Sabrina De La Rosa Portfolio

SELECT ED BY T H E ART IST Illustrated by Sabrina Hope

PORT FOLI O 2020 • GRAP H I C DESIGN ARTS 4339-01

W O R K S

B Y

Sabrina Hope De La Rosa SELECT ED BY T H E ART IST Illustrated by Hope Designs

PORT FOLI O • GRAP H I C DESIGN ARTS 4339-01

P O R T F O L I O

Under the editorship of Sabrina De La Rosa

VISUAL BRANDING

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POSTER DESIGN

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LOGO DESIGN

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Identity Design

Branding

Designs Created

ILLUSTRATION 17 Drawings

ANALOG PORTFOLIO Film Photography | Photograms

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PHOTOGRAPHY 27 Digital Photography | Food Photography

TRADITIONAL MEDIA Painting | Mixed Media

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TYPOGRAPHY 39 Created Typography | Art

WRITING 41 Poems | Short Essay

V I S U A L

B R A N D I N G

Identity Design

Logo Design

Type Selection and Color System.

Fig.1 Digital sketch of “H” symbol

Fig. 2 Finalized sketch of the “H” symbol in white

Colors Selected

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#231F20 CMYK (0, 0, 0, 100) RGB (0, 0, 0) HSB (240,100, 0)

#8C8887 CMYK (47, 41, 41, 5) RGB (140, 136,135) HSB (11,3, 54)

#FFFFFF CMYK (0, 0, 0, 0) RGB (255, 255, 255) HSB (18, 0,100)

#F26522 CMYK (0, 0, 0, 0) RGB (255, 255, 255) HSB (18, 85, 94)

Creating the branding for Hope Designs was both exciting and nervous. This is the brand that best describes me as an artist and I wanted to present a unique design that has never been seen before. I created multiple skethes and guides to create the “H” in Hope Designs. If you look to Fig. 6, you can see several sketches of Hope Design in the making. The best from several were chosen Fig. 1 & 2. Moving on the the colors, I chose an orange that stood out the word “Hope” because I am an artist who always has hope in everything I choose to persue.

Type

Fig. 3 Official Logo Type face

The type face selected for Hope Designs is Ariel Black with a fontsize 21.55 pt, leading 14.4 pt, kerning Auto, and a Tracking of 0.

Arial Black - Regular

Font Size (21.55pt) Leading (14.4pt) Kerning Auto Tracking 0

Official Logo

Color and black/white.

Fig. 4 Logo in Color

Fig. 5 Logo in Black/ White

Logo Symbol The illustration that identifys what Hope Design is. If you look to the left of the image below, you can see several sketches of Hope Design in the making.

Fig. 6 Logo sketches

Fig. 7 Logo Symbol that identifys Hope Design

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Dress Attire A simple black and white shirt with Hope Designs logo is reccomended to wear when attending the establishment, conference meetings, and social engagements.

Fig. 8 Hope Designs logo bottom

Fig. 9 Hope Designs logo top right

left side of the black and white shirt

side of the black and white shirt

looking at the shirt designs above, we can see in Figure 1, the hope Design logo is at the bottom left side of the black and white shirt. As the shirt design to the right of Figure 2, the Hope Designs logo is displayed at the top right side where the pocket is shown.

Pins This pin is made for our office staff, client meetings, and given out during our social gatherings.

Fig. 10 Hope Designs Pin created for assistants or clients.

You can place on hats, shirts, or bags.

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P O S T E R Branding

D E S I G N

Why Design?

Living in a rural area, my family and I struggled with communicating socially. I grew up with siblings as my close friends, and sometimes the close enemy. We had one neighbor across from our f ield. She was from China and just moved to the area. We struggled to speak with each other for a while so we established a way of communicating through hand gestures and objects.

This was the f irst time I realized how important communication is to get across an audience. The description, picture, and overall message can make a difference in the way people interpret the work. I grew up with this in mind and eventually moved to an urban area where I was open to opportunities that were once limited. We had access to libraries, stores, computers, wif i, and a world full of adventure that I was willing to explore. I became fascinated with color and design and began taking art classes.

My interest in the arts grew stronger the more I practiced, communicated, and experienced with my curiosity. Some schools were not always supportive of the creative arts, but I was fortunate enough to encounter people in my life to encourage me and inspire me to continue with the creative path I was taking. The years came and so did my strength with design, this form of communication that I valued. The one thing humans do is communicate, and this is something we see everywhere with the use of color and designs.

Process I think what makes a design strong is the thinking process behind it. I was blessed to be able to attend a university that offered Design as a main degree of focus. Learning about art history, photography, color, and typography, I learned to create works eff iciently that show a clear communication with the additional creative touch it needs. I begin with several ideas onto my sketchpad. I write notes on the tangent of what my idea is trying to accomplish.

Then I turn my sketch designs into digital designs using adobe software. And from there I make the necessary adjustments I need to show their communication with what I intended.

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TYPE CRIMES FOUND IN WHITE´S TREE FROG ARTICLE by sabrina h. scale: page 4 2

WHITE´S TREE FROGS

type crime

Minimal differences in type makes this design look tentative and arbitrary.

WHITE´S

TREE FROGS

scale contrast

The stong contrast between type sizes gives this design dynamism, decisiveness, and depth.

punctuation: page 58 “The thoughtless overuse” of quotation marks is a disgrace upon literary style-and on typographic style as well. scale contrast

Quotation marks carve out chunks of white space from the edge of the text.

“Hanging punctuation” prevents quotations and other marks from taking a bite out of the crisp left edge of a text block. scale contrast Quotation marks carve out chunks of white space from the edge of the text.

line spacing: page 108

different

different

different

different

folk

folk

strokes

strokes

type crimes

Ajusting line spacing with the baseline shift tool helps create an even appearane.

Here, auto spacing yeailds an uneven effect.

Thinking With Type 2nd Edition by Ellen Lupton A Critical Guide for Designers, Writers, Editors, & Students Type Crimes Found In Whites Tree Frog Article, Digital Design, 2020, 17”x 20”

Type Crimes Found In Whites Tree Frog Article This poster above was created to surve as an example of several type crimes we may overlook. As designers, it is our responsibility to seek out any type Crimes in designs and everyday advertisement for the enhancment of the designs to reach a wider audience.

We see this with our minimal differences in type that make these designs look tentatice and orbutrary.

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Relentless, Digital Design, 2020, 8�x 11�

Relentless A new ministry called Relentless is on the rise reaching out to young adults. This is an invatation to our gatherings at Divine Life Church inviting anyone who wants to hear the word and meet great friends is welcome.

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What better way to bring women together than a book and a cup of coffee

BLOSSOM

IN HARMONY

We are a Christian Womens book club focused on sisterhood intended for the community.

The idea started as a crave for a fun, loving sisterhood in Christ!

Blossom In Harmony, Digital Design, 2020, 24�x 30�

Blossom In Harmony Blossom In Harmony is a Christian book club for women focused on sisterhood and intended for the community. We gather together to uplift each other for support and have discussions that benefit one another over coffee and reading books. Blossom in Harmony started as a crave for fun, loving sisterhood in Christ. What better way to bring women together than a book and a cup of coffee!

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THE NEW YORK S INTRODUCTION The first wave of modern design in America was imported by talented immigrants from Europe seeking to escape the political climate of totalitarianism. These individuals brought Americans a firsthand introduction to the European avant-garde.

The 1940s saw steps toward an original American approach to modernist design. While borrowing freely from the work of European designers, Americans added new forms and concepts to the tradition of graphic design. European design was often theoretical and highly structured; American design was pragmatic, intuitive, and more informal in its approach to organizing space. In this highly competitive society, the novelty of technique and originality of concept were much prized.

Designers sought to solve communication problems as well as expressing their personal views & styles.

Emphasis was mainly on: The expression of ideas An open, direct presentation of information New York City at this time was a cultural center of the world in the 1950s and ’60s. The New York School was born from excitement about European modernism and fueled by economic and technological expansion; it became a dominant force in graphic design from the 1940s until the 1970s. The school gained prominence in the 1950s and was a dominant force in graphic design until the, but many of the designers continued working into the 1990s.

Many of these artists to the right have created stylistically different, often monumental paintings that introduced bold innovations in form and content and reflected a desire to embrace spontaneity and individual expression. The New York School also encompasses the poets, filmmakers, composers, and photographers such as Aaron Siskind who formed close relationships, collaborated, and shared inspiration with New York School painters.

(Fig.1) Paul Rand, cover for Direction magazine, 1940. The red dots are symbolically ambitious, becoming holiday decorations or blood drops.

(Fig. 2) Paul Rand, poster for the Out, 1950. Rand’s integration o typography, signs, graphic shap rounding white space stands in m to typical film posters.

(Fig.5) Bradbury Thomson, pages from Wesrtvaco Inspirations 210, 1958. A multiple- exposire photographer of a saxophone player is revised from a black circle on the left and overprinted in primary colors on the right.

(Fig.6) Henry Wolf, cover for Ha 1959. This refracted image typifi imaginative visual solutions for o problems. As a subtle detail, the as well.

(Fig.9) Bradbury Thomson, pages form Westvaco Inspirations 216, 1961. Complex typography interpreted the American Civil War; combinations of four- color process printing plates appear behind the large letters.

(Fig.10) Herb Lubalin (designer) (photographer), pages from Ero parency crossed out with a mark Marilyn Monroe, gains drama t

(Fig.13) Herb Lubalin, proposed New York City logo, 1966. Isometric perspective creates a dynamic tension between twoand three- dimensionality while implying the city’s highrise architecture.

(Fig.14) Herb Lubalin (designer) nase (letterer), proposed magaz The ampersand enfolds and pro in a visual metaphor for mother

(Fig.17) Mike Salisbury, pages from Rolling Stone, 1974. Diverse typefaces are continue in plaques and boxes. Full, two page photographs produce a lively graphic pacing.

(Fig.18) Ivan Chermayeff, Betwe 1977. The interwar years are rep Churchill’s hat between the two

The intensely creative and innovative developments in New York in the 1940s gave birth to the radical and world-conquering new style of painting that in the early 1950s became known as abstract expressionism. The two terms are effectively interchangeable, that is the artists of the New York school are the abstract expressionists.

Chapter 19 Group: Sabrina De La Rosa, Karina Sanchez, and Maria Victoria Gonzalez de Chaves The New York School, Digital Design, 2019, 20”x18”

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SCHOOL

Type Crimes This is a layout composition put together to explain the interesting components I was studying about “The New York School,” during the 1950s.

e film No Way of photography, pes, and the surmarked contrast

(Fig. 3) Bradbury thompson, pages from Westvaco Inspirations 186, 1951. This spirited collage opens an issue called, “Enlarging upon Printing,” exploring such possibilities as enlarging halftone dots.

(Fig.4) Saul Bass, film titles for The Man with the Golden Arm, 1955. Abstract graphic elements create a spare, gaunt intensity reflecting the characterof the film.

Graphic Design for film was revolutionized.

arper’s Bazaar, fies Wolf’s ordinary design e logo is refracted

(Fig.7) Henry Wolf, cover for Harper’s Nazaar, 1959. Colors on a peacock feather are echoed by the eye makeup in an arresting juxtappsition.

(Fig.8) Saul Bass, poster for Exodus, 1960.

The struggle of Israel’s birth is expressed by two levels of relity: the two-dimentional logo and the photographicalluy frozen movement when this image is engulfed in flames.

) and Bert Stern os, 1962. A transker by its subject, hrough scale.

(Fig.11) George Lois, advertisement for Wolfschmidt’s, 1962. Blatant symbolism combines with outrageous humor. This ad campaign has continuity, for the preceding ad featured the loquacious bottle talking to a tomato

(Fig.12) Henry Wolf, cover for the Show, 1963. On theis Valentine’s Day cover, an X-ray machine locates the model’s graphic red heart.

) and Tom Carzine logo, 1967. otects the “child” rly love.

(Fig. 15) Paul Rand, poster for the American Institute of Graphic Art, 1968. A red “A. I. G. A.” plays hide and seek against the green back ground, as a pictographic clown face does the same with an organic abstraction

(Fig.16) George Lois (designer) and Carl Fischer (photographer), Esquire cover, May 1968.This compositee photograph of candidate Richard M. Nixion being made up for a television appearance is typical of Lois’s audacity.

een the Wars, presented by helmets.

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L O G O

Designs Created

D E S I G N

Why Design?

I choose the path of design because I saw from a young age how we communicate through the use of photography, typography, color, and design. I wanted to know more about design and how to create communication with art

Process With an idea in mind, I take out my sketching pencils and gather materials to prepare to draw and write out my ideas for the project. After developing several sketch ideas for the design, I then choose a limited amount to create them digitally on the computer. From there on I make variations of each idea. When I use typography and color I make the f inal desicion to be presented.

5 of 5

M M

MOTION Shutter Speed: Aperture:

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Las Nubes

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I L L U S T R A T I O N Drawings

Why Illustrate?

Drawing illustrations has always been my passion. From gathering your materials to f inding the thickness of the paper. Once you begin to draw you see how your lines and shapes become objects with details in the strokes. By using my illustrations, I am able to communicate through a different lense and use my creativity.

Process Picking my selection of tools wheather it be pencils, charchoal, or a paintbrush I begin to think what is the goal I want to accomplish to the viewer. What do I want you to know about myself through my art. I’ve learned through multiple studying of artist during my time attending the University of Texas Rio Grande Valley, is that their work they produced is a reflection of the artist. To understand such a work, you have to put your position in their eyes and the work will begin to come alive.

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Coffee Discussions, Pencil Drawing, 2020, 12”x12”

Morning Cup, Pencil Drawing, 2020, 12”x12”

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Solitude, Pencil Drawing, 2020, 12”x12”

Fresh, Pencil Drawing, 2020, 12”x12”

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With Friends, Pencil Drawing, 2020, 12”x12”

Choosing, Pencil Drawing, 2020, 12”x12”

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Three Company, Pencil Drawing, 2020, 12”x12”

Coffee Please, Pencil Drawing, 2020, 12”x12”

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Mi Tierra, Pencil Drawing, 2020, 12”x12”

Mi Tierra 2, Pencil Drawing, 2020, 12”x12”

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A N A L O G P H O T O G R A P H Y Film Photography | Photograms

Why Photography?

The Canon FTB camera for this f irst asignment was different compared to other projects I’ve done. It was challenging and overall a wonderful experience to work with the f ilm camera. With the high technology advances we have today incorporated into our cameras, we can easily take as many pictures as we want. What I found most interesting was the process. I learned and notices my mistakes quickly and try a different solution that works best. The “correct exposure” is not always the “best exposure.’’ Through the use of photography, I was able to meet people as I was capturing these images, learned a little about the individuals or areas that were in the real world.

Showing to others their stories through the use of photography.

Left Behind, Analog Photohraphy, 2019, 8”x11”

Left Behind When working on Working Stories, I’ve come across this family of 5 who was working at a building site about to tear down this beautiful piece that was left behind. This is not only symbolic but shows what others consider as of value. After taking this picture, the workers tore down the stems on the wall that had been established for years.

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Working Stories, Analog Photography, 2019, 8�x11�

Working Stories I wanted to use my bracketing to show others that there are different scenes when it comes to working hard for loved ones. We need to take notice of the hard labor we go through in our lives for family. The people around us have stories that are in common with our own, I present Working Stories.

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Remember My Secret, Photogram, 2019, 8”x11”

Remember My Secret When I view the photogram, “remember my secret” I instantly think there is something hidden in the background. The black is giving the allusion of depth, especially with the shades of gray. The white tints appear as a highlight effect that enhances this photogram to another level. It makes me wonder what is behind the leaves? What is hidden? It’s your responsibility as viewers to “remember my secrets.”

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Papaya Leaves, Photogram, 2019, 8�x11�

Papaya Leaves When I was a young girl, my father and I loved the fruit Papaya. So much, he decided to plant me a papaya tree in our back yard. Today I still look at the Papaya tree, I saw years ago and notice a slight difference. If you look at the photogram, you can see how I took its large leaves that have been sun damages and presented them because I think they are beautiful in its way. You can see the plant cell walls and detailed lines. It amazes me how the leaves each have different gaps varying in size, that if you were to place them next to one another (this image) you get a beautiful pattern.

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P H O T O G R A P H Y

Digital Photography | Food Photography

Oranges, Digital Photography, 2020, 8”x11”

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Blueberry/ Rasberry Yogurt, Digital Photography, 2020, 8”x11”

Ham & Cheese, Digital Photography, 2020, 8”x11”

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Green Apples Part 1, Digital Photogaphy, 2020, 8”x11”

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Green Apples Part 2, Digital Photography, 2020, 8”x11”

Sweet and Sour, Digital Photography, 2020, 8”x11”

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T R A D I T I O N A L M E D I A Painting | Mixed Media

Why Traditional Media?

Creating is what artists do. I believe I was meant to create and be an inspiration to others to pursue what society deems “impossible” to be an artist. You don’t need to sell million-dollar paintings to be a successful artist if you do it to create and to help prove a point you want to make, that is already successful in itself. Why do I create art you may ask? Well, I have always been creative when I was a kid. Drawing with what I can get my hands on...what I can draw on. I would draw on myself with markers as a kid because I loved how the colors would blend and how the skin would soak the ink into the pores and follow the cracks in our skin. My mother had no other choice than to get me paper and crayons, color pencils, or even a coloring book when I used what we had.

I’ve always been fascinated with color and how one can use such a tool with your own free will. Making the sun a purple cause you thought it would complement the grass. Or create your dreams and aspirations to one day make them come alive and reveal themselves.

I wanted to be an artist because it was the one thing I knew I can be my most self. Having that freedom to express what I want to. I don’t need to read it in a textbook about the proper way to express a feeling of emotion. Sometimes you don’t seem to have the words you feel. We f ind inspiration by studying the masterpieces that were claimed in history as the best works. I’ve learned even the best were not always shown in the light of their time. They had their works seen by many after they were gone. And we learned to appreciate all types of artists, every one of them is unique in their way. You may spend your life mastering the still life bottles like the Italian artist Giorgio Morandi because you love how the light bounces off the bottles and into the others. Or create a movement because you want to experiment with three dimensions like Pablo Picasso.

What Is The Process?

Painting with an acrylic or oil medium, I would sand the canvas and put layers of white paint. I then repeat the process until I receive the texture I would like for this particular piece. As I wait for my canvas to dry, I begin to form a series of sketches.

Making multiple adjustments I pick one that has a strong pull. I start to gather my paints together on my pallet alongside my clean brushes and begin with a light layer of oil paint mixed with paint thinner to create guidelines.

As I get more conf ident with my sketching I begin to make darker strokes and f ill the shapes with color. As time goes on you will begin to layer color on top of one another and blend all together to create the look you want. In this case, with the work, “Frog On A Lily,” I wanted to smooth the Lily pads and create the background with a rigid texture that complements the use of space leaving the frog smoothly blended with subtle use of texture to bring the piece altogether.

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Frog On A Lily, Oil Painting, 2019, 24”x 30”

Frog On A Lily With the multiple studies I have on frogs, I decided to take one of my sketches and create this piece, “Frog On A Lily.” I wanted to create a painting you might see on a record album for a hit song. I wanted to experiment with the use of abstraction as well as color value to create this work. Creating different textures to have depth and is open to any creative imagination the viewer might perceive.

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Salem, Oil Painting, 2018, 16”x 12”

Salem “Salem,” was one of the first cats I adopted and helped save. The kitten was six months when abandoned by the mother. Found outside of the Administrative building in the Pecan Campus at South Texas College. As I spent time fostering the kitten, I became more aware of his personality as being curious and drifting away on awe. After he was adopted several months later I became attached to Salem as I watched him go. I was saddened by my loss and created this Oil Painting to capture his alluring charm that still has me drawn.

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Cat Walk, Oil Painting, 2018, 24�x 18�

Cat Walk I participated in a task to care for the roaming cats on the Pecan campus at South Texas College. I helped capture the animals so they may be taken to a facility where they neuter and spay animals. After this process, we would foster the cats until they have the proper healing treatment or were adopted by an individual interested in giving the animals a happy life. This was a landscape when you experience walking the trails. I included the cats in the view to represent cats we saved and more to come.

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Sunday Morning, Four Figure Drawing Series, Mixed Media, 2020, 40�x 32�

Sunday Morning This painting was inspired by several figure drawing sketches I made and coffee cups I studied. I experimented with color and scale for the cups. The figure was used with charcoal and acrylic paint to elaborate on the use of shadow. The oranges that were another element that was necessary to balance the painting with the mug.

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What Is To Become Of Us Now?, Four Figure Drawing Series, Mixed Media, 2020, 40�x 32�

What Is To Become Of Us Now? With everyone experiencing time in quarantine, it can be the lonesome and depressing environment we are living in during the year 2020. Missing our loved ones, friends, jobs, etc. Struggling to make grocery purchases due to a shortage of food and toiletries.

Reading the papers that only cause anxiety and panic. Coffee is the root of mornings before attending job affairs and now we are losing that chance today.

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Keep The Faith, Four Figure Drawing Series, Mixed Media, 2020, 40”x 32”

Keep The Faith Showing news coming from today’s pandemic and health circumstances we are all facing. I wanted to show how this affects us more than just our health. We have become isolated in our living areas. Reaching for an opportunity to greet each other once again.

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Bottle, Oil Painting, 2017, 36”x 24”

Bottle When creating the still life, “Bottle,” I wanted to use monochromatic colors to accomplish the overall mood of the painting. With the surrounding space surrounding the bottle, you can see it moves towards the object.

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T Y P O G R A P H Y Original Typography | Art

L.C Wood L.C. Wood is inspired by the typography, letterforms, and textures in the borderlands (Rio Grande Valley). As a child there are patterns and textures that I’ve never forgotten that have been an inspiration for this font. What I like most about the process of creating this typeface was exploring my environment. It all started with a hot afternoon walking from my car to a restaurant for lunch. I suddenly noticed the furniture that was on display outside the doors. A hand made bench someone crafted and signed with their initials, “L.C.” I knew from that moment, that would be that foundation of my typeface, because it shows the hand-crafted, hard labor that was found in the arms and legs of the bench. Its wooden texture lends a rustic feel to its character. Born in the borderlands the bench with all it’s intricate detail and rough edges accurately represents the borderlands of my Valley. This typeface may be different sizes and shapes, but that is the beauty of the labor that was put into this font. The hand made aspect of each letter is beautifully imperfect. We all work hard with what we do, weather it’s simple like cleaning a car or writing for a newspaper. We make an effort to spread the culture we grew up in and hopefully learn from the culture stories of others. Hopefully my font carries this narrative.

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Self Portrait, Digital Design, 2019, 6”x 6”

All The Stars, Digital Design, 2019, 6”x 6”

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W R I T I N G Poems | Short Essays

Why Write?

I have always had a passion for writing and expressing myself through the use of language. It was just a matter of time before the words start to create themselves. Here are journel entries I have written to friends and close aquantances I have through my life.

To A Good Friend It brings me joy knowing that I am there for you as a friend and sister when you need me. I am sorry for all the things you’ve been through, but remember there is a light at the end of every tunnel. Working hard always goes to notice because it is what is right and that is always a good thing. I am very proud of you for being strong through it.

Your relationship with Luke has always been a good one in my eyes. I see the way he can make you happy, sad, mad, and even love. Loving someone is hard, you don’t understand it yourself but you know it is hard to live without the person. Your passions and drive are taken away when that love is torn away from you. And for that I am sorry. I think this time is good for Mark to reevaluate himself as a person and as a partner. I am sure he’s been told what or what not to do at times and feels an overwhelming sensation. All we can do is understand his views, and wish him well. I have a feeling he’s reaching within himself to determine what’s right. Of course, you both decide to stay in each other’s lives if you wish it to be. Knowing Luke for the short period I did, I am sure he will make the right decision and let you know respectfully.

Focusing on yourself and God is what will lead you to the path he has destined for you.

People are apart of the journey to help carry us through suppressing times and through the most delightful entries we encounter. We should always give thanks to the people in our lives. There is a lesson to be learned with everyone. Some might’ve taught us to love, feel beautiful, kiss, etc.

We shouldn’t forget the pitfalls and joyful times in our relationships because they all come with knowledge with the experience in their way. So that journey you’re on may or may not have Mark involved, but you should always love with a good heart and peaceful mind.

I am sure we have all have come across that feeling of doubt in our minds. That is fear entering your thought to cloud your judgments. Fear wants you to fail at finishing your assignments, school, desires, etc. but ultimately we have the choice to listen to those words or ignore them.

Either one had a big and lingering impact. What always lifts my spirits is knowing God created me for a purpose. And those words already spark my spirits into having faith. God has a very purpose intended for everyone, but we have a choice to follow him to everlasting life or go the direction that leads to the damnation of our souls. We can have the chance to be a vessel for Christ. He can speak through us to get across someone who has trouble believing through faith.

We are used in many different ways. Perhaps to inspire others with his Gospel, paint the feeling of love He has for us, care for everyone because He loves not just you but everyone created. And

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that is already a beautiful thing in itself. Think back to the time we met. Then you can remember that I was alone and quiet in our professor’s printmaking class.

I didn’t speak to anyone. But you...

You had an impact on my life. By your simple kindness, I saw your heart.

Always saying hi or good morning when all I can give you is a gentle smile.

You continued to say hello for a long while and eventually, we heard a soft hi.

Those words I spoke were the beginning of our friendship we have today. Your kindness searched my heart slowly leading me to find God along with it. Inviting me to your church to hear the word and meet your friends. Your invitation was to be part of my journey to find myself and Him. I give Him thanks and all the glory for being so merciful to me. Here we are, 4 years later I invite you to meet my friends and family. To be apart of something that has moved my heart, spirit, and mind to continue serving God the best way I can. I can say this with the experience I’ve had through the years, I am not that girl you met...I am better.

I am proud to say I am a woman in Christ who serves.

I still make mistakes, we are not perfect — But it’s how we recover from those mistakes is what makes us so great.

And knowing God, he always has His victories at the end.

I am still a student and eager to learn more. I believe it is the blessings he has graced me beautifully that moves me in such away I can continue to express as you read on. Though my drawings, illustrations, designs, and poise He has created the woman I’ve always longed to be.

And the best part is there is always room to improve. For his thoughts are greater than ours. With this being said, I can assure you, you’ve moved people with your kindness and the woman you are in Christ. Our Father lives in us, so when we speak to others, they can see a piece of God that lives in us. They just need a hi or hello to begin their journey towards Him. For this, I give thanks to him and you, for helping me along my journey I am currently on.

Those kind words you’ve written brings me happiness. I will save it forever in my heart, thank you. Giovanni and I have been very happy together and I hope to learn more about him as the years come.

I have met myself in life I love him, I love us, I love myself.

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Why Poetry?

As an artist, my use of typography and writing are combined to create poems as another form of art. With the people I f ind to be inspiring in my life, I have been moved by their spirits and created poems to express myself.

Let’s Begin

We have God on our side, what should we fear?

Let’s begin this exciting and scary jouney called life...

That is, if you’ll have me.

Your Love

Your love is wonderful and tender.

Your love is strong, it makes me weak.

You are fuel that drives me to conquer.

Soon we’ll be reunited in eachother’s arms because you have taken from me, my heart.

Does that make me selfish?

Moved

You make me fruitful and filled with joy.

Thank you for being yourself and showing me your love.

It has moved me.

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O L L A I love him, I love us, I love myself.

Gallo, Digital Media, 2020, 11�x 17�

G

I have met myself in life.

Thank You https://sabrinadelarosa01.myportfolio.com https://www.behance.net/gallery/95679029/Hope-Designs sabrinadelarosa8@gmail.com (956)330.4270