Art D Design and Color

Transcription

1 Composition 1: Just Line (black prismacolor pencil) To study the potential of line to create form by making a non- objective composition constructed entirely of line. Lines should contain the full range of values, as well as dynamic balance of figure/ground (ambiguity) and positive/negative shapes on the picture plane. One 18 x24 sheet of all- purpose white paper, several black prismacolor pencils, one 15 metal ruler Activity/Process Using black prismacolor pencil(s) they do not smudge and ruler, build up a series of parallel, hatched lines on the picture plane to create various shapes, values, textures, and dynamic field/ground relationships (ambiguity). Work to the edges (picture frame) of your 18 x24 sheet (picture plane) using line only. The white (ground or field) area can become positive or negative shape(s). Before handing in the project, sign your name, instructor s name, section, and project composition (1,2,etc.) on the back of the work. Placement of this information should be at the top right indicating the top and orientation (horizontal or vertical) of the composition. Do the same with all remaining projects, black and white and color. Composition 2: Line Plus (additional media and approaches) This composition uses two 18 x24 (taped together on back) white sheets creating a 24 x36 picture plane. This time use a ruler as well as free form drawing (no ruler) to create a combination of hatched lines. In addition to prismacolor pencils, black graphite pencils or black ballpoint pens and erasers may be used. Again, make use of the entire picture plane creating dynamic ambiguity of positive/negative shapes in black line only.

2 Composition 3: Just Shape To study the potential of shape to create form and to explore the relationship of shapes to the picture plane and picture frame in creating dynamic figure/ground (ambiguity). Shapes should be arranged on the picture plane using all the white space (field or ground). Three 9 x 12 sheets of all- purpose white paper, 9 x 12 black construction paper, x- acto knife, 15 metal ruler, rubber cement, pencils, tracing paper, scissors, cutting surface (back of all- purpose white paper pad or similar material will do) to avoid cutting the table. Activity/process Using (9 x 12 ) sheets of black construction paper, cut out 3 circles (small, medium, large) from one sheet, 3 rectangles (small, medium, large) from a second sheet, and 3 triangles (small, medium, large) from a third sheet. Using an entire 9 x 12 white sheet arrange the circles to make a dynamic relationship of figure/ground shapes. Paste these in place when satisfied with the arrangement. Repeat with the rectangles and with the triangles to make two more dynamic compositional relationships. You may have to resize and recut the shapes depending on your first results. In this series shapes can touch but not overlap. Also, shapes may not extend beyond the picture frame. In evaluating finished compositions, presentation and quality of finish (craftsmanship) are important factors in grading. Composition 4: Shape Plus Next, cut the same trio of shapes (small, medium, and large) again altering sizes if desired and create 3 new compositions. This time, shapes may overlap or not, and may extend beyond the picture frame or not (but must be trimmed neatly at the picture frame if extended). In these three compositions all shapes (nine in total) must be used but can be used in any combination and number you choose. For example, one composition could use one large circle and one large rectangle, or one could use a large circle, a medium triangle and a small rectangle. Try different possibilities before deciding, then rubber cement all three compositions. As before, craftsmanship is important.

3 Composition 5: Line and Shape (combining and activating) To continue the study of creating dynamic compositions and spacial relationships utilizing the previous applications in creating line, value, texture, shape, and principles of organization. All materials/supplies previously used in compositions 1 through 4 Activity/Process: Processes and materials previously applied will be combined to investigate more enhanced and complex figure/ground ambiguity and pictorial relationships. Taking one 18 x 24 all- purpose sheet, use a black prismacolor pencil to begin a composition by drawing intersecting lines that traverse the picture plane. Lines can be straight (ruled or freehand), curved, wavy, zig zagged, thick, thin, light, dark, uniform, irregular, etc. Working intuitively and spontaneously, build a linear composition that forms a variety of emerging shapes of various sizes. An eraser can be used to modify lines and effects. At some point begin to introduce (by rubber cementing) variously sized black and white geometric and organic shapes that have been cut and torn. Shapes may touch, overlap, and extend beyond the picture frame (but cleanly trimmed at frame). Glued shapes may also at any point be modified with additional drawing or by applying more shapes. As you develop the composition, keep in mind the various principles of organization (variety, harmony, etc ) as well as the elements of design as you explore the evolution of pictorial form (refer to chart, pg. 29 in Art Fundamentals).

4 Composition 6: (Line and Shape Plus) To further explore and expand compositional and pictorial possibilities by utilizing materials and process applied in composition 5 and also introducing additional black, white, and gray paper scrap elements. All previous materials plus printed scrap collage material. These paper elements can be cut or torn from found sources such as newspapers, magazines, photocopies, or other black, white, or gray printed material in addition to self- created elements such as ones made previously. Activity/Process: Begin by making a series of 9 x 12 practice studies utilizing the materials and methods applied in composition 5 while also including found elements (such as magazine scrap). When using found material try to have it approximate the black and white value and tonal quality being drawn. After exploring the dynamics of the form created in studies, prepare a large composition by taping together two 18 x 24 sheets of paper to create a 24 x 36 picture plane. Applying what you have learned, create a large finished design through working and reworking your evolving design. Elements will include your various aspects of drawing, cut and torn paper scrap (black, white, or gray), and self created paper elements (black, white, or gray). Also, if desired, you may incorporate parts of your initial practice studies into the large 24 x 36 formal composition. As in the case of your previous studies and designs, your composition should be non- objective - not referring to a particular subject matter or theme (no excessive repetition of eyes, faces, or anything immediately recognizable). Your primary concern is with the formal aspect of your composition and creating unity, activating all of the picture plane (surface) in a dynamic synthesis of elements (line, value, texture, shape, no color, in this case) and principles of organization (balance, harmony, variety, ambiguity, etc ). Again, refer to the evolution of form diagram on page 29 of Art Fundamentals for understanding.

5

6