REFERENCE: ALL ABOUT 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
 

REFERENCE: ELEMENTS AND PRINCIPLES OF DESIGN

Elements are the things that make up a painting, drawing, design... 

• Line is a dot that goes work a walk. Lines can organize, direct or separate. They can join elements or divide them. They can create shapes, be expressive, suggest an emotion, or create a rhythm. 

• Shape is a self contained defined area of geometric or organic form. The three basic shapes: the circle, the square, and the triangle are considered to be the fundamental shapes found in all design. 

• Color is the part of light that is reflected by the object we see. In 2D we mix pigments to create new colors. Color is defined by hue and value. 

• Value is the lightness or darkness of an area or object. It adds dimension by creating the illusion of depth. 

• Space refers to the distance between elements that creates positive or negative spaces in a composition. 

• Texture is the look and feel of a surface (rough, smooth, soft, hard, glossy, etc) and it can be physical (tactile) or visual (illusion). Texture adds richness and dimension to 2D works 

• Typography is not only to read, letters can be used to create compositions.

Principles is what we do with these elements 

• Balance occurs when all the design elements are equally distributed through the design. There are essentially two types of balance: symmetrical and asymmetrical. 

• Contrast stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast also draws and directs the viewer's attention to specific areas. 

• Emphasis indicates the most important element because it attracts the viewer's attention first. 

• Rhythm is a pattern created by repeating elements. Rhythm also denotes the sequence to the viewing order. 

• Scale can attract in different ways. It can be use to draw attention to the unexpected or exaggerated. Overall size, monumental pieces are impact full while miniature has a sense of intimacy. Scale, alone, can change the meaning. 

• Unity is achieved when all the design elements relate to one another and project a sense of completeness. Artist and designers use the Gestalt Theory, the psychological process of perception, to create unity (also called harmony).

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