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Facets Portfolios
Facets Portfolios
Facets Portfolios
Facets Portfolios
Facets Portfolios
Facets Portfolios
Facets Portfolios
Facets Portfolios
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Facets Portfolios

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an example of newsletter published using MS Publisher

an example of newsletter published using MS Publisher

Published in: Education
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  • 1. Portfolios I have created a number of portfolios in my career. I was first introduced to the idea in 1991 under the direction of Ilene Lund in the Advanced Placement Art class at Ithaca Senior High School. The advanced placement class was a capstone to a series of artistic exploration. While creation of new work was encouraged, the focus of the class was to collect and analyze my body of artistic works and prepare a selection for photographing and submitting with college applications. Inside I studied art throughout High school and carried a sketch-pad constantly. In the spring of 1988 I began supplementing the art classes available with independent figure drawing sessions at the Community School of Music and Art (CSMA.) These were not instructed lessons, just a nude model available or the group to sketch. The only structure was a increasing duration of the poses. Through the exploration of the nude figure, I developed intuitive knowledge of the proportions of the human structure. Following examples demonstrate an in-depth exploration of body proportions combined with the underlying bone structure and use of color and body language to convey a mood. (continued inside)
  • 2. (Continued from cover) Most of my art classes focused on drawing. I explored through the medium of pastel the proportions of the human face and the theories of warm and cool color placement to convey a feeling of three dimensions on a flat plane. A skeleton was available for study in the art room and I was drawn to the underlying structures of the face. I frequently brought in-class projects home to work on adding fixatives and layering the pastel. This depth of detail in my personal style is seen in the images below which show the drawing in an unfinished stage for comparison with the final piece:
  • 3. These examples show the detail worked in medium to long poses. Though half-hour poses are grueling for a model to maintain, I did not feel that any of the shorter pose pieces were worth photographing for this collection. The personal style shown as a consistent attribute of my work is most evident in these pieces.
  • 4. G wen D a niels
  • 5. Various themes became apparent in the unassisted choices people made. As shown to the left there were several butterflies and floral explorations requested. An unexpected result of offering historical examples to facilitate an informed decision was to inspire a unique new theme. These examples are the exterior of participants eyelids painted to look like open eyes.
  • 6. I documented the presentation of the AAFF space at the various festival locations where we offered the unique fusion of visual and healing arts. The initial intent was for my own personal history, these images were not used in the body art examples portfolio. Later in submitting applications to festivals to show and sell my jewelry art, I used this portfolio to demonstrate the image I would present as a vendor.
  • 7. The culmination of my experience documenting my artwork is evident on my web-store, Sun Goddess Ally’s Designs, http:// store.sungoddessallydesigns.com/. I explored the art of jewelry design through personal experience as a teenager, I coveted the finer beads available at Rio, a store which offered beads and findings a-la-carte. As an adult I was able to revisit my flare for design and also created a fusion with astrology with the guidance of the Crystal Zodiac1 written by Judy Hall. Items in my Crystal Zodiac line are constructed of gemstones which are listed as beneficial to each specific sign of the zodiac in Judy Hall’s book. I have also used Cunningham’s Encyclopedia of Crystal, Gem & Metal Magic2 and various web resources as a guide to composing descriptions of my designs. Precious and semi-precious as well as polished, natural, and rough-cut varieties of stone are used in my designs. Materials are purchased on-line and at festivals and gem shows in upstate New York. I differentiate the various stones as well as their quality rating through personal observation. For most of my designs I prefer the B or C grade stones both for lower cost, and for unique shape and color variations. I photograph each piece under natural light and flash conditions, then I use photo editing to adjust brightness contrast and gamma attributes and crop the image to a pleasing composition. These examples are of my latest line of wire wrapped pendants where I have combined two polished cabochons of different sizes with precious metal in designs which express recognizable themes.

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