CHECK LIST FOR JUIRES - January 2017

Please have all projects ready for presentation for Juries. Below is a an overview/checklist of all Projects that were to be completed for presentation and 2 additional assignments.

You will be given a final grade for your juries that will count for 1/3 of your grade as well as all your sketchbook assignments and you will also have an overall class grade for appropriate deadlines being met on time over the first semester as well as quality of work and performance. Please bring your sketchbooks from summer and any additional sketchbooks you are working on.

Two completed Paintings for Coconut Grove Arts festival must be presented as well. January 9, 2017

GOOD LUCK! any questions just text me or use "whats app" if you're out of the country.

you need a minimum of 18-20 individual pieces for 2-d art, and present your 2 coconut grove paintings So you're given feedback on both paintings. You are welcome to do additional work a well.

ALL assignments are on the blog so look back for specific instructions. no excuses.

- line weight projects: total: 3 - ink on paper - (1 in 4 sections in 1 sheet, 1 geometric, 1 organic sheet)

- Value studies in graphite pencil - Pencil self-portrait. you are welcome to do more.

- Grayscale portraits in Paint. total: one. but you can do more using other hues and their values.

- 1 formal Grayscale value scale with 10 values in :  total of 10 1"x2" mounted on strip in equal increments of approx 10% from black-white. mounted on 4x12 white page with 1" borders all around.

- Platonic solids sculpture color theory project 

- 3 6x7 color relationship compositions (same compositions repeated 3 times using different color relations) choose from analogous, split-complimentary, double complimentary, triad, monochromatic.

- 2 value scale compositions: select 2 out of the following hues: red, blue, violet, orange, green and create 2 well composed and resolved compositions on  9x12 cut paper.  Subjects can be creative still life with values in color blocking different the areas, or selecting and creating composition from close up in nature. Interpret and create. Cropping, deconstructing details in nature or still life... be creative in your solutions.

- you are required to present an additional 3 6x7 Different composition using same color theory concepts:
- Design an additional 3 6x7 color relationship compositions (use that same composition repeated 3 times using different color relations) choose from analogous, split-complimentary, double complimentary, triad, monochromatic.

- Must present your 2 paintings for coconut grove in juries as well for review and feedback. you will be graded on this as well. must be pretty far along in order to give feedback.

- IN YOUR SKETCHBOOKS Use two full pages for painting value scale layouts at least 11 values. select two of colors and fill each page with either: blue-white, red-white, Violet-white, orange-white, green -white. 1 page per color. Neat. DO NOT USE BLACK!

Using the colors u selected, Paint two compositions using one 9"x12" page for one color and it's applied values, on page. second one... same thing but using differnt color you selected. 
Create an original composition from... either creative Still life, interpret natural elements. deconstruct, BE CREATIVE! Important to consider Framing your arrangement. use hierarchy,  cropping, diagonals. off the page! push your values!

You should have 18-20 completed pieces in total and your 2 coconut grove paintings and any additional work you would like to present. 

Please please refine, redo and resolve your body of work. all must be carefully crafted cleaned up and mounted according to what we spoke about. you may have to get some larger sheets of mounting paper from either Walgreens, CVS, office depot, stables, blick, artarama, artist and craftsmen, any store close to you that is reasonably priced.

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 my class will be considered over the extra work.

IF you are behind in my 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.

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

Below is the sample of the GRID for the Value scales. you need to be sure and cut the 2"x10" support strip to glue your swatches and also mount them on the 4"x12" thicker mounting board with a 1" border all around as we had discussed in class. if you have questions please communicate with your classmates during the break.

PROJECT 05 - COLOR RELATIONSHIP COMPOSITIONS W/ COLOR WHEEL (COLOR THEORY) 11/7/2016

DUE DATES: 
Mon/Wed Class: November 7, 2016
Tues/Thurs Class: November 10, 2016

IMPORTANT: You will do another series of three 6"x7" during the holiday break.
Both series of 3 designs will be presented for JURIES.

You will be graded on understanding of how to use color wheel and and it's color relationships, creativity, aesthetics, craftsmanship, use of color variations, range of values, Focal areas (at least 3 points of interest where your eyes travel, hierarchy of shapes in your design, harmony, unity, balance, etc…

•  Create a series of 3 dynamic compositions (3 of the same). 
•  SELECT 3 DIFFERENT COLOR RELATIONSHIPS from The COLOR WHEEL
   for EACH design. 
•  Each of the 3 Composition is repeated 3 times with the same design.
•  The color relationships chosen by you will change on each 6x7 drawing. 
•  Write down your 3 final color relation selections and their proper colors on back of page.  
•   Creativity, aestheitcs, Clean edges/ brush strokes , solid flat colors, no shading. 

Select 3 color relations out of 6 choices below. Identify the color relationship and the original hue and write the information on the back of each composition: 
Analogous
Monochromatic
Complimentary
Double complimentary
Split complimentary
Triadic.

Select an image or close up of image from nature that has detailed areas of interest where you can see different design elements in the shapes of the image. Composition can be inspired from your own mind or inspired from the shapes of images that exist in nature. Look at the details. explore, look beyond just the simple image of, i.e…  a flower. Deconstruct the shapes and details, make them work together,  interpret the shapes and use elements to create your own design. Nature has many dynamic shapes that can inspire ideas. recreate your own version. You can use cropping L's or form a square with your hands to focus in and search for select areas in the image. The cropping is to show how scale works in relation to the page size which is 6"x7". Look beyond the actual literal image and interpret the shapes and apply to your drawing. Be creative and inspired.
You will be creating three of the same compositions with 3 different color relationships.

THREE (3) Color Relationship Studies will be chosen from the CLASSIC Color Wheel. 

ALL questions can be answered from these links below.

PLEASE READ AND RESEARCH!

http://color-wheel-artist.com/hue.html

http://color-wheel-artist.com/basic-color-wheel.html

http://www.mediafire.com/view/o51g34k3khtczp8/ColorTheory_Print_White.pdf

Create three repetitive compositions on 6”x 7” paper using three different color relationships from the color wheel. Repeat same composition on each one. Using paints, execute your compositions using your chosen color relationships, use the pure saturated colors and their values mixing white only to create different mid-tones and lighter values of that color (the tints). think of value of color. you may use white only to lighten the colors. do not use black or mix colors to create any muted tones, neutrals etc… ONLY FROM MAIN COLOR WHEEL.

To choose your color relationship, you will select your main hue as starting point and from that point, you will analyze and develop its relationships according to the color wheel. YOU must refer to the color wheel and the examples from the different combinations from the color wheel posted from the blog. Go back to the reference material on the color theory chapter of the blog. YOU MUST LEARN THE COLOR WHEEL AND ALL ITS RELATIONSHIPS.

You must respect the color relationships that are created from the main hue chosen. DO not deviate from the color selections. Where do the colors fall when using each relationship. you are to stick to them but can use pure color and incorporate the shades, tones and tints of that particular hue.

 Process / RECAP

•  Sketch out 4 thumbnails for your desired composition. Experiment with pencil and play with color
    in your sketchbook so you can explore different relationships and color combinations.
•  Select the strongest composition to execute your final 6”x 7” painting.
•  Redraw the design three times and map out where the colors will be placed and different values

Again you will be graded on understanding of color wheel and and its color relationships, creativity, aesthetics, craftsmanship, use of color, range of values, Focal areas (points of interest) hierarchy in your design, harmony within the composition. Clean edges, solid, flat colors, no shading. brush strokes. 

Materials

• White Bristol 6”x7” format (3 final paintings)

• Paint from the pure saturated colors including the tints mid-tones tones.  no blending. well defined shapes, clean edges.
• Mounted as a series on white or black board, centered, with 1" margins

Check Georgia O’Keefe's work as will as Milton Avery, ROTHKO.

Students Samples:

Focus on the individual compositions. look at repetition and the different color selections and how they are used. This is past work from prior 9th grade classes. Study them.

REFERENCE: The Color Wheel / Color Relationships/Interactions - 10/31/2016 (for next project)

COLOR WHEEL: A color wheel (also referred to as a color circle) is a visual representation of colors arranged according to their chromatic relationship.

IMPORTANT LINKS TO COLOR THEORY

AND TERMINOLOGY

http://color-wheel-artist.com/hue.html

http://color-wheel-artist.com/basic-color-wheel.html

http://www.mediafire.com/view/o51g34k3khtczp8/ColorTheory_Print_White.pdf

Monochromatic Colors are shades (add black) or tints (add white) variations of the same hue. There is a risk of monotony but using it with pure colors, white or black can break that dullness.






Analog Colors lie on either side of any given color. Often these are color schemes found in nature so they usually feel harmonious.







Complimentary Color are directly opposite from one another on the color wheel. They are contrasting and stand out against each other; it is a good idea to use a complementary color as the highlight color.






Split Complementary Colors is a color and the analogous colors to its complement color. This combination give you a greater harmony than the use of the direct complementary and can give your design a higher degree of contrast.






Double-Complementary Colors are two complementary color sets; the distance between selected complementary pairs will effect the overall contrast of the final composition.








Triad Colors are three hues halfway on the color wheel. When you want a design that is colorful and yet balanced, a triad color scheme might be the way to go.

PROJECT 04 - Exercise producing a complete value grayscale - Mounted on WHite presentation board

From these 72 total swatches, which are 3 carefully measured gridded sheets, you will create a value scale representing TEN EVEN steps from black  to white. black and white with eight even incremental changes in-between.

Mount your swatches on presentation board for critique.

Demonstration video

https://www.youtube.com/watch?v=mTPwkJI1I9g

https://www.youtube.com/watch?v=B-jkKJmSW_8

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 sheets total if you succeed to create a wide range of well painted solid values. You will need a 3rd page.
2. Grid will have a total of 24 rectangular swatches per page, each measuring 1"x2" with 1/2" space in-between each rectangle. 3 swatches across top of 9"x12" page and 8 swatches down the length of page. Total swatches per page = 24
3. Lay separatley black and white paints out on palette, and mix paints starting from black (or white) and adding incremental amounts of the opposite color. Mix paint throughly with palette knife and then brush until well mixed and you have a solid tone and brush-in swatches to fill the entire page. Must paint with smooth strokes, no streaks and an opaque thick coat of paint for full coverage. may have to use a couple of coats of paint to achieve a smooth clean opaque gray tone.
4. Each swatch should have consistent color, and be a unique value. Must paint 3-4 of same values. The more variety of values you paint e, the easier it will be to select 11 strong swatches to create the final value scale.
5. The goal is to create as many distinct values as you can. Fill in each rectangle of your grid with a solid value. Paint slightly beyond the borders. you must still be able to see original guides as you will be carefully cutting out each swatch one by one with an exact blade.
6. Be sure you have all 10 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). 
7. 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 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"). Cut very carefully following the guides you measured out. Makes life easier and cuts will be much more exact. Make sure cuts are clean, by using a new x-acto blade. NO CUTTING DIRECTLY ON TABLES. Cutting boards must be used. 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.
4. You may first glue your swatches on a strip of 2"x11" as a safety net to make sure all swatches are glued right next to each other and follow a straight pattern vertically.

Final Class Period

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 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

Below is the sample of the GRID for the Value scales. you need to me sure and cut the 2"x11" support strip to glue your swatches and also mount them on the 4"x13" thicker mounting board with a 1" boarder all around as we had done in class. if you have questions please communicate with your class mates during the break.

PROJECT 05: Self-Portrait in Greyscale. Using B/W Acrylic Paints (refer back to your value scales)

Project Description

Create a 9" x 12" self-portrait or portrait of classmate in B/W Acrylic applying the value scales you just finished. You may use one or a combination of a couple of tools to create a well executed portrait using a good range of gray scale value system.

Have fun with expressions, angles, framing to create a unique image to draw out for your 4 thumbnail sketches and keep in mind, you will select one of the four images you worked through as your final composition. be creative. 

Practice using a value scale in graphite, or pen/marker using clean cross hatch or hatch lines. Use the value scale you created as a reference to achieve 9 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. You will be creating solid shapes (blocking out fields) each value in the gray value scales. there will be 9 value distinctions in the final compositions. 

Be very aware of your placement, layout, figure ground, cropping, interesting angles and vantage points. Be creative in how you create your self portrait. Use lighting to create more dramatic shadows, mid tones and highlights. be aware of your light source and how it plays with the details on your face when mapping out the value fields. 


Value Scale Technique - Training Videos

Important for creatig value scale in pencil: 
https://www.youtube.com/watch?v=0QD0CUfL_pQ



https://www.youtube.com/watch?v=WowABJEpm1c

https://www.youtube.com/watch?v=B-jkKJmSW_8

Class Schedule

Homework Due in class on October 16 / October 17
1. Create four  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. If you need to do more sketches to resolve your piece, you will have to do more than just four. 

Do not limit yourself if you are still not satisfied with the direction of your portrait. 

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

Note: You will receive a full project grade on your homework meaning your 4 different sketches and studies. This will be reviewed and graded at the beginning of class.

Class work-time (October  18 / October 19)
You will have the full class time to select and work on creating your final portrait. This assignment will be worked on  during class time. Be sure to use your studio time well. and be productive. you will also ALWAYS receive a class grade based on your productivity in each class. Use your time wisely. everything is worked into your final project grade and class grade.

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

Critique (Oct 23  / Oct 24)
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  surface with good tonal value fields using value as highlights, mid tones and shadows, clean edges on paper, no marks/dirt on paper), and range of value (full range of values from black to white- with 9 steps). Use continuous even lights mediums darks shades on each field that you black out. 

Student Examples

Project 02: Line - Organic / Geometric Compositions

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.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Wed, September, 7th. 

Tues/Thurs, beginning of  class:   Thurs, September 8th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

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

The two compositions should be well thought out. Think about the way your eye moves across the drawing. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH….

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

Project 02: Line - Organic / Geometric Compositions

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.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Wed, September, 5th. 

Tues/Thurs, beginning of  class:   Thurs, September 6th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

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

The two compositions should be well thought out. Think about the way your eye moves across the drawing. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH….

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing