and glued it to the body and wings, with the unpainted side up to create the harsh white highlights. At the end of the process I still had a large piece of paper left over. To make it go with the owl, I used watered down gesso and a toothbrush to create the white streaks and speckling. 

        While I am happy with the moveable function of the wing, I am not happy with this outcome especially after Transformations #2, #3, and #4 being so successful in what I had envisioned while working on this project. I did make a more drastic transformation with this piece, which I am proud of for pushing myself to do. 

 

Ellie Bowman, Student Work

Transformation 1

First Drawing, Transformation #1

Transformation 2

All This Ringing, pastels, 36in x 30in

During the creation of this image, I was getting over a virus that impaired my hearing and resulted in temporary tinnitus. The ringing in my ears was the only thing that I was able to focus on, so while drawing this image, I tried to portray the annoying buzzing sounds and overwhelming feeling of the tinnitus. I struggled to cover the pitch black of the original image. I found myself constantly rubbing at layers of charcoal and building up layers of color to mask it.

Transformation 3

In Red, pastels, 36 in x 30 in

I started this drawing by rubbing away the previous colors as much as I could with wet paper towels, resulting in a muddy grey and giving the paper a harder texture when it dried. I'm drawn to figures so I used sponges and pan pastels to build up shapes to create a face while I lay on the floor drawing, resulting in odd proportions. I used a red pastel to create the illusion of a sheer red fabric wrapping around the woman.

Transformation 4

Womb, pastels, 30in x 26in

I was thinking about water during this drawing. When I was thinking about water, I thought about how being submerged is sort of like being in the womb, surrounded by amniotic fluid. I covered the previous colors in grey and shades of blue to make the image feel cold. The drawing is meant to make the viewer feel both a sense of peace and sorrow, like being cradled by water yet drowning.

Transformation 5

Watching, gouache and acrylic paint, 28in x 24in

During the creation of this piece I was thinking about horror movie posters from the 1970s, specifically House (1977) and Suspiria (1977). The two posters for those films are illustrative and consist mainly of orange, red, black, and white. I cut the paper into a headstone shape and glue the cut off pieces onto the  front of the paper. Since this was the final transformation I wanted to use more permanent materials so I opted for paints. I coated the paper in black, then added the eyes. Finally I used a sponge with very little white paint on it and dragged it across the paper, resulting in an industrial texture across the drawing.

 

Lilly Reidy, Student Work

First drawing completed in class. 

Transform blank white paper into a drawing. 

Counts as Transformation #1

Charcoal and gesso on paper

36" x 24"

Overwhelmed

Charcoal and gesso on paper

36" x 24"

Transformation Number 2

I wanted to keep the figure present in a new atmosphere. I leaned into mark-making to create a texture that portrays a sense of being overwhelmed and consumed. I avoided adding color because I felt that the black and white captured the raw emotion I intended to showcase. In this piece, I covered the entire previous background to give the piece room to transform in the future. I think the added texture really helped the piece long-term and maintaining a focus on the ambiguous figure worked in terms of establishing a focal point for the piece. The light coming from the figures back did not turn out how I intended and seems to conflict with the pattern of the marks made throughout the entirety of the piece. I learned how to build texture with gesso in this transformation. 

Angry

Charcoal, gesso, paint on paper

36" x 24"

Transformation Number 3

I decided to change the entire orientation of the piece by flipping it from horizontal to vertical. The previous pieces' overwhelming nature is something I wanted to use color to emphasize. I decided to only add red in addition to black and white because I felt that anger is something that ties well to being overwhelmed. I did not give the figure a face and instead continued my pattern of mark-making to give the figure a relatable sense of being to any viewer. I think that leaving the figure floating in a space of textured marks worked for the nature of the composition and that the use of red balanced the piece well. I learned how to blend charcoal with gesso in a way that provides deep shadows in this piece. 

Splitting

Charcoal, gesso, paint on paper

36" x 24"

Transformation Number 4

I embraced the color red. I wanted to steer away from a neutral background that emphasized the figure and focused more on building on top of the texture already created within the piece to create something that takes time to view and contextualize. I decided to keep the pattern of cross-hatching but wanted to add elements that made the piece feel like it was jumping out from the wall in a sense. I tried, once again, to use white to portray light coming from within which I ultimately do not think worked for the piece. I do think that splitting the figure gave the piece a new meaning which I enjoyed. I learned how to alter the color of red in order to create a similarly colored figure on top of the same color background in this piece. 

Trapped

Charcoal, gesso, paint on paper

36" x 24"

Transformation Number 5

I wanted to cover up the anger portrayed within the previous pieces. I really struggled with the aesthetic of the purple on top of red because it is just not visually appealing. To resolve this I used different types of purple to more heavily and fully cover the red. The decision to leave bits of red was not an initial thought, but as the piece transformed I discovered that hints of red tied into the idea of covering something up. I add hands pushing on the walls of the piece to further the idea of being consumed and more so trapped. I left the figure split because it pushed the narrative of trying to be something that you do not really feel that you are. I think the added text both helped and hindered the piece. While, personally  I enjoy adding text to compositions to give the piece a personal anecdote I think it may feel like an unnecessary justification of the theme for the piece. In this piece, I learned that from creating layers of texture it is possible to scratch through the layers to find previous colors to create shapes which is how I created the hands. This lends to the idea of being trapped behind something which I think is a good medium to use for the piece specifically. 

 

Ruth Coffman, Student Work

 

Transformation 1

First marks made on white paper. Completed in class. 

Gesso and paper

36" x 24"

Transformation 2

Interiors

36" x 24"

For this transformation, I tried a new process of drawing on tracing paper and then pasting it with gesso, drawing-side down, to the large piece of paper. I was very pleased with the results of this process and I am excited to carry it with me into the future. Additionally, I enjoyed making many similar drawings of the same subject matter. It creates a rhythm to the work that I find interesting.

Transformation 3 

Interiors (single chair)

36" x 24"

For this transformation, I continued layering gesso and tracing paper, but this time I did not draw on the tracing paper. I wanted to explore negative space, so I kept one little chair in the top corner and covered everything else. I like the haziness that this process produced and I enjoyed the wrinkles in the gesso and tracing paper created. I would have liked to add a few more layers, but for the sake of time I kept it to two layers. By this point, the surface became very thick and stiff, holding its shape off the wall which was exciting. 

Transformation 4

Chair

38" x  24"

This transformation is my favorite visually, but it was my least favorite process. First, I painted the entire surface black, and then cut out the shape of the chair. To carry all the pieces on to the next transformation, I had to figure out what to do with a ton of extra material. I cut it into strips and glued them to the back of the chair, which lifted it off the wall a bit and created an interesting shadow. With the rest of the remnants, I created an environment for the chair with two white squares. I wish that I had been more precise cutting the strips because it was very difficult to make them line up with the chair outline. Overall, I enjoyed the process of translating a three-dimensional object to a two-dimensional silhouette. 

Transformation 5 

Chair (Enshrined)

42" x 26"

For my final transformation, I encased the chair in a layer of tracing paper and combined it with the  brown paper I used to paint the chair on for the previous transformation. I think the addition of brown worked nicely in this piece, but I am not entirely happy with how the tracing paper looks in this final version. I wanted to adhere the tracing paper somehow, but I did not want to use gesso because I didn't want to obscure the black and brown of the chair and the paper. I took a lot of risks with this transformation, which I am proud of myself for doing.

Student Work

1st Transformation is a large sheet of white paper to an original drawing.

2nd Transformation

3rd Transformation

4th Transformation

5th Transformation

Sarah Weismann, Student Work

1st Transformation is a large sheet of white paper to an original drawing. 

2nd Transformation

3rd Transformation

4th Transformation

-no image of 5th transformation-

Rachel Maul, Student Work

Good work here. However, images are not quality

and do not visually communicate full success of work. 

1st

Mind Blocks

Pastel on paper.

42" x 36"

2nd

Running In Circles

Ink, pastel and charcoal on paper. 

42" x 36"

3rd

American Christmas

Wood, acrylic paint, watercolor, ink, spray paint.

10" x 4" x 3"

4th

-no image-

5th

My Stories

Paper beads made from layers of each transformation, various sizes, strung together. 

Length 16"

Maddie Gahffer, Student Work

Good work. However, images are poor quality and do not show full success of work. 

1st

Original Drawing

2nd Transformation

3rd Transformation

4th Transformation 

5th Transformation 

Cynthia Rountree, Student Work

Example of final drawing for Transformation Drawing Assignment. 

46" x 36"

Paint and tape on paper. 

Christian Ard, Student Work

1st Transformation is an original drawing on large sheet of white paper. 

2nd Transformation

3rd Transformation

Missing image for 4th Transformation

5th Transformation

Coupled Beings

Dimensions: Approx. 4" x 4" & 4" x 6.6"

Materials: Black Plasti Dip, Gouche, soft pastels, tape

The transformation drawing began with a tonal drawing on a large sheet of paper and ended with a sculptural piece. Coupled Beings explores duality. Compressed in a book press to get the final shape, all previous marks and materials are still within the inside of the folded pieces. I chose to focus on duality because of the process of this project. Being someone who pays a lot of attention to detail and seems to be fairly picky over smears and smudges, through the process of this project I was able to experiment and understand more of a loose/no expectation side of creating that has allowed me to express myself more clearly.