Project 6: PROPORTIONAL/NON-PROPORTIONAL COLOR INVENTORY COMPOSITIONS - Due 4/15 and 4/16 2018

Your goal is to create a well balanced abstraction (non-representaitonal) composition based on the proportional color inventory of found colors you manage to isolate, mix and color match from the reference art you selected. Break away from the colors you like and start training the eye to assess color objectively. Find color combinations that you might not otherwise consider and get the ability to represent the countless tones of a visual source.

make a selection from more flat, solid, graphic artwork with a defined color amount that you can seperate and reproduce by mixing and matching that color palette.
you must consider the dominant areas and less dominant colors when you do your sketches. make a list of colors, measure out the color proportions on the 3"x 9" strip with ruler of course (straight lines) and figure out the larger areas, medium, smaller color areas. You will have to determine approximate visual percentages when breaking down the colors of your chosen piece of artwork. (10-15 chosen colors on your palette strip).

Design FOUR Sketches (showing color distribution and proportions) creating and mapping out a well balanced, creative abstract composition. Analyze and start applying colored areas in your sketches as a visual reference. use color pencils, watercolor etc on your drafts in your sketchbook. figure out the division of your color strip.

Materials
• Bristol board, 9x12"
• reference painting (from art books in closet)
• 9"x3" bristol strip for swatch of colors
• All 3 pieces to be (Reference Painting, color swatch palette, Final Composition)

Process
Find several pages from art magazines, art reproductions, Paintings with color combinations that you usually don't use. You are going to create a proportional color inventory, Meaning, taking a careful visual inventory of the colors used in the painting and mixing each color to match the original color and measure out on the swatch strip the dominant colors, less dominant and least dominant colors. Examine, analyze and map out the colors as well as thinking of your composition. you will create four sketches of ideas for composition. be very aware of the larger areas (break it up if you need) and smaller areas. You need use your imagination for color placement, separate them if you think it's to heavy in one area. again. check hierarchy, composition, color relations, ID and list the colors and where they will be placed for painting. You should do a draft in your sketchbook and also practice mixing the colors and creating little swatches if you have a challenging palette. It is helpful.

PROPORTIONAL INVENTORY
Make a proportional inventory with countable number of tones (select more graphic artwork or paintings where you can visually seperate different hues of the painting, or (textiles, woodcuts, or silkscreen prints are good sources.)

Create a color palette with the strip you are given (about 9" X 3") that matches colors and visually estimate proportions. Design a composition of your own using the colors and proportions of the inventory.



Students' samples

Comp B NON-PROPORTIONAL INVENTORY
Make a non-proportional inventory with uncountable number of tones (images taken from the natural world are good sources).

This is different from Proportional inventory because the source images has so many colors and tones you must summerize the main colors that really create the essence of the piece of artwork you chose.

Begin the inventory with a square of flat color, (about 5 X 5 inches) use a background color directly from the image. Try to match the colors you observe precisely (the best you can), create between ten and 15 different dots. Design a composition of your own using tones drawn from the non-proportional inventory.




Students' samples

Project 5: Atmospheric Perspective. Two compositions for In-Class for critique 3/18 and 3/19, 2019

Project Description

After having explored more systematic methods of muting color, you are now ready to work in a way that is more observational and interpretive as you explore nature's way of altering color. You will create a painting of a cityscape/landscape that gives the illusion of depth, using the concepts of both linear and atmospheric perspective. Your composition will be drawn from life. You may shoot photos to help create your composition and as reference to determine  value (light/shadow), perspective, using elements on different planes as focal areas in immediate foreground, mid-ground, background. 

Don't rely on photos alone. be interpretive with your environment. you should move things around if necessary to achieve an ideal composition. you should also select a color pallette for your painting and also think of enhancing the hues to create a harmonious color scheme. the hues will usually shift from more saturated to muted and ultimately hues of chromatic grays leaning towards lighter and cooler blue grays as you reach the horizon lines.

The goal of this project is to apply what you have learned throughout this semester regarding color theory, the basic design components, composition, and painting technique to create a convincing landscape that shows illusion of depth.  

Studio Day 1- In school. Create 4-5 sketches from life, sketch different points of views creating environments with large depth-of-field, creating an illusion of depth as far as you can see... consider immediate foreground, middle ground, and background.These will be graded.

for homework
Choose the best composition and redraw it on 9x12 bristol board. Be sure to address the following compositional concerns:

1. What will my main focal point(s) be? How can I use line, shape and color to direct the viewer there?
2. How is my eye moving around the page? Is the composition 'broken'- meaning, does your eye get stuck anywhere? If so, how can I fix the composition?
3. Do the lines, shapes, and colors work together to create a sense of depth?

think of elements within your compositions that create markers for depth of field. don't leave empty, wide open spaces. fill the space with elements you find in your landscape to mark the different planes of depth and also create your color palette with swatches and start to paint. you can alter and exaggerate colors to give you more saturation in foreground, muted in middle ground and gradually move into chromatic grays for the background/vanishing area.

you may edit your images to improve your compositions moving elements around that makes sense in your drawing. This is ALSO interpretive. use the space wisely and not necessary to include so much detail. must give overall illusion of depth with different focal areas in each planes to help eye move around page.

Work on color schemes in your sketchbook. You must reference the color wheel when deciding on your colors. Have notes written in your sketchbook to answer the following questions:

1. Which paints did you use to mix your colors? 
2. What color schemes will you use, and where?(analogous in background, triad in middle ground, split compliment in foreground, etc) 
3. How will you reduce the intensity/saturation and shift the value (lighter) and hue (cooler) as you move from foreground, through middle ground, to background? 
4. How will you create more contrast in the foreground, and less in the background? consider shadows, highlights, midtowns. contrast is important.

Studio Day 2- Painting

You will have 2 hours to paint your composition. Be sure to have your sketchbook notes and composition with you. 

1:10pm- set up paints, etc. while I review the assignment. 

1:30pm- painting session

3:30pm- clean up

3:45pm- dismissal

Rubric
You will be assessed on both your process (time-management, being prepared, following all steps), and your finished project. Project will be graded according to: composition, your ability to create a sense of depth, craftsmanship/technique, and creativity. 

What is Atmospheric Perspective?

http://www.arthints.com/what-is-atmospheric-perspective/

http://thehelpfulartteacher.blogspot.com/2010/11/landscapes-continuedatmospheric.html

Student Samples
These are original scans of student work. they are digitally altered images and adjustments were made to show the improvements in creating atmospheric perspective. Improvements were made by increasing changes in contrast,  saturation, and value as you move from foreground to background. ie. most contrast, and saturation in the foreground. least contrast and saturation in the background. Value was also increased (made lighter) in the background. As you look further away... elements become faded out.

REFERENCE: Four levels of saturation - Start Date: February 25, 2019

The chart and definitions below introduce the four basic levels of saturation

PRISMATIC COLORS 
are as pure in hue as is possible with pigments. Once a pure color has been altered through color mixing, it ceases to be prismatic (except when the admixture is a closely related hue, as when mixing yellow-orange into yellow).

MUTED COLORS 
range from rich colors that lie just outside the prismatic zone, to the most saturated chromatic grays. One can create muted colors by adding black, white, or gray to a prismatic color. Adding the complement of a hue will also diminish its saturation and produce

muted color.

CHROMATIC GRAYS 
exhibit a subtle, yet discernible hue. Except for the proportions involved, they are mixed in exactly the same manner as muted colors. Chromatic grays simply require larger quantities of black, white, gray, or the complementary hue. The color is being stripped away. It is the dullest color before going gray in any value.

ACHROMATIC GRAYS 
compose the inner circle of the color wheel. Grays mixed from black and white are achromatic because, like black and white, they lack perceptible hue and saturation. Achromatic grays can also be produced by precisely intermixing two complementary colors so that each hue cancels the other our. Insofar as a gray registers the slightest amount of perceptible hue it should be considered a chromatic gray.

BELOW ARE SAMPLES OF COLOR CHARTS BELOW SHOWING PROCESS OF LEVELS  OF TRANSFORMATION FROM A PURE SATURATED HUE DOWN TO CHROMATIC GRAYS. BE AWARE OF EACH HUE (CHROMA) RANGE OF VALUES FROM LIGHTS TO DARKS.

Pay attention to the gray value scale as a guide to applying the different value shifts in each hue. IMPORTANT to compare grayscale value in relation to value in hue.  

Project Description

Exersice based on using high chroma (saturated pure colors and gradually muting the same colors down maintaining its values and contrast until they are gray with slight chroma and final will be grayscale. 
Paper size: 9 x 12 inches. You will produce 4 paintings in total.

This is an in-class project. You will create at least 7 thumbnails sketches (in sketchbook) during class time. This is a graded studio assignment. Consists of  5-7 minute sessions per sketch of small still life aranged per table by you all. You should shift to render variety of angles of the still life or change your location to other arrangements to resolve your composition adequately. The final selected composition will be drawn out twice, using two sheets of bristol board (9" x 12"). Be as precise as possible, to make both compositions the same. You can use a grid to help layout the 2nd composition.  

When deciding on the aesthetics of your composition, required to use cropping, scaling, proportions, zooming in to see shapes instead of the actual literal objects. These methods will allow you to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). USE ENTIRE PAGE. at least 3 items that you will scale up to be in proportion to your page like in audtions. not too detailed. it will be all color blocking (solid flat colors) and mapping out areas of highlights and to show dimension using acrylic paint.(VERY IMPORTANT TO TAKE NOTES ON THE PAINT COLOR AND MANUFACTURER. i.e. all blues blacks, yellows etc... do not have the same properties.

Your compositions will be painted in acrylic, using limited palette of 3-4 different pure hues (selected from color wheel. Different values of each hue should be used to show illusion of dimension within your composition. must remain high chroma. so that may mean using a little white or yellow and yellow-orange as your lighter colors for highlights.

Remember, contrast and objects should be used to establish areas of interest (focal points). Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year. 

Important

Each of the two compositions must maintain the same relative values, and shapes. They are to be the same in terms of color, shape, value and contrast. The only difference: one will be Prismatic (high saturation, Pure hue, and the other will be toned down, Muted, duller.

When you mix your paints to created muted hues, think of a broad value range that extends from lights to darks. you will tone down the hues by using the complemtary to adjust the shift in your pure colors (hues) to reach the muted hue and to get the proper tints, tones, shades. For this assignment, always mix your colors with gradual very small amounts of the complementary. may have to add hints of white to maintian the lights. you will have to be aware of value and add white to get the right value and level of saturation. Its important to learn to produce muted colors by using its complementary color. That is more challenging but will give you better results and truer color shift.

When painting, be sure to block out your colors, and keep the colors flat solid even to express illusion of dimension (no brush strokes, shading, gradients). 

CRAFTSMENSHIP IS OF UTMOST IMPORTANCE. BE FOCUSED AND METICULOUS. smooth and consistent paint strokes.

Process

Homework:
Study and practice in sketchbook painting swatches going from the pure color and adding slight levels of grays or minimal amounts black and white or its comlemenatry to adjust the color desaturation when you remove more color to achieve muted colors and chromatic grays. you have to be very aware of the shifts in color saturation the level of value (refer back to your value scale exercise. do not be heavy handed and be aware that dark colors and black are very strong pigments. be gentle and careful. if not you will ruin the color porperties and lose the the sublteties on color changes. 

40 mins- Prepare 7-10 thumbnails of composition ideas in your sketchbook.

40 mins- Draw out your 2 compositions on the bristol board.

Project executed in Class:

You wil paint and finish in each class. Prismatic (saturated) composition, muted composition, chromatic gray composition and achromatic composition. 4 in total. 

First set 2 paintings
one using Prismatic palette.
one using muted palette.

second set of 2 paintings (different compositions)
one using chromatic gray palette.

one using achromatic gray palette.

3:30 Clean-up and students turn in projects. Name should be on back.

EXERCISES IN CREATING COLOR SWATCHES MUST BE PUT INTO PRACTICE IN SKETCHBOOK IN ORDER TO UNDERSTAND THE PROCESS AND THE GRADUAL SHIFTS FROM MUTED TO CHROMATIC GRAY. YOU ARE GOING FROM PURE SATURATED AND GRADUALLY TAKING COLOR AWAY TO REACH GRAY WITH ALITTLE HINT OF ITS HUE.

This is to be strategically applied to the composition exercises you are creating in class. Must follow each color you apply and all in keeping the value and contrast in each composition

You must apply the appropriate use of chroma consider range of values and contrast, different levels of muted hues for your composition. Use the muted composition as a guide to following the same hues and same values but using a chromatic gray palette. 

Result: total of 4 compositions produced in class. (4 total)
Repeat compositions from: 
High saturated hues (prismatic, pure colors from color wheel)
Muted hues (toned down, desaturated palette)
Chromatic Gray (gray with some color. so it's neutralized adding small amount of color to gray mixing black and white)
Achromatic palette (using gray scale only)
using same hues and same values throughout your painting.

Things to consider:  This study should help you learn to see how light works in nature, and how light is reflected off objects. 

The following generalizations are often observed throughout the day. for example to undrstand more:

Mid Day- Nice bright prismatic colorsHIgh saturation, high chroma
Early Morning- nice muted colors, hazy pastels, softer,duller,  lights to darks

Dusk- or cloudy weather: darker muted colors and chromatic grays. color is stripped of it's saturation. can also have broad value range.

Student Samples

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

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.

Must be interpreted  in compositions, using harmonious color relations that create visual metaphors. Use your creative problem solving. 

Due Dates:

TUESDAY/THURSDAY CLASS:   Tuesday, February 19th 
MONDAY/WEDNESDAY CLASS:  Wednesday, February 20th 

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 2 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, paragraphs, etc... as you see fit. bold, medium light. USE HIERACHY OF SIZE, SMALL, MEDIUM, LARGE!  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.

   

           

   

CHECK LIST FOR JURIES - January 9, 2019

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. EVERYTHING WILL BE REVIEWED TO SHOW PROGRESSION FROM ORIGINALS TO REDOS. 
SET UP YOUR WALL AREA IN SECTIONS GROUPING PROJECTS TOGETHER FROM 1ST ASSIGNMENTS - FINAL ASSIGNMENTS.

All projects must be either in binders 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, 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 1 completed painting. you will be given feedback on painting. Size of canvas is 20"x30".

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.

- 1 still life composition using violet and yellow complementary scales with muted and neutral 
     color palette.

- 1 still life composition using blue and orange complementary scales with muted and neutral
     color palette.

- 1 Comic book color matching assignment.

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

- 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.

- You are required to present 2 additional value scale monochromatic compositions: hues: red and blue. 2 well composed and resolved compositions on  9x12  paper.  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! Important to consider Framing your arrangements. use hierarchy,  cropping, diagonals. off the page! push your values!

- IN YOUR SKETCHBOOKS Use two full pages for painting 2 value scale layouts at least 10 values. execute the two colors and fill each page with blue-white, red-white. 1 page per color. Neat. red and Blue value scale must be executed in sketchbook.

Extra credit:
- 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.

- Must present your painting on canvas given to you for juries as well for review and feedback. you will be graded on this as well. must be completed in order to give feedback.

You should have 18 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.

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".