Sep 11, 2019

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
 





Sep 3, 2019

Project 02: Line - Organic / Geometric Compositions


Project Description
Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weights. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Monday, September, 9th. 

Tues/Thurs, beginning of  class:   Tuesday, September 10th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)
• White Bristol 9x12” paper (2)

Process
• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.
• review ideas with your teacher; select the best pieces.
• Create a series of 2 unique line compositions from your sketchbook thumbnails.


The two compositions should be well thought out. Think about the way your eye moves across the drawing. Think of heirarchy, Emphasis, focal areas, unity, cohesive design, flow. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH…. DOIN UR MOM DOIN DOIN UR MOM
   

Students samples










 
 
 
More samples

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