The 4 C s Strategies to Improve a Portfolio
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1 The 4 C s Strategies to Improve a Portfolio Nicole D Brisco TAEA VP Membership School Arts Contributing Editor nbrisco@pgisd.net
2 COLOR
3 Innovative Colors Utilize artists as master teachers. Use color schemes that express mood or tone. Do not limit yourself to similar imagery. Example: Use the colors of a landscape for a portrait. Use appropriate color schemes for the style in which you are working. Example: It is difficult to use a triad color scheme on a work that requires blending and value. When working from life consider colored light. Print original self directed photos in black and white to avoid predicable colors. Experiment with colors on a test page first. Blend your own colors. Never work directly from a tube. Ask yourself what colors would create the color you seek. Example: It is bluish, greenish, brownish.
4 Field Test Colors First
5 Inspired by Eric Fischl, On the Stairs of the Temple 1990 Student Work
6 Inspired by Erin Morrison Journal 2007 Student Work
7 Inspired by Catherine Mackey Urban Doorway Student Work
8 Inspired by Malcolm Liepke Catnap Student Work
9 Student Work Inspired by David Janssen Motion #1
10 Student Work Inspired by Jylian Gustlin Erro 15
11 Inspired by Odd Nerdrum Return of the Sun Student Work
12 Student Work Inspired by Alice Neel Hartley
13 Inspired by Francoise Nielly Abstract 17 Student Work
14 Inspired by Jason Shawn Alexander The Last Red Hat 2007 Student Work
15 Inspired by Malcolm Liepke, In Her Arms Student Work
16 Inspired by David Cobley, At The Easel I Student Work
17 Inspired by Larry Rivers Washington Crossing the Delaware Student Work
18 Inspired by Katelyn Alain A Masculine Affair Student Work
19 Student Work Inspired by Harry Ally
20 COMPOSTION
21 Inviting the Viewer in Through Composition Composition can make a good drawing bad and a great drawing amazing. Always consider visual movement in a work of art. Thumbnails are essential. The more thumbnails you have the more options you have for success. Typically the first idea is the least interesting. Consider the interior composition, the edges, and depth within the space. NO MOP (Middle of Space) unless it is clear and intentional. If you are struggling use a digital camera. It allows you to easily zoom in and out and move around to create a full composition. Combine thumbnails if they are too boring. Edit. Edit. Edit. Consider cropping part of your image off to eliminate space. Take a picture of your work and print it out. Work on top of this piece and experiment with what you can do to make it better. Sometimes it is difficult to risk take on your actual piece.
22 EXPLORE A VARIETY OF IDEAS
23 Unusual Perspectives: Worms Eye, Human Eye, and Birds Eye
24 Controlling The Eye Through Line
25 Moving the Eye Through Repetition of Elements
26 Balancing the Work Though Color
27 Convergence to Control the Eye
28 Diagonals, Verticals, and Horizontals to Direct
29 The Importance of Space When Used Correctly
30 Middle of Page When Used Intentionally
31 Longer or Taller Compositions to Create Interest
32 Rhythm to Help the Eye Flow
33 Shadows to Create a More Dynamic Space
34 Variety of Size to Create Interest and Focal Point
35 Leading the Eye In Using the Edge of the Page
36 Filling 2/3 of the Compositon With Positive Space
37 Dealing With Depth of Space to Make a Simple Composition Interesting
38 Balancing Complexity with Simplicity
39 Search for Compositions that Capture Repetition in the Natural World
40 Overlapping and Layering to Create Interest
41 Abstraction Through Natural Objects to Create Design
42 Subliminally Repeat Patterns to Create Unity
43 Use Your Sketchbook to Explore a Composition
44 Force a Focal Point Through Unusual Scenarios
45 CONTENT
46 A Point of Departure Begin with an interesting concept. Search for ideas using other artists, definitions, word mapping ( books, or poems. Combine ideas to make more complex ideas. Consider visually abstract imagery. Example feelings, moods, time. Ideas that you must illustrate conceptually. Consider concrete imagery. Example houses, figures, objects. Ideas that can be easily represented. Thumbnail through multiple personalities. Respond to your world. Don t just represent it.
47 SEARCHING FOR IDEAS
48 Ideas Through Words
49 Ideas Through Identity
50 Ideas Through Perception
51 Ideas Through Abstract Representation
52 Ideas from Individual Objects
53 Ideas Through Emotion
54 Ideas Through Combining Concepts
55 Ideas Through Social Commentary
56 Ideas by Combining 2D and 3D
57 Ideas Through Identity of an Inanimate Object
58 Ideas Through Combining Real and Fantasy Worlds
59 CONTRAST
60 High Lights and Low Lights Always consider the work in person and through the lens of a camera. Look at your work with a blurry eye. Can you see the images easily when you do this? Work with light. You can always tone it down but it is hard to amp it up without understanding it. Consider light in a variety of ways: Colored Light, Unusual Light Sources, Multiple Light Sources, Natural Light, Light Patterns, and Shadows. If you are having a difficult time seeing that your work appears muddy take a picture of it and adjust the lighting. Did it make a difference? If so revisit your work and push the highlights and low lights. Consider using color in your shadows and not black.
61 VALUE SCALE
62 Light To Influence Environment
63 Strong Contrast to Create Mood
64 Full Range of Value to Show Form
65 Light To Identify Focal Point
66 Using Color and Light
67 Contrast to Juxtapose Two Ideas
68 Light to Separate Two Spaces
69 Light Used to Address Negative Space
70 Lighting to Create Drama
71 Multiple Light Sources
72 Under-painting or Exposing to Define Light
73 Light to Control Eye Movement
74 Working with Multiple Solutions to Make a Bold Image
75 Unusual Light Sources
76 Colored Light to Create Interest
77 Using Color to Create Shadows
78 Chiaroscuro
79 The 4 C s Strategies to Improve a Portfolio To view or download this Power Point go to: To left pull down menu: Pleasant Grove High School To go to: Teacher Web Pages Select: Nicole Brisco Click on sidebar: TAEA 2008 (This is a large file please be patient in downloading it) Nicole D Brisco TAEA VP Membership School Arts Contributing Editor nbrisco@pgisd.net
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