Project: Atmospheric Perspective. Due In-Class.

Project Description

Create a painting of a landscape/cityscape that gives the illusion of depth, using both linear and atmospheric perspective. You composition will be drawn from life. You may shoot a photo of the composition to use as a reference for determining value (light/shadow). 

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

Schedule

Studio Day 1- color schemes

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 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?

Homework- 3 detailed sketches and 9x12 composition

Draw three detailed sketches of different landscapes, and from different viewpoints. These will be graded.

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?

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 all original scans of student work, followed by digitally altered images of the same pieces. The adjustments were made to show the potential for 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. 

Project: Proportional Color Inventory. Due in-class.

Description

There are colors everywhere- nature, architecture, artwork, design, etc. The goal of this exercise is to train your eye to pick out and recreate colors from the visual world around you.

Starting with a found image, you will generate a color inventory based on the 8-10 most used colors in the composition. These will be arranged in order from least-used, to most-used (and proportional).  

After making the inventory, you will create an abstract composition using the same colors, and in the same proportion, as the source image.  In addition to learning how to see, and duplicate color, this exercise will help you find color combinations that you might not otherwise consider, and aid in your ability to represent the countless tones of a visual source.

Materials

• Bristol 9x12" format (2)

Process

Choose one image from the auction catalogues in class. Be sure to pick an image with somewhere between 8-10 various hues/colors. 

Try to find an image with color combinations that you usually don't use. You will use this to create your proportional color inventory. A proportional inventory will show the approximate measurement of colors present from dominant (greatest amount) to least dominant (smallest amount). 

PROPORTIONAL INVENTORY

Make a proportional inventory with countable number of tones (primed textiles, woodcuts, or silkscreen prints are good sources.)

Create a color palette (about 6 X 3 inches) that matches colors and estimates proportions. Design a composition of your own using the colors and proportions of the inventory.

Demonstration

http://vimeo.com/51149732

HTML Color Inventory Finder

Students' samples

 

*This project is taken from David Hornung's Color: A workshop for artists and designers

Joseph Albers- In-Class Assignments

Interaction of Color

Link to Josef Albers, Interaction of Color, Chapter VII Gestalt

The Relativity of Color

Project 6: Color Relationships- Chromatic vs Achromatic Grey. Due In-class

Color wheel showing inward progression of
desaturation from Prismatic Hue, Muted Hue,
Chromatic Grey to Achromatic Grey (center).

Same color wheel converted to
Grey Scale.

Project Description

This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition. 

When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). 

Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition. 

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

Note: You must choose a color scheme, and write it on the back. (ex. triad, analogous, complimentary, etc.) Name the scheme, and the colors. 

Important

The two compositions must maintain the same relative values. 

The Hues will be the same (hue is the name of the color on the color wheel)

The compositions will be identical (the two will be drawn the same)

The only difference between the two paintings: 

First painting will be CHROMATIC GREYS. 

Second painting will be ACHROMATIC GREY (aka greyscale).

The only difference is the INTENSITY of the Hue. The Chromatic grey will contain "color", and the Achromatic grey will be completely greyscale (no "color").

When you mix your paints, think of a broad VALUE range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black).

When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients). 

Paper size: 9 x 9 inches

Rubric 

Quality of composition (Is it balanced? Do your eyes keep moving around the page?)

Shifts in Value (Are the values the same between the two paintings?

Shifts in Hue (Are the Hues the same between the two paintings?)

Craftsmanship (Is the paint even? No smudges? straight lines are straight?)  

Process

1:10pm- Review project details. 

1:30pm- Begin painting.

3:00pm- Turn in projects for full credit, and clean up.

3:30pm- Visual presentation of projects. Short review/critique.

• Note: You may opt to take up to two 15 min. extensions. Each 15 min extension will cost a 1/2 letter  grade deduction. All work must be turned in by 3:30pm. For example, the highest possible grade for work turned in AT 3:30 will be a B. 

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:

Early Morning- nice muted colors and pastels

Mid Day- Nice bright prismatic colors

Dusk- darker muted colors and chromatic grays

Examples of Paintings using Muted Hues, and Chromatic Grays, then compared to a version done in Achromatic Grey (Grey Scale).

Project 5: Color Relationships- Muted and Chromatic Grey. Due In-class

Project Description

This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition. 

When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). 

Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition. 

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

Note: You must choose a color scheme, and write it on the back. (ex. triad, analogous, complimentary, etc.) Name the scheme, and the colors. 

Important

The two compositions must maintain the same relative values. 
The Hues will be the same (hue is the name of the color on the color wheel)
The compositions will be identical (the two will be drawn the same)

The only difference between the two paintings: 
First painting will be MUTED HUES. 
Second painting will be CHROMATIC GREYS. 

The only difference is the INTENSITY of the Hue. 

When you mix your paints, think of a broad VALUE range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black).

When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients). 

Paper size: 9 x 9 inches

Rubric 

Quality of composition (Is it balanced? Does you eyes keep moving around the page?)
Shifts in Value (Are the values the same between the two paintings?
Shifts in Hue (Are the Hues the same between the two paintings?)
Craftsmanship (Is the paint even? No smudges?)  

Process

1:10pm- Review project details. 

1:30pm- Begin painting.

3:00pm- Turn in projects for full credit, and clean up.

3:30pm- Visual presentation of projects. Short review/critique.

• Note: You may opt to take up to two 15 min. extensions. Each 15 min extension will cost a 1/2 letter  grade deduction. All work must be turned in by 3:30pm. For example, the highest possible grade for work turned in AT 3:30 will be a B. 

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:

Early Morning- nice muted colors and pastels

Mid Day- Nice bright prismatic colors

Dusk- darker muted colors and chromatic grays

Examples of Paintings using Muted Hues, Chromatic Grays, and combinations.

 

Fifty Shades of Grey Collection