katelyn peters' portfolio, an exploration of computer graphics,painting, and drawing

8/7/2019 Katelyn Peters' Portfolio, An Exploration of Computer Graphics,Painting, and Drawing

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Table o ContentsKatelyn PetersPortfolio

Computer Graphics 2-9

Painting 10- 21

Drawing 22-31


2/17

Katelyn Peters Portfolio, Computer Graphics 3Katelyn Peters Portfolio, Computer Graphics 2

Photography to Vector ArtA Flapper and Her Heels

The process of changing a photograph of shoes to anIllustration on Adobe Illustrator.

When Creating the Photograph:

TocreatethisphotographIrstchangedmyout

ttomatchtheshoes.Ithenaddedthevaseofowersin

waythattheywouldappearinthecorneroftheframe.Next

Isetupalightfromtherightandpositioneditupward.To

makesurethecamerawasatthecorrectheightIstackedup

booksuntiligotmydesiredcomposition.Thenthecamera

wassetona10secondtimerwithoutaashtotakethe

photo.

Iwantedthecompositiontoappearratherbare

tocapturethesiloetteoftheleg.ToenhancethesiloetteI

addedthelightfromtherighttocreateadeepshadow.I

placedthelegofftotherighttocreateabalancedcompo-

sitionwiththeheavybeamthatisontheotherendofthe

photo.SothebeamwouldntappearsomasculineIadded

theowersthataccentedthecolorofthewalltoaddsome

morefemminequalitiesaswellastoaddmorevisualinter-

esttothephoto.

Theconceptofthephotowastocreateainter-

estingsettingthatexpressedthenightlifeofthe1920s

Itwasntsomethingthatwasglamorousalotofthetime

Speakeasiesandnightclubswereoftenundergroundan

theclassylifestylethatmanypeoplethinkofwasactu-

allysomethingthatcouldbequitescandalousanddirty

wantedtheviewertoimaginethecharacterwasaboutt

settledownafteralongnightofpartyingbytakingofh

shoes,whetheritbebyherself...orperhapswithalove

interest.

"The concept of the photo was tocreate an interesting setting that expressed the night life of the1920s."

When Creating the Illustration

AfterIchoosethepictureIwantedtouseforthis

projectImadeanewfolderandlabeleditdrawingone

onmydesktop.InsidethefolderIcopiedandpastedthe

jpegleintoit.Then,Iopenedillustrator.Onceillustrator

wasopenedIcreatedanewdocument.Thedocumenthad

tobealettersizeandlandscapetotthepictureIchose.

Lastly,Isavedtheleintothesamefolderasasthejpeg.

TostarttheillustrationprocessIneededto

"place"thejpegintotheillustratorle.Todothisiwent

toleandthenplace.Myphotographwasalotsmaller

thanmydocumentsoIneedtostretchit.Whilestretching

itIneededtomakesurethatthephotowasnotgetting

distortedandthatitkeptitsoriginalshape.

Inordertostartthetheeditingofthephotograph

Ineededtomakesurethatnootherboxeswhereopenex-

ceptthelayersbox.Ithenselectedthepentoolandbegan

toworkfromthebackgroundforwardtomakeshapes.It

wasimportanttomaketheshapeinvisibletobeableto

seethephotographwhiletrancingtheedges.Oncethe

shapewasanchoredIusedtoeyedroppertooltoselect

thecolorIwantedtomaketheshape.Lastly,Iwentove

tothelayersboxandlockeddownthelayerandmadei

invisible,thenstartedanewlayer.

"I chose this compositionbecause I liked how the leg isthe most striking and then theviewers eyes is guided downto the wooden beam and flowers which add some morevisual interest and balance"

Artwork and Words By: Katelyn Peters


3/17


The Finished Product OnceIopened myin des ign

documentIneededtorefreshmymemory

ofwhatworkIhadalreadydoneaswell

aswhatthephotographIwasworkingon

lookedlike.TodosoIwouldgotothe

layersboxandselect/deselecttheeyesto

examinemywork.OnceIknewwhatstep

IwoulddonextIwouldselectthepentool

andbegintotracemynextshape.Itwas

importanttomakeitinvisiblewhiletracing

soIcouldseewhereIwastracing.Iwould

thenusethedroppertooltoselectthecolorI

wantedtomaketheshape.

After ni sh ing thearmandhand

ofthephotographIdecidedtomakeanew

layerrst.InordertomakethebeadsIusedthecircleshapetool.ForeachcolorbeadI

madeanewlayertokeeptrackofallofthe

differentpathsIwascreating.Thecircletool

allowedmetomakemanycirclesquickly

andeasily.Itwaseasytoadjustthesizeand

colorofthecirclescomparedtotryingtouse

thepentooltotraceeachindividualone.

Sincesomeofmylineswerejaged

fromtheusingthepentoolIneededto

smooththemout.TodothisIwenttothe

pointerandselectedtheshape.ThenIwould

selectacertainpointtomoveupordown

tosmoothouttheedge.ThemainareaIdid

thisonwastheleg.

Forthelastfewminordetailsof

myillustrationIworkedonreningedges.I

wouldusethewhitepointertooltoselectthe

layertomanipulateIwouldthenplaywith

theshapeandmorphittomydesire.Ialso

smoothedouttheedgesofmylayersby

takingthepentoolandclickingonunnec-

essarypointsthatwereaddedtotheshape.

Ididthismostlyontheshadowandthe

outterpartoftheleg.Ialsoaddedanother

lightershapelayertothelegwiththepen

tooltomakeitlookmoredimensional.

Prior to th is I focused oncrea t-

ingagradientonthewallbehindtheleg.I

wouldmakeadiagonalblockshape,make

thelayerinvisibleandtaketheeyedropper

tooselectthecolorIwantedtomaketo

allowthewalltofadefromlighttodark.

Then,Iworkedonaddingmoredetailtothebeam.ForthisprojectIwouldtrace

areaswiththepentoolthathadasimilar

value.Iworkeddifferentlywiththebeam

thanIdidwiththerestofthedrawing

becauseafterIwouldbedonemakinga

shapeIwouldnothavetomakeitinvis-

ible.Iinsteadworkedaroundthepre-exist-

ingshapes.Ifoundthisaloteasierwhenit

camedowntoseeingwhattheendproduct

wouldlooklike

The composition showsbalance between the leg andthe beam now that they arefully detailed

"


4/17


A Flapper and Her

Heels

The ColorRemix o theOriginal

The Thoughts Behind the Design HowI made the th is i ll us tr at ion

wasrstbyselectingashapewiththe

whitepentool.ThenIwouldgotowhere

youselectthecolorandandusethebaron

thesidetodragthecoloruptoamagenta.

OnceIwasdoneselectingalltheshapes

andchangingthecolorIbegantousethe

gradienttool.Iwouldselecttheradialtype

andchosewhiteforthecenterandapurple

fortheoutercolorwhichImadeabout

20percenttransparentbyclickingonthe

colorandmovingthedial.ThenIselected

theareaIwantedtoputthegradientburst

oflightinthenjustclickanddraguntili

gotthedesireshape.

Theconceptis thatapurplel ight

isshiningonthecomposition.Iwantedthe

designtolookverymysticalandfantasy

like.Ithenaddedthethelittleburstsof

lighttolookliketheshoesobrightthatit

wascreatinglittletwinklesintheair.The

overalleffectIwantedwassomethingthat

transportedyoutoanotherplacewhere

everydaynormalobjectslikeshoescould

havethismagicalpower.

Composi tional ly I s tayedwi th

whatmyoriginalphotographwas.Iliked

howthebeamevenlybalancedoutthe

weightofthelegandtheshoeonthe

rightside.FortheburstsoflightIwanted

themtolookscatteredandofdi

shapes.Imadesomebiggerand

dullerthatothersforthis.Also,

atedtheburstsoflighttosweep

theillustrationtoguidetheview

throughthecomposition.

I wanted the desto look very mystand fantasy like



5/17


The Escape FromOrdinaryRadio 101.9

103.105.9

104.3

88.3

88.3

SXUorBust!

FortheseillustrationsIstartedoutmyscanningmy

drawingintothecomputer.Thenplaceditintoafolderalong

withanewAIdocument.Oncethedrawingwasplacedinto

AIdocumentIusedthepentooltorstaddawhiteback-

groundthenmadeitinvisibleasIdidtheothershapesthat

werebeingtraced.Istartedoutbytracingthebiggestpartof

mydrawingthenaddedlayersontopofittomakeforclean

lines.Thepaintbrushtoolwasusedtoaddthingslikethe

scratchesontheradioandthetexttoolfortheradiostations.Tomaketheordinaryradioseyestheslicetoolwasusedtocut

throughthecopiedlayeroftheeyeballtothenrevealthewhite

coloringbehindit.

Theconceptistheescapefromordinaryradio.The

newredandblackradiorepresents88.3andtheoldbrownra-

diorepresenttheordinaryradio.Theordinaryradioisallbeat

upandhasdullcolors,theexpressiononhisfacealsoadds

tohislack-lusterun-specialdemeanor.TheSXU88.3radio

isescapingtheordinaryoldradiotoheadonovertoSXUs

radio.Thisisshownbyhimrunningintheotherdirection

withasuitcaseinitshand.Healsohasamorevibrantexciting

high-techlooktohimcomparedtothedingyordinaryradio

heisleavingbehind.

ForthebackgroundIchoseacleanwhitecolor.The

reasonforthisbeingisbecauseIthoughtitmaybedistrac-

tionfromtheoverallmessageofthedesignifIputabright

colorinthebackgroundofaddedsomesortofscenery.I

placedbothguresinthefronttocatchtheviewerseye

sincetheyarewhatcreatethemessageforthedesign.Itried

tokeepeverythingsimpleintheillustrationsotheaudiencewouldbeabletointerpretiteasilyandnotbedistractedby

overcrowdingthecompositionwithunnecessaryelements.

The ordinary radio is all beat upand has dull colors, the expression onhis face also adds to his lack-luster un-special demeanor FortheupdateddesignIcreateddepthbymovingtheradiostotheforegroundandbackgroundwiththeblack

pointertool.Thenablueskyandgreengrasswasadded.

Ithenplacedapictureofahouseintothecompositionand

tracedoveritasIdidwiththedrawingoftheradios.Itswas

importantthatIorganizedallmylayersbecauseIwantedto

copyandpastesomeoftheitemsIdesigned.Tocreatemore

housesIselectedthelayerwiththehouseinitandcopyandpastedmoreintothebackground.Thetexttoolwasusedto

puttheradiostationnumbersonthehousesandtherotation

tooltomakesuretheywerealignedwiththedoor.Thepaint

brushtoolwasusedtoaddtheowersintheowerboxand

thescratchesonthehouse.

ToestablishtheordinaryIaddedthehousesinthe

backgroundthatresembledthedingystateoftheordinary

radio.Iplacedtheoldlookingboringradiointhebackground

alongwiththehousestomakeitknownthathelivesinthe

ordinaryradioland.Theaddressesonthehousesrepresent

radiostationsandthattheextraordinaryhigh-techblack

SXU88.3radioisescapingwiththemwithhissuitcase

andrunningposeindicatesheisescapingtoanewerfre

land,of88.3!

IntheendthoughonceIaddedthehousesinthIthinkitaddedalottothecreativityoftheconceptand

compositionofthepeice.Thedepthfromthehousesan

distancebetweentheradiosgivesitmoredimensionan

interestwhileputtingmoreemphasisandthe88.3radio

intheforeground.Ithinktheveiwerseyeisnowmored

lookingatthe88.3radiobecausehiscoloringisdiffere

therestofthecompositionandheappearstobemoreu

The Thoughts Behind the Design



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Katelyn Peters Portfolio, Painting 11Katelyn Peters Portfolio, Painting 10


Painting The Profle

WhenthinkingofwhattodoforapaintingI

usuallylookthrougholdpicturesthatIhaveforinspi-

ration.Iwantedsomethingthatwouldbestrikingand

differentfrommylastfewpaintings.Whenlooking

throughpicturesfrommytwentiethbirthdayIcame

acrossahiddenjewel.Iwasinthebackgroundof

whatseemedtobeasillypicturewithallmyfriends

makingfunnyfaces.ItwasoddbecauseIrememberthe

certainmomentthepicturewastakenandIwastryingto

gettheattentionofallmyfriendsbutnooneseemedto

carewhatIhadtosay.

"I liked the way my neck was ex-tended and my mouth partiallyopen. By looking at thesecharacteristics I could tell I waslooking for someone to just listen to

me."

WhatIlikedsomuchaboutthepicturewasthat

inthechaosofmyfriendsIstoodout.Ilikedtheway

myneckwasextendedandmymouthpartiallyopen.By

lookingatthesecharacteristicsIcouldtellIwaslooking

forsomeonetojustlistentome.

I startedthepaitningoutbydrawingmy

proleoutinpencilonan18x24canvas.Afterthis

wascompletedIbegantopaintthebackground.This

wasthemostdifcultpartforme.Iusuallypaintwith

splotchesofpaint,butforthispieceIwantedasmooth

backgroundwithalightsourcecomingfrombehindmy

head.Ipickedthecolorbluebecauseofitsradiance.I

madethepaintsmoothbygoingoveritlightlywitha

nebristledbrush.

NextIworkedontheface,Ioutlinewheremy

lightsanddarkswerebyaddingalotofthinnertotheoil

paint.WhendryIwentoveritwithasomewhatthicker

coatusingaroughbristledbrushandthentakingane

onetosmoothoutcertainareas.Iusedthesameprocess

forthehairandthedress.

The Thoughts Behind the Painting

A Portrait of a Woman From aCostume Party

oilpaintoncanvas,2011


7/17


tooataroundoutoftheirbowl,theyarestillshielding

themselvesfromtheoutsideworldinthisbubble.The

bubblethatissovulnerablethatitcanbepoppedatany

moment.

WhencreatingthepieceI rstaddedthe

background,Ididthisbyusinglotsofwhitepaintand

blendingitwithlittlecolor.Thismadethecanvasap-

pearfrothyandlight.Next,Imovedontoformingthe

shapesofthebubbleIwantedtochallengemyselfso

Iattemptedtodothisfreehand,andwaspleasedwith

thefullaffect.Thebubbleandshwerecreatedonce

thewholecanvaswasdry.Thiskeptthecolorspureand

translucent.

Asasidenotethiswasmyrstattemptata

surrealpainting,andoverallIenjoyedthecreative-

thinkingprocess.Itwaschallengingbutaninteresting

benicialprocessformyselfasanartist.

DuringthispaintingIwasthinkingalotabout

feelingoutofplace.Sometimesmanypeoplecancome

acrossaslookingliketheydontbelongorlookinglike

theyarelost.IoftenfeellikethisIalwaysfeellikeI

havetoadaptmyselftomysurroundings.Thisisaqual-

itythatcanbegoodinsomecases,butbadinothers.

Itsgoodthatonecanadapttocomeacrossasbelonging

orttinginsotheycanfeelaccepted,butwhatarethey

feelingontheinside?OnceIadaptmyselftoanewsitu-

ationtotryandblendinIfeellikeIamnotstayingtrue

tomyself.

During this painting I wasthinking a lot about feeling outof place

Thegoldshinthebubbleconceptlentitself

welltowhatIwastryingtogetacross.Theshinthebubblehasafunspiritedaspectbecauseitsnot

somethingweallseeineverydaylife.Whenonelooks

deepertheycanseehowalthoughtheshisnowable

Sometimes We Can All Feel ALittle Fishy

Fish Out o Water





8/17


TheItsyBitsySpider.InthenurseryrhymeTwinkle

TwinkleLittleStaritexplainshowmanypeoplewon-

derwhatastaris,andadmireitforitsbrighttwinkly

nature.Ithoughtthiscouldlenditselfwelltothepaint-

ing.Ashumansweneedtoappreciatewhatsonthe

insideinsteadofmakingpre-judgmentsbywhatsonthe

outside.Forexample,anuglyspidercouldbealoving

mother.Likehumansittoohadareasonforliving.

By blowing the spider up tolargely on the composition I t gaveit a human quality.

Theprocessusedtocreatethepaintingwas

muchlikemyothers.Iusedabigroundbrushtotackle

thebackgroundwhileImixedindifferentcolorsofyel-

lowtoappeartwinkly.ThenwhenpaintingthespiderI

mappedoutthelightsanddarksusingaroughbristledbrushthewentoverthenedetailslikethefurwitha

thinner,nerbrush.

Thispaintingwasinterestingbecausei thap-

penedalmostonawhim.Ihadthisreallyinteresting

picturethatItookofaspideronthesideofmygarage.

Atthetimeofthephotographmyfatherandmyself

wereamazedbyhowlargeandinterestingthespider

was.Mymotherontheotherhandwaslessthanthrilled

withitandtookinitsbeautyfromadistance.Whenthe

photographwastakenItwasoutoffocus,thisposedas

achallengeformyselfasanartist.Ineededtodecide

whetheritwouldbeworthpaintingornot.

Well,Ididdecidetotakeonthechallengeof

paintingit.Iwantedthespidertoappearoncanvasas

havingalotofdetail.IdecidedonthisbecauseIwanted

theaudiencetoappreciateitforitsbeauty.Byblowing

thespideruptolargelyonthecompositionItgaveita

humanquality.

ItwasquiteachallengetothinkofhowIelseI

couldmakethespiderappearinnocentHowcouldIgive

itapersonalitythatsomanypeopledonttakeintoac-

countwhentheysmashaspidertheminutetheyseeoneintheirhouse?Thenitcametome,Iwouldcombinethe

twonurseryrhymes:TwinkleTwinkleLittleStarand


...How I wonder whatyou are?

Twinkle TwinkleLittle Spider




9/17


ThisisoneofmyfavoritepaintingsthatIhaveever

done.Ienjoyedtherichcolorsthatthesceneryhadthatwas

evenmoreemphasizedbythebeautifulsunlightofthatspecif-

icafternoon.Ihaveacloseattachmenttothispaintingbecause

ofthebuttery.Wheneversomeonepassesinmyfamilywe

liketothinktheyarereincarnatedasabuttery.Thisbuttery

inthepaintingwasonethatIhadthepleasureofwitnessing

hatchfromitschrysalis.Icapturedafewphotographswithin

thebutterysrstfewmomentsoflearninghowtoy.Watch-

ingthebutterylearnhowtouseitswingsandexploreits

newenvironmentwassointriguing.Itremindedmethatlifeis

reallytooshortandthattheamountoftimeIhavetoexplore

newthingsandtomakethemostofwhatIhaveiscrucial.

WhenpaintingIchosetoaddallofthebrightcolorsonthe

canvasrst.Thisincludedthingslikethewingsandthe

owers.Ithendoveintopaintingthedarkerareas.Ichosetoaddsomecoloreventotheblackbackgroundinhopesthatit

wouldpickupthecolorsIusedinthebutteryandtheow-

ers.Thepaintusedwasverythinandlight,Iwantedthepaint-

ingtolookvibrantandforthecolorstoreallypop.

Capturing the FirstMoments of aButterfly ExploringIts New World.

The Rebirth

The Thoughts Behindthe Painting




10/17


Cake and Tea Using Primary Color andMonocrhomatic Elements

The Thoughts Behindthe Paintings

experimentingwithdifferentstrokesanddabbingtechniques

whentryingtosimulatethetexturesinthecake,berries,and

plate.

...when I thought of tea parties I

thought of girly colors, such asPINK! ForthemonochromaticteacupIwantedtousethe

colorpink.Ithoughtitwouldbeinterestingtoseehowdark

Icouldmakeit,untilitalmostseemedunrecognizable.I

chosepinkaswellbecauseIwhenIthoughtofteaparties

Ithoughtofgirlycolors,suchasPINK!Whenpaintingthe

teascupIhaditwelllitandmystudioverydark.Itwas

importanttohaveahighcontrastforthispaintingtomake

sureIusedthefullrangeofcolors.Iputtheacrylicpainton

ratherquicklyandsomewhatthicklysoIcouldblendand

maketheteacuplookasrealisticaspossible.

ForthesepaintingsthemainelementIwantedto

utilizewascolor.Itwasveryimportantthatfortheprimary

colorsthattookadvantageofanobjectthatwouldlenditself

welltored,yellowandblue.Likemostofmyworksmyin-

spirationcomesfromeverydayobjects,andforthisparticular

projectIfoundinspirationinwhatbetterthancake.

It was very important that for theprimary colors that took advantageof an object that would lend itselfwell to red, yellow and blue.

Istartedoutthecakepaintingbymixingmyacrylic

paintintothreedifferentshadesofblue,red,andyellow.I

thenusedsightingtocreatethecorrectproportionsforthe

cakeasIdrewitwithpencilontothebritsolboard.Iliked

Artwork and Words By: KatelynPeters

acrylicpaintonbristolboard,2010acrylicpaintonbristolboard,2010


11/17


I amnaturallyaveryimpatientperson,and

unfortunatelyIhavebeencursedwiththeloveforne

detail.Oneofmyfavoritethingstodoistoexamine

reections.WhenIfoundthisredteapotIwasmesmer-

izedbyitsabilitytoreectanddistortsomuchinits

environment.IknewthatthiswassomethingIjusthad

topaint.

Workingwithcolorandseeinghowcolorsmix

togetherinnaturalsettingsissomethingIthinktrans-

latesreallywellintoart.ThisiswhyIdecidedtoaddthe

lemonsandtheteacup.Thered,yellow,andblue,all

areonoppositeendsofthecolorwheelandwhenadded

togethertheypoponacomposition.

Working with color andseeing how colors mix

together in natural settings issomething I think translatesreally well into art

WheneverIworkwithwatercolorsIalways

havethemostdifculttimemappingoutmylights.So

forthispieceIstartedbydrawingaroundthelightsin

pencilandworkingaroundthemwhenIappliedthe

watercolorpainttothepaper.

Working with Reflections andWatercolor

Sunday Tea

The Thoughts

Behind the Painting


watercolorsonwatercolorpaper,


12/17

Katelyn Peters Portfolio, Drawing 23Katelyn Peters Portfolio, Drawing 22

Thisprojectwastoshowthepositiveand

egativespaceinacomposition,aswellastoshowatandtexturedsurfaces.IchosetheoutlineofMary

Poppinsbecauseitissucharecognizableimageand

tmadetheconceptforthedesignlightandfun.The

waythatherbody/umbrellasweepsacrossthepage

uidestheviewerseyethroughthepiece.

When deciding on what textureo use I wanted to pick some-hing related to Mary Poppins.

WhendecidingonwhattexturetouseI

wantedtopicksomethingrelatedtoMaryPoppins.

thoughtaboutdoingkitesbutwhenItrieddrawing

hemtheydidnttranslatewellonthepaperwhenI

sedcoloredpencil.Balloonsworkedbetterbecause

heyweresimilartokitesbutyettheyprovidedmore

exturetothecomposition.Theblack/negativespace

sacrylicpaintandtheballoonsandskyweredone

singcoloredpencils.

Positive andNegative Space

Mary Poppins Up Up and Away

The ThoughtsBehind theDrawings

Artwork and Words By:Katelyn Peters

acrylicpaintandcolorpencilonbristolboard,2


13/17


Drawing Hands & Feet

How Playing with Lighting canadd to a Pencil Drawing


The Thoughts Behindthe Drawings

Drawingthehandsandfeetissomethingthat

canbeveryintimidating.Whenchoosingmycomposi-

tionforthesetwodrawingsIwantedtochooseaninter-

estingperspective.ForthehandIdidthisbydrawing

itfrombelowandforthefeetIdrewatlevelwiththe

oor.IwantedtomakesureIhadenoughlightingfor

thedrawingsoIaddedalamp.Imadetheroomreally

darksotherewasnicecontrastofshadowssetuponmy

subjects.Toaddsomeareandsomeofmypersonality

tothepiecesIdecidedtomakethevintagenecklaceand

lamppartofmynisheddrawing.Ifoundtheseprojectsfunandchallenging,butoverallIfeeltheyhelpedto

settlemyfearsofdrawinghandsandfeet.

I made the room reallydark so there was nicecontrast of shadows setupon my subjects.

graphiteonbristolboard,200



14/17


Ilikedworkingwiththisstilllifebecauseit

providedalotofchallengesformeasanartistwhenI

wasdealingwithtextures.Iliketoalwaysexperiment

withtextureswhendrawingorpainting.IfeellikeI

growasanartistwhenIamlearninghowtodrawthe

intricatethingsinacompsition.Ithinkusingtexture

whendrawingcanreallystriketheviewerseye.

I feel like I grow as anartist when I am learning howto draw the intricate things in

a compsition. Asimplesti l ll ifecanreallybepumpedup

whenalotofvisualinterestisadded.Textureisaneasy

waytopracticemakingdrawingslookmoreaccurate

aswellasmoreinteresting.Themostchallengingwas

drawingthebirdsfeathers.Thiswasbecausethebird

wasverydarkanditwasverydifculttoseewherethe

lightsanddarkswereinthecomposition.

Playing with Textures to AddVisual Interest

Black Bird Fly

The Thoughts Behind the Drawings




15/17


lightlyrst.Dependingonwhatcolorthepiecewasthat

IwouldbedrawingIwouldalternatewithbrown,black,

andbluecoloredpencilforthedarkertonesinthecom-

position.ThenIwouldblendthecolorsinbypressing

hardlywiththecolorpencilthatmatchedthemaincolor

ofthepeiceIwasthenworkingon.Thismadethecolors

lookveryvibrantandnotmuddy.

Ichosetodrawthewickedwitchwithherback

turnedbecauseIthoughtitaddedtohermysteryand

acunningsidetoherpersonality.Theviewerdoesnt

knowwhatherfacelookslike.Ifeellikethewaythe

actorisposingalmostmakesitlooklikethewitchis

afraidtoshowherface,aswell.Itcanbringaboutasen-

timentalfeelingforthecharacter.Thecurtainalsoadds

mysteryWhatisbehindthecurtain?Theviewerhasto

guess.Butthefactthattheremaybeandaudience,I

thinkaddsalotofanticipation.

ThisisoneofmyfavoritedrawingsbecauseI

createdthecostume,hair,makeupandthedrawingit-

self.Thecostumewascreatedforthepartofthewicked

witchfromthemusicalTheWiz.Thischaracterwas

notsomuchscarybutinawayveryobnoxiousand

garish.Theconceptofthecostumewastomakeitseem

likeshewashidingbehindalloftheloudcolorsandpat-

terns.

I chose to draw the wickedwitch with her back turnedbecause I thought it added toher mystery and a cunningside to her personality

Thisdrawingwasdonewithcoloredpencil.I

enjoyedworkingwiththismediumbecauseitinvolved

alotoflayeringIwouldlayonthedarkervaluesvery

The Thoughts Behind the Drawing

Drawing the Evilene Costume IDesigned fromThe Wiz

Whats Behind it All?


colorpencilonbristolboard,2


16/17


WhenusingcoloredpencilIwantedtoseehow

muchoftheshadingIcoulddoincolorwithoutusing

anyblack.IwasinspiredbyVanGoghstechniques.I

lovehowwhenonelookcloselyintohispaintingsthey

canpointoutsomanycolorsthatonenormallycouldnt

seefromfaraway.Itriedthistechniquespecicallyfor

thewhiteinPuckscostume

OriginallythecurtainsthatPuckwasstanding

behindwerered.Ichosetomakethemblacktoprovide

abettercolortocomplimentthewhiteinthecharacters

costume.Ialsothinkthattheblackmadethedifferent

colorsIusedtoshadethecostumestandout.

WhenIwasinvolvedintheproductionofa

AMidsummerNightsDreamIlovedthewaythe

characterofpuckprancedaroundthestage.Puckwould

alwaysbedancing,leaping,andmakingfunnyfaces.I

thoughtitwouldbeafunconceptforadrawingbecause

thecharacterhadalotofenergy,somethingIbelieved

wouldmakefromagreatcomposition.

When I was involved in theproduction of a A MidsummerNights Dream I loved the waythe character of puck prancedaround the stage

The Trickster fromA Midsummer Nights Dream

Puck

The Thoughts Behind the Drawings


colorpencilonbristolboard,20


17/17

About the Artist

Katelyn Peters

KatelynPetershasbeeninvolvedintheneartssincetheyoungageof9in2000.

ShegotherstartbydrawingJusticeLeagueandMarvelsuperheroesuntilshemovedonto

designingherownwork.In2007KatelynbeganinterningfortheBeverlyArtsCenterasa

costumer.TillthisdaysheworkscloselywiththeBeverlyArtCenterwhereshehascostumed

numerousshowsandbeenseeninthecentersgalleryexhibitsandcompetitions.In2010she

evenwonsecondplacetheirTeenArtCompetition.AtMaristHighSchoolKatelynbeganto

developmoreskillsasshebeganexperimentingwithdifferentprojectsandmediumsduring

herfouryearsoftakingallfourlevelsofartclasses.Forhersenioryearin2009sheeven

receivedtheprestigiousAchievementinArtawardforhergraduatingclass.

SincethenKatelynhasdevelopedalovefordrawingandpainting.Herworkuses

richcolorandlighttoprovideavibrantcomposition.Conceptuallysheenjoystomakequirky

aswellassomedramaticwork,whichcontainsanimportantmessage.Thiscanbeanything

fromindividualitytobreakthroughthoughtsthatsheherselfhasfoundsignicant.Shecur-

rentlyattendsSaintXavierUniversitywheresheplanstograduatewithherBachelorsin

SecondaryArtEducationin2013.Forthepastyear(2011)KatelynhashadtheopportunitytoteachthroughtheBeverlyArtsCentersOutreachProgram,whichoffersafterschoolclasses

toschoolsintheChicagoarea.Shehasalsoworkedasamanagersincetheopeningofthe

newChildrensMuseuminOakLawnwhereshehasdevelopedhernewfoundtalentofface

painting.

ForthefutureKatelynwouldliketocontinuetoliveintheChicagowhereshegrew

up.HergoalsgomuchfurtherthanjustteachinginChicagolandschools,buttoopenupher

ownstudiothatcanofferartprogramsandartisticoutletsfortheyouthoftheChicagoland

area.TheartsaresomethingKatelynholdsdeartoherheartandshehopesthatthesame

impactithashadonherwillbesharedwithherfuturestudents.


katelyn peters' portfolio, an exploration of computer graphics,painting, and drawing

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