Elena Rice-Hernandez
"A Hundred Things Keep Me Up At Night"
Drypoint
A Self Portrait in One of the Five Senses Assignment
Fall 2011
Emily Lewis
Techniques: Line Etch
Opposing Element Assignmnet,
Fall 2011
Jessica Jipner
Techniques:Line Etch, A La pPoupee, and Chine Colle
Opposing Elements Assignment
Fall 2011
Marisa Camarillo
Techniques: Intaglio, A La Poupee, and Toner Wash
Driving Force National Portfolio Exchange
Fall 2011
Maria Talavera
Techniques: Line Etch, A La Poupee, and Chine Colle
Opossing Elements Assignment
Fall 2011
Paige Riedy
"Born to be Wild"
Techniques: Line Etch, Aquatint, Softground,  and Chine Colle
Driving Force National Portfolio Exchange
Fall 2011
Cassie Covino
Techniques: Line Etch, Aquatint, Monotype, and Toner Wash
Driving Force National Portfolio Exchange
Fall 2011
ART 351: Intaglio I    Fall 2011   Arizona State University
Aaron Guerra
Driving Force Portfolio Exchange
Techniques: Line Etch, Aquatint, and Toner Wash
Fall 2011
Maria Fassil
Self Portrait in One of the Five Senses
Techniques: Drypoint and Monoprint
Fall 2011
Daniel Luft
Techniques: Drypoint and Chine Colle
Maps of the Imagination Assignment
Spring 2011
Cassie Covino
Laser Etch, Drypoint, A la Poupee, and Chine Colle
Maps of the Imagination Assignment
Spring 2011
Chelsea Lyles
Techniques: Aluminum Plate Lithography
Fears and Superstitions Portfolio Exchange
Spring 2011
Justin Houston
Techniques: Aluminum Plate Lithography
Fears and Superstitions Portfolio Exchange
Spring 2011
Justin Houston
Techniques: Drypoint, a La Poupee, and Chine Colle
Maps of the Imagination
Spring 2011
Daniel Luft
Technique: Collagraph
Mondern Myth Assignment
Spring 2011
Cindy Phan
Technique: Collagraph
Mondern Myth Assignment
Spring 2011
Caitlin Paul
Techniques: Drypoint, A La Poupee, and Chine Colle
Personal Geographies Assignment
Fall 2010
Tracy Fairfield
"Wrath"
Techniques: Photopolymer Plate and A La Poupee
Seven Deadly Sins Portfolio Exchange
Fall 2010
Emily Lewis
Techniques: Line Etch and Monotype
Associations of Color Assignment
Fall 2011
Marisa Camarillo
Techniques: Line Etch, Softground, and Aquatint
Movable Parts Exquisite Corpse Collaboration
Fall 2011
Paige Riedy
Techniques: Drypoint and Monotype
A Self Portrait in One of the Five Senses Assignment
Fall 2011
Johnna West
Techniques: Photo-Etch, Screenprint, and Chine Colle
Elaboration Assignment
Fall 2010
David Miller
Techniques: Two Plate Color Printing, Line Etch, Aquatint, and A La Poupee
E+T=CH: The Art of Printmaking and Science Portfolio Exchange
Two Plate Intaglio Assignment
Fall 2010
Johnna West
Techniques: Photopolymer Plate, Line Etch, Aquatint, and Chine Colle
E+T=CH: The Art of Printmaking and Science Portfolio Exchange
Two Plate Intaglio Assignment
Fall 2010
Jelena Milesec
Techniques: Drypoint, Monotype, and Screenprint
Self Portrait of the Artist as... Assignment
Fall 2010
Jelena Milesec
Techniques: Line Etch, Aquatint, Sugar lift, and Monoprint
E+T=CH: The Art of Printmaking and Science Portfolio Exchange
Two Plate Intaglio Assignment
Fall 2010
Jelena Milesec
Techniques: Line Etch, Aquatint, and Chine Colle
Personal Geographies Assignment
Fall 2010
Hayley Cook
Techniques: Line Etch and Aquatint
Modern Myth Assignment
Fall 2010
Hayley Cook
Watercolor and Ink on Paper
Emotional/Symbolic Color
Fall 2009
Autumn Farrell
Acrylic on Bristol Board
Emotional/Symbolic Color
Fall 2008
Brandon Young
Acrylic on Paper
Reimagined Propaganda Poster
Color Scheme Assignment
Fall 2008
Leigha Mason
"Young"
Monoprint and Ink on Paper
Process Color Assignment
Fall 2008
Wade Wilbur
Watercolor and Ink on Paper
Emotional/Symbolic Color
Fall 2009
Autumn Farrell
Acrylic on Paper
Reimagined Propaganda Poster
Color Scheme Assignment
Fall 2008
Daniella Mitchell
"Envy"
Techniques: Photopolymer Plate and A La Poupee
Seven Deadly Sins Portfolio Exchange
Fall 2010
Leigha Mason
"Old"
Monoprint and Ink on Paper
Process Color Assignment
Fall 2008
David Miller
Techniques: Poto-Etch
Elaboration Assignment
Fall 2010
ART 253: Introduction to Printmaking    Spring 2011   Arizona State University
ART 253: Introduction to Printmaking    Fall 2010   Arizona State University
ART 351: Intaglio I    Fall 2010   Arizona State University
Teaching Philosophy

As an artist and educator, I have found that experimentation with process, ideas, and materials is essential to a successful creative practice. Researching new materials and concepts enables students to problem solve and generate ideas within their work and to produce increasingly refined pieces. Students must learn to imaginatively and effectively arrive at solutions to artistic problems while utilizing and investigating new ideas, tools, and processes. It is essential that students develop a useful knowledge of theory, design, and practice by actively participating in demonstrations, class discussions and lectures in order to become successful artists.

Frequently, the journey artists take in creating works of art are fraught with false starts and failed attempts, but encounters with artistic problems deepen an appreciation of process, work ethic, and successes. Instructors should be most concerned with the students’ creative development and experimentation above the final product. As students investigate and overcome difficulties within their work, they gain deep and meaningful knowledge of the subject and materials and arrive at successful solutions to visual problems.

Students experience the world through different lenses of perception, and these differences should be encouraged and expressed in a constructive and meaningful manner. It is crucial to teach students how to appropriately critique themselves and others. Given that the ability to critique art is one of the most central facets of the art world, discussing art with peers not only enhances the learning process, but it prepares students to be active participants in the arts community. These skills should be reinforced throughout the course of the semester. Peer to peer dialogues offer a variety of solutions and approaches to particular artworks.  

It is essential to promote a creative development within the classroom, and the most effective way for students to learn is by being exposed to various processes, materials and ideas. The art making process is the most valuable aspect within art itself, regardless of the final product. Ultimately, it is my goal as an artist and educator to inspire the love of learning and the creative process.

ART 113: Color Theory         Arizona State University
Nelson Reyes
Techniques: Photopolymer Plate and A La Poupee
Seven Deadly Sins Portfolio Exchange
Fall 2010
Elizabeth Cardy
"Greed"
Techniques: Photopolymer Plate and A La Poupee
Seven Deadly Sins Portfolio Exchange
Fall 2010
Ellen Bukvic
Techniques: Two Plate Color Printing, Line Etch, Soft Ground, and Aquatint
E+T=CH: The Art of Printmaking and Science Portfolio Exchange
Two Plate Intaglio Assignment
Fall 2010
student portfolio
ART 111: Drawing I    Spring 2014   Chandler-Gilbert Community College
Danielle Luker
Pen on Paper
18" x 24"
Daniel Chavarria
Graphite on Paper
12" x 9"
Daniel Sturgeon
Graphite on Paper
24" x 18"
Erisa Deysie
Charcoal on Paper
12" x 18"
Daniel Sturgeon
Graphite and Chalk on Paper
18" x 24"
Daniel Chavarria
Charcoal and Chalk on Paper
24" x 18"
Daniel Sturgeon
Graphite and Chalk on Paper
18" x 20"
ART 112: Two-Dimensional Design    Spring 2014   Mesa Community College
Stephanie Columbo
Chalk and Charcoal on Paper
22" x 30"
Lisa Weddle
Acrylic on Board
14" x 17"
Stephanie Columbo
Acrylic on Board
17" x 14"
Stephen Riggs
Three Color Reductive Cut Linoleum Print
10" x 8"
Shawn Valdez
Three Color Reductive Cut Linoleum Print
10" x 11"
Stephen Riggs
Graphite on Paper
12" x 9"
Jay Acton
Marker on Board
14" x 17"
ART 112: Two-Dimensional Design    Fall 2013   Mesa Community College
Darcy Hughes
Collage and Paper-Cut
14" x 17"
Cory Slawson
Pen on Paper
7" x 7"
Jacole Crawford
Digital Drawing and Marker
7" x 7"
Usman Gillani
Pen on Paper
18" x 24"
Seth Rios
Pen and Marker on Paper
15" x 7"
Cory Slawson
Pen on Paper
24" x 18"
Jacole Crawford
Pen on Paper
24" x 18"