Art 3 – Bicycle abstractions – due 10/14


Benedict’s Primer Creating Relationships

 Copy the words: Benedict’s Primer Creating Relationships into your browser and find the PDF on a search. (The link is not active here.)

Skim this document and pause to look more closely at parts that are of interest to you.  Choose an aspect to read more closely. (suggest possibly pp. 24 on relationship and 34 on complexity and surprise )

Comment on one  particular aspect that you hope to apply to the composition process and explain your interest in it and its relevance to you. Comment on another part that you think will be useful in the asethetic analysis of a work (the critique process.)

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. I really love the concepts of meaning and expressiveness. I find it very difficult to convey emotions and feelings through realistic work, but I think it’s possible and something I’d like to work on. Expressiveness and meaning through color is generally my instinctual preference, but I think to be well rounded I need to work on my realistic expression in more basic mediums.
    Relationship will be helpful in critiques, specifically because it really covers all parts of the design process. The proportionality and dynamics between shapes seem to be the speedbumps in the more realistic projects we’ve done; they’re both a part of the “Relationship” section.

    • You make important observations about your personal goals and interests. I think the self-portrait you just finished is a great example of expressiveness and realism. You retained a lot of meaning through your marks and you may use a similar approach in the bicycle piece. Just keep the relationship of the wheels and foreshortening “logical”.

  2. During the composition process I hope to find a balance in complexity. If it is too complex the composition will be overwhelming but if it is not complex enough the picture will be uninteresting and lack depth/meaning. I will work with elements such as hierarchy and contrast (between components of the composition as well as between values of lights/darks). During the critique process, I will analyze the composition based on the previous elements and see if I have achieved a composition that is engaging (contains hierarchy, complexity, and contrasting relationships) but is still pleasing to the viewer (not overwhelmingly complex). To ensure this I will work with elements such as balance and pattern.
    The article also discusses the relationship between familiarity and complexity. If a composition contains no surprises then the viewer will gain no new information. Concurrently, if the composition contains too many surprises the composition will repel the viewer. This is relevant to what I am doing in studio because, in order to produce an aesthetically pleasing composition, it is important to find a balance between simplicity/familiarity and surprises/complexity.

    • It’s a fine balance between all these elements, isn’t it? I like to read about them and then forget about them and hope that I have internalized the ideas enough to intuit the aesthetic principles. They are fascinating ideas though, aren’t they?

  3. I really like the concept of expression and meaning, because it’s something that connects the art world and the real world, and it’s artists’ chance to tell people why they should care about art. I used to think an great art piece should have some “deeper meanings”, something profound that the artist wants to tell people. However, after I read this, I think it’s really not necessary to give your art work deep meanings or implications, there’s plenty of other ways to make your art thoughtful. Such as the bicycle we’re painting right now, it doesn’t mean anything else except for a bicycle, but if you really put effort and thoughts on things like how to balance the space and color, how to make a great contrast…people would still receive the message of the painting–it’s not simply just a realistic painting, it’s also your understanding of the perspectives, elements, values, and the expression of your thinking process.
    The article also talked about complexity, it’s very useful and relevant to me and the project I’m doing. Choosing the appropriate level of complexity is essential and fundamental, which is directly related to the vision I provide for others. I’m trying to put most of the details and complicated shapes in the center of my painting, and keep it simple for the two sides; I’m also giving the center part more brightness than the rest part, so people could feel the changing and balance of the complexity.

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