AP BREADTH 2D DESIGN Mrs. Welch. A Variety of works demonstrating understanding of 2D design issues

Transcription

1 AP BREADTH 2D DESIGN Mrs. Welch A Variety of works demonstrating understanding of 2D design issues

2 Your breadth will include a range of design principles such as the following: UNITY VARIETY RHYTHM PROPORTION SCALE BALANCE EMPHASIS CONTRAST REPETITION FIGURE/GROUND RELATIONSHIPS In applying these descriptors, consider the content, style, and the process of the work.

3 BREADTH Headless Character Study Scale Space Proportion

4 Which body part will serve as a metaphor for you? Begin by filling a page of your sketchbook with an inventory of every possible body part you can think of from legs to perspiration to, yes, even the soul. Expand this list by looking through anatomy books, fashion magazines, printouts, etc. and finding images of the human body. Choose a body part that you think will be the best metaphor for you? Begin to draw a self portrait that does not show your head but tells something significant about yourself through the depiction of another part of the body.

5 Requirements Use a full sheet of drawing paper. Use a drawing media of your choice. Pencil Charcoal Colored Pencil Pastels Oil Pastels Etc. Fill the entire space of the drawing paper. Don t draw something tiny with a lot of white space around it. Allow your drawing to go off the edges of the paper. Finish the drawing. Make sure the drawing LOOKS complete and neatly done.

6 BREADTH #2 Cut Paper Portraits Space Balance Figure/Ground Relationships Objective - Students will use their design skills to create a complex portrait in an environment that will be used to explore positive and negative space as well as contour line. Students will utilize their knowledge of organic and geometric shape when establishing an overall composition to base their final paper cut on.

7 SKETCHBOOK ASSIGNMENT! Students will create small contour drawings from their environment. Drawings must be from life and explore complexity of composition and line.

8 DIRECTIONS Take a series of digital photos with a primary subject in the foreground and an interesting background that has some pattern to it. Print out the photo full size on paper, black and white. With a black marker, trace over the image with a continuous contour line. It is important that you have no freefloating black lines or black areas. Fill in the shadow areas with solid black and thicken the lines until you have designed the photo into a graphical representation of the image. Using a copy machine, enlarge the photo with the black on it to (129%) Trim the excess white off the bottom of the copy. Gently tape the copy on the center of a black piece of paper cut to This will allow for a border around the image. Cut with a sharp xacto knife. Cut out all the areas that have not been drawn over with black marker, in other words, cut out all the negative space. Be aware of your craftsmanship skills. All space must hold together using a border that you create. Be careful bot to cut your image so it detaches from the border. Think of this as a piece of finely constructed lace as you work on it. The more intricate the lines the more interesting the final work will be. When you are complete, carefully glue the paper cut down to a mat board using glue stick or rubber cement.

9 BREADTH #3 Objective Students will select an object of interest using symbolism. Students will then create multiple original drawings to incorporate into their mixed media work. Students will research narrative/symbolic works and mixed media works. Students are to draw from life in their work and use the compositional skills they have learned. ORDINARY TO EXTRAORDINARY COLLAGE UNITY VARIETY

10 SKETCHBOOK ASSIGNMENT Draw symbols that you can relate to. Choose a single object of interest to you and start drawing that object from many different points of view. You must draw from life. Look at the object and draw it. Don t just draw it from memory.

11 MIXED MEDIA Pastel or painting and collage, that are combined in a single composition.

12 Many famous artists have mixed their media while creating art. Pablo Picasso and Joseph Cornell both have produced a number of mixed media masterpieces. PICASSO CORNELL

13 DIRECTIONS Create a series of drawings of a single object that has some meaning to you. Layer 1: Create layer one with a single field of color. What you use to create this color is up to you. Layer 2: Add a drawing or two onto the collage. How you add the drawings is up to you. Layer 3: Add a textural element to the collage Layer 4: More drawings Layer 5: Detail the collage. Use paint or pen to add surface detail to your collage. Pay close attention to making sure the collage board is completely covered and that your collage is well crafted.

14 REQUIRMENTS Minimum of 5 layers Size between 18X24 One object/drawing from Life Symbolic Strong composition and Visual Movement Unified colors and theme

15 Visual Dissection of a Natural Object Breadth # 4 Proportion Scale

16 OBJECTIVE Study one object in its minute details to find what makes it different from all other things in the world.

17 PROCEDURE 1. Find an interesting natural object, larger than a golf ball and smaller than a basketball. It should have intriguing shape made of several parts and lend itself to being studied. You may want to gather two of these items so you can take one apart and leave one whole. Examples of objects you could choose are: pine cones, fruit that can be studied from the inside and outside, crab shells, a skull, large seed pods, or an ear of corn with its husk.

18 PROCEDURE CONTINUED Begin by making sketches. Make several sketches of the whole object. Make several sketches of intricate details of the object. Do these until you start to understand the unique characteristics of the object; sketches should do the trick. Change the lighting on your object so you can see the shadows falling and highlighting different textures and shapes in the object. Dissect your object in a systematic and deliberate way. At each stage of dissection make a drawing that records the new visual information you have gained by making changes to your object, Keep a visual log of what you are doing to the object, Only once you have fully gained a complete understanding of the anatomy of your object should you begin your final drawing.

19 3. For your final drawing: Compose your page in an interesting way by showing several different views of your object. Make detailed observations of the smallest parts in larger scale. Diagram the object from different angles and points of view so that you fully describe the construction of the object. Create a visual flow through the entire page by analyzing shapes and building natural connections from one part of the object to another. Try to visually represent the dissection and discovery of the object as if you were critically describing it to someone from another planet.

20 BREADTH #5 BICYCLE STILL LIFE Develop your perceptual skills by setting up a still life of a bicycle and create an interesting composition as your subject matter. Do several gesture drawings of the composition in your workbook before you start on your final piece. Space Variety

21 OBJECTIVE Develop your perceptual skills by setting up a still life of a bicycle and create an interesting composition as your subject matter. Do several drawings of the composition in your workbook before you start on your final piece.

22 REQUIREMENTS Your composition must include one precise image of the entire object, and may include others from different angles. It must also include five or six detail images of various parts of the object. To add interest, vary the size of the images the image of the smallest detail could be the largest image on the page. Do not make all your images that same size or scale. All of your images should be placed so that they fill the space of your entire page in a dynamic and interesting way. There should be no text on your page. The images themselves will tell the viewer everything they need to know.

23 BREADTH #6 Create an art piece that uses foreshortening as a key component in the composition. Think about distortion and perspective in the space. Use color to enhance the feeling of the subject matter coming out of the picture plane.

24 OBJECTIVE Choose a challenging point of view from which to create your piece. Familiarize yourself with the correct way to see in order to draw to overcome inhibitions of such a challenging approach while observing a foreshortened figure. Scale Proportion

25 Arrange a group of objects, one of which has a greater length and projection towards the observer. Magnify the length of this object so that it seems to reach the limit of, or beyond, the format. The other objects will occupy their normal spatial position. Utilize depth of field when observing your subject. Use color combinations that enhance the object around which you re concentrating. Think about the subject placement.

26 BREADTH #7 SHADOW PAINTING Shadows create contrast in what we see. They can be a dynamic entity in and of themselves. Contrast Emphasis Balance

27 REQUIREMENTS You must have a shadow holding a prominent position of interest. You must include a portion or part of your subject (what is casting the shadow) You must cover the entire surface of your artboard. White space should be carefully considered and used only to enhance the composition.

28 DISCUSSION

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30 ROBERT LONGO GESTURE PAINTINGS BREADTH #8 Proportion Contrast Rhythm

31 PLANNING ACTIVITY Everyone shows up in their best clothes, with shirts and ties for the guys (suits if we re lucky) and nice dresses for the girls. We ve even had a couple of prom dresses make an appearance. Some of the more ambitious girls will wear heels. From there, it s just a big game of dodgeball! We line up, nerf balls and stuffed animals in hand, and throw one at a time. The model tries to dodge the throws, over-exaggerating his or her movements for the best poses. We will set up multiple cameras, as I ve found we have a better chance of capturing the best shots when we do so.

32 PROCEDURE After our photo shoot, you will select the photos you want to draw. You will make choices about composition when cropping and arranging photos, then it s just up to your drawing skills. Some grid, some freehand, but just try to emphasize detail and shading while keeping a blank background (in the Longo style). I ve done every size and can t really recommend one more than another. Huge drawings are always impressive if they are done well, but it s obviously quite a trade-off with the amount of time involved.

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34 BREADTH #9 ART AND CONFLICT Students will create a work of art that will serve as their personal response to a world conflict. This conflict could be a social injustice they see in the world, a war, an event, anything they feel connected to expressing.

35 ACTIVITY ONE Look in newspapers and magazines and online for articles about and pictures of war, and bring what you find into class. Make list of all the words that occurred to you while looking at the articles and pictures; the list may also include words from the articles themselves. Synthesize all of this into one inspiration board style sketchbook page. This can be a combination of images you found, words you wrote, drawings, paintings, whatever you feel connected to.

36 BREADTH #10 Reduction Block Print Rhythm Repetition Balance

37 REDUCTION PRINT LESSON IS ON MY WEBSITE:

38 KEHINDE WILEY You could use a reduction print process to create a background for a portrait to create a work of art similar to that of Kehinde Wiley.

39 BREADTH #12 ACETONE TRANSFER Variety Proportion Scale Figure/Ground Relationship

40 PROCEDURE Step 1: Place your paper, printed side down, on the surface to which you are transferring, and secure with tape on one side. Step 2: Cover a small section with. Step 3: Firmly rub the paper with the burnishing tool until the small section of the design has transfered, lifting the corner of the paper gently to check. Reapply acetone if necessary. Repeat steps 2 and 3 until all areas of the design are transfered. Step 4: Remove the paper and tape. The finished transfer will have a stamp-like quality, and won t be as bright as the original print.

41 TIMELINE AUGUST 14 - SUMMER ASSIGNMENT CRITIQUE AUGUST 21 - BREADTH 1 DUE SEPTEMBER 4 BREADTH 2 DUE SEPTEMBER 25 BREADTH 3 DUE OCTOBER 9 BREADTH 4 DUE OCTOBER 23- BREADTH 5 DUE NOVEMBER 7 BREADTH 6 DUE NOVEMBER 14 BREADTH 7 DUE NOVEMBER 21 BREADTH 8 DUE NOVEMBER 28 BREADTH 9 DUE DECEMBER 5 BREADTH 10 DUE DECEMBER 12 BREADTH 11 DUE DECEMBER 19 BREADTH 12 DUE