PROJECT 04 - VALUE COMPOSITION IN GRAYSCALE

Due Dates

Section 1/Samimy: Monday, October 5th
Section 2/Samimy: Tuesday, October 6th

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)

Demonstrations links:

https://www.youtube.com/watch?v=0QD0CUfL_pQ

https://www.youtube.com/watch?v=IzzRZE0LTPk

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. 

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 with 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 Relationships (Space is Shape)

Project Due Date

Section 2/Samimy: Tue, Sept 22nd
Section 1/Samimy: Wed, Sept 23st

Project Description

Create a series of 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. Think creatively and be innovative:

• Figure/ground relationship- stable/reversible/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) White is visually dominant
• Composition 2 with 50% black (balance between black and white)
• Composition 3 with 75% black (darker composition) Black is visually dominant

Materials

• black construction paper
• x-acto knife/scissors
• rubber cement or elmers type glue or glue stick
• 9inch x 9inch paper (3)

Process

Homework- 
Start doing thumbnails with pencil or black construction paper in your sketchbook, at least 4 different ideas for each composition (total 12 thumbnails on sketchbook.) If you haven't found a strong solution/idea… more thumbnail sketches will be necessary! 

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.

You will be graded on thumbnail ideas, compositions, creativity, craftsmanship, neatness, class participation during critique. You must respect the deadlines.

Students Samples

  
  

PROJECT 02: Line- Organic/Geometric. Due 9/8 Section 2/Samimy, 9/9 Section 1/Samimy

Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) line compositions that suggest texture. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Materials

• Black sharpie (Ultra Fine Point/Fine Point/Chisel Tip)/any mechanical pen w/ink tip

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 5 for each composition.

• Consult with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

Explore enlarging the whole composition or some parts, cropping, adding or deleting elements.
• Be very aware of your line weights in relation to creating values, contrast, use variety of line weights, not just one. Composition is important and pay attention to figure/ground (positive and negative spaces)

Due Dates

Sept 8- Section 2/Samimy
Sept 9- Section 1/Samimy

Students samples

 

 

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing