CHECK LIST FOR JURIES - Starting January 6, 2020

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 all 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. 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.

All projects must be in a protective folder or your own portfolio cases.

One completed painting for Coconut Grove Arts festival must be presented for juries.

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

you need a minimum of 19 individual pieces for 2-D Art, and must present 1 completed painting for coconut grove inspired from your sketches from field trip to fairchild. you will be given feedback on painting during juries.

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

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. but you can do more using other hues and their values.

1 - 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"x1" mounted on strip in equal
     increments of approx 10% from black-white. mounted on larger strip.

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

1 - Blue Abstract value scale composition in Paint. using blue and its values.

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


3 - 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.

1- Final painting to be done over the break:

You are required to present 1 additional value scale monochromatic composition: using the hue: red. draw out and paint one well composed and resolved abstact version on your blue monochromatic composition on 9x12  paper distributed in clase.  Subjects can be creative still life with values in color blocking different areas, or selecting and creating composition from close up in nature. interpret the natural elements you see. deconstruct, BE CREATIVE! or a version of your blue monochromatic composition. It is Important to consider Framing your arrangements. use hierarchy,  cropping, diagonals. off the page! push your values! use the tints, tones and shades with the pure red and mix it with white as well to create your midtones and tints.

You should have 19 completed pieces in total and your 1 coconut grove painting 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 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".

Extra credit (if you wish):
- Design an additional 9x12 composition based on color relationship theories. 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.

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

DUE DATES: 
Monday/Tuesday, November 11th / 12th 

Please sketch 4-6 different designs.

Create a series of four dynamic compositions (4 of the same design). 9"x12" bristol paper. divide in 4 equal sections of 4 1/2"x6". Choose 4 different combinations of COLOR RELATIONSHIPS from color wheel for your compositions. Composition will remain the same on all 4 designs.  only colors will change in each line drawing. 

Next: Select 4 color relationships from the 6 choices below (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, triad
complimentary, split complimentary, double complimentary

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 abstraction/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 actual image of, i.e…  a flower, leaves, shattered glass, grid systems, water, 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 scaling up or down works in relation to the page size.

Use variations in size of shapes (small, medium, large), you should use a broad range of values using a little white to create contrast, use flat colors, solid colors. create focal areas, unity, flow, cohesive, Use your judgement on Aesthetics and provide creative visual solutions please. Be creative and inspired.

4 Color Relationship Studies will be chosen from the Color Wheel. 

ALL questions can be answered from these links below.

PLEASE READ AND RESEARCH!

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

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

Four repetitive compositions on 9”x 12” paper (split page in 4 equal quadrants) using the 4 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 original tones and tints. use white to lighten or desaturate the colors (show values).

Select your main hue as starting point and from there, you will see 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, Select a key color. but you must respect the color relationships that are created from the main hue chosen. DO NOT deviate from the color selections. DO NOT use black. you can only use white to shift the values of hues. 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 4 final color relation selections and their proper hues. Use the key colors to start
•  Select the strongest composition to execute your final 9”x 12”  4 part 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 of values, hierarchy of shapes in your design, harmony within the composition. Clean edges, solid, flat colors, no blending, clean edges, Clean brush strokes. Be clean and neat.

Materials

• White Bristol 9”x12” format (4 final repeating paintings)

• DO NOT USE BLACK. you can use white to create shift in value.

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.

 

 

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.

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

Project Due Date: Critique, Beginning of class

Section 1/Samimy: Wednesday, Oct. 2nd
Section 2/Samimy: Thursday, Oct. 3rd

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 3 different ideas for each composition (total 9 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 Relationships

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

                   

PROJECT 03: TWO PART Assignment - 10 GRAYSCALE VALUE STUDIES / COMPOSITION Applying gray value scales

Due Dates 

Section 1/Samimy, Due Date: MONDAY, Sept. 16
Section 2/Samimy: Due Date: TUESDAY Sept.17

MUST WORK ON VALUE SCALES AND 4-6 THUMBNAIL STUDIES OF ORIGINAL DESIGN OVER THE CLOSING OF SCHOOL DUE TO IMPENDING WEATHER CONDITIONS.

Project Description

End goal of Project:  You will 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. BLOCK OUT YOUR SHAPES WITH SOLID GRAY VALUES. You may also apply textural patterns and stippling that will also show value and contrast. (See reference below). You can inspire your designs from different elements of nature, or any other inspirational imagery. Must be interpretive or original designs.

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 Needed

• Graphite pencils - Range from hard leads - soft leads  (2H, HB, 2B, 4B,6B,)

• 9"x12" size paper (divide in 2 equal sections measuring 6"x9")

Demonstration links for developing 10 value graysale black-white:

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, 1/4" - 1/2" square, 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. Each square must show distinctive values. Fill at least one sketchbook page of scales studies.

10 Step Value Scale

C. Compositional  Sketches 

Once you adapt to using your pencil and it's various pressures, start doing approximately 3" x 5" thumbnails in your sketchbook- at least 4-6 thumbnail sketches developing ideas for the 2 compositions (total 4-6 thumbnails in sketchbook). You will be graded on this. AREAS SHOULD WORK IN SOME WHITE SPACE AND TEXTURAL MARKINGS. Sketches and design ideas will be due at the beginning of the next class.

D. Homework

Finish a full page of value scales STUDIES AND  compositional sketches to be turned in at the beginning of class for review. 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 BEGINNING OF CLASS) Consult with your teacher via text or "remind" and also speak with your fellow students, to select the best two compositions for your final designs. These will be completed on the measured6"x9" bristol board divided in half on page. Remember to try and communicate two distinct ideas (this can be an emotion, nature, imagined design or anything else you can think of)You must use at least 5-7 shades of grays incorporated in your compositions.

Rubric

Assessment is based on your creativity, composition, craftsmanship, time-management, and the completion of all steps of the process (4-6 preliminary sketches, 5 value scales, 2 finished compositions). Your final pieces must contain 10 steps in value from black to white. 

Students Samples