Optional but of interest:
Optional but of interest:
Take notes in your journal about his various projects, intentions, and photographic choices.
Notice his discussions about philosophic concerns and photography, ideas about subject, objectification (or exploitation), and his moral and theoretical concerns. Is he a documentary photographer or fine art photographer or historical photographer? What are the clarifications and are there differences?
With your next creative 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.)
In your sketchbook drawing, show a building exterior 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. You will be given some lead time for this drawing in class.
For your interest, here’s a link to Salvador Dali’s “The Persistence of Memory” and the Surrealist movement:
Seventy Kirby high school students created artwork for the February 25th family concert, “The Orchestra Rocks!” For design inspiration, students listened to and explored Igor Stravinsky’s “The Rite of Spring” and the lyrical, dreamlike paintings of Marc Chagall. Surrealist artistic devices – symbolism, juxtaposition, exaggeration, and humor – were considered for expressive effect. Media choices included graphite, color pencil, chalk pastel, watercolor, scratchboard, and linoleum block prints. Several Kirby students also performed in the concert as members of the Santa Cruz County Youth Symphony, Kuumbwa Jazz Honor Band, and Santa Cruz Ballet Theater.
As you watch this sequence (from Disney’s acclaimed 1940 film “Fantasia”), observe the formal elements used to create non-objective designs. Notice the choice of shapes in relation to the music as well as the movement and rhythm created by repetition and gradation (in terms of both color and shape). Think about space and form, emphasis and contrast, balance and unity.
Sketchbook notes: Comment on the areas in the film that you find most pleasing/interesting. Do your best to analyze why you find certain aspects to be visually interesting and how the formal elements and principles are “working.” Answer some of the following questions in your notes. What kinds of colors are used? Do you recognize any color systems like analogous or complementary? How is movement created? How is balance achieved (is it symmetrical or asymmetrical)? Where do you see examples of emphasis or contrast? Consider any other questions you feel are significant.
Sketchbook homework: Look at the non-objective “chance” images that you cut out for homework last week. Choose two that are visually interesting to you. Consider the significance of balance, contrast, emphasis, movement, pattern, rhythm, and unity in making your choices. Then spend at least 40 minutes drawing and shading these two chance compositions in your sketchbook.
Observe Jean Arp’s composition and listen to the museum curator’s description through the audio clip. In your sketchbook notes, comment on ideas of “assisted chance.”
1. Why did Dada artists embrace ideas of chance and improvisation in their art forms?
2. Then, spend at least 10 minutes doing the game (see link below). Play all six levels as you try to perfect your matches.
Through the game you are exercising your eyes to see saturation and value. Share your experience playing the game in class.
3. For this week’s sketchbook activity, find small chance compositions that are non-objective and are visually satisfying to you. They can be derived from actual images, but crop them so that they appear non-objective.
Cut out and paste in your sketchbook. Use newspaper or magazine sources. Include a minimum of 3 black-and-white and 3 color for full credit. We will be using these for painting ideas so follow your aesthetic taste.
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.
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?
Odili Donald Odita – Observations on color and “The Art Assignment.” We will view this segment in class:
For your weekly 45-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: