MAJOR ASSIGNMENT 1 - 10/10/10 project
Portfolio of 10 Drawings an idea from the talented Mrs T.
You will design a portfolio which will contain 10 drawings (each exploring the same object)
Your support papers will consist of 10 sheets all the same size (approx. 12 inches square) with a range of surfaces, textures, transparency, colour, etc.
Keep a record of the types of papers you have collected and noting on the back what it is and where you found it.
Your first job is to draw your object in 10 interesting, meaningful and dynamic ways.
How do you do that?
You must maintain a playful attitude and a willingness to explore and push beyond your usual way of representing, getting out of your comfort zone. Vary your elements, principles, drawing media and tools, interrelating them in inventive ways.
Try:
focusing on the negative space
blind contour
changing the point of view
large scale, small scale
introducing relevant text (quotes, narration, etc.)
Multiple images
blowing up sections
collage
using your fingers as drawing/markmaking tools
various levels of finish
mixed media
taking subject out of it's usual context
cropping
abrupt change in scale
and more...
Working on several pieces at once can often help you to generate ideas and free you from the 'masterpiece syndrome'.
You will also design and make a portfolio to contain the drawings.
This will be a six week project that will need both in-class and homework time to complete.
Portfolio of 10 Drawings an idea from the talented Mrs T.
You will design a portfolio which will contain 10 drawings (each exploring the same object)
Your support papers will consist of 10 sheets all the same size (approx. 12 inches square) with a range of surfaces, textures, transparency, colour, etc.
Keep a record of the types of papers you have collected and noting on the back what it is and where you found it.
Your first job is to draw your object in 10 interesting, meaningful and dynamic ways.
How do you do that?
You must maintain a playful attitude and a willingness to explore and push beyond your usual way of representing, getting out of your comfort zone. Vary your elements, principles, drawing media and tools, interrelating them in inventive ways.
Try:
focusing on the negative space
blind contour
changing the point of view
large scale, small scale
introducing relevant text (quotes, narration, etc.)
Multiple images
blowing up sections
collage
using your fingers as drawing/markmaking tools
various levels of finish
mixed media
taking subject out of it's usual context
cropping
abrupt change in scale
and more...
Working on several pieces at once can often help you to generate ideas and free you from the 'masterpiece syndrome'.
You will also design and make a portfolio to contain the drawings.
This will be a six week project that will need both in-class and homework time to complete.
MAJOR ASSIGNMENT 2 - Altered Book Sculpture/Construction
1 book and process work
You will produce, in a book, a sculpture/construction piece.
Your first job is to design what you what to carve/build.
Understanding of form in the round should be considered.
Map out on all areas and levels of depth.
Use a shared practice book to experiment with the tools and the kinds
of cuts and gauges, folds and forms you can make with them.
How do you do that?
Plan your image in layers.
Working from the bottom back, cut 6-8 page thick layers out with a cutting board behind the last page.
Be conscious of the depth you go in and balance as you cut away.
Repeat layer by layer. More divided layers create more depth.
Add colour, collage elements, texture, etc to create visual interest.
Take your time!
Consider how shadows will fall, viewpoint, and how these elements should
guide your work.
Finally glue the outside edges of the book to keep the pages in place if you like for your design.
Try:
to play with value through light and shadow to help define your form.
to cut carefully and ensure you have a cutting board protecting lower pages
to plan your design layers carefully. Once cut, repairing is difficult.
to connect the type of book/title with your content (echoing, contradicting...)
This will be a four week in-class project.
1 book and process work
You will produce, in a book, a sculpture/construction piece.
Your first job is to design what you what to carve/build.
Understanding of form in the round should be considered.
Map out on all areas and levels of depth.
Use a shared practice book to experiment with the tools and the kinds
of cuts and gauges, folds and forms you can make with them.
How do you do that?
Plan your image in layers.
Working from the bottom back, cut 6-8 page thick layers out with a cutting board behind the last page.
Be conscious of the depth you go in and balance as you cut away.
Repeat layer by layer. More divided layers create more depth.
Add colour, collage elements, texture, etc to create visual interest.
Take your time!
Consider how shadows will fall, viewpoint, and how these elements should
guide your work.
Finally glue the outside edges of the book to keep the pages in place if you like for your design.
Try:
to play with value through light and shadow to help define your form.
to cut carefully and ensure you have a cutting board protecting lower pages
to plan your design layers carefully. Once cut, repairing is difficult.
to connect the type of book/title with your content (echoing, contradicting...)
This will be a four week in-class project.
MAJOR ASSIGNMENT 3 - Mixed Media Printmaking
Series of 2 prints
You will produce a pair of trace monotypes coloured with liquid watercolours.
Your first job is to design an image to transfer onto your plate.
Application of the rule of thirds for strong composition is expected.
A variety of marks to vary value should be experimented with.
Make thumbnails in your sketchbook, and then draw the image on the back of your paper.
How do you do that?
Trace the plate shape on paper.
Draw your image lightly.
Ink the plate with oil based ink and print following directions given in class, then place your paper on top using markings to guide you.
Trace over your lines with a different colour to transfer the ink to the paper on the places where you are applying pressure.
Check twice that all areas you wish to transfer have been drawn over before lifting the paper.
Dry.
With your palette ready, add colour as necessary to help develop your image further.
Properly label and number your prints in printmaking convention.
Try:
to play with value contrast to make your image stand out.
to talk to your teacher and friends if your prints aren't working for advice and help.
to always wash your hands between inking and printing to keep the paper clean and free of finger prints.
to use colour that helps develop your message or push focus for your image content
This will be a two week in-class project.
Series of 2 prints
You will produce a pair of trace monotypes coloured with liquid watercolours.
Your first job is to design an image to transfer onto your plate.
Application of the rule of thirds for strong composition is expected.
A variety of marks to vary value should be experimented with.
Make thumbnails in your sketchbook, and then draw the image on the back of your paper.
How do you do that?
Trace the plate shape on paper.
Draw your image lightly.
Ink the plate with oil based ink and print following directions given in class, then place your paper on top using markings to guide you.
Trace over your lines with a different colour to transfer the ink to the paper on the places where you are applying pressure.
Check twice that all areas you wish to transfer have been drawn over before lifting the paper.
Dry.
With your palette ready, add colour as necessary to help develop your image further.
Properly label and number your prints in printmaking convention.
Try:
to play with value contrast to make your image stand out.
to talk to your teacher and friends if your prints aren't working for advice and help.
to always wash your hands between inking and printing to keep the paper clean and free of finger prints.
to use colour that helps develop your message or push focus for your image content
This will be a two week in-class project.
MAJOR ASSIGNMENT 4 - Narrative Painting
1 Painting and process work, references from a specific movement
Develop a narrative painting using the medium of your choice inspired by techniques and style of a specific art movement.
Think of a story or important issue you'd like to bring attention to, and how you could use imagery to explain the content of what you would like to tell.
Use your sketchbook to make thumbnails to work out composition. Practice and play with paints to find your preferred medium.
Work on a prepared surface, either primed canvas or stretched watercolour paper.
How do you do that?
• Cover your canvas with an even coat of gesso OR evenly soak your watercolour paper, blot off the excess while placed on a smooth clean board, and then tape it down with a 1/2 border, careful to smooth out air pockets as you seal each side.
• Think about visual and actual textures and how they could be relevant to the emotions you want to convey.
• Choose a colour selection, and lay a ground to build your image on.
• Lightly sketch out your image in pencil or pale chalk/chalk pastel.
• As you paint, let some layers dry, some blend, as you see fit. Experiment with the paint, you can always paint over it. When in doubt, test it out on scrap paper!
• Be conscious of composition.
Advice:
Begin with painting the ground colour.
Paint upright.
Keep reference images and sketches in view as you work.
Don't forget to consider light sources and depth if relevant to your movement.
Try:
to keep colours from getting muddied ----> no black paint in any medium for this projec
to use a variety of tool and brush shapes and sizes that fit your purpose
to remember to clean your water and mixing areas of your palette regularly
to dry between applications of colour, when desired
Evaluation:
Technique
Composition
Visual interest
Artist Statement
Process Work
This will be a three week in-class project.
1 Painting and process work, references from a specific movement
Develop a narrative painting using the medium of your choice inspired by techniques and style of a specific art movement.
Think of a story or important issue you'd like to bring attention to, and how you could use imagery to explain the content of what you would like to tell.
Use your sketchbook to make thumbnails to work out composition. Practice and play with paints to find your preferred medium.
Work on a prepared surface, either primed canvas or stretched watercolour paper.
How do you do that?
• Cover your canvas with an even coat of gesso OR evenly soak your watercolour paper, blot off the excess while placed on a smooth clean board, and then tape it down with a 1/2 border, careful to smooth out air pockets as you seal each side.
• Think about visual and actual textures and how they could be relevant to the emotions you want to convey.
• Choose a colour selection, and lay a ground to build your image on.
• Lightly sketch out your image in pencil or pale chalk/chalk pastel.
• As you paint, let some layers dry, some blend, as you see fit. Experiment with the paint, you can always paint over it. When in doubt, test it out on scrap paper!
• Be conscious of composition.
Advice:
Begin with painting the ground colour.
Paint upright.
Keep reference images and sketches in view as you work.
Don't forget to consider light sources and depth if relevant to your movement.
Try:
to keep colours from getting muddied ----> no black paint in any medium for this projec
to use a variety of tool and brush shapes and sizes that fit your purpose
to remember to clean your water and mixing areas of your palette regularly
to dry between applications of colour, when desired
Evaluation:
Technique
Composition
Visual interest
Artist Statement
Process Work
This will be a three week in-class project.
MAJOR ASSIGNMENT 5 - Encaustics
1 Painting and process work
Use your sketchbook to make thumbnails to work out composition and colour story. Practice and play with the medium a little on the communal board to get a feel for how it moves/dries/mixes.
Work on a prepared wood surface, either gessoed, with a grounding crayon layer, or bare.
How do you do that?
Be conscious of composition. Consider mapping out your image first in crayon or with embedded paper.
Slowly build up layers of wax. Start thin, remembering you can work thickly.
Advice:
Build up layers thinly first for solid adherence to the board.
Have a clear plan prepared but be willing to adapt to changes/challenges in the process.
Try:
to use a variety of textures and colours
carving back and building up areas with wax layers
to use a variety of tools to manipulate the wax and surface
pouring
embedding
to react to the properties of the wax
Evaluation:
Technique
Composition
Visual interest
Artist Statement
Process Work
This will be a two week in-class project.
1 Painting and process work
Use your sketchbook to make thumbnails to work out composition and colour story. Practice and play with the medium a little on the communal board to get a feel for how it moves/dries/mixes.
Work on a prepared wood surface, either gessoed, with a grounding crayon layer, or bare.
How do you do that?
Be conscious of composition. Consider mapping out your image first in crayon or with embedded paper.
Slowly build up layers of wax. Start thin, remembering you can work thickly.
Advice:
Build up layers thinly first for solid adherence to the board.
Have a clear plan prepared but be willing to adapt to changes/challenges in the process.
Try:
to use a variety of textures and colours
carving back and building up areas with wax layers
to use a variety of tools to manipulate the wax and surface
pouring
embedding
to react to the properties of the wax
Evaluation:
Technique
Composition
Visual interest
Artist Statement
Process Work
This will be a two week in-class project.