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Art 3 Projects

CLASS projects will cover a variety of media skills and content and are designed to challenge your current skills and knowledge, preparing you for independent study next year and beyond. HOME projects will complement the work done in class while helping to develop your artistic vision/voice. It is your responsibility to create sketchbook PLANNING pages for each project presented below. This practice will allow you the time and space to learn, explore, prepare, be curious, and to generate ideas.

Art 3 Gallery

HOME: Fantastic Four ("Head & Heart")

5/6/2019

The goal of this HOME project is to establish a starting point for the artistic journey that you will take in Art 4 (and for some of you, Art 5). It has been designed to:

REVIEW art production, interests & abilities, and ideas.
STRUCTURE personal exploration and understanding of the art-making process.
COMBAT the "blank canvas syndrome" that often plagues young artists.

OBJECTIVES:

Discover/strengthen an AWARENESS of what YOU want to make art ABOUT.
Explore VARIOUS MEDIA and PROCESSES, both 2 and 3D.
Investigate VARIOUS WAYS to express content.
PREPARE for the Art 4 summer assignment - and beyond.

DIRECTIONS:

STEP #1 - REFLECT. Your sketchbook/PLAY pages are a natural "seed bed" for your future ideas; look back through them in order to reflect on what you have been doing throughout the year. Pay attention to patterns that emerge and that may help identify your potential artistic vision/voice. LOOK FOR/THINK ABOUT/DOCUMENT:

SUBJECT: What have you depicted over and over? (portraits, animals, landscapes, abstraction/elements, etc.)
CONTENT: What ideas/themes have emerged repeatedly?
MEDIUM: What materials do you enjoy using/want to further explore?
FORM/PROCESS: What type of art/art processes (drawing, painting, printmaking, collage, mixed media, 2D, 3D, etc.) are you the most engaged with?
ENJOYMENT: Which pages were fun to make and kept you engaged in the process and the "flow" of making art?
CRITIQUE: Which pages were most successful (which were not)? Why? Was it the choice of SUBJECT? The expression of CONTENT? The use of MEDIUM? The specific FORM/PROCESS?

STEP #2 - PLAN. After reflecting on the points documented in STEP #1, review your list and differentiate between "Head" and "Heart" ideas. ASK YOURSELF/THINK ABOUT/DOCUMENT:

What SUBJECT or MEDIUM/FORM/PROCESS did I do the most of and/or did I most enjoy? Document your answer - label as "HEART."
What CONTENT/IDEA/THEME has emerged repeatedly as something I am clearly interested in exploring? Document your answer - label as "HEAD."

STEP #3 - MAKE. You will be making a total of 4 pieces to solve the "problem" of "HEAD" v. "HEART" (2 pieces for each). For example, if your "HEAD" answer was "identity," you will be making 2 works of art based on the content/idea/theme of identity. If your "HEART" answer was "landscape," you will be making 2 landscapes.

Follow these criteria:

Use DIFFERENT media in EACH work - AND at least ONE work must be 3D.
"HEART" work should be explored more organically - dive right in, PLAY!
"HEAD" work needs thinking and planning and research, etc. DO THAT.
PLEASE NOTE:
- While some of you may find that your HEAD/HEART "answers" are very different, others of you will find that there is a direct correlation.
- Craftsmanship is not a huge focus here but work should be presented in good condition (not folded, bent, broken, falling apart, etc.).
- Work should be bigger than what you would do in your sketchbook.

HOW YOU WILL BE GRADED:

Meet the deadlines: HEAD = June 3rd/HEART = June 5th.
Complete 4 works total - 2 each, HEAD & HEART.
Work must relate directly to your chosen HEAD/HEART themes. Stay focused!
Use different media/processes - one work must be 3D.
Post photos on a "Fantastic Four" page on your website (make this); within the page, separate HEAD from HEART images and include a brief statement of each.

CLASS: Indirect Oil Painting/Still Life

5/6/2019

Oil painting, while new for most of you, is a culmination of the lessons you have been learning along the way, from Art 1 until now. This project will offer you the opportunity to further refine your knowledge of:

OBSERVATIONAL DRAWING
COMPOSITION
STILL LIFE
SYMBOLISM/CONENT (if you choose your still life objects specifically)
VALUE - to create FORM through highlight, mid-tone, shadow, cast shadow, etc.
COLOR THEORY (HUE, VALUE, SATURATION, COLOR HARMONY, etc.)
MIMESIS - what does it take to draw/paint with a high level of realism?
DIRECT (alla prima) v. INDIRECT painting (using underpainting and glazes)

Use the following resources to brush-up on what you already know AND/OR to investigate topics that are new to you. Come back often throughout the project as you have questions or need further review.

What is UNDERPAINTING?
- How are GRISAILLE and BRUNAILLE used as part of the underpainting process?
- HOW TO DO IT! (one way, at least)
- Watch a copy of Jan Vermeer's "Girl With a Pearl Earring." step by step
Duane Keiser videos are really fun to watch (direct painting)
THE DIFFERENCE BETWEEN OIL AND ACRYLIC PAINTS

THESE TUTORIAL VIDEOS ARE VERY HELPFUL. Notice that artists use MANY different techniques and many versions/combinations of these techniques. After lots of experience, YOU will be able to make the best choices for your own work.

DOCUMENTATION; photograph your art.

3/13/2019

Learn how to use a digital DSLR camera

digtal_photography_basics_for_beginers.pdf
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basic_principles_of_photography.pdf
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CLASS: Additive Sculpture

2/11/2019

"The job of a sculptor is as much about empty space as it is about form." - Anish Kapoor

Title: Cloud Gate
Artist: Anish Kapoor
Year: 2006
Medium: Stainless steel sculpture
Dimensions: 10 m × 13 m × 20 m (33 ft × 42 ft × 66 ft)
Location: Millennium Park, Chicago, Illinois, United States

So many possibilities, so little time... In the next quarter, you will be experimenting with a select number of sculpture methods in order to create a 3-dimensional piece inspired by the CONTENT found so far in your PLAY pages.

Start PLANNING for this work by looking at the images, vocabulary terms, and resources posted below:

Sculpture, like 2-dimensional art, can be made with myriad materials and techniques. Look through these images to see just some of the many possibilities. Since the MEDIUM an artist uses - and the STYLE in which an artists works - is related to CONTENT, it's a good idea to start thinking NOW about how YOU can best communicate your ideas.

Take a moment to learn about a specific style of sculpture, which was inspired by the AbEx movement that came before it (and which you are now fairly familiar with). Then THINK... what might YOUR sculpture communicate and how will you attempt to get your point across?

THE LISTS BELOW ARE NOT FINITE. STAY TUNED.

Some vocabulary to know (see also, the handout):

Relief (bas, mezzo, alto, and sunken) v. In-the-round
Assemblage
Additive vs. Subtractive
Found object
Kinetic - mobile vs. stabile
Realistic, abstract, non-objective, conceptual
Armature
Maquette
Scale
Surface

Some artists to know (see also, Artist Spotlights):

Martin Puryear
Louise Nevelson
Alexander Calder
Nick Cave
Henry Moore
Robert Arneson
Richard Serra
Andy Goldsworthy
Eva Hess
Tara Donovan
LEGENDARY SCULPTURE ARTISTS OF THE 20TH CENTURY
TOP TEN SCULPTORS WORKING TODAY

Some materials and processes we *may* experiment with. Remember, your choice of MEDIUM is as important as your choice of SUBJECT, COMPOSITION, AND CONTENT!

CARVING: subtractive carving from a Creastone block or other solid form
BUILDING: with styrofoam, wire, cardboard, etc.; use these forms as-is or as an ARMATURE to be covered with: Plaster gauze, papier mâché, burlap, fabric, etc.
CERAMIC: Think about ways that basic hand-building methods can be used to create work in a larger scale and with specific form and textures.
BOOK ART: VCU has an amazing collection that will change your definition of a "book."
FOUND OBJECTS: use things that already exist to express content (thank you, Marcel Duchamp!).

Additional resources to explore:

Expressive Busts

AND, FINALLY, PLEASE DON'T FORGET....In addition to everything mentioned above, please apply EVERYTHING ELSE you have learned along the way!!! This is a cumulative process; you didn't get to Art 3 by not learning things. WHAT HAVE YOU LEARNED? USE IT!!!

CLASS: AbEx Painting (and color theory)

11/26/2018

Sophia Johnston 2017 Scholastic Silver Key

ABSTRACTION is a general term but understanding its beginnings is helpful in understanding its many iterations throughout art history. Since the next unit of study will focus on Abstract Expressionism (AbEx), starting with a review of ABSTRACTION in general will be helpful. Additionally, this project will reinforce your investigation of the properties of ART (subject, composition, content) as well as the importance of COLOR.

WATCH:

READ:

From MoMA Learning - Abstract Expressionism:

"Abstract Expressionism is a term applied to a movement in American painting that flourished in New York City after World War II, sometimes referred to as the New York School or, more narrowly, as action painting. The varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content. These artists moved away from European traditions of painting to create a distinctly American kind of art, which both acknowledged and challenged the domination of early 20th century giants such as Henri Matisse, Pablo Picasso, and Vasily Kandinsky.

Abstract Expressionism is best known for large-scale paintings that break away from traditional processes, often taking the canvas off of the easel and using unconventional materials such as house paint. While Abstract Expressionism is often considered for its advancements in painting, its ideas had deep resonance in many media, including drawing and sculpture."

WATCH:

THINK:

IF A PAINTING IS NON-OBJECTIVE, DOES IT STILL HAVE A SUBJECT?
IF THE SUBJECT OF A PAINTING IS NON-REPRESENTATIONAL, IS COMPOSITION STILL IMPORTANT?
IF A PAINTING IS NON-OBJECTIVE, CAN IT (SHOULD IT) HAVE CONTENT?
IF A PAINTING IS NON-REPRESENTATIONAL, DOES COLOR CHOICE MATTER?

Hopefully, you answered "YES" to all the questions above. You will have the opportunity to experience those answers while investigating the specific characteristics of AbEx painting:

Gesture and mark-making (action painting)
Paint type and application (media, tools, and processes)
Layers and edges (figure/ground relationship)
Color theory (perceived v. emotional responses)

Speaking of color theory, GO TO THE COLOR PAGE. What do you already know? What do you need to review? What is completely new to you? Do you remember the terms below? From this list, which do you think are the most important in the context of AbEx painting?

LOCAL COLOR - the natural color of an object in ordinary daylight, uninfluenced by the proximity of other colors.
OPTICAL COLOR - the way a color appears, depending on the proximal colors and specific lighting situation.
ARBITRARY COLOR - color selected by the artist based on personal, emotional, or symbolic preferences and content of the work.

Do you know about SIMULTANEOUS CONTRAST? It refers to the manner in which colors affect each other when placed close together (see OPTICAL COLOR). The term was coined by French chemist Michel Eugène Chevreul, in his book, "The Principle of Harmony and Contrast of Colors," published in 1839. Artist Josef Albers continued to explore this concept in the 1950s.

The video below illustrates the concept of simultaneous contrast. The colored square in the center is the SAME yellow throughout but APPEARS to be a different yellow, simply because of its surrounding color. Pretty cool - and helps you to understand the importance of your color choices!

The video below further illustrates the concept of simultaneous contrast and gives you a chance to test your visual acuity. Again, the purpose here is to illustrate how powerful a tool simultaneous contrast is - and therefore drive home the importance of color choice to an artist.

AND THERE IS MORE! The resources below can further reinforce your understanding of simultaneous contrast:

Color is Relative (make sure to watch the jazzy little instructional video)
More explanations about simultaneous contrast with practice assignments (some of which you will do in class)
How to use Simultaneous Contrast in Painting

STILL CURIOUS ABOUT ABEX? HERE'S MORE:

HOME: Self-Portrait/Old Master's Marks

11/5/2018

What did you learn from copying the work of your Old Master?

Among other things, you should now have a better understanding and appreciation of the properties of drawing (right).

The next step is to create a self-portrait using these properties of drawing, along with the deliberate mimicry of your old master's mark.

Think about: SUBJECT - COMPOSITION - CONTENT:

The SUBJECT in this case will be YOU - you need to take a photograph that is illustrative of your personality.
Your photograph should have a STRONG COMPOSITION because:
1. Composition can make or break a work of art.
2. Composition can communicate content. For example, are YOU static or dynamic? Your composition should follow suit.
The CONTENT of your work is your personality and what you are trying to communicate about yourself through both the composition and choice of pose, props, lighting, etc. You are still mimicking the old master's mark but everything else should be YOURS.

When taking/editing your photographs, consider the importance of lighting... LOOK FOR THE VALUES THAT YOU WILL BE DRAWING - THINK ABOUT HOW THE VALUES WILL BE TRANSLATED THROUGH MARK-MAKING.....Take many photographs so you can choose the best one; include your favorite options on your PLANNING page.

To help illustrate what was explained above, study previous examples of student work. Critique their use of the three properties of art PLUS their ability to mimic their Old Master's mark. Some examples are below and you are encouraged to explore more by looking at the Art 3 Gallery and searching through student website galleries HERE.

Rhiannon Doane, 2016

Hana Kruse, 2016

Izumi Miyazaki, 2015

Megan Lee, 2015

AFTER consideration of the above information, and with help from teacher/classmates:

Choose the self-portrait photograph that you will use. Print it out.
Select your paper (same as before). Size it to match the proportion of your photograph, deckle the edges as needed.
Grid/sketch or use a "cartoon" process for transferring your image. Remember to go easy with the eraser to avoid damaging the paper.
Tone paper (optional/as needed) - if you used a cartoon, you can tone first.
Start drawing with the selected medium and with the Old Master's mark!

KEEP your photograph and your Old Master's image side by side for the duration of this project. IT IS CRITICAL THAT THE SAME MARK IS EMULATED IN YOUR SELF-PORTRAIT. Don't lose sight of that goal. Don't worry, you WILL be developing your own mark eventually! This continued study of your Old Master's mark is a way to further refine your skills through deliberate observation and practice.

DON'T FORGET!!! Take pictures of your daily progress & publish weekly PROCESS posts on your blog!!!

CLASS: Learning from the Old Masters

9/4/2018

Leonardo da Vinci said: “To draw is to learn to see”. How can the act of copying an Old Master's drawing help you "learn to see"? How can this improved ability to "see" help you improve your drawing ability?

Objectives:

Learn about the artists we call the “Old Masters,” including the time period of the Italian Renaissance
Study the drawing techniques of the Old Masters by faithfully reproducing a work of art (free-hand or grid, value through mark-making, line quality, modeling of form, accurate proportion and perspective)
Practice mark-making skills using charcoal, conté crayon, pen and ink or silverpoint

Procedures:

Step 1: Choose an Old Master drawing that clearly exhibits intentional mark-making; make sure to have a VERY HIGH RESOLUTION image to work from.
Step 2: Determine the correct size paper for your enlarged drawing. LIGHTLY sketch the basic structure of the image you have selected. You may work freehand or use a grid (the grid was used extensively during the Renaissance as a method for reproduction with correct proportion). Apply all drawing lessons learned to date (like drawing upside down!) and don’t forget to pay VERY close attention to the negative space. REPEAT: DRAW LIGHTLY. ERASING WILL DAMAGE THE PAPER, WHICH WILL BECOME VERY OBVIOUS AFTER TONING!
Step 3: Tone your paper with a water-color wash. This is not mandatory but, if you drawing includes white highlights, this method is important to provide a mid-tone as a starting point. It also can make your new paper look more authentic.
Step 4: Begin to apply the master's marks.
- You will use the same materials used by the artist you are studying. Remember, you are studying from the master, not tracing or merely copying; you are trying to understand his process and sense of form through use of mark making, line quality, and modeling of form.
- Take on the role of the artist who created the work that you are studying; if it is Leonardo, for example, you must ask your self, “How did Leonardo's hand move? How did his wrist turn? Did the pressure he was applying vary as he worked? Why?” Become the Old Master, pick his brain…Analyze the mark before you try to reproduce it. Was it a series of gestural strokes, did he change the speed of the line? How did he traverse the form finding its repeating and opposing rhythms? How does a line travel over the form? Do you remember CROSS CONTOUR exercises Drawing Bootcamp in Art 1 or from the pen and ink still life in Art 2?

What does a successful student-copy-of-an-Old-Master-drawing look like?

Accurate transfer of the original proportions and composition (negative space!)
Clear evidence that you have really studied the original work
Replication and accuracy of the Master's mark

WHO ARE THE OLD MASTERS? WHY DO THEY MATTER SO MUCH? Use the resources below as a starting point for finding out. Document info. and thoughts in your sketchbook as you plan for the upcoming project.

Here is a very long list to get you started - Peruse it. What names were familiar? How may artists had you never heard of before? Click on some links to learn/see more.
A recent article New York Times article speaks to the relevance of the Old Masters - "All art was once contemporary." Think about that... it's 2018, why should we care what happened in the art world 500 years ago?

A CONTEMPORARY CONTEXT: