Monthly Archives: March 2017

Photo Critique & next roll – 3/20&3/21

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Take notes on advice for your photography from the following two videos.

Think about how you can consider these points for evaluating quality in photos.

Before you shoot your next roll, watch the following video on Emmet Gowin.  Listen carefully to his words, even though he speaks slowly.  Notice the evolution of his work from personal, familial pictures, to larger humanistic concerns about man and nature.  He talks about how families change and feelings change, the personal vision,  what you do and do not want to reveal, and what fits into the lives of other people.

https://www.youtube.com/watch?v=r-LAOJcBw2s

Roll #4 will be about California (see contest link http://files.constantcontact.com/effe4e31501/f1ed734a-b99d-4d76-be20-8ef4634b809d.pdf )

AND/OR

your personal vision (what is the story of your life, how is it evolving, what fits into the lives of other people, how are your feelings changing, what issues are key to your personal history or what issues have grown out of personal experience.)

It is important to watch the Gowan video (first, before you shoot!) so you know that your photos may seem uniquely personal or may even seem impersonal because they address larger issues that you find personally relevant. (The roll is due when we return from spring break along with your notes on the Emmet Gowin video).

 

 

 

Art 1 – Still Life Painting – Due 4/7

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Watch the following conversation with artist Angus Wilson about still life painting:

and the short video of his still life paintings:

For your sketchbook notes, comment on the following:

1.  Two points about still life painting that you find of interest.

2.  Two techniques from Wilson’s work that you will try in your still life painting (color, composition, or style).

3.  Describe one aspect of his paintings that appeals to you.

The next two paintings you will work on in class will be still lifes. The first painting (whole-sheet) will be based on your realism drawing from the fall semester. Your second painting (whole- or half-sheet) will be more exaggerated and stylized as Wilson’s work, but also based on observation from life.

This week your sketchbook drawing is preparation for that second painting that we will do in class after spring break.

For sketchbook, spend one hour drawing from objects that you select and set up, in the style of Angus Wilson. (You may also want to take and print a small photo of your still life arrangement for your reference.) You may use color or just take notes on the color system you intend to use.

Split Complement Color Schemes

Examples of Split Complement Color Systems

Art 1 – Surreal Perspective – due 3/17

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Flying Houses by Laurent Chehere

With your next sketchbook drawing in mind (to create your own surreal, dreamlike world through perspective) look at the 4 following links. In your sketchbook notes, comment on what image interests you at each link. Make some observations about the technical aspects of making a surreal scene and the emotional effect. (Note, the modern architecture at the last site is not surreal but some of the buildings are so unusual, they inspire the imagination. Comment on the technical feats and the resultant emotional effect.)

Flying Houses by Laurent Chehere

Surreal Architecture

Victor Enrich architectural images

Modern Architecture

In your sketchbook drawing, show a building (exterior or interior) in perspective with surrealist components, to create an emotional, imaginative, or fantastical effect.

Some standards for a surrealist effect: change of scale, context, altering of physical characteristics.

Finish your drawing with full shading in black and white and some color, for expressive effect. Your work should reflect at least one full hour of drawing time.

For your interest, here’s a link to Salvador Dali’s “The Persistence of Memory” and the Surrealist movement:

http://www.moma.org/learn/moma_learning/themes/surrealism/surrealist-landscapes

 

Art 1 – glazing with transparencies – due 3/10

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Transparent glazing modifies hues with each added layer.

In your sketchbook notes, respond to the following two questions:

1. Which of the following tips from the site below do you find most important in your exploration of the transparent painting process? Explain why in the context of one of your paintings.

tips on transparent glazing

2. What did you learn from the short article below about painting in transparent glazes and how will you apply it to your current painting?

painting in glazes in acrylics

Odili Donald Odita – Observations on color and “The Art Assignment.” We will view this segment in class:

For your weekly 60-minute sketchbook drawing, select 3 or more “white” objects (a sheet of paper, cups and saucers, paper towel roll, a dishcloth, etc.) and arrange in a still life. In your sketchbook, lightly pencil in the contour lines. Then, use color pencil or watercolor to indicate the subtle warm or cool hues of each object.

For more examples, observe Giorgio Morandi’s still life paintings of objects with “white” surfaces:

Morandi’s Still Life Palette