FINAL PROJECT: Op Art

Last week the class began work on their final projects. The objective is to create an ambiguous sense of space using the paraline views of isometrics and/or obliques. This project is loosely based on the work of Victor Vasarely. Click the tab above for more info on paraline views.

LINEAR PERSPECTIVE: Two-Point

Yesterday the class made drawings of imaginary structures in two-point linear perspective. The very modern looking design above is well balanced with repeating textural elements as well as repeating shapes. The row of circular windows creates a dot to dot path leading the "eye" to the cones, up and down the zig-zag pipe and back around to the circles. A secondary movement has been established by the two upper rectangles relating to the same texture in the space at the bottom of the composition.

PORTFOLIOS ARE DUE

Portfolios are due at the beginning of class next Friday. The list is above. Late portfolios will have grades lowered by one letter grade.

LINEAR PERSPECTIVE: One-Point

James Christenson

Yesterday we began working with one-point linear perspective. The objective is to create a design in one-point perspective and then add value and texture. Notice the use of repeating, penetrating rectangles to establish a rhythm.

TEXTURE: Actual, Simulated and Invented

Gianna Davy

Last Friday the class made an image consisting of actual, simulated and invented textures. The objective was to explore traditional and experimental applications of painting and collage materials. Gianna's painting above illustrates torn pieces of paper glued and painted in the upper left corner, drawing into wet paint (center, right, top), stamping with plant forms (center, right, bottom), stenciling with tape in the lower left and various applications of paint from thick to thin just to name a few.

COLOR: Color Schemes cont.

Last Friday the class continued working on their color schemes project. The paintings were critiqued at the end of class. The work is due next Friday at which time we will discuss texture.

VALUE: 3-D space

Friday students started paintings with the objective of creating the illusion of depth or three-dimensional space. Each painting must include a value scale within the composition. In the painting above the value scale is within the tunnel-like arcing bands. The technique within the cubes is more akin to atmospheric perspective.

VALUE: Two-dimensional Space

Cody Wilson

Last Friday the class began addressing Value and Space. The painting above is an example of two-dimensional space. In 2-d space the pictorial depth is limited. Attention is place on the surface of the picture plane rather than creating the illusion of depth. Although unfinished, Cody's painting has addressed the four values of the project and established a rhythm between them. Notice how your eyes are lead from one shape of a particular value to the next. Remember that we look for similarity within shapes, values, colors, textures, etc.

VALUE: Rhythm and Repetition

James Christenson

Last Friday we began our investigation of the art element VALUE. The objective was to create a continuous field composition applying values to the shapes according to the demands of the design. Each student started with 2 to 3 stencils that were traced to overlap and fill the page creating large and small shapes. Lines were then erased, added and moved to strengthen the composition. Although Jame's drawing is unfinished, you can see that he has already begun to balance the composition by applying similar tonalities across the paper. This will ensure a more balanced composition rather than if he had just started working across the paper left to right.

*The class will next Friday's morning session to complete these drawings.

COMPOSITION: Parts of the Puzzle

Circe Ament

Last Friday the class made a series of (6) compositional studies using the same (3) elements with a limitation of no more than (6) positive shapes per composition. The objective was to create the most varied and dynamic arrangements while trying to invent new shapes. The strength in Circe's collages above lies in her division of the negative areas. The most successful pieces are those with the large brown shapes. These compositions exhibit the most attention to balancing the positive and negative areas.

NOTAN: Positive and Negative Tension

Chani Spitzer-Christenson

Circe Ament

Friday morning began with a collage controlling the tension in the positive and negative areas. Notan was the final objective. In order for the collage to be successful, the positive and negative areas must be able to reverse rolls. On the one hand the white areas are seen as positive and on the other hand the black areas must be seen as positive with white negatives. In Chani's collage we are initially drawn to the convex white shapes before moving to the black strips. In Circe's collage we notice the animated arms of the white areas and there potential to reach and grab. The strength of the black strips lies within their interior cuts and strong sense of weight.

The afternoon project was twofold 1. make a grid of rectangles using three contrasting values 2. place distorted shapes of an original form (the fork) striving to achieve Notan.

BALANCING THE POSITIVE AND NEGATIVE: Expansion of the Square

Scott Russell

Yesterday the class explored the relationships between positive and negative areas of a composition. The project (Expansion of the Square) forces the artist to address both positive and negative areas by cutting shapes from a square and reversing them creating mirror images in white and black. There is no waste or left over pieces. Scott's design above is a very dynamic and rhythmic composition. The shapes appear to twist and form a circle within the square.

Rukhsana Kamal

Rukhsana's design illustrates the concept of NOTAN (the perfect balance between dark and light, neither shape trying to dominate the other). There are three criteria for Notan 1. The negative area must be enclosed creating an interesting shape. 2. The image must be reversible; the black and white areas my swap values without changing the balance. 3. The positive and negative areas must be able to trade roles; positive seen as negative and negative seen as positive. In the design above, the flower may be seen both as solids as well as cut-outs in a screen.

Gianna Davy

At the end of class students made asymmetrical designs based on the same concepts. Gianna's dynamic and flowing image is reminiscent of a figure in motion with outstretched arms and legs.

LINE: The Illusion of Space

Yesterday's class began with a review of the Distal Cues and an introduction to the Principles of Design (more info under the tabs above). After making a series of compositional studies exploring the application of the Distal Cues and Design Principles, the most successful compositions were redrawn on Bristol board and rendered with vertical or horizontal parallel lines. The drawing above illustrates a well balanced composition with at least 4 to 5 layers of depth complemented with rich, contrasting values. In addition, the use of accented line makes this drawing particularly strong and visually interesting.

LINE: Characteristics and Dynamics

Yesterday class began with a discussion on the characteristics and qualities of different kinds of Line. The first drawing was an inventory of four different kinds of line. Hayley's drawing below illustrates straight lines and curved lines with varying degrees of velocity. The dynamics increase in power and intensity towards the bottom of the paper. Notice how the changes in format influence the stretching, pulling and compacting of the lines within.

Hayley Irvin

The second drawing focused on straight lines, curved lines, angular lines and the combination of all. Sarah's drawing clearly illustrates how thicker lines advance in space while thinner lines recede. The spaces with one type of line are very unified whereas the combination of different lines adds variety and dynamics increasing the visual interest of the images.

Sarah Greathouse

We finished the day with a series of line drawings addressing shape, texture and depth within a composition. Tayler's drawing is an example of a symmetrically balanced composition with accented lines around the circles reinforcing their position in space. In addition, the rows of circles implies a linear path. The horizontal lines add texture as well as value increasing the sense of depth. Note how the lines get closer together as they recede.

Tayler Marsh

Heather's drawing is asymmetrically balanced. Depth is created primarily by overlapping forms and changing the size from large to small. The parallel lines on the frame shapes add texture and value providing a surface that stands apart from the background.

Heather Monnot-Griffith

CLASS INTRODUCTION

Today we went over the syllabus and required materials. Just a short day. Next week we will start in with explorations in the characteristics of Line with some drawing projects.

FINAL CRITIQUE

Here is just a small sample of the great work completed by the Art 3 Class of Summer 2014. Thank you to the whole class and enjoy the remainder of your summer.

Ashley Gunderson

Belen Chavez Silva

David Acevedo

Emiko Ogasawara

Lara Omopariola

Merrill Vargo

Nancy Aguilar

Carson Blodow

Ambiguous Space Project

The class finished work on the final project yesterday. Today we will critique the paintings and take a quiz.

Ambiguous Space Project

Monica Contreras

The class continued working on their final projects yesterday. Today will be a studio day as well. Tomorrow is a non-work day. We will critique the final projects and take our quiz.

PARALINE VIEWS: Ambiguous Space Project

On Monday the class began making sketches using oblique views and isometric views of cubes. Tuesday and Wednesday will be dedicated to painting the designs.

LINEAR PERSPECTIVE: Two- point (cont.)

Carson Blodow

On Thursday the class completed their two-point linear perspective drawings. Carson's drawing above illustrates the process with a well balanced design with repeating circles and cones throughout the composition. Notice how your eye is lead around the structure changing tempo as the edges move from exterior contours to more linear elements, such as the centrally located zig-zag. In addition, there is a secondary rhythm located in the repeated use of the invented textures.

LINEAR PERSPECTIVE: Two-Point

Yesterday the class began working on their two-point linear perspective drawings. We will critique them at the end of the day and turn them in with the portfolios.

LINEAR PERSPECTIVE: One-Point

Ashley Gunderson

Yesterday the class began working with One-Point Linear Perspective. In one-point perspective all parallel diagonal lines must converge at a single vanishing  point. In Ashley's drawing above the vanishing point is located in the center of the paper.
The class will continue working on these for part of today adding value and texture. In addition, we will discuss Two-Point Linear Perspective before the day is over.

COLOR SCHEMES AND PORTFOLIO

On Monday students continued working on their color studies. We critiqued the paintings at the end of class. After the critique, we discussed the characteristics of Texture. In addition, the list for projects to include in portfolios was posted. See tab above for the list.

COLOR SCHEMES (cont.)

Yesterday the class continued working on the color schemes project. More time will be given on Monday to complete the project and to improve those already completed.

COLOR SCHEMES

Amanda Edgar: Monochromatic (Warm)

Yesterday the class continued working on their color schemes project. Amanda's painting above is an example of a warm, monochromatic color scheme in red. Remember that adding white or black to a color only changes its value and not the hue. Notice how these additions to red alter the color making it appear like more than one color was applied.

VALUE: Deep Space

Brian Watts

Yesterday students finished up their shallow space compositions and started a deep space or 3-dimensional space painting.  Unlike 2-dimensional or shallow space which concentrates on the surface, the elements within a deep space will appear to recede into the picture plane. Stronger contrasts in value will yield a deeper sense of space. In Brian's painting above, depth is achieved by the use of a gradation in the background as well as the size change of the cubes (bigger in the foreground, smaller in the background). Students will have the first hour of class to finish their paintings before the critique and we move onto COLOR.

VALUE: Shallow Space

Merrill Vargo

Last Wednesday the class made value studies with the objective of creating a limited or shallow space. Shallow space compositions concentrate on the surface of the picture plane often flattening the elements. Notice in Merrill's painting above how the tonalities change in value as the shapes overlap and cross the composition. This allows the positive and negative areas to trade roles as well thus making the space ambiguous and flattened.

VALUE: Rhythm and Repetition

Students spent yesterday working on the R & R project. All of the drawings needed more time. I will collect the work next Monday and post pictures then. Update:Here is a very dynamic composition from Belen. The image is crammed with puckering squares and rectangles. Notice how the overlapping areas also add triangles into the mix. The drawing is filled with energy and shimmers like exploding highlights on a shiny, wet surface.

Belen Chavez Silva

VALUE: Rhythm and Repetition

Yesterday students began working with Value; the gradations between black and white. The Rhythm and Repetition project is a two day project started yesterday and will be finished by the end of class today.

COMPOSITION: Parts of the Puzzle

Nancy Aguilar

Last Thursday students finished their composition studies. Nancy's series above exhibits very dynamic shapes complemented by quick, swooping rhythms and movements. She has effectively balanced the positive and negative areas by dividing the field with large and small shapes. In addition, the images all project a strong sense of action by the claw-like menacing shapes reaching for and encircling the other elements.

COMPOSITION: Parts of the Puzzle

Yesterday students began making thumbnail sketches and cutting the pieces for the Puzzle Parts project. Today will be a work day followed by a critique before we break for the weekend.

SHAPE: Representation Vs. Distortion

Lisset Miranda

Yesterday students completed part two of the second shape project. First, students made a background of compartments. Notice the balance of the diagonal yellow rectangles supported by the large blue rectangle in Lisset's collage above. The second part was to place silhouettes of a tool that gradually becomes more distorted. But, the distortions are not random. Each rectangle must achieve Notan; the balance between light and dark. In other words, the negative areas must be treated with the same importance as the positive areas. The long silhouette on the right is the representational image. Notice the "pen-like tip" in the negative area of the handle. This motif is repeated throughout the modifications adding unity to the overall design. Although the original is a bit tight in its box, all the distorted silhouettes are well balanced with interesting negative areas as well as the positive areas.

CHARACTERISTICS OF SHAPE: Expansion of the Square

Monica Contreras

Monday began with a lecture on Shape. We discussed the differences between geometric and organic shapes, positive and negative, shape and form  as well as the affects of shape on content. The project involved cutting linear and shape elements from a 5 inch square of black paper and flipping them over to create a symmetrically balanced design.

LINE: The Illusion of Space

Carson Blodow

Class began with a discussion on the Principles of Design (see tab above). The project involved developing the illusion of space by drawing vertical or horizontal parallel lines across a composition of nonobjective shapes (circles, squares, rectangles and half circles). Carson's drawing above illustrates how a series of parallel lines will suggest a texture as well as tonalities. The composition is asymmetrically balanced with a movement established from the dark circle in the lower left, moving up to the triangle on the right and up again to the circles in the upper left corner. Depth is established by the diminishing size of the shapes as well as their diagonal, zig-zagging placement within the composition.

LINE: Line Dynamics

Taylor Ruffin

The objective of the day was to create the illusion of space by means of line drawings. We discussed cropping, symmetry vs. asymmetry and the distal cues (see tabs above for more info). Generally speaking the most dynamic compositions include diagonals and curved lines. Taylor's drawing above exhibits a curving central axis of discs moving away from the viewer and then back. The horizontal parallel lines establish the ground plane converging towards the horizon line. In addition, she has made the ground plane (foreground) a lighter value and the sky (background) darker.

LINE: Characteristics of Line

Class began with a slide lecture on the characteristics and types of line. The first drawing was a line inventory. Students explored the qualities and differences of four different types of lines. Belen's drawing illustrates straight, curving, zig-zag and looping lines. By expanding and zooming in on the lines as she moves down the columns, the negative space is diminished increasing the tension and its relevance within the composition.

Belen Chavez Silva

The second drawing was an exercise called Four Lines, Four Times. The objective was to explore the advantages of working with a singular line family as well as a combination of multiple line families. All students used straight, curved and angular lines and a mix of the three together. Notice how the overall weight of the page increases moving down the columns. Although Nancy has clearly addressed three different types of line, the bold, graphic nature of her renderings create a sense of unity across the entire paper. The last column of combinations is especially successful taking advantage of the qualities of each line family to create a very dynamic and compelling shape.

Nancy Aguilar