REFERENCE - All about the LINE

 Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

Assignment 3: TWO Watercolor Series. Due Thursday, April 23,2020

Project Description

Create two compositions in watercolor and fine mechanical ink pen (optional) This project will work as a thematic series. Please follow all the elements and principles of art regarding your composition (rules apply to everything you do) and be creative on concept, subjects, positioning, asymetrical, use all sides, framing, cropping in, aware of value, contrast, perspective, heirachy, Figure/ground etc… all that we reviewed from the year. make the piece interesting using your creative skills. Your series can be interpretive, conceptual, you can also create abstractions from your subjects. there are many elements and ideas to be inspired by. compositions must be strong and still lives and whatever subject your working with needs to be placed into context so it looks aesthetically appealing to the eye. think of your themes. Don't take the easy way. challenge yourself and  create a beautiful complex resolved polished work of art. RESEARCH on the internet as well!

You will focus on your exploration with the watercolor medium to produce a pair of (2) either on 9x12 sheet of watercolor/bristol paper of if you don't have proper paper, paint in your sketchbook.


The watercolor paintings should addressing the Idea of abstractions or idea of scenic place and atmosphere in Florida. it can take different directions. Either totally interperative abstracted or more realism using the following starting points:

• Tropical flora, plant life, nature, details of flowers.
• Landscape/Seascape (details, underwater sea life and corals, above water scenic)
• Botanical/Biological - tropical fruits, native flowers, detail of palm leaves or other 
• Architecture  i.e. could be historic spanish style. look up viscaya or venetian pool
• Look up Viscaya or venetian pool or historical landmarkds that interest you.
• It can be totally abstract like artists Paul Klee and Sonia Delauney. look up work

both paintings canwork together to communicate your idea regarding place. This can be literal, or conceptual. use the idea of cropping of the page, balance the subject, create interesting positive negative spaces, movement, cohesive thematic series. 

Examples of literal places include: your garden or gardens, everglades, viscaya, south beach, south beach architecture, fairchild tropical gardens,  still life, observation of nature, historical landmarks, fruits, flowers, vegetation, native trees plants, beach, aquatic life underwater sea nature, exotic birds, fish, etc…. remember to really think of your composition and be thoughtful on how you are using the page area. resolve your painting in a professional way. clean, refined, well executed.

Examples of conceptual places include: the idea of nature, all the beautiful life we have around us. zoom in on it, beauty is in the details and unexpected discoveries so open your eyes and really explore! you can definitely google for different ideas or examples since we can't go out and stuck so really explore your imagination.

If you don't have watercolors you can use diluted acrylic paints, markers, colored pencils or whatever else you have available in your home. you can outline with fine point pen to enhance areas. be creative.

Reaearch Examples

Look up and research artists on google. should be helpful for inspiration and ideas. Use one of these artist and inspire your works from them. this should be helpful for color palette selection and Ideas.
Start with: 
Georgia O'keeffe
Sonia Delauney
Paul Klee
Henri Matisse
Raoul Dufy
Andre Derain
Hilma Klint
Marc Chagall
Wasily Kandinsky
Pierre Bonnard
Elizabeth Peyton
Francesco Clemente
Nigel Peake
William Turner watercolor studies 

Audubon society

You will be evaluated on the following:

• 20 pts- Homework/creative process (studies, ideas)
• 30 pts- Quality of Compositions (Design Elements, focal points, eye movement)
• 30 pts- Quality of Painting/Rendering (Craftsmanship, technique)
• 20 pts- Concept/theme (communication of your idea)

Here are some student samples just to see. but your work will be full pages edge to edge on watercolor paper or your sketchbook. if you don't have watercolors use color pencils or brush markers or water medium you have. you can also water down acrylics to get a watercolor fluidness. 

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

Due Dates (Week of September 11 contingent on weather conditions)

Section 1/Samimy, Due Date: Thursday, Sept. 13
Section 2/Samimy: Due Date: Monday, Sept. 17

MUST WORK ON VALUE SCALES AND 6-8 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. 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 6-8 thumbnail sketches developing ideas for the 2 compositions (total 6-8 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, and at least 6 3" x 5" 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 END 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)

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
 

PROJECT 4 - Deconstructing the 4 Elements of Nature - Type/color/Image/compostion

You will create and depict 2 different typographic and image compositions interpreting two of the four classical elements—earth, air, fire and water.

Air is the element of intellect, study, and book learning. It is also the element of youth, creativity, and spontaneity, and of communication and travel.
Fire is the element of strength and energy. It is also the element of passion, courage, protection, purification, transformation, destruction, chaos, and sex. 
Water is the element of wisdom, clarity, and common sense. It is also the element of emotion, intuition and divination. 
Earth is the element of stability, order and grounding. It is the element of beginnings and endings.
Or for the above 4... however you interpret this in strong compositions, using harmonious color relations that create visual metaphors. Use your creative problem solving. 

Due Dates (2 Critiques in one week)

MONDAY/WEDNESDAY CLASS: February 19th and 21st

TUESDAY/THURSDAY CLASS:   February 20th and 22nd

Materials
• Bristol 9x12” format - 2 compositions
• glue - rubber cement, glue stick, elmer's glue
• scissors and xacto knives and rulers for straight edges
• tons of good magazine images with color and type!

Process
Cut image specimens and type from magazines using conceptual thinking of how you would visually interpret the two elements you have selected. Again, DO NOT look at imagery and type in the literal sense. treat them as shapes, color, texture and reconstruct an original design. Combine interesting letters forms, sub-heads, paragraphes, etc... as you see fit. bold, medium light from different sources be aware of variety, flow, how images are seen as texture and how they both work together seamlessly. think layering, integration, thickness and shapes with images to design an appealing collage that conveys the element chosen. It's important to be sensitive to your color combinations, selections of textures and how they work as a whole aesthetically.

Do not use any representational imagery. you should look for color relations, texture, pattern tonal value of the colors. so you must look through the image and consider it for shape and color. Please remember to design your cut outs as well, this has great impact on the aesthetics of the final composition. Be thoughtful about the figure ground relationships, color combinations to create an effective and convincing final product.

Think about different ways to represent your element of choice. How do you see fire, air, water earth? is it agitated, windy, passionate, arid... Is it tropical, desert, forest, is the water agitated, calm, is the air breezy, hurricane, tornado, etc... , what types of lines, shapes, color, composition, alignment... You need to use the scope of color values that exude the type of feeling you want to convey; you can combine type with images/shapes—but remember that these are typographic and image compositions.

Remember to also be very aware of designing your cuts and shapes. this has to be part of the process to achieve your desired results. Excellent craftsmanship. no sloppy edges or cuts!

Use combination of type as imagery as well as textural cut outs that communicate your goal. The result will be 2 (pick 2 out of 4) interesting and appealing compositions.

                                   

    

    

           

   

02 - TYPE - SELF PORTRAITS (Spring semester)

In this assignment you will create a self-portrait using free hand rendering type. You will be using your name or if you prefer your nick name or first name, what ever option you prefer, but only one of them. You will be using primarily pilot fine point marker, good ink pen, Mechanical pens of different point sizes or... black ultra-fine sharpie. Use fine, medium and thick points using them together to distinguish line weight when creating your composition.

Create a well balanced composition (be aware of positive and negative space between subject and background - figure/ground) using all the principles we have been applying... cropping, interesting framing, different angles, diagonals, scale, keep away from centered boring layout. Be creative with your layout and be expressive!

This is mainly to build out and define details in highlights, mid-tones, shadows, shading, gradients. be very aware of your VALUES, contrast in your composition, positioning of your portrait density, texture in areas necessary. Pay attention to mark making and  craftsmenship. The more refined features that are delicate require finer points etc... Pay attention to details, shape and/or style to create different values and shapes in your composition. Remember your values... broad range of dark to gradual lighter pallette when appropriate.

Materials
• Bristol 9x12” format
• different thicknesses from Fine-medium-thicker point pen, gel pen, dark ballpoint

Process
Start with at least 4 expressive thumbnail sketches in your sketchbook, once you have an interesting composition move to the big paper. Outline/map out your composition with a light pencil sketch to use as a guide in developing portrait and then apply the inks.

Samples

 
 

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