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Elements of Art and Principles of Design Glossary.
On one or a few pages in your visual journal illustrate and textually define (in your own words) the elements and principles of a visual composition.
See some finished and unfinished examples below. You may organize your glossary how you see fit, whatever works best for you. All on one page, separated on a couple of pages, etc.
Composition: the organization of the elements of art and the principles of design.
Making art isn't all it takes to succeed as an artist. We must also look at art, be critical of it, and study it. The following exercise is one that will require artistic critical thinking and acute observation. Please take your time and deeply consider what you can learn from these masters.
Artist Evaluation Instructions. Read and complete them carefully to receive full points:
1. Choose an artwork from the gallery below. Click on the thumbnail to view the whole image .
2. Describe the artwork completely. Write down everything you see.
Your description should include the following:
+ Elements and principles evident and how they are used.
+ The mood of the image and what makes it that way.
+ A detailed description of the subject matter and its position in the composition.
3. Draw/paint the artwork. You may put two evaluations on a page.
4. REPEAT 5 times. (making that six evaluations total)
1. Choose an artwork from the gallery below. Click on the thumbnail to view the whole image .
2. Describe the artwork completely. Write down everything you see.
Your description should include the following:
+ Elements and principles evident and how they are used.
+ The mood of the image and what makes it that way.
+ A detailed description of the subject matter and its position in the composition.
3. Draw/paint the artwork. You may put two evaluations on a page.
4. REPEAT 5 times. (making that six evaluations total)
Hour 6, Drawing 1 recreated
"The Raft of the Medusa."
Observation |
Please recreate these value scales using a ball point pen on a page in your visual journal. Next, we will apply these techniques to observation.
VALUE STUDIES.
For this exercise you will be drawing 6 still-life studies using a separate value technique for each study. Set up a group of objects that are white, gray, or black to draw. Please organize two observations per visual journal page. Utilize the six value techniques practiced in your previous value scales. Please use a ball point pen for this practice. See examples below.
T. Sharp
Hand Studies...white on black.
For this drawing you will need black or dark colored paper and a white mark making tool (chalk, colored pencil, oil pastel).
Fill the page with at least five hand studies in different school appropriate positions. Look for the brightest parts of your hand first. Work from life, not a picture. Overlap your hands, build a successful space with compositional considerations and activated negative space. Draw your hands life size or larger.
MINIATURE TO MASSIVE.
The following investigation is a lesson in scale. Things/objects/items change meaning when the scale is drastically changed. For example, Claes Oldenburg, a sculptor, uses very mundane, everyday objects as subject matter and increases the scale of them in a major way. See the image below that captures one of Oldenburg's sculptures in the lawn of the Nelson Museum of Art in Kansas City. This object is (in its usual state) a very delicate flying piece of matter that expresses itself through the air with contact of a paddle. Here, in this photograph, the birdie is monstrous, impeding, and static. It is interesting how scale changes the way we connect to things.
Karina HEAN!
MINI TO MASSIVE Paper Studies Spring 2022!
1. Build a sculpture using scraps of paper and chipboard. (Other school appropriate miniature matter is welcome). Extend the visual information to all four sides of the plane. Fix things to chipboard using glue, staples, or tape.
2. Create four FULL COLOR thumbnails sketches (*thumbnail sketches are small trials of compositional organizations) of your sculpture in your visual journal. Consider background and foreground in your sketches. Make sure your visual information extends to all four sides of your drawing plane.
3. Share your thumbnails and choose a final composition with Mrs. Downs-Doubrava.
4. GO MASSIVE! Together with Mrs. Downs-Doubrava choose the right surface and shape to begin the final artwork.
Paper Studies.
click the images below to see the beginning steps of this project.
Student thumbnail examples.
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Miniature to Massive Procedures:
Glue paper strip/strips down to chip board.
Create four thumbnail sketches. Make sure you are working with square planes, not rectangles. (begin all with pencil or colored pencil)
Two thumbnails in pen with value and variation created with line. (choose two practiced techniques).
Two thumbnails with color (your choice of medium).
*Thumbnail sketches are your opportunity to work out your materials and composition in preparation for your large scale study.
See Ms. Downs with your thumbnail sketches before moving on to your final surface.
Miniature to Massive Rubric below.
Miniature to Massive Reflection:
Answer the following in your journal.
1. Describe this composition...organization, elements, principles, value, and color.
2. What do you like about your artwork? Why?
3. What don't you like? Why?
BLINDED BY MYSELF!
Identity
Please flesh out the Identity Mind Map for yourself. There is an example of a finished map below.
Mrs. Downs-Doubrava's Example Mind Map is below.
Blinded by Myself
Dada Partner Poem Portraits
1. Complete identity mind map
2. Share your identity mind map with your partner
3. Read your partners identity mind map
4. Draw your partner in a blind contour style (face, neck, shoulders, and at least 1 hand)
5. Find and cut out words that connect or relate to the life of your partner
6. Put your words in a paper bag and shake em
7. Dump out words
8. Order a poem from your words
9. Fix poem to drawing with glue stick
Collage practice: in your journal please practice the following techniques.
Stapling, gluing, taping, sewing, layering with transparency, text, and cut outs
Blinded by Myself thumbnail sketches: create two composition ideas for your final artwork. Both should take up one whole page in your journal. You must incorporate at least three characteristics about yourself that come out of your completed identity mind map. See Blinded by Myself Requirements below. For more details scroll down to see the blinded by myself requirements.
Student Blinded by Myself Examples (top row: Matilda and Mrs. Salmans):
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Above Blinded by Myself Examples by Mrs. Downs-Doubrava
Blinded by Myself Requirements:
1. Complete the identity mind map above and choose three characteristics you will expose about yourself in your artwork
2. 1 face, neck, and shoulders in a blind contour style
3. At least five hands in a blind contour style
4. At least 5 layers/materials
5. Strong organization of elements and principles to create a visually stimulating image that includes the following principles of design:
repetition
contrast
emphasis
balance/unity
75% monochromatic
Blinded by Myself Reflection to be completed in your visual journal before presentation day (this is preparation for your presentation).
1.List the 5 rules of Blind Contour line drawing.
2.What are the two entities within portraiture?
3.What characteristics did you include in your self-portrait? How did you show them?
4.What is a 2d mixed media art piece called? 3d?
5.Where is your repetition? Contrast?Emphasis? Balance/unity?
Blinded by Myself Rubric (correction-at least five hands not ten):
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Gesture Drawing.
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ABSTRACTION.
distorting reality
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Cubism Assessment
For the Following images answer these questions?
What is going on in this scene?
What do the chosen colors do to affect the mood of the scene?
How many things can you recognize?
How does it make you feel?
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Cubism Reflection-please answer the following questions in your journal.
What is Cubism? Why and when did it begin? What were its influences?
What are some buzz words associated with Cubism?
How was it to draw from different perspectives on the same plane?
What mediums did you work with? Why?
Triple Merge:
Gestural Abstraction, Geometric Abstraction, Color Field
Triple merger Student Examples
Merging Abstractions
1. Brainstorm: make a list of five concepts that you could portray in an artwork.
2. Choose two ideas from your list to use at the center of two different concept maps. Work three layers/tiers out from the center.
3. Using two to three words from the farthest outside tiers of your concepts maps, create two different thumbnail sketches that represent your ideas. Utilize at least two abstractions introduced previously in your drawing.
Concept Map Example (you will have two):
Merging Abstraction Process Example:
Concept Maps |
Thumbnails |
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Color field and Gestural Abstraction merge thumbnail
Ideas - Life - Overgrown |
Triple Merge Abstraction Reflection:
1. What words from your brainstorm did you choose to use in your final artwork?
2. What materials did you work with to express those things and why?
3. Describe your composition by evaluation of the elements and principles.
4. Describe gestural abstraction, geometric abstraction, and color field abstraction.
Surrealism
Get Surreal.
Exquisite Corpse is a Surrealist game!
find a group (3-4).
separate the body into sections among yourselves.
create in isolation.
put figure together.
Below are some examples of Exquisite Corpse
Automatism
Automatism is the automatic, spontaneous flow of information be it visual, written, sung, and/or played. The project entails depicting an energy.
Automatism: music response
One song (lightweight, calming, soothing).
One song (heavyweight, bouncing, energy).
Refine them both to finished intuitive compositions.
