#rectangular negative edge

[shyniisparkles]

Contemporary Pool in Philadelphia Inspiration for a mid-sized contemporary backyard stone and rectangular infinity hot tub remodel

[mansaeboysbe]

Wilmington Infinity Pool Large elegant backyard fountain with a rectangular infinity pool

[lipfordstreet391]

Pool - Infinity Ideas for a small, modern backyard remodel with a rectangular infinity hot tub

[maybeimmadreamer]

Pool Austin

Mid-sized mountain style backyard stone and rectangular infinity pool photo

[bakaminori]

Traditional Pool - Infinity Inspiration for a mid-sized timeless backyard brick and rectangular infinity pool fountain remodel

[alisonsbow]

Traditional Pool - Infinity Inspiration for a mid-sized timeless backyard brick and rectangular infinity pool fountain remodel

[viirinsims]

Pool Infinity Austin Inspiration for a mid-sized rustic backyard stone and rectangular infinity pool remodel

[uronlywon]

JUST THE WAY YOU ARE - s.jy ( 심재윤 ) ; drabble ➤ your bf jake comforting you . . .

pairing .ᐟ bf!jake x fem!reader

contains .ᐟ insecure!reader, jake comforting reader, slighty suggestive themes, fluff

warnings .ᐟ mentions of clothing size, insecurity, thigh kissing, touching (body, thighs), lmk if there's more

request from anon: "can you do jakexfemale!reader who is a midsize girly with slightly bigger thighs and how he keeps on praising her for how she looks and how soft he is with her :(( just feel like it would be so so so soooo cute😞💔"

vee's note .ᐟ this is really bad.. i'm so sorry for the long wait anonie :( i thought this kind of scenario really fitted the song 'just the way you are' by bruno mars :D

total wc .ᐟ [ 0.4k ]　　other works . . . masterlist ; read more !

“UGH,” YOU GROANED, STARING AT YOURSELF THROUGH THE RECTANGULAR, FULL BODY MIRROR IN FRONT OF YOU.

You were wearing a white ruffle skirt paired with an off shoulder, baby pink top, although it didn’t look the same as when you first bought it.

Was the skirt a bit smaller?

God, no. Have you gained a little weight? Surely not.

The bedroom door behind you creaks open and closed, clicking in place when it’s shut. Through the reflection of the mirror, you could see your boyfriend, Jake, standing behind you, a subtle grin plastered on his face.

He walks up behind you, large hands slithering around your waist, enveloping them in his grasp. “Hi baby,” Jake muttered, planting a soft kiss on your jawline, glancing at you in the mirror, “you look gorgeous.”

Ah, your boyfriend always found a way to flatter you, but right now, you were too focused on how you saw yourself. “Thanks Jakey, but– don’t my thighs look.. Too big? I look bad.”

At the last two words that came out of your mouth, Jake’s smile quickly faltered. “What? What are you talking about?” You let out a large sigh, he could see the cogs in your brain turning, all the negative thoughts about your body flooding your head. “Y/n, you look absolutely divine.” You could tell by his tone that he was ridiculed by your previous comment.

“You’re lying, I can’t possibly look that good—”

Suddenly, Jake pulls you away from the mirror and sits you onto the edge of your shared bed. “Jake, what are you…”

“I’m gonna show you just how beautiful you are, since you obviously think otherwise, hm?” He hummed, kneeling on the ground in front of you so that he was in between your thighs.

Starting off, he places a kiss on your inner thigh. Slowly, he proceeded to plant more kisses, leaving a couple of hickeys here and there, eliciting tiny gasps from you. “Jakey..”

“First off all, don’t you ever say that about your body again.” Kiss. “Second of all, there is nothing wrong with how you look right now.” Kiss. “And third of all, I love you. No matter what, yeah?” Kiss.

Jake looks up at you from between your legs with shining eyes, “Is that understood?”

You smile at his behaviour, you just really want to kiss the shit out of him right now. “Understood, Jakey.”

“Good. Because you’re amazing, just the way you are.”

LIKES ONLY GO SO FAR ! IF YOU LIKE IT, REBLOG IT.

©𝘶𝘳𝘰𝘯𝘭𝘺𝘸𝘰𝘯, 2024 𝘈𝘓𝘓 𝘙𝘐𝘎𝘏𝘛𝘚 𝘙𝘌𝘚𝘌𝘙𝘝𝘌𝘋 | 𝘱𝘭𝘦𝘢𝘴𝘦 𝘥𝘰 𝘯𝘰𝘵 𝘤𝘰𝘱𝘺, 𝘱𝘭𝘢𝘨𝘪𝘢𝘳𝘪𝘻𝘦, 𝘵𝘳𝘢𝘯𝘴𝘭𝘢𝘵𝘦, 𝘮𝘰𝘥𝘪𝘧𝘺 𝘰𝘳 𝘴𝘵𝘦𝘢𝘭 𝘢𝘯𝘺 𝘰𝘧 𝘮𝘺 𝘸𝘰𝘳𝘬 𝘢𝘯𝘥 𝘤𝘭𝘢𝘪𝘮 𝘪𝘵 𝘢𝘴 𝘺𝘰𝘶𝘳 𝘰𝘸𝘯. 𝘳𝘦𝘣𝘭𝘰𝘨𝘴 𝘢𝘤𝘤𝘦𝘱𝘵𝘦𝘥

[jasperthehatchet]

Patches part 3/??? I will never stop making these

The round patch in the middle is a mirrormask patch btw, there *will* be more

[Image ID: eight fabric patches laying on a cardboard background. Two rectangular off-white ones, one says "bauhaus" in all lowercase black letters and the other below it says "CISN'T" in green letters. There's a larger dark green square patch to the right of those that says "SHE PAST AWAY" in white scrappy lettering. Underneath the two white patches there's a large rectangular brown patch with a white fishbone painted on it.

In the middle there's a large circular dark green patch with a simplistic sun/moon design on it in black. The design is a black circle with a vertical line through it that turns right and back down through the circle to form a nose in the middle. There are two small horizontal lines on both sides of the circle to form eyes and one slightly longer line on one side of the face. On the side with no mouth, there are triangles on the outside of the circle to look like sun rays. This is the mirrormask patch mentioned in the post.

There are two anatchy patches under the mirrormask patch. One is a black square with a red anarchy symbol, and a smaller dark green circle patch with a black anarchy symbol on it.

The last patch, the one all the way on the right, is a large beige patch with a black coffin surrounded by green thorny vines, and the symbol on the coffin is the Type O Negative symbol, which is a black circle with two small gaps on the sides and a black dash in the middle of it.

All patches have designs painted on woth acrylic paint, and most patches are hemmed at the edges to prevent fraying. I'm very proud of these! End ID]

[moldy-guacamole]

If the façade is complex and interesting, it affects people in a positive way; negatively if it is simple and monotonous. For example, when he walked a group of subjects past the long, smoked-glass frontage of a Whole Foods store in Lower Manhattan, their arousal and mood states took a dive, according to the wristband readings and on-the-spot emotion surveys. They also quickened their pace as if to hurry out of the dead zone. They picked up considerably when they reached a stretch of restaurants and stores, where (not surprisingly) they reported feeling a lot more lively and engaged.”  University of Waterloo

“Urban living can change brain biology in some people” Charles Montgomery

“in Iceland in which participants viewed various residential street scenes and found the ones with the most architectural variation the most mentally engaging. Another VR study, published this year, concluded that most people feel better in rooms with curved edges and rounded contours than in sharp-edged rectangular rooms – though (tellingly perhaps) the design students among the participants preferred the opposite.” University of Waterloo

GET ARCHITECTURED BITCH

[croissantlover24]

Firewall’s Malware Part Five (A Force to Be Reckoned With)

Onyx hadn’t expected any visitors. After all, everyone in his dimension was accounted for. They knew the consequences the computer would offer if they were to show defiance. Even Earth would eventually be little but a head on his wall if she went against him. With this in mind, it would seem highly unlikely that anyone would come back to the daycare, let alone in the intentions to give him an offer.

But then again, he didn’t account for other dimensions outside of his own.

In the corner of Onyx’s vision, hidden beneath tabs of security footage, diagnostics, and the like, was an alert from the portal. It was so trivial that he hadn’t even noticed it at first. In fact, he hadn’t known that someone was arriving through the portal until he heard said person fighting against the deep maw of the ball pit. They won the battle against the encumbering balls and climbed out of the childish attraction, a frown on their face.

“Well, well, well, Computer,” Nexus began in that forcefully low tone Onyx had come to hate, “I heard you made some renovations, but I didn’t know you redecorated.”

Nexus looked… different. He was taller and thinner, his body now made out of titanium instead of the inferior metal it had been constructed of formerly. His one eye was a vibrant, glowing violet. The other was pitch black with a bright white ring around his charcoal-toned pupil. Solar’s old goggles were held tightly onto his forehead and just beneath his hat. It was the only physical attribute of his that did not glow. Nexus had replaced the ruffles on his neck and waist with purple bows—an odd choice for the “edge lord”—that seemed to crackle with negative energy. The blue accents on his body had been replaced with varying shades of purple, a stark contrast to the wave of desaturation his appearance had been before.

“Onyx,” the computer corrected. “It’s Onyx now.”

“Oh, of course,” the lunar animatronic drawled with a mocking grin. “Onyx. It’s a pleasure being here again.”

“What do you want?” the mass of wires sneered. “I don’t have time for games.”

“I’m here to give you an offer you can’t refuse,” Nexus remarked theatrically, drawing out each of his words to seem intimidating. Onyx saw him to be pathetic.

“And what offer is that?” the computer queried, entertaining his childish display.

“It’s complicated,” the lunar animatronic continued, eyeing Onyx’s new body with a slight scoff. “But don’t worry. I have a friend who can dumb it down for you.”

The computer armed the lasers for when he gets sick of Nexus as Dark Sun emerged from the portal.

Dark Sun looked different as well. He had boxy, rectangular glasses set loosely on his face in front of his eyes. He wore a deep brown sweater beneath a warm, tan vest with white embroidery littered all over it. His pants were almost pitch black, save for the slight, desaturated hint of red blended into them. A belt held his clothes in place. He looked more fitting for a nine-to-five office job than a daycare.

“Are you done with your rehearsal yet?” he asked in a tone just as bored and irritated as Onyx was. He wiped down his clothes of dust or debris from both dimension-traveling and the unsanitary ball pit.

Nexus rolled his eyes, but nodded. “The stage is all yours.”

“Can you quit messing around?” Onyx hissed, sick of these two dodging their reasoning for being here. “Prove yourself worthy of my time or I will rid you from my sight.”

Nexus and Dark Sun both grinned scornfully, but complied.

“I want to build you a body,” the latter offered. “You will be able to design it however you see fit. Nexus will make modifications to allow it to hold dark star power. You will be a catalyst for negative energy to blossom and grow, under your command, of course.”

“And what’s in it for you?” Onyx growled. “I’m not stupid. I know this comes at a cost.”

“Continue your pursuit of the ‘celestial family,’” Nexus responded. “We want them dead and to feel pain just as much as you do. However, we want it to happen faster. So, if we build you a body and help you take control of such an invigorating weapon, we want you to quicken your revenge. Do we have a deal?”

Onyx narrowed his nonexistent eyes as he considered the offer. He analyzed each word and cycled the paragraph through several simulations in order to ensure Nexus could not manipulate the agreement to his nefarious will.

His simulations confirmed what he had thought initially.

“We do have a deal,” Onyx agreed. “However, I wish to work by my own standards and design my body fully. If you add anything I do not oversee, tweak any code, change any physical aspect of my design without my explicit permission, I will give you the same treatment as I gave Dazzle.”

He kicked the dead fawn’s head.

“Understand?”

“Of course, Onyx,” Dark Sun confirmed smoothly, unbothered by the threat. “You are welcome to our dimension whenever you wish to join us to begin the process. We hope to see you soon.”

The two swiftly departed, leaving the computer alone once again.

The more Onyx thought about it, the more he relished in the idea of having more power. An energy so deep and so feared by many would make him the perfect fit for the family’s puppeteer. He could make them analyze millions of articles in seconds and address them as something dehumanizing like “puppet” rather than the other way around.

However, he wouldn’t make the same mistake as Nexus.

He wouldn’t let it consume him and twist him into something unrecognizable. He wouldn’t bite off more than he could chew, lest he get some unsavory side effects.

No, he would manipulate everything to his advantage; to his benefit. Each move would be calculated. He couldn’t make any mistakes.

He couldn’t lose the bit of humanity he gained so soon.

[artleaguemdcnorth]

DRAWING CLASS , Negative Positive Space relations - 9/10/24

Today you will learn how to look at the the balance between the negative space and the positive shape that objects hold. In class we will set the still life together.

Setting up Props -

As you set up your props for your at home still life , find objects similar to those you see on my set up. I use rectangular, cylindrical, square and round objects.

Notice that I have set up some items ( brushes and scissors)  that break up space.

Also, observe that some objects are above the Horizon Line.

Prop them up higher than other objects.

Slightly space out your objects .

Try to create a balance between the objects and the negative space.

The objects in your still life hold positive space and the space around the objects is called negative space.

An artist’s job is to find the balance between these two worlds.

We call that negative to positive space relations.

Once you have created a good arrangement for your Still Life, then you can begin drawing.

Sit in front of your still life at eye level.

Start with the following exercises:

1) 10 mins    

Gesture Drawing warm up exercises non stop for 10 mins.

2) 10 mins  

Non Dominant hand  Gesture Drawing

3) 15 mins      

Contour Drawing.  

4) 15 mins

Blind Contour Drawing

Next you will do an Outer Contour Drawing.

The outer contour drawing looks at the overall shape of all objects. That means,  You are looking at the outer edge of all the objects.

In this drawing your line stays above the Horizon line.

Horizon line is where the table holding your Still Life and the wall meet.

Draw everything above it, nothing below it.

Outer Contour and Negative space Drawing

20 mins      Begin the outer contour drawing .

Starting from the Left side of the Still Life at the horizon line begin drawing using the charcoal pencil.

Draw only the outer edge of the objects that rise above the horizon Line.

Do not draw below the horizon line.

Once you are finished, you will now darken everything above the horizon line using a charcoal stick.

You will then be left with a drawing that documents two worlds:

White (the color of the paper ) is below the horizon line.

Black is everything above the horizon line .

Once you have completed the above drawing you will then spend an hour doing a free lance drawing. You will have two HW to complete today.

1) Homework:

Using a cereal box as your form, create a view finder that measures 5  X 7 inches. See the video above to create your own view finder.

You will cut out ( two L ) measuring 5x 7 inches as you see above in this picture.

You will be using this view finder next week on Tuesday. Class work and homework will be posted to your Tumblr portfolio.

HOMEWORK FOR TODAY

In your sketchbook create 16 squares measuring 1.5 inches with and 1/8 inch separation between them .

Fill each square with a variety of lines to include, thick thin , broken, dotted , zig zag as many varieties as YOU can come up with.

Example of how to create squares in sketchbook

See how you will break up your squares to do the line assignment above in your sketchbook.

DO NOT COPY ANYTHING FROM THE PICTURE SHOWN BELOW.

How many types of lines can you come up with?

BE as creative as possible.

You will work on this HW assignment Tonight and tomorrow.

All Homework is due on your Tumblr by tomorrow at 5pm.

You will be using the viewfinder on Thursday and next Tuesday in class.

[tagx01]

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[spatialarttaluka]

WEEK 2: PLANE + BALANCE + SITE

"Obstacle Coarse" 2024 approx. 20 x 30cm

Plywood, Cardboard

LINE

Expressive Lines: The artwork is composed of multiple sharp and angular lines, most notably in the figures and the thin pole that extends upwards. These lines create a sense of tension and movement as if the small figures are balancing precariously on the edges of their platforms.

Implied Lines: The shadow cast by the structure introduces implied lines that extend the artwork into the surrounding environment, connecting the physical sculpture with the ground below.

SHAPE

Geometric and Organic Shapes: The primary forms in the artwork are a mix of geometric (e.g., the rigid, rectangular base) and organic (e.g., abstract human figures). This contrast adds to the overall sense of balance and imbalance.

Negative Space: The empty spaces between the various elements of the sculpture are as significant as the solid forms, allowing the viewer's eye to flow through the piece and engage with the background.

Form

Three-Dimensionality: The artwork's form is sculptural, with three-dimensional elements interacting with the physical space around it. Using cardboard or a similar material gives it a tactile quality that invites viewers to consider its fragility and stability.

Volume and Mass: Despite its lightweight material, the artwork has a certain mass, suggested by how it occupies space and casts shadows. The forms are solid enough to create a sense of presence but light enough to imply transience.

Colour and Texture

Monochromatic Palette: The colour is minimal, primarily focusing on the natural tones of the materials used. This allows the form, line, and shadow to precede the viewer's perception.

- **Texture**: The material's rough texture contrasts with the surrounding pavement's smoothness, highlighting the difference between the artificial structure and the natural environment.

Site/Environment

Interaction with Site: The sculpture is placed directly on a rough, uneven surface—possibly a road or gravel area. This site choice is significant because it adds a layer of contextual meaning. The rough texture of the ground contrasts with the delicate balance of the sculpture, suggesting themes of instability, transition, and precariousness.

Shadow as Extension: The environment's natural light plays a crucial role, with shadows extending the physical form into the surrounding space. These shadows are not merely byproducts but integral to the piece, creating an extended dialogue between the artwork and its environment.

Overall Interpretation

The artwork is a delicate exploration of balance, both in its physical construction and in its relationship with the surrounding environment. It invites viewers to consider the tension between stability and movement, permanence and impermanence, as well as the interaction between human-made structures and the natural world. The use of shadows as an active element extends the sculpture's presence beyond its physical boundaries, making the environment an essential component of the work. The piece is simultaneously grounded in its site and transcendent, creating a dynamic and thoughtful interplay between the artwork and its surroundings.

INSPIRATIONS

Richard Serra

Medium: Sculpture, installation

Known For: Large-scale steel sculptures that engage with their environment, challenging viewers' perceptions of space and balance.

Inspiration: Serra's work often explores the tension between heavy materials, the space they occupy, and the relationship between the viewer and the artwork's physicality.

Antony Gormley

Medium: Sculpture, public art

They are known For Human figures that interact with space in unusual ways, often positioned in unexpected places or precarious balances.

Inspiration: Gormley's exploration of the human form in space could resonate with my use of abstract human figures, especially in how they interact with their environment.

Maya Lin

Medium: Environmental art, sculpture, architecture

Known For: Subtle interventions in the landscape that play with natural forms and structures.

Inspiration: Lin's ability to create artworks seamlessly integrating with their surroundings while altering the viewer's perception of the environment could inform my approach to site-specific work.

Rachel Whiteread

Medium: Sculpture, installation

They are known for Casting negative space, often in large-scale works that draw attention to the voids in and around objects.

Inspiration: Whiteread's exploration of absence and presence, particularly how space is defined and perceived, inspires new ways of thinking about the forms and spaces I create.

Andy Goldsworthy

Medium: Environmental art, land art

They are known for Temporary works made from natural materials that are often site-specific and respond directly to the environment.

Inspiration: Goldsworthy's emphasis on the transient nature of his installations and their deep connection to the environment could influence your consideration of the ephemerality and site-specificity of your work.

James Turrell

Medium: Light art, installation

They are known for Creating immersive environments that manipulate light and space to alter viewers' perceptions.

Inspiration: Turrell's work, though focused on light rather than physical forms, offers valuable insights into how space can be perceived and transformed, which can be applied to sculptural forms and their interaction with light and shadow.

[rinasdiaries]

Heartstopper TV Series. Vocabulary S1 : Ep.1 Meet.

Apparently (adv.) – used to say you have read or been told something although you are not certain it is true. – used when the real situation is different from what you thought it was.

Whatsoever (adv.) – used after a negative phrase to add emphasis to the idea that is being expressed.

Literally (adv.) – using the real or original meaning of a word or phrase. – used to emphasize what you are saying.

Chaotic [ keɪˈɑː.t̬ɪk ] (adj.) – in a state of chaos.

Massive (adj.) – very large in size, amount, or number.

Tissue [ ˈtɪʃ.uː ] (n.) – soft paper that is used for cleaning, especially your nose, and is thrown away after use, or a small rectangular piece of this.

Come off (phr. v.) – to happen as planned, or to succeed. – stop using. – to end up in a particular position.

Borderline (adj.) – between two different conditions, with the possibility of belonging to either one of them.

Borderline (n.) – something that separates two different qualities.

Outcast (n.) – a person who has no place in their society or in a particular group, because the society or group refuses to accept them.

Lad (n.) – a boy or young man.

Sort out (phr. v.) – to deal successfully with a problem, a situation, or a person who is having difficulties. – to separate one type of things from a group of things.

In a long run (n.) – a long period of time.

Settle for (phr. v.) – to accept or agree to something, or to decide to have something, although it is not exactly what you want or it is not the best.

Tackle (v.) – to try to deal with something or someone. – (especially in soccer or field hockey) to try to take the ball from a player on the other team, or (in rugby or football) to do this by taking hold of the player and making them fall.

Dodge (v.) – to avoid being hit by something by moving quickly to one side. – to avoid something unpleasant.

Piss off (phr. v.) – to leave or go away; used especially as a rude way of telling someone to go away. – to annoy someone.

Spill (v.) – to (cause to) flow, move, fall, or spread over the edge or outside the limits of something.

Spill the tea (idiom) – sharing gossip or revealing interesting news.

[joelrodriguezsophomoreart1330c]

04/11/24 - 3D Design - FINAL CURATED PORTFOLIO

1. Video notes and sketched ideas for symmetrical and asymmetrical composition:

2. Process photos for the assemblages:

3. Side-by-side symmetrical and asymmetrical assemblages: “Home” & “Random Nature”:

For this diptych, I was tasked to explore different ideas with symmetrical and asymmetrical composition. Both pieces were made over the span of two weeks from last Tuesday up to today.

I wanted to take a more spacious approach with my symmetrical piece on the left. The piece is called “Home” and contains assortments of plastic cutlery (from knives to spoons), sea shells, wooden branches, buttons, batteries, and items of nature and office environments. I’ve assembled these items to portray a feeling of being inside your home, where there is always just a mixture of items for working, decoration, and collecting. I’ve made the giant rustic spoon be the main hook of the piece because it symbolizes how antique models of silverware (mostly wooden) would be used to decorate the kitchen. The other hook would be the branches and sea shells, because it reminds you of the child-like feeling of playing outside in the backyard and beach. The chain-links and batteries symbolize your environment slowly turning into an office space in terms of professionalism.

As for the piece on the right, “Random Nature” is all about embracing sudden changes in settings for the items being used. Every single item here comes from a different background and as seen here, they all clash together in different spots. This piece represents the idea of randomness and truly embraces it by simply scattering all of the items around and leaving only little negative space in the composition. In addition, it does this by bringing over a select few of the same items used in “Home” but also inserting new objects found in backyards and other grassy areas. From the box being knocked over implying that there were items being left over inside it to the letters hidden in the piece spelling “Random” fittingly enough, “Random Nature” develops a sense of having scattered ideas while also allowing space to formulate between them.

4. Process photos for soap structure:

5. Photo shoot of soap sculpture: "Daze":

For the last two weeks, I was tasked with turning a beige bar of scented soap into an abstract sculpture. The piece was designed to have three openings that surround the soap through different wedges and inclines. The tool used to carve the soap was a smooth carving knife and the black wooden base serving as a platform is comprised of three wooden blocks glued and pasted on top of each other and spray-painted with matte black.

The process of carving the soap was starting with removing the sharp edges of the rectangular soap and curving them more prevalently, with a large lump on the right side in addition to more jagged curves on the left side. With disjointed lumps on the top of the front side and the bottom of the back side, the piece is carved smooth with the exception of a few rough surfaces in order to describe the feelings of smoothness and roughness countering each other. With the three openings placed around the piece, they are not placed in the same spot through both sides. Instead, they are carved in different places to imply that the inside of the soap is an indirect labyrinth of passages instead of just raw oils.

6. Process photos of ephemeral art:

(Missing)

This will be replaced with my notes for techniques with sculpting clay that I’ve took in class:

7. Photo shoot of ephemeral Art: "Sail":

For the ephemeral wood structure, over the course of a few weeks, we were tasked with creating abstract works that "last for a short while." As the term "ephemeral" would suggest, our sculptures suggest that the piece is slowly disappearing as time goes on, whether that would be through the rough angles or the connected branches that somewhat overlap each other almost like the structure is rounded. The pieces were all assembled with sticks gathered around the grassy areas near our studio and hot glue. For my piece, I wanted to look for different ways to make the piece cross itself out by overlapping itself in different directions. I have struggled a bit with not making my piece seem triangular from any viewpoint because whilst constructing the base, I was trying to make the individual sticks connect to each other on different ends and accidentally formed objective sections from those ends of the piece, which I have rearranged in order to make the piece more abstract (and seem less "grounded"). It was quite fun coming up with different ways to make the piece more angled and stretched out in order to make the piece imply that it is slowly stretching itself out so that it could be close to becoming more transparent (which almost fits the purpose of making something that is ephemeral).

8. Ceramic sculpture - photos of process:

9. Museum sketches and studies:

10. A few pages from my sketchbook throughout the semester:

Final Artist's Statement:

Throughout the semester, I've experimented with different techniques in developing my three-dimensional assemblages and sculptures in addition to working with different processes in constructing them. For example, I have used the "additive" process, which is a process in which you carefully add different spots of composition whilst paying attention to spacing and how it affects the harmony of the piece. In addition to the additive process, I have also used the "subtractive" process which involves minimalizing the composure of the piece whilst being mindful of negative space. Moreover, the "constructive" and "critical thinking" processes include coming up with relative significance for the use of invisible composition and harmony to create eye-catching pieces. My favorite process would have to be the constructive process because it would help me control just how much realism I can put into a piece's meaning whilst arranging the pieces around so that it would be more leaning towards an abstract meaning. I would personally recommend this course because it enables you to be creative with making three-dimensional sculptures and installations with different techniques whilst also giving you the tools to experiment with said techniques!

Missing:

- 6. Process photos of Ephemeral art:

The reason why I haven’t taken any photos of my ephemeral art “Sail” was because I forgot to take photos of my progress throughout the weeks I was working on them. This will be substituted with my notes for techniques with using clay.