Aug 20, 2019

SYLLABUS - 2-D ART / Fall 2019 – Spring 2020

Course:           2-D ART / Fall 2019 – Spring 2020
Instructor:       Yasmine Samimy – email: ysamimy@bellsouth.net
Sections:         R01 010431001  - Mon/Wed & Tues/Thurs - 1:10pm – 3:45pm
Location:         Room 5208
CLASS BLOG: nwsa-2dart.blogspot.com

Course Overview and Objective:
This Studio course is an introductory exploration of the fundamental principles of two-dimensional art taught through a series of weekly lectures, projects, and critiques. The course focuses on developing the ability to skillfully manipulate and combine core elements of design – line, shape, value, form, texture, color and space will be explored in relation to principles of 2D-art: what we do with these elements .We will investigate the use of communicative tools such as composition, color, hierarchy, scale, rhythm, figure/ground, balance, unity. Skills are developed in exploring various art-making techniques using various mediums. 

Concepts developed form the basic building blocks to the fundamentals of visual art/communication. You will develop a working process that lead to a comprehensive body of work through assigned projects breaking each concept down individually. This will develop your awareness and vocabulary of 2-D Art concepts that allow you to engage in critical analysis in future works. You will understand the importance of having a strong foundation when developing your compositional skills important for further study and understanding in the following years. 

There will be a total of 18-20 final pieces presented for end of semester juries. Each project will be followed by an in class critique. All projects will be displayed for final juries. Sketchbooks are an integral part of critiques. They will be a part of your final grades

Understanding the Elements of 2D Art in composition
Line (defined by point moving in space/plane. Could have illusion of two- of three-dimension, descriptive, implied or abstract, perception), Value (darks to light), Shape as Space (positive & Negative, figure/ground relationship, framing/framal reference), Form (as 3-dimensional, volumetric, includes height, depth, width), Texture (implied or tactile), Color (hue, chroma, value, color wheel, emotion of color) 

Application of Principles of 2D Art in composition
(Both elements and principles work together in art-making)
Balance (symmetrical, asymmetrical, overall composition. Equilibrium, stability) – Movement (guide the viewer’s eye throughout the work of art. The flow of overall composition) – Contrast (could apply to color interactions, differences between elements) – Proportion relative size of one part of a whole/scale & dominance relative to composition. Relative to body  – Unity/Harmony/Variety – Emphasis/focal area/hierarchy (could also be contrasting elements), Rhythm/repetition/sets tempo of piece 
  
The Course is a guided investigation of basic concepts and techniques of visual organization in two-dimension format starting with black and white and moving into color. ALL projects will be based on developing compositional problem solving, your process and refining your abstract thinking. You will develop an awareness of the formal elements of composition, a working knowledge of the fundamental principles and sensitivity towards the interrelationship between form, content and use of color.  Students will learn to verbalize and express their creative process and critical thinking.

COURSE GOALS:
Upon completion of this course, students will demonstrate basic understanding of the following:
- The importance of technical skills, neatness, good craftsmanship, presentation skills.
- Being prepared for class and working in a timely fashion. Respect Deadlines.
- Utilizing in-class time towards the completion of directed exercises assigned projects
- An understanding of elements, principles, theories and language used in 2-dimensional arts and its application.
- Abstract & critical thinking. Become familiar with using art-specific vocabulary and terminology in critiques.
- There will be no use of shadows and gradients in this course. Most projects will be used with solid (flat) colors.
- Learn to resolve your work through brainstorming, thumbnails, doing studies in sketchbook before final pieces
- Importance of experimentation and taking risks in the “Creative Process” to come up with solutions.
- Creative process and self-evaluation as well as peer work (Art does not exist in a vacuum).
- Conscious seeing and visual acuteness. Be aware of your environment in and out of class. Learn to see.
- Be an active participant in the studio and learning the importance of communicating your ideas.
- An understanding of how creating values scales and applying to compositions.       
- Creating composition through collaging techniques and mixed media. 
- Importance of color wheel and the relationships of colors and theory of different color combinations.
- Learn to evaluate and recognize the success of a composition and analyze where improvements are needed.
- Taking class notes when needed for specific project instructions
- Becoming resourceful with different methods of research and using school resources
  (i.e., the library, the gallery, museums, looking up individual artist’s works).

Classroom RULES & RESPONSIBILITIES
      Consistent, prompt attendance (Role will be taken during each class)
      Cell phones and other electronic devices are limited to PRODUCTIVE uses (listening to music while painting, or researching artists and assignments). NO checking email, social networking, texting, etc… NON-PRODUCTIVE use will result in disciplinary action. Failure to comply will result in class-wide no phone policy.
      Students are responsible for cleaning the work area and returning supplies to the closet (brushes, containers, cutout paper…) before leaving class.
      CLEAN UP WILL START AT exactly 3:30 PM. Class will be dismissed only when all materials are cleaned and put away in proper place.
      Maintain classroom equipment and property (Clean brushes well, dry them, put them away.
      Do not throw out brushes, clean the sink, do not paint walls, put garbage in trash containers, etc…)
      Present assignments on time, and neatly (late work will result in a lower grade)
RESPECT your work and each other’s work
- Participate in critiques, discussions and follow deadlines on all projects. Critiques are opportunities to 
  comment, analyze, and evaluate work in a supportive and constructive way with the class.
- Come to class prepared with your art supplies. Do not be wasteful or lose your art supplies. 
- Keep talk volume down while brainstorming on conceptual ideas and creating layouts while in class
- Must have written note if you need to leave early or have any appointments whatsoever
- You may listen to your own music with headphones when working. 
- No music or earbuds while lecturing and no playing on computers, texting, snapchat, etc. during class

Maintain a sketchbook
Each of you are required to maintain a sketchbook that contains all of your research, sketches, ideas, studies, exhibition reviews, collages, and inspirations. Your sketchbook will be presented during juries and should be completed. The sketchbook will also serve as a class notebook, and must be brought to all class meetings. Every project should be represented in your sketchbook and requires (at a minimum): an inspiration page (including notes, research and art-historical/cultural references) and a minimum of three thumbnail sketches (small sketches) and three variations of each. 
Always work in your sketchbook. Do thumbnails/sketches/studies for every project in it. Sketchbooks will be reviewed in juries! They will be 1/3 of your final grades.

Critiques are an integral part of all classes. All students are brought together for regular/informal or final critiques—generally when they have major assignments due. Each student must show his/her work and briefly discuss his or her intent. The class is then expected to provide positive feedback and offer suggestions for improvement. 

all students participate. The pro­cess begins with a recap of the criteria for the project and a reminder to address the criteria as part of their discussion. I will interject when I feel that there is something that has not been addressed or have an idea about a possible solution or suggestion for a next piece.
The vocabulary of art is introduced through the foundation classes. Additionally, there is ongo­ing dialogue with students on an individual basis during class time.

Each project will be collected and kept in folders in class and will be reviewed, refined and returned to you to be presented for final juries at the end of each semester. ALL your work is important so work through each project diligently for your presentations.

May 17, 2019

CHECK LIST FOR JUIRES - May 20, 2019

All projects must be ready and presented for Juries. Below is a an overview/checklist of assignments for your juries.

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.

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 current sketchbooks and any additional sketchbooks you are working on.
you need a minimum of 20 individual pieces for 2-D Art, and most assignments are on the blog so look back for specific instructions. no excuses.

-  (1) Stippling portrait assignment
-  (1) Type (name) portrait
-  (1) B/W type collage
-  (2) four elements of nature collages (2)
-  (4) 4 levels of Saturation still life compositions 1 prismatic, 1 muted, 1 chromatic gray, 1 grayscale
-  (3) Atmospheric Perspective compositions
-  (1) Proportional color inventory composition presented with color strip and source image
-  (1) Non-Proportional color inventory composition with square color palette & source image
-  (1) Color interaction collage from home depot paint swatches
-  (1) Watercolor painting (spring break assignment)
-  (2) Mixed media portraits
-  (2) mood portraits

You should have 20 completed pieces in total. 

Please please refine, redo and resolve your body of work. all must be carefully crafted cleaned up and presented. 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.

Apr 22, 2019

MIXED MEDIA ASSEMBLAGE/COLLAGE PROJECT – DUE DATE- 5/1 + 5/2, 2019

Purpose
Create two mixed-media abstracted portraits or still life on Bristol board or other surface. Think about communicating the essence of your subject's persona and style. think of concept and how you will approach the project. This is not about traditional portraiture or just creating a typical still life, it's an interpretation as well, it's your original, unique vision, but it gives you the freedom to find creative solutions to challenge traditional perceptions. Think abstract, deconstruction, mixed media, collaging, material, overlapping, LAYERING and weaving in your elements in creating a strong compositional solution. use your creative mind and create an affective integrated, cohesive series of TWO works of art that challenge the norm. Intergrate! don't treat your materials as seperates. they all must work together. INTEGRATION, NOT SEPARATION.

Two interpretive pieces either alternative portraiture or still life. Through the process, you will begin to explore additive technique in two-dimensional art. In particular, you will experiment with integrating collaging with traditional painting and drawing techniques. MUST BE VISUALLY PLEASING (good aesthetics please). Think and analyze your process, method of execution and explore creative solutions. Be experimental.

Attention will be given to the design principles we covered first semester. Namely: (framing, Scale, Hierarchy (points of interest/focal areas/emphasis), asymmetry, cropping techniques,  Textural look or feel, F/G relationship, balance, composition, value, contrast and color theory/relationships), color palette, asymmetry. All that we have studied thus far is crucial in creating a cohesive unified solution. How will everything tie in together to create a balanced composition. 

This project is treated as an abstraction and interpretive. Not to be literal. All elements must work together to create a cohesive (unified), resolved, and finished work. Really think about your approach as in theme, style, be selective with materials and how to work them into your composition. Integrate the materials thinking of overlapping, layering, creating transparency in your finished piece. That can be done with different methods of layering mediums. You really need to analyze your piece and be visually aware of your AESTHETICS.

Due Dates (Critiques)
Mon/Wed Class: Wednesday, May 16th. 
Tues/Thurs Class: Tuesday, May 15th. 

Rubric
You will be assessed on your application of the design principles mentioned above, your creative solution, integration of materials, craftsmanship, composition, execution, sketches, and your creativity. 
Note: All projects turned in after the due-date will be reduced by one letter grade. 

Materials

  • Two Sheets of Bristol board or  other surfaces 9" x 12" 
  • Paint, markers, colored pencils, charcoal, watercolors, etc.
  • Fabric scraps, tissue paper, magazine cutouts, string, yarn, newspaper, etc.
  • Appropriate adhesive (white glue, rubber cement, gel medium, sewing kit)

Process

Step 1
In your sketchbook, create 3 different contours (silhouettes) or whatever subject matter you choose that you will use as a reference for your collage. Themes can be a deconstructed portraiture, figurative, still life, abstract environment. BUT ALL ELEMENTS OF MEDIUMS AND MATERIALS MUST BE INTEGRATEAD, WEAVED INTO EACHOTHER, OVERLAPPING, INTERSECTING. MAKE IT A UNIFIED COMPOSITION. NOT COMPARMENTALISED. ELEMENTS MUST BE INTERGRATED NOT SEPERATED. MUST ALL WORK AS A WHOLE! THE SOME OF ALL PARTS. TOGETHER. FLOW, UNITY, COHESIVE. MUST WORK AS A PAIR.

PLEASE STUDY THE LINKS AND ARTIST LISTED. GIVES YOU IDEAS AND RESEARCH MATERIALS. POINTS OF REFERENCE. PLEASE!!!!

Begin by mapping out a theme/concept, think about materials, color palette, MAIN MATERIALS, your layout for both pieces, their relationships. what will crossover be? what is the common ground of your visuals, etc... Pay close attention to details, such as facial features or objects for still life. framing is important! and their relative size and position to one another. Be sure to map all these elements out correctly. Use cropping, scale and position on paper to create a dynamic composition.

Draw a silhouette of the head, then include neck and shoulders, add hair, include ears... Think about what you could add/remove to make it unique (pencil behind ear, sunglasses in hair, specific earring, etc). of course this also applies to a still life and all of its accents. whats the environment? look at Braque and Picasso JOSEPH CORNELL ASSEMBLAGES/collages. 

Process to consider when creating your mixed media composition. Think abstract. Think creative. deconstruct. think of creating focal areas and how your eye travels through the piece. WHAT ARE THE FOCAL AREAS? MAIN SUBJECT, SECONDARY TERTIARY FOCAL AREAS. Must have emphasis. things can't have equal importance on your canvas. there will always be a main subject. can't have everything same size, same value, same anyting. have to keep it DYNAMIC!

Step 2
Focus on other areas of your body as an option- hands, feet, legs, and entire figure. Repeat the steps above, to create 5 more contours from these observational drawings. 

Step 3
Tape the composition to a wall, take a step back, and examine all contours area of composition and theme. Examine the positive/negative space, and composition, of each contour. What is successful. SQUINT.

Now, look at the compositions alongside each other. Pay attention to the different ways the compositions interact with each other. How do they inform (relate and influence) each other? What combinations of compositions are particularly successful? WHAT IS THE FOCAL AREAS? MAIN SUBJECT, SECONDARY TERTIARY FOCAL AREAS. 

Step 4
Based on the observations in Step 3, choose one (or more) compositions to use as a starting point. Find ways to make the composition stronger, by overlapping, intersecting, combining, cutting, cropping, sewing stitching, glueing, etc.  Continue to refine the composition by rearranging, adding, and deleting elements.

Step 5
Explore with different materials (paint, collage, markers, fabric, metal, etc), continuing to refine the composition. Use color, texture, and value to tie everything together. 

NOTE: THIS IS NOT A 3-D PROJECT; KEEP THE WORK 2-D.It can have lots of texture,  alittle relief 1/8" and some depth, but the base board must be able to physically support all the materials you have incorporated. 

Research the words: Assemblage, Mixed-Media, Collage. below are other references.

Art-Historical Examples




Students Samples


 





 



Apr 11, 2019

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



















Mar 15, 2019

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/






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.