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Wednesday, March 28, 2012

in case you're not sure,
don't give me a story or some line
we've moved on to...
OMG color
it is true

[p8] building mood via color + texture

if you haven't reread (or read) the chapter on color in Art Fundamentals, do so NOW!

Create three high quality works of art using different approaches to color, texture (real and implyied) material, and technique to create mood. The three works should each be able to stand alone and function as a triptych. Use a series of highly related photographic images or a single image in which scale is significantly altered for each solution--human comp or identity essentials or new images derived directly from one of these previouse projects. Consider how changing the color relationship of an image will change the mood, content, impression and formal focus of each piece.
Source Image {photograph that YOU have taken or directed}
Your image choice is crucial to your success {choose wisely}. Spend time harvesting from your photo library of human comps, identity essentials, and other WASH photo series previously shot; look for the following components:
+ Formally interesting+strong image {composition}
+ Conceptually interesting image {not cheesy}
+ An image that you are excited about {remember you will be using this same image to
create THREE works of art}
+ Must be a photograph with value variety {not high contrast}
Imagery Strategy
+ Select image or series of images
+ Enlarge and crop xerox or laser copies to fit size format. Make more than you think you need, a couple copies of each and some alternate images that fit with the set.
+ Explore mulptiple formal and conceptual arrangements (full scale) of all three units both as a tripthych (consider it both horizontally and vertically) and individual stand alone pieces.
+ Determine overall color scheme which should be very specific and mood related. Of colors choosen as part of scheme, collect free swatch samples displaying a wide variation in each colors’ tint, shade, and saturation.
+ Finallize image selection/composition and transfer xerox to prepainted masonite.
Found Color {phase one} 
Exact Measurements: 4” x 12” or 3” x 12” 
Color Relationship: Monochromatic {one color + shades + tints} based on one of the colors chosen for your overall color scheme 
Materials: Free color swatches {walmart, home depot} single hole punch, clear drying glue, modge podge, wood glue + wood for framing, properly sized xerox or laser copy of image. 
Technique: Collage hole punch remnants or (not both) thinnly sliced rectangles based on the color relationship to create your image on masonite. You will cover the entire piece of masonite with this collage and have the option of coating the surface with modge podge, matte medium or gloss medium when completed. 
Frame: You will build a cradle frame, so the piece extends off the wall. The depth of the frame, along with the treatment of frame’s surface {paint, collage, stain, natural} is up to you. 
Surface: must be completely covered with hole punch remnants. You may choose to xerox your source image and attach to the masonite, collaging directly on top {making the underlying xerox copy hidden}. No masonite, even painted may be exposed. 
Label BACK: your first + last name, must be on the back, not the front of work Timeline: 
Mini-critique over phase one, 4/4-5.
upcoming [p8] surface vj accumulation
  1. color samples-[p8] color scheme SWATCHes
  2. copies-[p8] building mood via color and texture. images of your plan for entire triptych--scaled and cropped to represent the proportions of final pieces. (this means it can be smaller but to scale...ie 1x4, 4x4, 4x4)
  3. color research-[p8] research on each hue chosen [cultural context, usage, emotion, other connotations, history, and general research on specific hue)
  4. color research-[p8] collection of images of art and design using your chosen color scheme
  5. color samples-[p8] phase 1 monochromatic SWATCHes (~10 of varying values)

Thursday, March 8, 2012

surface spring break checklist

  1. StoryLINE proposal review and feedback with MM partner + one other WASHer; document in VJ and expound/address each of the following areas.
    materials [what? why? describe. is it too literal? is it cliche? how will line be created/emphasized? is there a better choice?]

    binding agent and or system [what? how? why? will it be visible, functional? will it enhance or detract from concept?]

    scale [why? does this support mood, movement, metaphor? how so?]

    facility needs [why?]

    describe how it incorporates line, rhythm, mood, movement and metaphor.

    explain how it emphasize line and rhythm, mood and movement. be thorough.

    is there too much color? is it cliche?

    is it too literal?

    are there distracting components?
  2. Collect all materials needed (plus extra)
  3. Test binding agents/systems
  4. Begin making…you should be 40% complete by end of spring break

  5. Post small photographic images of identity essentials in VJ
  6. Post small photographic images of your two human comp collab 
  7. Prep DVD or CD rom with [p5] identity essentials (1 folder with submitted images; 1 folder with unused images) AND [p4] human comp collab (need one set from team; 1 folder with submitted images; 1 folder with extra images). DUE 3/19-20. If you previously submitted but did not have images organized, REsubmit!
  8. Complete all crit write ups and review VJ checklist #3 (due 3/19-20)

ps. imagine collaboration group one (phase 4-6) proposal and facility use needs due 3/21-22.

Monday, March 5, 2012

MT 3/5-6 HW
checklist for 3/7-8

[p5] identity essentials
  1. Review peer critique sheet - store in VJ
  2. Using critique sheet write up self critique - put in VJ
[p6] StoryLINE ARTifact proposal [bring 2 copies]
  1. materials
  2. binding agents
  3. scale
  4. facility needs
  5. how it incorporates-- LINE, RHYTHM, MOOD, MOVEMENT, METAPHOR
  6. several sketches (what it will look like; how it will exist in the space)
Prep for [p5] human comp collab crit by completing guide in VJ
  1. Those not complete with identity essential, put work back up before 9:30.
    Crit will resume at 9:30 next studio
  2. Human Comp Collab should be up on wall ready for crit prior to 9:30.
  3. Proposal + sample storyLINE materials
  4. Bring mark making library of all drawings, cutting utensil, tape, metal ruler, brain.

Saturday, March 3, 2012

tomorrow and the next I expect
[oops a day early]

will be days of shallow surfaces
lacking the expected movement of living breath
that resides within real space
with flattened out identities
pressed stiff and planar
mostly desaturated in muteness
leaning toward the binary
of black and whiteness

forward to these days
were the static dot and square
will quicken
have i looked and waited


poetic translation...
some of my favorite creative assignments
for you, my WASHer, come due tomorrow;
i expect to be wowed... 

and hope to post a plethora
of your imaginings realized

(meaning i will dang surely want digital copies!)

though i will seek your clear permission as to may i post as many may be highly personal

Thursday, March 1, 2012

weekend HW checklist due 3/5-6

review handouts
[p6] storyLINE ARTifact (crit 3/26-27)
[p5] identity essentials (crit 3/5-6)

[p4] human comps (crit 3/5-6)
take a google image glance at
Jill Moser (images + website) (mark making) and Howard Sherman (images + website)
  1. collect + test materials options for storyLINE ARTifact (document what you try + results in VJ)
  2. rough together a storyLINE ARTifact proposal (address the following). due 3/7-8.
    1. materials
    2. binding agents
    3. scale
    4. facility needs
    5. how it incorporates-- LINE, RHYTHM, MOOD, MOVEMENT, METAPHOR
    6. several sketches (what it will look like; how it will exist in the space)
  3. independent drawing series 4 (post most interesting to fb)
  4. mount and install photo series [p4] + [p5] (must be installed before 9 am day of crit)


collect storyLINE materials + bring ALL mark making drawings