REFERENCE - All about the LINE

 Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

REFERENCE: ELEMENTS AND PRINCIPLES OF ART ( IMPORTANT TERMINOLOGY)

 ELEMENTS                          PRINCIPLES

Elements are the things that make up a painting, drawing, design... Visual components 

• Line is a dot (point) that moves through space. It's connects one point to another. Lines can organize, direct or separate. They can join elements or divide them. They can create shapes, be expressive, suggest an emotion, or create a rhythm. An actual line is clearly visible. An implied line is perceived by the viewer though not fully developed in the artwork.

• Shape is a self contained defined area of geometric or organic form. A shape is defined by lines or other elements elements of art. they can be simple or complex. The three basic shapes: the circle, the square, and the triangle are considered to be the fundamental shapes found in all design. 

• Color is the part of light that is reflected by the object we see. color is the portion of the electromagnetic energy that is visible to the human eye. of light that is reflected by the object we see. In 2D we mix pigments to create new colors. Color is defined by hue and value. Color is an element of art with Three properties.

1) HUE-pure color 

2) CHROMA-measurement of intensity (purity and strength) of the color 

3) VALUE-Relative lightness or darkness of the color.

• Value is the lightness or darkness of an area or object. It adds dimension by creating the illusion of depth. (there are 9 levels of value on a value scales from the darkness to lightest to white.

• Space refers to the distance between elements that creates positive or negative spaces in a composition. 

• Texture is the look and feel of a surface (rough, smooth, soft, hard, glossy, etc) and it can be physical (tactile) or visual (illusion). Texture adds richness and dimension to 2 dimensional artwork. 

• Typography is not only to read, letters can be used to create compositions.

Principles is what we do with these elements when creating artwork 

• Balance occurs when all the design elements are equally distributed through the design. There are essentially two types of balance: symmetrical and asymmetrical. 

• Contrast stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast also draws and directs the viewer's attention to specific areas. 

• Emphasis indicates the most important element because it attracts the viewer's attention first. 

• Rhythm is a pattern created by repeating elements. Rhythm also denotes the sequence to the viewing order. 

• Scale can attract in different ways. It can be use to draw attention to the unexpected or exaggerated. Overall size, monumental pieces are impact full while miniature has a sense of intimacy. Scale, alone, can change the meaning. 

• Unity is achieved when all the design elements relate to one another and project a sense of completeness. Artist and designers use the Gestalt Theory, the psychological process of perception, to create unity (also called harmony).

SYLLABUS - 2-D ART / Fall 2022 – Spring 2023

Course:          2-D ART / Fall 2022 – Spring 2023
Instructor:     Yasmine Samimy – email: ysamimynw@gmail.com
2 Sections:    R01 010431001/Section. 1: Mon/Wed, Section 2: Tues/Thurs 1:10 – 3:45pm
Location:       Room 5208
CLASS BLOG:  nwsa-2dart.blogspot.com

Course Overview and Objective:

This Studio course is an introductory exploration of the fundamental principles of two-dimensional art taught through a series of weekly lectures, projects, and critiques. The course focuses on developing the ability to skillfully manipulate and combine core elements of design – The Visual components of line, shape, value, form, texture, color and space will be explored in relation to principles of 2D-art: The means an artist uses to organize elements within a work of art. We will investigate the use of communicative tools of applying the elements to the principles of 2-D ART: movement, contrast, hierarchy, scale, rhythm, figure/ground, balance, unityto create strong dynamic compositions. These skills are developed in exploring various art-making techniques using various mediums. 

Concepts developed in this course form the basic building blocks/the foundations of visual arts. You will develop a working process that leads to a comprehensive body of work through assigned projects breaking each concept down individually. This will develop your awareness and vocabulary of 2-D Art concepts that allow you to engage in critical analysis in future works. You will understand the importance of having a strong foundation when developing your compositional skills important for further study and understanding in the following years. 

There will be a total of 18-20 final pieces presented for end of semester juries. Each project will be followed by an in-class critique. All projects will be displayed for final juries. Sketchbooks are an integral part of critiques. 

Understand Elements of Art: The visual components of color, form, line, shape, space, texture, value
Line(defined by point moving in space/plane. Could have illusion of two- or three-dimension, descriptive, implied or abstract),Value(darks to light as well as middle tones of gray scale and color scales), Shape (positive & Negative, figure/ground relationship, framing/framal reference), Form(as 3-dimensional, volumetric, includes height, depth, width), Texture (refers to the way things look as if they might feel/implied or the way they feel/tactile),Color(properties of color: hue/chroma intensity/saturation, value, color wheel, emotion of color) 

Application of Principles of Art: What the artist uses to organize elements within a work of art.
(Both elements and principles work together in art-making)
Balance (symmetrical, asymmetrical, Equilibrium or stability) – Movement(guide the viewer’s eye throughout the work of art. The flow of overall composition) – Contrast(could apply to color interactions, differences between elements) – Proportion relative size of one part of a whole/scale & dominance relative to composition. Relative to body – Unity/Harmony/Variety – Emphasis/focal area/hierarchy (could also be contrasting elements), Rhythm/repetition/sets tempo of piece

The Course is a guided investigation of basic concepts and techniques of visual organization in two-dimension format starting with black and white and moving into color. ALL projects will be based on developing compositional problem solving, your process and refining your abstract thinking. You will develop an awareness of the formal elements of composition, a working knowledge of the principles and develop visual sensitivity when creating your composition and learning use of color.  Students will learn to verbalize and express their creative process and critical thinking.

COURSE GOALS:
Upon completion of this course, students will demonstrate basic understanding of the following:
- The importance of technical skills, neatness, good craftsmanship, presentation skills.
- Art as the product of a dynamic process, not as simply a static object.
- Abstract & critical thinking. Become familiar with using art-specific vocabulary in critiques.
- No use of shadows and gradients in this course. Most projects will be used with solid (flat) colors.
- Learn to resolve work through brainstorming, thumbnails, developing ideas/studies in sketchbook.
- Importance of experimentation and risk taking in the “Creative Process” to find solutions to final work.
- Creative process and self-evaluation as well as peer work (Art does not exist in a vacuum).
- Conscious seeing and visual acuteness. Become aware of your environment. Learn to see.
- Be an active participant in the studio, learning the importance of communicating your ideas.
- Understanding of how to create values scales and apply value to compositions.
- Creating composition through collaging techniques and mixed media.
- Importance of color wheel and the relationships of colors and different color combinations.
- Becoming resourceful with different methods of research and using school resources. 

CRITIQUES
Critiques are an integral part of all classes. You are expected to be an active participant in discussion, and to take ownership of your work and development as an artist. The function of critiques is not only to receive feedback on your work, but to build essential skills of presentation and communication. 

Projects must be ready for peer review BEFORE critique begins.All work must be neatly pinned to the wall, and well-spaced. Critique begins with a recap of the criteria for the project. Each student will present their work and briefly discuss their intent. The class is expected to provide constructive feedback, and to offer suggestions for improvement. 

Keep all your work carefully stored at home. As we come back to the classroom environment,each project will be collected after group critique, and will be stored in the classroom. You will have access to re-work your projects before your final juries, which take place at the end of each semester.KEEP ALL your work. It is important to show progress and evolution. You will work through each project diligently for your final presentations. 

CLASSROOM RULES AND RESPONSIBILITIES

–     Cell phones and other electronic devices are limited to PRODUCTIVE uses (listening to music while painting, or researching artists and assignments). NO checking email, social networking, texting, watching movies/shows etc… NON-PRODUCTIVE use will result in disciplinary action. Failure to comply will result in class-wide no phone policy.

–     Students are responsible for cleaning the work area and returning supplies to the closet (brushes, containers, cutout paper…) before leaving class.

–     CLEAN UP WILL START AT 3:30 PM. Class will be dismissed only when all materials are cleaned and put away in proper place.

–     Maintain classroom equipment and property (Clean brushes well, dry them, put them away.

–     Do not throw out brushes, clean the sink, do not paint walls, put garbage in trash containers.

-RESPECT your work and each other’s work
- Be prepared for class and respect project deadlines. The later the work is, the lower the grade will be.
- Utilizing in-class time towards the completion of directed exercises assigned projects.
- Participate in critiques, discussions and following deadlines schedules on all projects.
- Critiques are opportunities to comment, analyze, and evaluate work in a constructive way with the class.
- Come to class prepared with your art supplies. Do not be wasteful or lose your art supplies. 
- Keep talk volume down while brainstorming on conceptual ideas and creating layouts while in class.
- Must have written note if you need to leave early or have any appointments whatsoever.
- You may listen to your own music with headphones when working. 
- No music or earbuds while lecturing and no playing on computers, texting, tiktok, instagram, etc. during class.

 Maintain a sketchbook
You are required to maintain a sketchbook that contains all of your research, experimenting, sketches, ideas, studies, exhibition reviews, collages, and inspirations. This is your brain on paper!  Your visual Journal. Your sketchbook will be presented during juries and should be completed.The sketchbook will also serve as a class notebook, and must be brought to all class meetings. Every project should be represented in your sketchbook and requires (at a minimum): an inspiration page (including notes, research and art-historical/cultural references) and a minimum of three thumbnail sketches (small sketches) and three variations of each.
Sketchbooks will be reviewed in juries and will count as 1/3 of your final grades.

REFERENCE: THREE levels of saturation - Start Date: February 22, 2022

 

The chart and definitions below introduce the four basic levels of saturation

PRISMATIC COLORS 
are as pure in hue as is possible with pigments. Once a pure color has been altered through color mixing, it ceases to be prismatic (except when the admixture is a closely related hue, as when mixing yellow-orange into yellow).

MUTED COLORS 
range from rich colors that lie just outside the prismatic zone, to the most saturated chromatic grays. One can create muted colors by adding black, white, or gray to a prismatic color. Adding the complement of a hue will also diminish its saturation and produce

muted color.

CHROMATIC GRAYS 
exhibit a subtle, yet discernible hue. Except for the proportions involved, they are mixed in exactly the same manner as muted colors. Chromatic grays simply require larger quantities of black, white, gray, or the complementary hue. The color is being stripped away. It is the dullest color before going gray in any value.

ACHROMATIC GRAYS 
compose the inner circle of the color wheel. Grays mixed from black and white are achromatic because, like black and white, they lack perceptible hue and saturation. Achromatic grays can also be produced by precisely intermixing two complementary colors so that each hue cancels the other our. Insofar as a gray registers the slightest amount of perceptible hue it should be considered a chromatic gray.

BELOW ARE SAMPLES OF COLOR CHARTS BELOW SHOWING PROCESS OF LEVELS  OF TRANSFORMATION FROM A PURE SATURATED HUE DOWN TO CHROMATIC GRAYS. BE AWARE OF EACH HUE (CHROMA) RANGE OF VALUES FROM LIGHTS TO DARKS.

Pay attention to the gray value scale as a guide to applying the different value shifts in each hue. IMPORTANT to compare grayscale value in relation to value in hue.  

Project Description

Exersice based on using high chroma (saturated pure colors and gradually muting the same colors down maintaining its values and contrast until they are gray with slight chroma and final will be grayscale. 
Paper size: 9 x 12 inches. You will produce 3 paintings in total.

This is an in-class project. You will create at least 7 thumbnails sketches (in sketchbook) during class time. This is a graded studio assignment. Consists of  7-10 minute sessions per sketch of small still life aranged per table by you all. You should shift to render variety of angles of the still life or change your location to other arrangements to resolve your composition adequately. The final selected composition will be drawn out twice, using two sheets of bristol board (9" x 12"). Be as precise as possible, to make both compositions the same. You can use a grid to help layout the 2nd composition.  Must map out your color distribution on the final composition.

When deciding on the aesthetics of your composition, required to use cropping, scaling, proportions, zooming in to see shapes instead of the actual literal objects. These methods will allow you to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). USE ENTIRE PAGE. at least 5 items that you will scale up to be in proportion to your page like in audtions. not too detailed. it will be color blocking (solid flat colors) and mapping out areas of highlights and to show dimension using acrylic paint.(VERY IMPORTANT TO TAKE NOTES ON THE PAINT COLOR AND MANUFACTURER. i.e. all blues blacks, yellows etc... do not have the same properties.

Your compositions will be painted in acrylic, using limited palette of 3-4 different pure hues (selected from color wheel. Different values of each hue should be used to show illusion of dimension within your composition. must remain high chroma. so that may mean using a little white or yellow and yellow-orange as your lighter colors for highlights.

Remember, contrast and objects should be used to establish areas of interest (focal points). Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year. 

Important

Each of the three compositions must maintain the same relative values, and shapes. They are to be the same in terms of color, shape, value and contrast. The only difference: one will be Prismatic (high saturation, Pure hue, and the other will be toned down, Muted, duller. Third will be chromatic gray. gray with a hint of the color. 

When you mix your paints to created muted hues, think of a broad value range that extends from lights to darks. you will tone down the hues by using the complemtary to adjust the shift in your pure colors (hues) to reach the muted hue and to get the proper tints, tones, shades. For this assignment, always mix your colors with gradual very small amounts of the complementary. may have to add hints of white to maintian the lights. you will have to be aware of value and add white to get the right value and level of saturation. Its important to learn to produce muted colors by using its complementary color. That is more challenging but will give you better results and truer color shift.

When painting, be sure to block out your colors, and keep the colors flat solid even to express illusion of dimension (no brush strokes, shading, gradients). 

CRAFTSMENSHIP IS OF UTMOST IMPORTANCE. BE FOCUSED AND METICULOUS. smooth and consistent paint strokes.

Process

Homework:
Study and practice in sketchbook painting swatches going from the pure color and adding slight levels of grays or minimal amounts black and white or its comlemenatry to adjust the color desaturation when you remove more color to achieve muted colors and chromatic grays. you have to be very aware of the shifts in color saturation the level of value (refer back to your value scale exercise. do not be heavy handed and be aware that dark colors and black are very strong pigments. be gentle and careful. if not you will ruin the color porperties and lose the the sublteties on color changes. 

60 mins- Prepare 7-10 thumbnails of composition ideas in your sketchbook.

Draw out your 3 compositions on the bristol board. and practice color swatches.

Project executed in Class:

You will paint and finish in each class. Prismatic (saturated) composition, muted composition, chromatic gray composition. 3 in total. 

THREE paintings
one using Prismatic palette.
one using muted palette.

one using chromatic gray palette.

3:30 Clean-up and students turn in projects. Name should be on back.

EXERCISES IN CREATING COLOR SWATCHES MUST BE PUT INTO PRACTICE IN SKETCHBOOK IN ORDER TO UNDERSTAND THE PROCESS AND THE GRADUAL SHIFTS FROM MUTED TO CHROMATIC GRAY. YOU ARE GOING FROM PURE SATURATED AND GRADUALLY TAKING COLOR AWAY TO REACH GRAY WITH ALITTLE HINT OF ITS HUE.

This is to be strategically applied to the composition exercises you are creating in class. Must follow each color you apply and all in keeping the value and contrast in each composition

You must apply the appropriate use of chroma consider range of values and contrast, different levels of muted hues for your composition. Use the muted composition as a guide to following the same hues and same values but using a chromatic gray palette. 

Result: total of 3 compositions produced in class. (3 total)
Repeat compositions from: 
High saturated hues (prismatic, pure colors from color wheel)
Muted hues (toned down, desaturated palette)
Chromatic Gray (gray with some color. so it's neutralized adding small amount of color to gray mixing black and white)
using same hues and same values throughout your painting.

Things to consider:  This study should help you learn to see how light works in nature, and how light is reflected off objects. 

The following generalizations are often observed throughout the day. for example to undrstand more:

Mid Day- Nice bright prismatic colorsHIgh saturation, high chroma
Early Morning- nice muted colors, hazy pastels, softer,duller,  lights to darks

Dusk- or cloudy weather: darker muted colors and chromatic grays. color is stripped of it's saturation. can also have broad value range.

Student Samples

CHECK LIST FOR JURIES - Starting January 4, 2022

All projects must be ready and presented for Juries. Below is a an overview/checklist of assignments for your juries and 2 additional assignments.

You will be given a final grade for juries that will count for 1/3 of your grade (averaged into your final grade) as well as your sketchbook reviews. you will also have an overall class grade which includes your ability to meet all deadlines through the first semester, craftsmenship/quality of work,  performance, use of studio time, overall class conduct.

Please bring your sketchbooks from summer and any additional sketchbooks you are working on.

BRING ALL  PROJECTS. DO NOT THROW AWAY ANYTHING. PRESENT ALL YOUR PIECES. EVERYTHING WILL BE REVIEWED TO SHOW EVOLUTION AND PROGRESSION FROM ORIGINALS TO IMPROVD VERSIONS. SET UP YOUR WALL AREA IN SECTIONS GROUPING PROJECTS TOGETHER FROM 1ST ASSIGNMENTS TO THE FINAL ASSIGNMENTS.

Keep projects in a protective folder or your own portfolio cases.

GOOD LUCK! any questions just text me on "Remind".

you need a minimum of 17 individual pieces for 2-D Art. 

3 - line weight projects: total: 3 - ink on paper - on 9"x12" paper
     (1 divided into 4 equal sections on 1 sheet, 1 geometric sheet, 1 organic sheet)

1 - 9"x12" abstract Value studies in graphite pencil -  2 on one page divided in half.  
     You are welcome to do more.

1 - Grayscale portrait in graphite.5-7 values. 

1 - Grayscale portrait in Paint. 5-7 values.

3 - Figure/ground relationship paper cut out assignment: Stable, reversible, ambiguous.

1 - Red portrait or abstract value scale composition in Paint. using red and its values.

1 - 9"x12" color relationship compositions divided into 4 equal sections.

1 - 9"x12" color relationship compositions, choose from analogous, split-complimentary, double 
     complimentary, triad, monochromatic.

1 - still life composition using blue and orange complementary scales with the pure hues,
     muted and neutral color palette.

1 - still life composition using violet and yellow complementary scales with the pure hues,
     muted and neutral color palette.

1 - still life composition using red and green complementary scales with the pure hues,
     muted and neutral color palette.

2 - Personal voice / open projects must be  completedand presented at juries.

You should have 17 completed pieces in total and any additional work you did from the 1st semester to present. 

Please please refine, redo and resolve your body of work. all must be carefully crafted cleaned up and presented. You are also encouraged to create additional works relating to the class and present any work that you may have done that you would like us to look at. But all class assignments and additional assignments related to the class will be considered over the extra work.

IF you are behind in class, I expect to see all finished projects. If I don't see all projects fully resolved and presented, you will be graded according to the missing projects. Any projects that were submitted late will retain its late grades. These will be averaged in to your jury grade as well.

All Projects must be presented. That means from the first ones assigned at the beginning of semester through the final ones.

If you have questions please communicate with your classmates during the break or you can text me on "remind".

GOOD LUCK IN JURIES!