Emily Coy Part 4

Over the past four years, I have been so excited to exhibit my work but was also scared that I wouldn’t “find my style” by the time I would show my work as a senior. This was an unsaid pressure that I put on myself. As I worked through what it meant to have a style and the importance (or unimportance) of that, I was told by multiple professors to “just keep making!”. At the time, I would nod and smile but secretly be confused and tired because I was making and showing up to the studio. Showing up is a huge part of being an artist, but another part is gently setting aside worries consisting of what will come of the art. I was afraid to make something that people I respected didn’t like.  Once I started putting in long studio hours, setting aside worries, reflecting on what I made and continuing to make more, I gained confidence not solely in my artwork but in myself as an artist. This installation is something I am truly proud of because of the process it took to get here. I stayed true, accepted my mistakes along the way, and continuously checked in with myself in my making. I was made to make. This installation is me stepping into this identity. 

In My Space, 2021, mixed media, 8×10 feet

In My Space is about quarantine this Fall in my home with my college roomies. This installation is directly inspired by my printed and embroidered piece, Quarantined. So, like Quarantined, it is my diary of the months of slowing down and being present to myself, my space and my relationships with my housemates. There was a heightened awareness of the physical space around me as well as the emotional and spiritual space within and around me. My world was put under a microscope due to external circumstances. I was able to notice bobby pins stuck in the carpet, and how quickly I went through a gallon of milk, and words printed on the bread tie. I learned so much about what it means to slow down with a community. It is very intimate. I already considered myself to be very close with my housemates, but this strange time has pushed us to a new level of closeness. Unlike Quarantined, this installation is 8×10 feet. The abstract symbols and shapes that are embroidered on my fabric in Quarantined, are painted on the gallery wall in In My Space. For the objects being represented, I use wood cutouts that I was able to make throughout the semester with a laser cutter. Shoutout to my Professor, Rob Fifield for spending hours helping me cut every single piece at least a few times. Mounting these wood cutouts in my installation created a representation of the peculiar but sacred space I had experienced this Fall. 

In My Space (sketch), 2021
In My Space (installation), 2021, mixed media, 8×10 feet
In My Space (detail), 2021, mixed media, 8×10 feet

Daly Derwenskus Part 4

For my final blog post in this series, I would like to talk about my YouTube Subscription Manager Redesign Concept.

This was a project outside of my university studies in which I wanted to think of new ways to be able to help categorize and simplify YouTube’s subscription manager. I did this by reorganizing the dashboard concept of the subscribed channels.

The big problem with your subscription list is that inside of your YouTube subscriptions interface, there is only a single way to view your subscribed channels. Many people like myself have hundreds and possibly even thousands of subscribed channels. And the only way to see your subscribed channels are in a giant list all viewed in alphabetical order. You can end up scrolling endlessly, and it is quite hard to find the channel you’re looking for.

YouTube’s Subscription Manager Redesign Concept, 2021, Adobe XD, Adobe Photoshop, and Adobe Illustrator

After a few different brainstorming sessions, one of the ideas I came up with was a concept that would help to organize the users accounts subscribed channels. With this new design you’re able to easily see the total number of subscribed channels, most frequently visited channels, recently subscribed channels, and lastly, the joined channels you are a paid member of.

This new design is a much more organized way to view the different activities on your account. You can even see details such as when you first encountered or watched a video of the channel, when the first subscribed date, notification status, last visited date, and a list to show all of the subscribed channels. And here, you are also able to easily unsubscribe to a channel if that is something you want to do.

This dashboard is a concept idea, and can sort through your whole subscribed channels list, or your most frequently visited list. You also have the option to see more in-depth analytics on your account.

YouTube’s Subscription Manager Redesign Concept, 2021, Adobe XD, Adobe Photoshop, and Adobe Illustrator

I was very happy with the final outcome. After this project, I became very interested in designing dashboards that would help to improve the user interface.

Sean Jones Part 4

After beginning the Senior Exhibition class in the spring of 2021, I was conflicted about which one of my projects I would exhibit. I knew I wanted to incorporate audio, but I also wanted to showcase my graphic design work. The obvious answer was to exhibit my Amplex music project from the previous year, so I started planning how I could present audio in a shared gallery. This led me to acoustic isolation chambers. They solved the problem of keeping the gallery space quiet while providing an individual listening experience, but when researching costs online, I figured it would be too expensive to buy a professional isolation chamber. Therefore, I felt I had to scrap the idea and find another way to showcase my work. 

Some Goddamn Peace & Quiet (Construction), 2021, Mixed media

While contemplating my work and what to exhibit, I began thinking of the exhibition as an opportunity to say something, or to promote awareness of a problem I saw in society. In thinking about my relationship with technology and how much information I consume on a daily basis, I found myself disgusted with the amount of information forced upon me in the form of advertisements. As a graphic designer, I started thinking about how these ads drive supply and demand which contributes to the endless cycle of consumption. This consumption leads to pollution, deforestation, and in some extreme cases, slavery. Should designers consider these ethical implications, or should they just finish the job to make a quick buck? I knew that I needed to make something which encompassed that question, but I didn’t know where to start. I began thinking of acoustic isolation chambers as a way to escape the psychologically manipulative advertisements and that lead me to the idea of Some Goddamn Peace & Quiet

Some Goddamn Peace & Quiet (Too Many Staples), 2021, Mixed media

The construction process was a bit more complex than I initially anticipated. I began by purchasing an orchestral stage microphone stand and 48 acoustic foam panels. After days of searching countless Home Depots, I finally found a flowerpot large enough to act as a base for the acoustic foam. I spray painted the flowerpot black and began attaching the foam panels with adhesive spray glue. The first problem I ran into was that the foam panels would not keep their shape when fixed to a curved surface. To solve this, I cut the panels into strips and attached them lengthwise with staples until I had a piece 1 square by 32 squares in dimension. I then created rings from these pieces which would fit better horizontally along the surface of the flowerpot. To compress the rings as they got closer to the top of the piece, I used 8 staples on each individual square and tightened them with pliers to get to my desired size. Around 2000 staples were used and this was the most time-intensive part of the process. Once I was happy with the shape, I attached rings of EVA foam on the top and bottom edges to cover any flaws and provide a cohesive structure. 

Some Goddamn Peace & Quiet (Day 1 of Filming), 2021, Mixed media

The final step was to create the accompanying audio and video for the advertisement. Over the course of a week, I storyboarded the film and with the help of some friends, we began shooting. The video process was quite straightforward, but the post processing was much more difficult. Using the skills in Adobe Photoshop and Illustrator I learned at Whitworth, I was able to create the backgrounds as well as the product logos for Some Goddamn Peace & Quiet. The humorous nature of the video made it enjoyable to create, but more importantly, I felt I was conveying something important and relevant to modern society. The project left me with a sense of accomplishment, and I was glad that I had the opportunity to bring my idea to fruition. 

Some Goddamn Peace & Quiet, 2021

Sophia Lizberg Part 4

This project was created to fulfill an assignment for Graphic Design II, Spring 2021. The brief required us to create a series of three posters: text dominant, image dominant, and text only. The content was up to us as long as it could be adapted to each format. My mom runs a summer camp in Idaho called Camp Rainbow Gold that serves children with cancer and their families. They recently acquired their own property that allows them to have a permanent home that can adequately serve their diverse set of needs. At campfires the kids sing a song that ends with them yelling “boom” and when it echoes back, they were told it was “the man in the mountain” yelling back at them. I chose to create this series of posters to advertise that “the man in the mountain” had moved with them to the new property, Hidden Paradise. 

The first poster is text dominant with imagery incorporated with it. I chose to stick with variations of green from the branding guidelines of Hidden Paradise. My style of overlapping text and image from the Whitworth A&D blog can be seen again in this poster. However, instead of cutting out parts of the words I changed the opacity and blending mode of the image so the color changes when it is over the darker text. 

Text Dominant Poster, 2021Adobe Illustrator12×18 inches

The second poster is text dominant. The goal for this one was to create the shape of a mountain side with the text. I accomplished this by changing the size and orientation of the text to create a ragged right side that resembles the side of a mountain. The font used throughout the poster series is from the Hidden Paradise branding guidelines. 

Text Only Poster, 2021, Adobe Illustrator, 12×18 inches

When giving the assignment, Professor Ben Necochea encouraged us to think about early forms of poster making and how our experiences in other classes could inform this project. As I mentioned in my previous blog, I have found a love for printmaking this year. For my last poster I decided that I wanted to try making it using the latest form of printmaking I’d learned: screen printing. Doing this allowed me to blend my love of creating interesting layouts in my design work with the physical process of printmaking. The image dominant poster was created by making two screens. The first for the image on the bottom and the second for the text and illustration on top. Initially I kept the color palette to similar greens that I had been using in the digital posters.

Image Dominant Poster Version One, 2021, screen print on Stonehenge paper, 18×12 inches

Once I finished printing the green version I had set out to make, my printmaking Professor, Rob Fifield, asked me if I wanted to try something different with the rest of the prints. Of course, I said yes. We then added the process inks (magenta, cyan, and yellow) to the green ink I already had on the screen. Process inks are transparent and are typically layered over each other to create a full color image. The transparent nature of the inks allows them to mix and create new colors. As I pulled more prints using this mixture, the colors blended to create a pastel rainbow over the first image instead of the original green. While I hadn’t set out with this idea in mind, this version of the print ended up being my favorite of the two.

Image Dominant Poster Version Two, 2021, screen print on Stonehenge paper, 18×12 inches

Michael McIntyre Part 4

The Let’s Get Ship-Wrecked series is one that I had a lot of time to think about. At the beginning of quarantine, I had very little to do. I had no classes, no job, nothing to keep me occupied.  On top of that, I was stuck back at my parents’ place which is fairly rural. With an overabundance of time, I turned to TV and YouTube to keep myself entertained. It was this extra time spent on YouTube that brought me to the inspiration for this series. Mentioned briefly in a “Family Guy” episode, scrimshaw is the main influence for the decoration of these bongs.

Let’s Get Ship-Wrecked Series: Ragnarok? More Like Ragna-Stoned, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Ragnarok? More Like Ragna-Stoned, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Ragnarok? More Like Ragna-Stoned, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches

Traditionally, scrimshaw is ivory or bone that has had a design lightly etched or engraved into it. The etched lines are then filled with an ink in order to show the design more clearly. Typically associated with naval imagery, the designs tend to heavily utilize hatching and cross hatching. Given that I have always had an interest in the imagery of the Kraken and had been trying to think up a way to use it, scrimshaw seemed a good fit. The subject matter for the series, sea monsters, ended up being an extension of my original interest in the Kraken. 

Let’s Get Ship-Wrecked Series: Willie and Hydra Take a Smoke Break, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Willie and Hydra Take a Smoke Break, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Willie and Hydra Take a Smoke Break, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches

My designs on the Let’s Get Ship-Wrecked series utilize scrimshaw-like imagery, but that is where the similarities stop. After messing around (and failing) with trying to do actual scrimshaw on the surface of the clay, I returned to sgraffito to make my designs. Despite moving away from scrimshaw techniques, I still wanted to relate back to the style further than just using similar imagery. To do this, I left the surface that held the etchings unglazed. I did this because I wanted the surface to remain reminiscent of the bone or ivory that real scrimshaw would be on. The contrast between the glazed ceramic body and the bare was also of interest to me, and I believe it adds to the composition nicely. This contrast is also something that I used in my subsequent Not All That Shines is gold series, and something that I plan to use in the future. The contrast is not only stimulating visually, but also physically when holding the piece.

Let’s Get Ship-Wrecked Series: Umibozu and the Bottomless Boof, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Umibozu and the Bottomless Boof, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches
Let’s Get Ship-Wrecked Series: Umibozu and the Bottomless Boof, 2020, porcelain, stain and glaze, 10.5×3.5×3 inches

Zach Ross Part 4

The Newcomer, 2020, oil on canvas, 24×40 inches, $1600 framed (contact zachnross@gmail.com)

These paintings were inspired by different animals that I observed in nature over the last couple years. I chose to focus on composition and color schemes when I made these. While painting, I try to give the animal a sense of life so the image will evoke an emotional response. As I have painted more, I have striven less for photographic realism and opted more for painting in a way that expresses the figure I am depicting.

Standing in the Light, 2020, oil on canvas, 24×21 inches, $850 framed (contact zachnross@gmail.com)

Each individual creature has a certain character that I hope to express. The different gestures that animals make and the harmonies and relationships that can be found with color excite me. In these works, I explore these while beginning to focus less on fine detail and allowing the paint to say more. As I continue my artistic journey, I plan to continue to learn more about color and composition and to begin using more interesting paint application and textural techniques to add even more life to these animals. I’m excited to see what paint and color can teach me in the years ahead.

The Descent, 2021, oil on canvas, 12×15 inches, for sale (contact zachnross@gmail.com)
Yellowstone Winter, 2020, oil on canvas, 24×36 inches, $1800 framed (contact zachnross@gmail.com)

Find me on Instagram @zachrossart or online at https://www.zachrossart.com

Kyle Smithgall Part 4

Abstraction and Illustration

Despite being in the Whitworth Art Department for only two years, I truly feel that my skill in design and illustration has improved significantly. One of the main benchmarks for my success is the incorporation of abstraction into my art. Geometric Portrait and Fruit Triptych are currently being exhibited in the Bryan Oliver Gallery, and are great examples of how my work has taken an abstract direction.

Geometric Portrait, 2020, Adobe Illustrator, size variable

The Geometric Portrait was my attempt at taking traditional “vector portraits” a step further. Each shape and color were meticulously altered to create its current appearance. I chose not to vectorize the hair of the figure, as the interplay of thenegative space between the two main forms allows for subjective interpretation by the viewer. I am pleased with the finished product and plan to create more illustrations using a similar technique. 

For my Fruit Triptych, the creative process was much more succinct. My process of abstraction considers both the color and form of each piece of fruit. The apple incorporated more rectangular shapes, the orange focused on curves and crescents, and the banana included both circular and square forms. After abstracting, I used a function in Adobe Illustrator to give the fruit a layered paper effect. I enjoyed this project because it allowed me to experiment and have fun with digital abstraction. 

Fruit Triptych: Apple, 2021, Adobe Illustrator, size variable
Fruit Triptych: Orange, 2021, Adobe Illustrator, size variable
Fruit Triptych: Banana, 2021, Adobe Illustrator, size variable

Find me on Instagram @kyles_illustrationsanddesign or on Redbubble at KyleSmithgall

Emily Coy Part 3

Stay home, 2020, watercolor, 10×8 inches

Out of all of the media I currently work with, I have been painting for the longest amount of time, mainly acrylic and oil but more recently watercolor as well. Throughout high school and the first couple of years of college, I would strive for realism in my paintings. I wanted to capture accuracy in color, proportion, texture, and space. As my content developed, I have allowed myself to move away from realism in visual representation and focus more on composition. I wanted to elevate the “normal” parts of life and to do this, I decided to begin experimenting with cropping. I believe there is a connection between the visual aspect of cropping an image and the concept of being present to the small details surrounding me. In the process of creating my composition, I decide what to include and what to crop out. I think there is truth in snippets. All we have is our limited perspective but there is validity in our experiences. This is what I hope to convey. 

The Art Building, 2020, watercolor, 10×8 inches 
Courts, 2020, watercolor, 6×6 inches
Wash, 2020, watercolor, 6×6 inches
Water, 2021, acrylic, 24×12 inches

Daly Derwenskus Part 3

This website design project was completed in the Fall of 2019. Throughout this project we had the opportunity to redesign a website for The Spine & Scoliosis Clinic that needed improvements in its user experience. In the beginning of this project, we were instructed to completely redesign and update the user experience of the old website. With this project we were given the logo and the information to include on each website page. 

After reviewing all the requirements, I ended up creating 5 web pages in the final design. These included the homepage, a services page, a page for the biophysics, a page for making appointments, and lastly a FAQ page. Throughout this design, I wanted to create an informative and interactive way for people to view their website.

The Spine & Scoliosis Clinic Redesign Project: Homepage, 2019, Adobe XD

With the homepage design I created a modern layout which spoke about their story as a company, the services they provide, and their mission to serve their customers. I carefully planned the layout, by starting off with paper and pencil and having a creative vision in mind. Carefully guiding the visitors on the website from start to finish. With this design, I was striving for what it would look like if somebody came into their appointment and the step-by-step process. 

The Spine & Scoliosis Clinic Redesign Project: Services Page, 2019, Adobe XD

The services section lists the type of services they provide as well as showcasing the team members, this was all a concept idea. I also created another section on the page where it says “Get Personal” so people can learn more about who they are as a company in a video embedded on this page. 

The Spine & Scoliosis Clinic Redesign Project: Appointment Page, 2019, Adobe XD

 What has to be my favorite part of this website was designing the appointment fill-out section. This design takes an approach of an online form where people would be able to fill out their forms online and from home. This way they would not have to repeat the same process in the office and wait longer. This was an idea I came up with so once they get to the clinic it would be an easy and seamless process to get to their appointment. 

The Spine & Scoliosis Clinic Redesign Project: Biophysics Page, 2019, Adobe XD

The Biophysics page is where visitors could learn more about what biophysics are. This design was created in the direction to be very clean and easy to read, and the right amount of text. 

The Spine & Scoliosis Clinic Redesign Project: FAQ Page, 2019, Adobe XD

The last page is the FAQ page. What I was striving for with this design was to make the bolded text the most visible so people would be able to quickly find what they are looking for. Each section is categorized and organized nicely with the blue text separating them. 

Overall, this project helped upgrade my design skills from start to finish. I really enjoyed designing each page and it was a super fun project to update, upgrade and redesign an existing website. 

Sean Jones Part 3

In this next blog post, I want to talk about my passion for audio and highlight some of my works which influenced my ideas. I started getting interested in making music around the age of 12 when I was learning about computers and all of the tools the internet had to offer. I stumbled onto an online program in which I could arrange certain sounds on a grid and have it play over a set amount of time. Soon, I was creating my own beats, and eventually those became songs. Around 14, I started listening to a lot of electronic music. I loved that with music, your mind could wander endlessly; but at the same time, I was in awe of fact that someone had created it. Someone could alter or mash or combine an infinite number of sounds to create something completely new. 

I soon wondered if I could create something like that, and after some research, I found a program called FL Studio. This program and others like it are called Digital Audio Workstations. D.A.W’s allow users to alter or create sounds with digital synthesizers and effects. The possibilities are almost endless, but I don’t want to get all nerdy about it, so I’ll leave it at that. Around the age of 17, I started releasing some of my beats on a website called SoundCloud so that I could share my work more. This motivated me to start taking my practice more seriously. 

Amplex Zeal EP (4 songs), 2020, FL Studio 20 and Adobe Illustrator

Click on the image above or use the following link to hear the music: https://soundcloud.com/terpalien/sets/zeal-ep

After getting some support from friends, I was feeling good about my music. So, when it was time to look for a college to attend, I decided to find a program in audio engineering and learn more about the music business. I chose to attend Belmont University in Nashville, Tennessee and it was great. I learned about recording technology, media and society, and temporal processing, but I missed my family in Spokane. The decision to move back home did not hold me back or deter me from making music. It just allowed me to focus on my other passion, graphic design. 

OOZE EP (2 songs), 2020, FL Studio 20

Click on the image above or use the following link to hear the music: https://soundcloud.com/terpalien/sets/ooze

Attending Whitworth provided me with both an education in one of my passions, and the ability to be close to my family. While learning about art, I realized how similar art and music are to one another. I wanted to start integrating music into my artwork at Whitworth and during my Senior Seminar class in 2020, I was able to do just that with my “Amplex Zeal EP” project. In this project, I created a four track EP album and the accompanying album artwork. This project really allowed me to refine my skills as well as learn new ones in audio and graphic design. 

Sophia Lizberg Part 3

I didn’t start printing until Fall 2020, but I quickly found myself enjoying the new medium. For this series of prints I initially created the images digitally using an iPad. Then, I used a laser cutter to make the sets of linoleum blocks used to create each print. This allowed me to get finer detail with more accuracy much faster than if I was hand carving the plates. Since there are two colors in each print there are six plates in total. The pink goes down first and is followed by the black. 

For me, printmaking is an opportunity to focus on making pieces that are more reflective of myself. The process of printing forces me to step back from the fast-paced world, slow down and embrace the tangible. The concepts behind my prints come from the process of grieving and healing from past trauma. During this process, I often find myself at a loss for words to describe everything I’m experiencing. By turning these feelings into images, I am forced to slow down, process, and feel all that life throws my way.

Carry Her With Me, 2021, linocut print on rice paper, 12×9 inches
Drifting, 2021, linocut print on rice paper, 12×9 inches
Free, 2021, linocut print on rice paper, 12×9 inches
Coping, 2021, linocut print on rice paper, 9×12 inches
Beep Beep, 2021, linocut print on rice paper, 12×9 inches

Michael McIntyre Part 3

Coming into 2020 I was excited to start a new series of pieces, with different design constraints. Many of the bongs from the Shatter series used slip (liquid clay with the consistency of “sour cream”) colored with mason stains, as a paint to decorate the surface. At that point, the colored clay stayed on the surface and the base was always the natural white of the porcelain. In the next series, I would use stains to color the main clay body so that I could create more color combinations and contrast in my compositions. Texture was also a large focus. Thinking about how the bongs would feel in the hand was the driving factor for this series. 

Thanks for the Boof, Abby, 2020, stained porcelain, 6×3.5×3 inches

Mixing mason stains into the clay body is a troublesome task when done by hand. Several hours of work for this series were spent kneading clay (and admittedly, several hours were also put into getting stain out of my clothes). That, and the onset of quarantine, kept the series unnamed and limited to five pieces. The first two, Thanks for the Boof, Abby and Thanks for the Boof, Jay, named for the friends that they were gifted too, were purely focused on creating a design through texture. Deeply carved sgraffito strips cut through the white or black surface, revealing the contrasting blue or yellow body beneath. This simple design was meant to be aesthetically pleasing but lacks any representative details. 

Thanks for the Boof, Jay, 2020, stained porcelain, 6×3.5×3 inches

The composition worked well, but I wanted to see if I could push it a little bit further by adding subtle representational features. Burning Banana was my first attempt at this. Using colors that I associate with sunsets in the tropics I carved out small monstera deliciosa leaves (often mistakenly called banana leaves). The background remained similar to the texture on the first two pieces. Because the leaves and texture are the same colors, the leaves remain a subtle feature of the overall texturing of the surface.

Burning Banana, 2020, stained porcelain, 6×3.5×3 inches

This is a series that I would like to revisit in the future. With new techniques for production that I am learning, the color combinations could vary even further with the simple addition of a third layer. But I would also like to flesh out the textural aspect more. The addition of representational tidbits was a good start, and I would like to try out other similar ideas. 

Zach Ross Part 3

Last year I began experimenting more with limited color palettes and schemes. By using colors that arerelated, I can achieve color harmonies that evoke certain emotions or project a certain mood. By limiting the colors in the piece, different colors can interact without interference from too many varying hues. This can help create a mood, be aesthetically pleasing, and appear natural as the same type of light is hitting everything. 

Night on the Town, 2020, oil on canvas, 24×36 inches

In this painting, I went to a bar in Spokane and asked if I could take some photos. I took numerous photos of the scene and the people, noting the atmosphere, the lighting, and soaking in the feeling of being there. The painting I composed is reminiscent of Edward Hopper’s Nighthawks in which people gather at a café but do not interact with each other. In this piece, I decided to show a place that people would normally go for social interaction. Yet in the painting, no interaction is being had and everyone is keeping to themselves. The room seems empty with no one sitting at the tables, and the three figures at the bar are not looking at each other. I used the arrangement of the figures sitting at the bar and the warm color scheme to create a somber but intense mood. The color scheme is mostly analogous with the only complimentary colors being in the clothing of the closest man sitting at the bar and in the American flag, making both a point of emphasis. Another connection between the American flag and this figure is the stripes used in each. This hints at the way the piece is commenting on society and the desire we have as humans to connect with each other yet often do not for a variety of reasons.

Quick Exit, 2020, oil on canvas, 24×18 inches, $900 framed (contact zachnross@gmail.com)

This painting was inspired by a cowboy’s ride in the 2019 Cody Stampede Rodeo. I composed the piece using references I had taken at the event. In the piece, the bull is the point of emphasis. I used warm neutral colors and a very limited palette to paint this piece. I placed the cowboy’s legs at the right of the composition, showing the cowboy flying out of the painting. This adds both humor and mystery to this cowboy’s wild ride. In the way I composed the piece and painted the dust around the bull, I wanted to suggest movement. The painting captures the bull’s moment of triumph over a cowboy.

Find me on Instagram @zachrossart or online at https://www.zachrossart.com

Kyle Smithgall Part 3

Developing Design

Kyle Smithgall Logo, 2020, Adobe Illustrator, size variable

After enjoying the Circle Icon project, I began searching for more opportunities to incorporate illustrations into design. Logo design works best for this because it often requires creative use of iconography. In my Typography 1 class, I had a chance to create a logo for myself. While the process of brainstorming was fun, I found that settling on a personal brand was rather difficult. It is one thing to create for another company or person, but it is a lot harder to examine my own identity in this way. I eventually came to a design that communicated my interest in illustration while remaining simple. 

Kyle Smithgall Logo and Wordmark, 2020, Adobe Illustrator, size variable
Kyle Smithgall Brand Style Guide, 2020, Adobe Illustrator, size variable

Since my Typography class my design style has changed to incorporate more geometric forms. My current Graphic Design course offered an opportunity to show my growth through a fictional rebranding assignment for the Whitworth Art and Design Department. This minimalist pinecone design better represents my current design style, and if I were to rebrand myself, I would use this project as a starting point.

Whitworth Art and Design Logo, 2021, Adobe Illustrator, size variable
Whitworth Art and Design Brand Composition, 2021, Adobe Illustrator, size variable

Find me on Instagram @kyles_illustrationsanddesign or on Redbubble at KyleSmithgall