Art 3 – Due Nov. 6 for Bicycle abstractions


Benedict’s Primer Creating Relationships

Look at page 24 and discuss what kind of relationship you are building.

Look at page 28 and discuss which sequence and which organization principles you are currently using in your bicycle painting.

Comment on one other element in this document that you find of interest to what you are doing in the studio and explain why it is relevant to you.


6 responses »

  1. The relationship I’m building is a pattern (I assume). I basically zoomed in on one part of my bicycle drawing, traced it, and then retraced that same part on the other side of the paper. There is no obvious pattern but if you look carefully, you can see where the first part ends and the second part begins. I like it because it worked perfectly with the wheel. It is confusing but interesting!

    The sequence principles I’m using are created through rhythm and repetition. I have the same part of a bike in different parts of my paper that overlap but in a discrete way. The organization principles I’m using are probably a mix between alignment and lineal. There are relationships between the edges but there is also a discrete axis.

    I thought the section about creating relationships was interesting. I will probably try and use some of those ideas (color, value, tone, etc) to create different patterns and symmetries.

  2. I found the explanation of relationships to be a bit confusing, but as far as I can tell, I am building a balanced relationship. I basically drew one part of the bike, flipped the paper sideways, and redrew the same part of the bike. There is no real pattern apart from that. There’s not much contrast because there’s no pattern to break, and, on account of that, there’s no overarching hierarchy. There is, however, balance in the way I use the negative spaces and in the way I use colors.

    It’s difficult to tell what type of sequence and organization I’m using in my bike painting without having it in front of me. Besides, everything looks random to me, but I’ll do my best. I think I’m using a rhythmic sequence in that both the color scheme and the actual positioning of the lines and shapes repeat and form a sort of pattern. Nothing really gradually changes size or color, and nothing transforms from one shape to another. As for organization, I think I’m using a combination of lineal and figural. It’s lineal because I’m rotating a shape around a line and connecting and adding things from there. It’s also figural because, obviously, it’s a bike, and it uses parts of a bike to make people see that part of the bike.

    The section on shape was very interesting. I especially liked the part where it says that a shape is only seen as something because we assign a symbolic meaning to it. This can relate to everyone’s bike painting in that they are all made of shapes, and we can look at those shapes and see things in them that others might not see, assign symbolic meaning to random patterns. It’s psychological.

    • This is a very thoughtful analysis and in reading this and others’, I am struck by all the mental activity that goes into an artwork and is then repeated with the actual journey that a viewer takes when looking at the artwork. And, all this happens on a flat, 2d page. It’s an amazing feat of consciousness! In addition, it’s a pleasurable journey, and, as you point out, also psychological.

  3. I think I am using organized pattern, as I copied a part of the frame and petal, flipped it, and set it next to the other. This my also be a relationship of balance, because my piece only has the frame twice, there is a line of symmetry, though it is not linear. Also, my piece has some contrast in it because of the way i mixed up the gear’s lines as they reached the edge of the page.

    In my bicycle painting I am using a rhythm sequence, as my two forms as basically identical and copy each other on the page. it is a rhythm of the same pattern. I organized it through its alignment, using one focus “dot” at the center of the page to twist the two identical forms, though they always relate back to the center dot.

    The section about color and why people just like certain colors because of their intuition and the way they express it. When deciding what water colors to use for my abstract bike painting I need to think about which colors “I just like” and how I can combine them in a color palette. I need to use my ways of expressing my color, with dark or thin lines, or with different methods to increase its quality, to create the colors that appeal to me and that i want to portray.

  4. I think my bicycle-drawing-watercolor-thing is a balanced relationship? I copied three drawings of the pedal and a little bit extra onto the paper and spaced ’em out so that it looked, well, balanced. There’s one part with an awkward parallel between a part of my drawing and the edge of the paper so I’m gonna try and fix that, hopefully then it will be somewhat all balanced.
    The sequence I guess that applies would be rhythm. In copying the pedals to the watercolor paper, I didn’t flip it around or anything so they kind of look like they’re going in a circle (if you overanalyze it, otherwise it’s not that bad). But yeah, it’s a “set” of things repeated a couple of times.
    I agree with Artie (Sabrina? maybe?) about the color and tone. I hadn’t really thought about working those into my painting, just about a certain color scheme and what I hadn’t worked with recently, but I’d like to try using color and different values to evoke movement in it as well, (oooh, fancy fancy, evoking movement).

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