Simulated Hand Painted Photograph Techniques Project Name:

Transcription

1 Simulated Hand Painted Photograph Techniques Project Name: STEP ONE: REVIEW the attached Photocollage Vocabulary and Manipulation/ Transformation: Operational Techniques and begin thinking about what kind of 4 different Simulated Hand Painted Photograph Techniques/ photocollage and manipulation techniques you want to incorporate into your 4 final photo images. STEP TWO: BRAINSTORM possible themes for your 4 different Simulated Hand Painted Photograph Techniques project. STEP THREE: DRAW a series of at least 4 different possible conceptual sketches incorporating at least 4 different photocollage and manipulation techniques. Consider: Pattern, Contrast and Variety in your overall design. STEP FOUR: GET approval from the teacher of one of your 4 possible themes. STEP FIVE: CREATE and MANIPULATE your artwork either using a combination of traditional and technological means. (In Adobe Photoshop using Artistic Filters) STEP SIX: REFLECT by answering and submitting the following questions: ) What aspect of your finished work do find most successful and why? 2) What aspect of your finished work do find least successful and why? 3) If you had to do this project again, what would you do differently and why?

2 Photocollage Vocabulary Photocollage: Combining multiple pictures into a single image, digitally or mechanically. Base Picture: The image(s) chosen to be the foundation of your photomontage. Pictorial Element: An object or person taken from another picture. Proportion: The relationship between picture elements (size and placement). Mechanical Photocollage Layering of picture elements by hand using a 35-mm camera and manual cutting and pasting tools. The final image can be photographed for a seamless effect. Digital Photocollage: Layering of picture elements through the use of digital imaging computer software, such as Photoshop, etc. Scanner: Image input device which converts analog pictures into digital form. Digital Camera: Camera which saves images in digital form, thereby making it easy to input images into a digital imaging software program. Special Effects: Enhancing images digitally or mechanically through the use of hand-colouring, airbrushing, and other photographic controls (e.g., depth of field, blurring) Building a Photocollage: Basic Concepts These concepts can be applied to both digital and mechanical methods of creating a photocollage.. SETTING THE STAGE Start with a base picture; add a backdrop; establish foreground, middleground, background 2. ADD PICTURE ELEMENTS Adjust placement/arrangement of picture elements according to whether they belong in the foreground, middleground, or background 3. ESTABLISH PROPORTION Adjust size and placement of picture elements to produce a cohesive final product. 4. DIRECT THE ACTION (Placement of picture elements will affect the dynamic of the image.) 5. INCORPORATE LIGHT AND SHADOW Light works to enhance desired atmosphere; direct viewer s eyes; and integrate picture elements. Shadows: harsh/dark shadows indicate a bright light source; light-coloured shadows indicate softer light hard-edged shadows indicate that the object casting the shadow is close to whatever the shadow is falling on; soft-edged shadows indicate that the shadow has travelled a great distance 6. INCORPORATE SPECIAL EFFECTS (hand-colouring, airbrushing, filters) 7. OUTPUT/TRANSFER Onto a variety of supports if completed mechanically (paper, wood, walls, furniture, doors, etc.) Onto a variety of papers if completed digitally (watercolour paper, photographic paper, transfer paper, transparency for project purposes, T-shirts) Onto screen, wall, etc. through use of LCD projector if completed digitally

3 Manipulation/Transformation: Operational Techniques. Magnification: The reconstruction of a subject on a much larger scale than that of the original; for example, a pencil sharpener, eight feet high as a subject for sculpture. 2. Minification: Making an object appear smaller; for example, an art museum created the size of a shoe box. 3. Multiplication: Repeating images or forms within a composition, a grid structure, a kaleidoscopic pattern in reflected images. 4. Substitution: Changing the original qualities of objects and surfaces: a soft telephone, a wooden light bulb, a concrete pillow. 5. Reversals: Reversing colour, perspective, functions, relatives sizes and so on; reversing the laws of nature, such as gravity. 6. Fragmentation: Splitting or fragmenting objects or images. The subject may be either partially developed, fragmented, or dismembered. Splitting planes, as in Cubist art. 7. Partial Delineation: Drawing, carving, or presenting only a portion of an image in its finished state; depicting an image emerging or becoming engulfed in its environment Michaelangelo s unfinished Slaves, for example. 8. Distortion: Changing an object or image by deformation, distortion, or progressive states of degradation: burned, dissolved, decomposed, crushed, cracked. 9. Disguising: The use of latent or hidden images; obscuring the qualities of an object by wrapping, masking or camouflaging.. Metamorphosis: Depicting images or forms in progressive states of change.. Transmutations: A radical form of metamorphosis; creating Jekyll and Hyde transformations, mutations, alterations, hybridizations, re-materializations. 2. Simultaneity: Presenting several views or time modes simultaneously, for example simultaneous presentations of side, top, back, and bottom views, as in Cubist painting; temporal dislocations, such as the simultaneous presentation of childhood and adult memories or various time space situations; simultaneous presentation of different sensory experiences. 3. Soft Focus: Changing focus of all an image; blurred edges or contour lines; photographic images blurred by movement or panning. 4. Transference: The intrusion of an object or elements into a space or environment not normally its own; the displacement of an object or elements in a new situation. For example, a huge egg towering above the skyscrapers of New York City s skyline. 5. Collapsing Volume: (or vise versa: expanding two dimensional forms into three-dimensional objects): Rendering three dimensional subject to appear flat or transparent, through the use of contour line, silhouette, transparent planes. And the reverse: a well known painting interpreted as a three dimensional form. 6. Animation: Inanimate subjects can be made to come to life : organic or inorganic subjects can be given human qualities. Functions can also be implied through image repetition and progression; for example, overlapping silhouettes of scissors in various open and closed positions to suggest cutting. 7. Progressive Image Breakdown: Subjecting an image to treatment that tends to deteriorate, obscure or progressively break it down to simple shapes or patterns: using translucent collage overlays to obscure images; sequential colour photocopying to break down detail; gridding and transforming; computer serialization. 8. Positive Negative Reversal: Using the photographic negative rather than the print (or both) in a composition; using female moulds or concave shapes to abstract figurative sculpture (as in the work of Alexander Archipenko and Cubist sculptors)

4 Artistic Statement Template Name: Artwork Title: A) Influence(s) and research from past and present works: B), Operational techniques used in my work and how they support my intended visual message: First Photo Title: Second Photo Title: Third Photo Title: Fourth Photo Title: C) REFLECT by answering and submitting the following questions: ) What aspect of your finished work do find most successful and why? 2) What aspect of your finished work do find least successful and why? 3) If you had to do this project again, what would you do differently and why?

5 Simulated Hand Painted Photograph Techniques Project Rubric Name: Achievement Criteria Thinking/Inquiry Concept & Meaning: Conceptual Design Level Level Level 2 Level 3 Level 4 Meaning or ideas conveyed are not on par with student s.25 weak. Meaning or below expectations strong. Meaning or above expectations / Conceptual Design 2 Conceptual Design 3 Conceptual Design 4 Knowledge/ Understanding Design Process: Develop and apply a variety of approaches to communicate ideas and solve problems Elements & Principles of Design Meaning or ideas conveyed are not on par with student s.25 Meaning or ideas conveyed are not on par with student s Limited Limited elements & principles of design while composing works. weak. Meaning or below expectations.25.5 weak. Meaning or below expectations.25.5 weak Some 2 Some elements & principles of design while composing works Considerable 3-4 Considerable elements & principles of design while composing works. strong. Meaning or above expectations strong. Meaning or above expectations strong. Superior 5 Superior elements & principles of design while composing works. / / / /5 / Project Questions: Reflective Application/ Creation Demonstration of Design and Creation Processes and following procedures: 4 Conceptual Designs, Final 4 Images Communication Clarity: 4 Different Simulated Hand Painted Photograph Techniques Work does not meet assignment expectation s for this category of assessmen t. Work does not meet assignment expectation s for this category of assessmen t. Poor, yes/no answers/limited incomplete Limited the following procedures; skills, and procedures to Spot Colour photos with limited 5 Work demonstrates a limited degree of clarity in concept..25 Somewhat coherent and somewhat complete..5- Some the following procedures; skills, and procedures to Spot Colour photos with moderate Work demonstrates some degree of clarity in concept Clear and substantial answers Considerable the following procedures; skills, and procedures Spot Colour photos with considerable Work demonstrates considerable degree of clarity in concept Superior and insightful answers. 2 Superior the following procedures; skills, and procedures to Spot Colour photos with a high degree of 8- Work demonstrates a high degree of clarity in concept. /24 A. The Creative Process: apply the creative process to create media art works, individually and/or collaboratively; A. use a variety of strategies (e.g., brainstorming, concept webs, mind maps, advisory/production team discussions, research using a variety of sources) to investigate increasingly complex creative challenges and to generate and organize innovative ideas, individually and/or collaboratively, for addressing these challenges A.2 develop detailed plans, individually and/or collaboratively, that address a variety of creative challenges, including increasingly complex challenges (e.g., reflect on and filter their ideas to select a feasible one as the basis for their plan; use storyboards, thumbnail sketches to help develop their plans; and assess and refine their plans on the basis of feedback and reflection A.3 produce and refine media art works, including increasingly complex art works, using research, exploration, input, and reflection /2 / /

6 A.4 exhibit or perform media art works, including increasingly complex works, independently and/or collaboratively, using the most appropriate methods for the work A.5 create a detailed record of their use of the creative process in the production and presentation of a media art work, using a tracking tool compatible with the medium/media used in that work (e.g., a sketchbook showing modifications to the design), and use this record to determine, through reflection, how effectively they applied the creative process A2. The Principles of Media Arts: design and produce media art works, applying the principles of media arts and using various elements from contributing arts (dance, drama, music, visual arts); A2. investigate and analyse how media artists use the principle of hybridization, and apply that principle and at least one other principle in the design and production of media art works that incorporate elements from contributing arts A3. Using Technologies, Tools, and Techniques: apply traditional and emerging technologies, tools, and techniques to produce and present media art works for a variety of audiences and purposes. A3. explore a wide range of increasingly complex traditional and emerging technologies, tools, and techniques, and use them to produce highly effective media art works A3.2 create and present media art works that are highly appropriate for a variety of specific audiences and venues B. The Critical Analysis Process: demonstrate an understanding of the critical analysis process by using it to monitor the creative process, and by examining, interpreting, assessing, and reflecting on media art works; B.2 use the critical analysis process, including the process of deconstruction, to analyse and evaluate different types of media art works B.3 analyse how their interpretation and evaluation of a media art work evolved through each stage of the critical analysis process, and communicate their findings in a creative way B.4 use the appropriate components of the critical analysis process throughout the creative process to assess the effectiveness of their decisions, to determine their next steps, and to analyse audience responses to their mediaart work B2. Identity and Values: demonstrate an understanding of how media art works reflect personal and cultural identity, and affect personal, cultural, and community values and their awareness of those values; B2.2 analyse, on the basis of investigation, the ability of media art works to express and promote cultural identities C. Terminology: demonstrate an understanding of, and use correct terminology when referring to, elements, principles, and other concepts relating to media arts; C. explain the stages of the creative and critical analysis process with reference to media art works, and explain and use correctly and appropriately a broad range of terms related to the conventions, concepts, principles, and elements of media arts when creating or analysing media art works C2. Contexts and Influences: demonstrate an understanding of the sociocultural and historical contexts of media arts; C2. analyse in detail the connections between a contemporary media art work and related historical art works C2.2 investigate and explain in detail the history and development of a range of media arts technologies C3. Responsible Practices: demonstrate an understanding of responsible practices associated with producing, presenting, and experiencing media art works. C3.4 identify a broad range of positive character traits associated with media arts production, and exhibit these traits consistently in both their independent work and their interactions with others (e.g., show initiative at the outset of creative production processes; demonstrate cooperation and responsible leadership in a team environment; show respect for their tools and work environment and for the opinions of others)