Dec 25, 2017

CHECK LIST FOR JUIRES - January 2018

Please have all projects ready for presentation for Juries. Below is a an overview/checklist of all Projects that should be completed for presentation and 3 additional assignments.

You will be given a final grade for your juries that will count for 1/3 of your grade (averaged into your final grade) as well as all your sketchbook assignments. 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.

BRING ALL  PROJECTS. DO NOT THROW AWAY. EVERYTHING WILL BE REVIEWED TO SHOW PROGRESSION FROM ORIGINALS TO REDOS.

All projects must be mounted to the 3 ring backings (plastic or paper) in binders disributed.

Two completed Paintings for Coconut Grove Arts festival must be presented for juries.

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

you need a minimum of 18 individual pieces for 2-d art, and present your 2 completed paintings So you're given feedback on both paintings. You are welcome to do additional paintings work a well. size of canvas is 18"x24".

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 on 1 sheet, 1 geometric, 1 organic sheet)

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

- Grayscale portrait 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 8.5"x11" white page. you can put in sheet protector or use 3 hole punch for plain paper. 

- 3 9"x12" color relationship compositions (same compositions repeated 3 times using different color relations) choose from analogous, split-complimentary, double complimentary, triad, monochromatic.

- You are required to present an additional 3 projects on 9x12  compositions using same color theory concepts:

- Design an additional 2-3 9x12 compositions based on color relationship theories (Use in a series of 2-3). They don't have to be the same but have to work in a series. select a theme/subject matter. Refer to either nature images, close ups or abstractions of creative still lives using paints. all solid color and color blocking to show lights (highlights, midtones, shadows) in the color wheel. just work in the color relations. Must ID the relations. Interpret and create. Cropping, deconstructing details in nature or still life... be creative in your solutions.

- 1 additional value scale compositions: select 1 out of the following hues: red, blue, violet, orange, green and create 1 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. 

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!

- Must present your 2 paintings on canvases given to you for 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!

You should have 17-18 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.

 if you have questions please communicate with your classmates during the break.







Nov 7, 2017

PROJECT 07 - COLOR RELATIONSHIP COMPOSITIONS USING COLOR WHEEL (COLOR THEORY)

DUE DATES: 
Wednesday/Thursday, November 15th /16th 

IMPORTANT: You will be responsible for an additional series of three 9"x12" during the holiday break. Both series of 3 designs will be presented for JURIES.

Create a series of three dynamic compositions (3 of the same). Select 3 different combinations of COLOR RELATIONSHIPS from color wheel for your compositions. You will find the descriptions below from the links provided. Composition will remain the same on all three. Changes will happen with the selection from three of the six different color combinations. 

Next: Select 3 color relationships from the 6 choices below (info provided from links and reference info below). Identify the color relationship and the original hues and write the information on the back of each composition with your name: 

Formal color relationships: analogous, monochromatic, complimentary, split complimentary, double complimentary, triad.

Inspire yourself with images from nature, anything that has interesting details you can reference to build your concepts. You will be required to find a close up of image from nature or other non-represntational elements that has detailed areas of interest where you can see different design elements in the shapes of the image. This an interpretive composition. Use this as your blueprint to draw from. It can be inspired from your own creativity or 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, leaves, shattered glass, grid systems, etc... Deconstruct the shapes and details, make them work together, reconstruct, interpret the shapes and create your own design. Nature has many dynamic shapes that can inspire ideas. Interpret and recreate your own version. You can use cropping L's or form a rectangle 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 9"x12". Look beyond the actual literal image and use the shapes to elaborate on your ideas for your drawing. Be creative and inspired. Again, variations in size of shapes, create focal areas, unity, flow, cohesive, deconstruct, interpretive, flat colors, solid colors, use contrast in size of shapes, focal areas, scale, broad range of values. Use your judgement on Aesthetics and provide creative visiual solutions please.

THREE (3) Color Relationship Studies will be chosen from the Color Wheel. 
ALL questions can be answered from these links below.
PLEASE READ AND RESEARCH!



Create three repetitive compositions on 9”x 12” paper using the 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 shades, tones and tints. you may use white to lighten or desaturate the colors (muted colors).

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.

Start anywhere on the color wheel, but 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 tones and tints of that particular hue.

    - Complimentary colors
    - Split Complimentary colors
    - Double Complimentary colors
    - Analogous colors - Colors next to each other on the color wheel
    - Monochromatic colors
    - Triad

 Process / RECAP

•  Sketch out 4-6 different thumbnails for your desired composition. as many sketches needed to find
   the right solution for your painting. Experiment with pencil and play with color (color pencils or
   paint or watercolor) in your sketchbook so you can explore and figure out how the different
   relationships work together. Map out your sketch with light pencil drawing to insure placement
   of hues.
•  Write down your 3 final color relation selections and their proper color.
•  Select the strongest composition to execute your final 9”x 12” painting.
•  Consult with teacher for final selection of strongest concepts.

Again 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, use range of values, hierarchy of shapes in your design, harmony within the composition. Clean edges, solid, flat colors, no shading, Clean brush strokes. Be clean and neat.

Materials
• White Bristol 9”x12” format (3 final paintings)
• Paint with a wide range of values from the pure saturated colors including the tints tones and shades. All solid, flat colors. no blending. clean, well defined shapes. be aware of clean edges. clean shapes.

Check Georgia O’Keefe's work

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 Combinations



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























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 C
omplementary 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.

Nov 2, 2017

PROJECT 06: Figure/Ground Relationships (Space is Shape)

Project Due Date: Critique, Beginning of class

Section 1/Samimy: Monday, Nov. 6th
Section 2/Samimy: Tuesday, Nov. 7th

Project Description

You should have reviewed and understood the reference material on figure/ground relationships provided below.
Now, create a series of 3 abstract (non-representational) compositions using different cut out shapes in various sizes as necessary. Use the three types of figure/ground relationship to create a unique and effective composition. Use contrasting (variation in size) shapes against each other, layer shapes as you need, merge them together or place them stratigically keeping in mind the aesthetics of your composition. Crop, combine, repeat, mirror, rotate, enlarge, and/or reduce the shapes. Think about the following concepts listed below and the meaning of each relationship. Think creatively, aesthetically 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

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/colored, and white construction paper. Use the same type of paper for your 3 compositions, so you do not have any change in white/black/colored shapes.

        You will be graded on completion of thumbnail ideas, well resolved compositions, creativity, aesthetics, craftsmanship, neatness, class participation during critique. Deadlines must respected.

          Materials

          • black construction paper or colored paper of your choice
          • x-acto knife/sharp scissors
          • rubber cement or elmers type glue or glue stick
          • (3) 9" x 12" paper 

          Students 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. 




          Three Main 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.





          Compositional element within F/G relationships

          Active- group elements off-center (asymmetrical) to create visual movement. 
          Neutral- centered compositions are stable, not dynamic. Do not center! 
          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

                             








          Oct 14, 2017

          PROJECT 05: Self-Portrai/portrait in Grayscale. 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. Using black and white acrylic paint create a well executed portrait using a good range of gray scale value system. This is interpretive, abstracted, aesthetics are important and the essence of that person. have fun. be expressive.

          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. Be aware of your figure (subject) ground (background). both important Both areas cannot be busy. subjects dominate.

          Practice using a value scale with paint, graphite, or pen/marker using clean cross hatch or hatch lines. Use the value scale you created as a reference to achieve at least 7 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. be aware of focal areas. 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 (#7) 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, defined edges 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 values, good contrast, focal areas. Use solid even lights mediums darks shades on each field that you block out. 

          Student Examples