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Table o ContentsKatelyn PetersPortfolio
Computer Graphics 2-9
Painting 10- 21
Drawing 22-31
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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
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Katelyn Peters Portfolio, Computer Graphics 5Katelyn Peters Portfolio, Computer Graphics 4
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
"
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Katelyn Peters Portfolio, Computer Graphics 7Katelyn Peters Portfolio, Computer Graphics 6
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
Artwork and Words By: Katelyn Peters
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Katelyn Peters Portfolio, Computer Graphics 9Katelyn Peters Portfolio, Computer Graphics 8
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
Artwork and Words By: Katelyn Peters
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Katelyn Peters Portfolio, Painting 11Katelyn Peters Portfolio, Painting 10
Artwork and Words By: Katelyn Peters
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
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Katelyn Peters Portfolio, Painting 13Katelyn Peters Portfolio, Painting 12
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
The Thoughts Behind the Painting
Artwork and Words By: Katelyn Peters
oilpaintoncanvas,2011
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Katelyn Peters Portfolio, Painting 15Katelyn Peters Portfolio, Painting 14
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
The Thoughts Behind the Painting
...How I wonder whatyou are?
Twinkle TwinkleLittle Spider
Artwork and Words By: Katelyn Peters
oilpaintoncanvas,2011
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Katelyn Peters Portfolio, Painting 17Katelyn Peters Portfolio, Painting 16
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
Artwork and Words By: Katelyn Peters
oilpaintoncanvas,2011
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Katelyn Peters Portfolio, Painting 19Katelyn Peters Portfolio, Painting 18
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
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Katelyn Peters Portfolio, Painting 21Katelyn Peters Portfolio, Painting 20
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
Artwork and Words By: Katelyn Peters
watercolorsonwatercolorpaper,
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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
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Katelyn Peters Portfolio, Drawing 25Katelyn Peters Portfolio, Drawing 24
Drawing Hands & Feet
How Playing with Lighting canadd to a Pencil Drawing
Artwork and Words By: KatelynPeters
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
graphiteonbristolboard,2009
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Katelyn Peters Portfolio, Drawing 27Katelyn Peters Portfolio, Drawing 26
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
Artwork and Words By: KatelynPeters
graphiteonbristolboard,200
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Katelyn Peters Portfolio, Drawing 29Katelyn Peters Portfolio, Drawing 28
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?
Artwork and Words By: Katelyn Peters
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Katelyn Peters Portfolio, Drawing 31Katelyn Peters Portfolio, Drawing 30
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
Artwork and Words By: Katelyn Peters
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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.
Artwork and Words By: Katelyn Peters