PROJECT 09: Painted Portrait in Blue.

Project Description

Create a 9" x 12" self-portrait in acrylic paint using the Dick Blick Ultramarine Blue and Titanium White. Use the value scale you created for your previous project as a reference to achieve 11 different values in your composition. There will be no blending/shading of paint with this assignment, instead break the image down into shapes that represent the changes in value.

Class Schedule

Homework (Due at beginning of class)
1. Create five distinct/different comprehensive sketches showing unique options for your portrait. Use cropping, directional light source, and framal reference, to create the most dynamic and interesting composition possible. 

2. Have your final composition drawn out on 9" x 12" bristol board, and map out all the values ranging from black (#11) to white (#1). 

Note: You will receive a full project grade on your homework. This will be graded at the beginning of class.

Class work-time
You will have the full class time to paint in your portrait. This painting will be completed during class time. It will not be taken home, so be sure to use your time well.

Note: Assignments will be collected and graded at end of class.

Critique
Please hang work and be prepared to start critique at beginning of class.  This will be a quick critique. We will start on the next project for the second half of the class.

Rubric

You will be assessed on the overall composition (dynamic and interesting), craftsmanship (even paint surface with no brush strokes, clean edges on paper, no marks/dirt/paint smears on paper), and range of value (full range of values from black to white- with 11 steps).

Student Examples

PROJECT 08: Acrylic Value Scale in Blue.

Description

Using Dick Blick Ultramarine Blue and white acrylic, paint at least three full pages of distinct values going from black to white. You will have 24 swatches on each page. 

From these swatches, pick the appropriate values to create a scale representing eleven EVEN steps from black  to white. 

Mount your swatches on presentation board for critique. 

Due Dates/Critique

Lambert's class: Tue, October 21st

Samimy's class: Wed, October 22nd

Materials

-Ultramarine Blue and Titanium White acrylic

-9x12 inch bristol board x 2

-Pallet knife

-1" Brush (bright)

-2 cups (for water)

-Paint palette (aluminum foil)

-Paper Towels

Process/Schedule

First Class Period

1. Lay out grid (to create your swatches) on bristol board. 
2. Lay paints out on palette, and mix paints starting from black (or white) and adding incremental amounts of the opposite color. Mix paint throughly and brush-in swatches to fill the entire page. Each swatch should have consistent color, and be a unique value. The goal is to create as many distinct values as you can. Fill in each rectangle of your grid with a solid value. Be sure you have values represented from from black (straight from the tube) progressing to middle gray, and continuing through light grays toward bright white (also straight from the tube). 
3. Clean your workspace and all your painting materials (brushes, palettes, etc)

Second Class Period

1. Finish painting your two pages of value swatches. You may need more than 2 pages.
2. Lay out your black presentation board, using the guidelines provided below.
3. With a metal ruler, and cutting board, carefully cut-out your painted swatches so they are exactly the same size (1" x 2"). Make sure cuts are clean, by using a new x-acto blade. NO CUTTING DIRECTLY ON TABLES. These have to be as close to perfect as possible.

Homework

1. Finish laying out your black presentation board, using the guidelines provided. 
2. Bring your presentation board to class, along with your x-acto knife. 
3. Finish cutting out your swatches, if not finished in class.

Final Class Period (Half-day)

1. Select the best swatches from your entire page that represent 11 consistent steps in value. 
2. Show your presentation board (with layout lines/grid) to instructor. Once it has been given the ok, proceed with mounting of swatches. DO NOT PROCEED UNTIL YOUR LAYOUT HAS BEEN APPROVED.
3. Using rubber cement, carefully glue swatches to presentation board. There should be no gaps between swatches, and all swatches should be perfectly aligned. 
4. Let rubber cement dry slightly, and remove any excess glue with the appropriate eraser. 
5. Neatly Label (name and date) your work with hard pencil in lower right-hand corner. 
6. Cut and tape tissue paper sheet to act as protector. 

The final 30 mins of class will be reserved for critique.

Rubric

You will be evaluated on the following:

1. Laying out your bristol board into an even grid (even measurements, straight lines).

2. Your ability to mix the paints evenly. 

3.  Painting swatches that are free of brush strokes, or excessive paint build up.

4.  Filling up your entire page with different/distinct values.

5. Choosing the best 11 swatches that represent even steps from black to white. 

6. Laying out your presentation board neatly (consistent measurements, and centered)

7. Cutting out your swatches, and mounting them to the presentation board. 

8. Removing excess glue and having all your swatches line up evenly. 

Layout Measurements

PROJECT 07: Fairchild Tropical Garden Field Work

Description

While at Fairchild Tropical Gardens, pick a few different vantage points/subjects, and create 4 distinct compositions in your sketchbook. These should all fit on one page in your sketchbook. These should be observational drawings, and based on one of the following: Plant life (botanical), landscape, or architecture (buildings, etc). 

Choose the best composition from your four thumbnail sketches, and create a fully resolved painting or drawing on full page in your sketchbook. (You may use a loose piece of similar sized, high quality paper instead). 

PROJECT 06: Painted Self-Portrait in Greyscale. Due Nov 5th- Samimy, Nov 6th Lambert)

Project Description

Create a 9" x 12" self-portrait in acrylic paint using the Dick Blick Mars Black and Titanium White. Use the value scale you created for your previous project as a reference to achieve 11 different values in your composition. There will be no blending/shading of paint with this assignment, instead break the image down into shapes that represent the changes in value.

Class Schedule

Homework (Due at beginning of class on October 29th- Samimy, Oct 30th- Lambert)
1. Create five distinct/different comprehensive sketches showing unique options for your portrait. Use cropping, directional light source, and framal reference, to create the most dynamic and interesting composition possible. 

2. Have your final composition drawn out on 9" x 12" bristol board, and map out all the values ranging from black (#11) to white (#1). 

Note: You will receive a full project grade on your homework. This will be graded at the beginning of class.

Class work-time (Oct 30th- Lambert, Nov 3rd- Samimy)
You will have the full class time to paint in your portrait. This painting will be completed during class time. It will not be taken home, so be sure to use your time well.

Note: Assignments will be collected and graded at end of class.

Critique (Nov 5th- Samimy, Nov 6th- Lambert)
Please hang work and be prepared to start critique at beginning of class.  This will be a quick critique. We will start on the next project for the second half of the class.

Rubric

You will be assessed on the overall composition (dynamic and interesting), craftsmanship (even paint surface with no brush strokes, clean edges on paper, no marks/dirt/paint smears on paper), and range of value (full range of values from black to white- with 11 steps).

Student Examples

PROJECT 06: EXERCISE - Acrylic Value Scale. Due Oct 28 / Oct 29

Description

Using black and white acrylic, paint two full pages of distinct values going from black to white. You will have 24 swatches on each page. 

From these 48 total swatches, create a value scale representing eleven EVEN steps from black  to white. 

Mount your swatches on presentation board for critique. 

Due Dates/Critique

Lambert's class: Tue, October 21st

Samimy's class: Wed, October 22nd

Materials

-Mars Black and Titanium White acrylic

-9x12 inch bristol board x 2

-Pallet knife

-1" Brush (bright)

-2 cups (for water)

-Paint palette (aluminum foil)

-Paper Towels

Process/Schedule

First Class Period

1. Lay out grid (to create your swatches) on bristol board. 
2. Lay paints out on palette, and mix paints starting from black (or white) and adding incremental amounts of the opposite color. Mix paint throughly and brush-in swatches to fill the entire page. Each swatch should have consistent color, and be a unique value. The goal is to create as many distinct values as you can. Fill in each rectangle of your grid with a solid value. Be sure you have values represented from from black (straight from the tube) progressing to middle gray, and continuing through light grays toward bright white (also straight from the tube). 
3. Clean your workspace and all your painting materials (brushes, palettes, etc)

Second Class Period

1. Finish painting your two pages of value swatches. You may need more than 2 pages.
2. Lay out your black presentation board, using the guidelines provided below.
3. With a metal ruler, and cutting board, carefully cut-out your painted swatches so they are exactly the same size (1" x 2"). Make sure cuts are clean, by using a new x-acto blade. NO CUTTING DIRECTLY ON TABLES. These have to be as close to perfect as possible.

Homework

1. Finish laying out your black presentation board, using the guidelines provided. 
2. Bring your presentation board to class, along with your x-acto knife. 
3. Finish cutting out your swatches, if not finished in class.

Final Class Period (Half-day)

1. Select the best swatches from your entire page that represent 10 consistent steps in value. 
2. Show your presentation board (with layout lines/grid) to instructor. Once it has been given the ok, proceed with mounting of swatches. DO NOT PROCEED UNTIL YOUR LAYOUT HAS BEEN APPROVED.
3. Using rubber cement, carefully glue swatches to presentation board. There should be no gaps between swatches, and all swatches should be perfectly aligned. 
4. Let rubber cement dry slightly, and remove any excess glue with the appropriate eraser. 
5. Neatly Label (name and date) your work with hard pencil in lower right-hand corner. 
6. Cut and tape tissue paper sheet to act as protector. 

The final 30 mins of class will be reserved for critique.

Rubric

You will be evaluated on the following:

1. Laying out your bristol board into an even grid (even measurements, straight lines).

2. Your ability to mix the paints evenly. 

3.  Painting swatches that are free of brush strokes, or excessive paint build up.

4.  Filling up your entire page with different/distinct values.

5. Choosing the best 10 swatches that represent even steps from black to white. 

6. Laying out your presentation board neatly (consistent measurements, and centered)

7. Cutting out your swatches, and mounting them to the presentation board. 

8. Removing excess glue and having all your swatches line up evenly. 

Layout Measurements

Demonstration video

PROJECT 04: Value Composition in Greyscale. Due Oct 7th Lambert, Oct 8th Samimy

Project Description

Create 2 non-representational (abstract) compositions that show a wide rage of gray values using only pencil. You cannot use gradients within each shape. They must be continuous values of gray.

Apply more pressure to obtain darker grays and less pressure for lighter gray values. pay attention to detail and craft. Remember no smudging to get the gray.

Materials

• pencil (2H, HB, 2B, 4B,6B)

• 9x6in paper (2)

Process/Schedule

Day one (In-Class)

A. Presentation 

Short lecture going over the concept of value, shading techniques, and overview of compositional strategies. 

B. Value Scales

Practice your value scales in your sketchbooks. Each value scale should consist of ten levels ranging from black to white. Start by making a grid, then shade each square individually. Be sure to keep the value consistent within each square, and keep the change in value consistent from square to square. 

10 Step Value Scale

C. Compositional  Sketches 

Once you adapt to using your pencil and it's various pressures, start doing 2" x 3" thumbnails in your sketchbook- at least 4 for each composition (total 8 thumbnails on sketchbook. You will be graded on this. NO AREAS SHOULD BE LEFT BLANK. These are due at the beginning of the next class.

D. Homework

Finish a full page of value scales, and eight 2" x 3" compositional sketches to be turned in at the beginning of class. Along with the full page of value scales, your DETAILED thumbnails will be graded for 50% of your total grade. DUE AT BEGINNING OF CLASS

Final Compositions (DUE AT END OF CLASS) Consult with your teacher via email, and also speak with your fellow students, to select the best two compositions for your final designs. These will be completed on the 6"x9" bristol board. Remember to try and communicate two distinct ideas (this can be an emotion, or anything else you can think of)

Rubric

Assessment is based on your creativity, composition, craftsmanship, time-management, and the completion of all steps of the process (8 preliminary sketches, 5 value scales, 2 finished compositions). Your final pieces must contain 10 steps in value from black to white. 

Due Dates

Lambert's class: Tuesday, October 7th
Samimy's class: Monday, October 8th

Students Samples

 

 

More Samples

 

REFERENCE: Figure-Ground Relationship

Figure/Ground Relationship

The figure/Ground relationship is the most basic of all relationships in design. It refers to the relationship between positive and negative shapes, and is used as an aid in 2-D composition. 

In art/design, one way we define space is by placing objects in it. This creates a relationship (object-in-space). Something and nothing. Placing an object IN space, defines that space, and CREATES a Figure/Ground Relationship. The object becomes the figure, and the space becomes the ground. 

Here is another way to think about it: The part of a composition that we pay attention to is called figure.  Everything that is not figure is ground. As attention shifts an object can go from figure to ground and back. Positive/Negative shape are analogous terms for Figure/Ground. 

Types of Figure/Ground Relationships

The figure and ground are inseparable. The figure always defines the ground, and the ground defines the figure. If you draw the figure in a composition, you are drawing the ground at the same time.

Stable-  Unchanging. You know what the figure is, and what the ground is. The focus of our attention does not change. 

Reversible- The positive and negative space/elements attract our attention equally. Our attention is drawn back and forth between the two. 

Ambiguous: The positive and negative space/elements challenge the viewer to find a focal point. What is the figure? What is the ground? Figure is entangled with ground without dominance. Ambiguous f/g relationships are usually abstract. See example below.

Rubin vase—an ambiguous figure/ground illusion. When you see the faces as figure, the vase is the ground. When you see the vase as figure, the faces are the ground.
The viewer shifts from one figure to the other but do not to see both as figure at the same time.

Composition in F/G relationship

Active- group elements off-center (asymmetrical) to create visual movement. 

Neutral- centered compositions are stable, not dynamic. 

Bleeding - dynamic (it bleeds of the page, and can’t be contained)

Cropping- creates abstraction

Balance in F/G relationship 

In Stable relationship- balance (size/shape) = unified design.

In Reversible relationship-  balance (size/shape) = tension. which is which?

In Ambiguous relationship- balance (size/shape) = action. all space is active. 

Tips on working with figure/ground

• Balancing figure and ground make the composition more clear.
• Using unusual figure/ground relationships can add interest.
• Spaces whit convex (a), symmetric (b), smaller in area (c) or enclosed (d) shapes are “seen” as figure.
• An expressive use of white space requires an asymmetrical design. Centering kills the white space (dividing it into unusable emptiness). Asymmetrical design creates a NEED for interestingly shaped white space. 
• A deliberate use of white space creates + and - space that are equally important. 

Sample Figure/Ground Relationship Studies

PROJECT 03: Figure-Ground Relationship (Space is Shape)

Project Due Date

Samimy's Class: Mon, Sept 15th
Lambert's Class: Tue, Sept 16th

Project Description

Create 3 abstract (non-representational) compositions using different shapes and value. Use the three types of figure/ground relationship to contrast forms against each other, as well as merge them together. Crop, combine, repeat, rotate, enlarge, and/or reduce the shapes. Think about the following concepts and relationships:

• Figure/ground relationship- stable/reversable/ambiguous
• Balance- symmetrical/asymmetrica/all-over, equalized tension
• Composition- dynamic/static
• Vertical/diagonal/horizontal
• Hierarchy (emphasis)
• Movement/directionality

The relationships between black and white must be as follow:

• Composition 1 with 25% black (whiter composition)
• Composition 2 with 50% black (balance between black and white)
• Composition 3 with 75% black (darker composition)

Materials

• black construction paper
• x-acto knife/scissors
• rubber cement
• 9inch x 9inch paper (3)

Process

Homework- 
Start doing thumbnails with pencil or black construction paper in your sketchbook, at least 3 for each composition (total 9 thumbnails on sketchbook.)

Class time-
At start of class, consult with your teacher and select the best pieces. Choose 3 final designs that distribute positive and negative space into fluid, balanced compositions following the three required relationships. Note: You can explore enlarging the whole composition or some parts, cropping, adding or deleting shapes.

Re-create the three selected compositions with black and/or white construction paper. Use the same type of paper for your 3 compositions, so you do not have any change in white/black shades.

Students Samples

  
  

RESOURCE: LOCAL ART STORES

Jerry’s Artaramas
Trail Plaza
1140 SW 67th Ave

Miami, FL 33144
(305) 262-0475


ID Art supply
1474 Biscayne Blvd
Miami, FL
(305) 375-0787

Blick
6250 South Dixie Highway

Miami, FL 33143

(305) 740-7077

Easel Art Supply

470 NE 167th St, Miami, FL 33162(305) 945-7377

PROJECT 1: LINE-FOUR SQUARES. Due 8/25- Samimy, 8/26- Lambert

Project Description

Divide one 9 inch x 12 inch Bristol board into four quadrants. Using only line, create 4 non-representational compositions that suggest different textures. The compositions should be abstract (not realistic). You can combine different types of line to create the designs. Think about line weight (fine/medium/thick), pattern, scale (large/small), and direction (horizontal/vertical/diagonal). 

The compositions should be well thought out. Think about the way your eye moves across the drawing. What direction does your eye move? What speed?

Be sure that each of your four individual compositions are unified, and that they look cohesive. All four should be distinct (there should be variation between them).

Lastly, be sure to use good craftsmanship. The lines should be clean, with no smudges, or smears. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. 

Materials

• Black sharpie (Ultra Fine Point/Fine Point/Chisel Tip)

• White Bristol 9x12” paper

Process

Homework- Start doing thumbnails with pencil in your sketchbook, at least 5. 
Due next class. 

Day 1- Consult with your teacher; select the best pieces. Create a series of 2 unique line compositions from your sketchbook thumbnails.

Due Date

August 25th- Samimy's Class

August 26th- Lambert's Class

Students samples