Wednesday, December 12, 2012

Writer's Statement

Throughout my 2D Design class, all the skills I have learned have allowed me to obtain the knowledge to create a surrealistic panel that incorporated a microcosm, a macrocosm, and the Fibonacci sequence.  Along with these requirements, the criteria also includes the use of striations to portray volume and depth.  We also were to use tempra paint as our medium.  
I faced several struggles when creating my piece.  Getting accustomed to the paint and the proper way to maneuver it on the bristol paper proved to be a challenge but I feel with concentration and commitment, it came out successfully.  
Creating my concept was also a feat that proved challenging.  I often paint buildings and cityscapes in my doodling but, with my teacher’s insightfulness, came to realize that the theme I had chosen could be a psychological struggle or yearning.  My concept is that of country-styled elements, with my macrocosm being a farm house in the distance, my microcosm depicting a close-up of an apple, and the Fibonacci sequence in the form of a cat’s bristly tail.  Perhaps my yearning for my quiet home after a busy semester in the city is reflected in this piece.
I feel that my piece resonates with a sense of serenity and peace.  This painting, unlike many of my other works, visually incorporates elements of life and nature that are calmer than tall, intimidating skyscrapers and busy cars bustling by.  I quiet enjoy the concept I have come up with and feel that despite it being a different theme for me, it is one that is reflective of myself and the feelings that I have.  I feel as though the final product is successful and that I was able to overcome the challenges that this project brought.  Hopefully I can continue to put a little “me” into all aspects of my art.  

Monday, December 10, 2012

Surrealistic Panel - More Updates

Over the course of this week I have been working on finishing up my surrealistic painting.  Painted with tempra, the goal was to create a surrealistic panel that included a macrocosm, microcosom, and Fibbonnacci's "Golden mean" while adhering to a scale of darks to lights.  We created a value scale with a white, black and 8 gradients of grey and painted our pieces while also incorporating striations and depicting volume without blending.

I decided to have a theme for my panel which was a country-styled theme.  I zoomed in on an apple from an apple orchard, used a farm as my landscape, and painted a cat's bristly tail as the Golden mean. Hopefully I was able to accomplish the criteria needed for this project!

You can see some photos of my process below!

Sunday, December 2, 2012

Surrealistic Panel - Update

Been working on my surrealistic panel.  We began painting last Thursday during our studio class and it's definitely been challenging so far.  I painted a bit more this evening and plan to finish it up during my six hours this coming Thursday.

While I still feel strongly about my concept, I am hoping my execution is up to par.  Painting is definitely a challenge for me -- especially since the criteria excludes blending.  We are to show depth and volume with striations of grays.  Still, I feel like I'm coming along and Heather showed me some important ways to improve my brushwork and manipulate the paint better.  Hopefully I can utilize these tips this coming week!

Below you can view my painting process with the original line art above it.  I'm a bit farther than what's shown but you get the general gist!

Saturday, November 17, 2012

Homework Assignment #5

In  Design class, my final project is focusing on implementing several elements of design into a surrealistic landscape.  Some elements include the use of scale and proportion, the notion of ideal geometry in a composition, and the integration of the golden rectangle found in the Fibonacci sequence.

Scale and proportion are both related terms, for they both refer to size.  Scale is another word for saying "big" or "small," and proportion is the relative size measured against other elements.  While we often think of proportions as mathematical ratios (which they are!) the focus for using proportions in the current surrealistic project is to use the power  of contrast of scale.  We will be doing this by zooming in on an element of nature and exaggerating the size of certain objects in order to attract the viewer's attention.  A deliberate changing of natural scale is one of the ideal characteristics of a successful surrealistic piece, for the art form itself is built on paradox -- of images that have no rational explanations.  

Another criteria of this project is to incorporate the golden rectangle or also known as the Fibonacci sequence.  This fascinating set of rations demonstrate the growth patterns in nature -- like shells, snails, leaves, human anatomy -- are all interrelated and reflect the same sequence.  

Other criteria includes cropping and zooming in on a piece of nature, using striations of grey value tones and having a light source.  

My surrealistic landscape is going to focus on a farm scene with elements of the countryside.  I admit, I don't know why I've chosen such a theme, since I've never particularly been interested in the quiet country way of living, nor do I live in that setting myself.  Funnily enough, I really wanted to incorporate an apple into my piece and one idea just lead to another.  My sketch is still incomplete so I'll post that when it's done but here are a few of my conceptual framework pieces that I've used as inspiration.

Sunday, November 11, 2012

Up In Smoke - Digital Painting Process

Did a timelapse video of one my digital paintings and figured I'd post it!  Hopefully it's okay since I did it in my own time, but it's pretty fun working in iMovie!

Tuesday, November 6, 2012

Switch Blade Abstraction

Last week in our studio portion of 2D Design we worked on drawing an object realistically, cropping into it and then painting it, creating an abstract composition.  Using tempra to paint proved to be challenging but I'm happy with the result!  We'll be doing two more of these with different tones of negative and positive space.

I began with a realistic sketch of my object, a switch blade.  Though it holds some personal significance, I also thought it'd be an interesting object to draw with the many tones of darks and lights.

Then, with tempra, I mixed tones to create a basic value scale containing a black, white (used the paper for that!), dark, medium, and light.  Using the brush techniques that Heather taught us, I was able to create clean, straight lines which is imperative when painting a knife!

A little look-see at my little pots of paint that I mixed!  Used tape to help me remember which is which because I'll need these for my next project! 

Though I'm a very inexperienced painter, I've always found it very meditative and I'm looking forward to painting the other versions!

Thursday, November 1, 2012

Homework Assignment #4

Chapter 9

  1.   A pattern can be described as a template for a design but can also be used to describe the repetion of a design motif.  This meaning is intrinsic to human thought processes.  A pattern can also be described as a way of capturing visual interest.
  2.   Patterns can be reduced to a grid, resulting in a crystallographic balance or order.  Elaborate patterns are built on complex symmetries and rotations.  Mathematical pattern-making can help create balanced and intricate pattern pieces.
  3.   Pattern is usually defined as a repetitive design, with the same motif appearing again and again. Texture, too, often repeats, but its variations are not as precise.  Both patterns and textures could be very similar in their appearance, but not their touch.  Their main distinction comes down to whether the piece arouses our sense of touch or simply just appeals to the eyes.
  4.   Texture appeals to our sense of sight and touch, allowing our memory to provide a sensory reaction.  Texture in the form of crafts, sculptures, paintings and more all add to creating visual interest.
  5.   Actual texture is texture that can be felt, such as an impasto painting technique.  This technique creates a rough three-dimensional paint surface.  However, implied texture is to create the illusion of a raised, three-dimensional surface with techniques such as dry brushing or stamping, but the texture of the print is actually flat.
  6.   I would define a collage as the pasting down of varied mediums and materials, such as colored and textured papers, cloth, magazine clippings, wrapping paper etc.  A great example of a successful collage is Anne Ryan’s Untitled collage.
  7.   This “deceptive” painting technique called trompe l’oeil is when the objects are in sharp focus, and delineated with meticulous care. The artist copies the exact visual color and value pattern of each surface.

Chapter 10
  1. Value is the art and design term for light and dark.  Human perception of figure and ground depends on the contrast of light and dark.  A value scale is simply the darkest of dark with swatches of grey until it becomes white.
  2.   Achromatic grays are mixtures of only black and white -- no colors.
  3.   Value contrast is the relationship between areas of dark and light.  Because a value scale is sequential, the contrast between any two connecting areas is rather slight and is termed low-value contrast.
  4.   One can achieve balance in a composition with value by including all parts of the value scale, running from black to white.  Weighted contrast on either sides of the painting is also very important.
  5. Low-contrast and high-contrast and a starting point creates a value emphasis.  Planning some areas to be more high-contrast and others to be more subdued controls where the main emphasis or focus should be.
  6.   The quality of creating a three-dimensionality to shapes and using light and dark to imply depth and volume is called chiaroscuro.
  7.   Aerial -- or also called atmospheric -- perspective is the effect where objects or shapes that are painted in high value contrast seem to come forward, where, naturally, areas of lesser contrast appear to recede back suggesting distance.  This is very important when it comes to landscape paintings.

When searching for a work of art that corresponds well with this week’s homework assignment, it didn’t take me long to realize that Sebastien Noel’s light installation for Troika (marketing business company) fit the criteria wonderfully.  What makes the so-called “Arcades Project,” built with lenses, lights, steel, and aluminum, is fact that it isn’t a painting or sculpture, but an entire installation that was photographed, revealing a beautiful value scale with achromatic grays.  When looking at the photograph, you can see an emphasis in value, as well as the white lights appearing brighter and more delineated in the foreground with the farthest lights less bright and blurred, creating atmospheric perspective.  The value contrast is a strong one, with both darkest blacks and bright whites, however there still remains a balance in the composition of the values.  One could argue that even the floor contains some patterning in the reflective nature of the evenly tiled flooring, creating an implied texture in the photograph.  Though not a concrete piece hanging on the wall, the photograph itself provides an interesting idea on searching for value and texture.