Your Choice: Field Trip or Online work

We will not be meeting in person on Friday, October 14. Instead, please choose ONE of the following assignments to be completed before the next class meeting.

1. Field Trip:

Visit the Brooklyn Museum during class time or at some point between now and the next class meeting. Currently on view is a survey of work by artist, Standford Biggers.

NOTE: The museum is closed on Monday and Tuesday. Check the website for open hours. Admission is by suggested donation — meaning you can pay what you wish.

Exhibition Overview of “Sweet Funk—An Introspective“:

In this focused selection of thirteen pieces, New York–based artist Sanford Biggers challenges and reinterprets symbols and legacies that inform contemporary America. The exhibition is Biggers’ first museum presentation in New York, and it will also mark the Brooklyn debut of Blossom (2007), a large-scale multimedia installation that incorporates references ranging from lynchings to Buddha’s enlightenment under the bodhi tree. (more..)

Assignment:

1. Research the artist and learn all you can about his work, prior to visiting the exhibition. In your CPB, outline important information about the artist: what is his background, what type of work does he make, what is the conceptual focus of his work, etc.
2. Based on your research, make a list of 5 specific questions — topics related to his work that you would like to know more about.
3. Visit the exhibition. Take NOTES! Make SKETCHES! Ask MORE QUESTIONS!
4. Write a 1+ page review of the exhibition. Your review should discuss the overall exhibition and then compare and contrast two of the thirteen pieces on view. Choose two works that are physically/formally different, but have a common theme or concept.
5. Your review should follow a standard format: Introduction, Body, Conclusion. Print out your review and be prepared to discuss next class. You will not be given credit for the assignment if you do not visit the Museum (be sure to save your entrance tag).

2. Online Work

Building upon the OpenLab Image Research Exercise we did in class, actively research and collect images for the OpenLab front page slider. Follow the guidelines below.

Assignment:

1. Find 6 images to represent the 3 navigational sliders (News, Getting Started, Help) on the OpenLab website: http://openlab.citytech.cuny.edu/

• Make sure they represent each section topic and are also “student-friendly.”
• Images must hold an appropriate Creative Commons License:http://creativecommons.org/licenses/
• Or be in the Public Domain:http://en.wikipedia.org/wiki/Wikipedia:Public_domain_image_resources#General_Collection
• Review Class 10-11 Outline for specific guidelines and questions to ask before beginning  your search.

• Images should be at least 748 pixels wide ×361 pixels high. Larger is better.
• Download and save at least 6 images : 2 choices for each category: News, Getting Started, Help
• Images should be well-considered. Take time to find the BEST images to represent each heading.
• Bring these images to class on a Flash Drive or CDROM.

DUE NEXT CLASS:

1. Complete both Collage compositions.  See Assignment #3 and Class 12 outline for details.
2. Independent Work: Either a written 1-2 page review of the Standford Biggers exhibition OR images for the OpenLab front page slider.
3. Materials needed next class: CPB, 9×12″ Bristol, pencils, eraser, cutting mat, knife/scissors, ruler/T-square, tubes of black and white gouache, brushes, rag, palette, water container, drafting tape.

Lecture:

Review

• Elements: Value
• Principles: Emphasis, Focal Point, Contrast
• PLUS: Open and Close Value Composition and Scale
  • Closed-Value Composition: Values are limited by the boundaries of shapes and clearly isolate individual parts of the composition. This type of composition could create dramatic mood through contrasting values.
  • Open-Value Composition: Values cross shape boundaries, integrating parts with adjoining areas and unifying the composition. This type of composition could create a mysterious fog or haze using closely related values.
  • Proportion: Relationship between parts of a whole or related units.
    • Scale: Associations of size, related to a constant size, unit of measure, relative whole (such as a the human body, or picture plane)

Discussion

A quick look at the use of the GRID in visual design.

What is a GRID?

• A network of lines, which typically run horizontally and vertically and are used to align elements in relationship to each other.
• Helps organize both positive and negative spaces (the entire page) and contributes to the overall rhythm in a composition.
• Examples of the grid can be found in magazine layouts, informational structures, street in modern and ancient cities, and the architectural frames of buildings.
  

• REFERENCES:
  • www.thegridsystem.org
  • Grids are Good (PDF)
  • Modular Grid Pattern

LAB – Assignment #3

Collages

• Using the printouts of the portraits taken last class, transfer the grid provided to the printouts. Measure, mark in pencil, and cut out each square carefully.
• Use variety of scale to develop contrast, hierarchy and emphasis. Some of the squares in your grid should be small, some large, some medium.
• Rearrange and experiment with your portrait pieces until your develop 2 unified compositions as follows:
  • (1) Narrow Value Range: either high-key or low-key
  • (1) Broad Value Range
  • (Both) Create a focal point wherein one area or element is emphasized (even within the narrow range) through size, placement, value contrast, or isolation.
• DO NOT GLUE THEM DOWN YET! Have the Professor review your work before continuing.
• NEXT
  • Take a photo of  your finished and approved collages, just for future reference.
  • Make sure each square of your composition is properly marked on the back, indicating the TOP and numbered from left to right, top to bottom.
  • Position each square in your collage composition on a piece of paper. Use a small piece of tape to adhere your squares to the paper.
  • Using your collage pieces as a visual reference, you will be painting each square independently from its neighbor. Keep everything clean and neat.

Homework

1. Complete both Collage compositions and finish at least 1 Painted Composition. See Assignment #3 and class outline above for details.
   
2. Check website on Thursday for instructions for next class — online class or field trip!
3. NOTE: If you missed class today, you will need to printout your photograph. Download the archive here: Assignment #3

Lecture

The Elements: basic components used as part of any composition, independent of the medium.

• Value:Signifies the relative differences of light and dark
  • Achromatic: Value with the absence of hue (color) and saturation (intensity).
  • Chromatic: Value demonstrated by a given hue.
  • Grayscale: The full range of values simplified into a graduated scale.
  • Low-Key: When the values of an image are predominately dark
  • High-Key: When the values of an image are predominately light
  • Narrow Range: When the values congregate around the dark, middle, or light part of the grayscale.
  • Broad Range: When the values are spread over the dark, middle, or light part of the grayscale.
  • Shadow: Dark area of an object as a result of a disruption of the light source.
  • Highlight: Portion of an object that receives the greatest amount of direct light
  • Chiaroscuro/Tenebrism: Forceful use of contrasting lights and darks, creating a dramatic mood.

The Principles: basic assumptions that guide the design practice.

• Emphasis:The special attention or importance given to one part of a composition. Emphasis can be achieved through placement, contrast, size, etc.
  • Dominance/Hierarchy: The expression of visual and conceptual order that communicates degrees of importance of the various parts of a composition. This can also be achieved through placement, contrast, size, etc.
  • Focal Point: The elements or objects on which the viewer’s attention is focused.
• Contrast: Occurs when elements are unrelated or dissimilar in value, size, shape, etc. Increasing contrasts can create dominance.

References:

Lab – Class 10

Note: — if you missed class on Friday, please see Prof!

Value-Added Portraits: Value Range Evaluation Exercise

1. Designate a new section of your Creative Process Book and write ‘Value-Added Portraits’.
2. From magazines or online sources, find examples of  photographs, paintings, or graphic design with the following qualities:
   • predominately within the high-key value range (2 examples)
   • predominately within the low-key value range (2 examples)
3. Compose a minimum 2-paragraph description, with specific references to the images, indicating how the key sets the mood of the composition. Also notice and report how the forms in the composition create highlight and shadow relationships, some may be abrupt other may have a gradation of value from light to dark. How does this contribute expressive quality (mystery, drama, success, joy, etc) of the compositions?

Image Research Exercise

1. We have been given a research task with specific guidelines:

• Find 4 images to represent the 4 navigational sliders on this website: http://openlab.citytech.cuny.edu/
• Make sure they represent each section topic and are also “student-friendly.”
• Images must hold an appropriate Creative Commons License: http://creativecommons.org/licenses/
• Or be in the Public Domain: http://en.wikipedia.org/wiki/Wikipedia:Public_domain_image_resources#General_Collections

• What is the purpose of the OpenLab website and what kind of people are they trying to reach?
• What is the purpose of the slider?
• What should the images communicate?
• What is the best way to visually represent News, Getting Started, Help, and About?
• Example Brain Dump for HELP: hand, helping hands (need a hand?), map, confused face, person lost, lost signs, help signs, arrows, trail markers, etc….
• What is the purpose of the images in relationship to the text?
• How do we determine which image will work best for each section?
• What dimension and resolution should the images be? (optimized size: 748×361 pixels, 72 dpi)
• What kind of value range will work best?
• Can we take any old image off the web and use it?
• What do the different types of Creative Commons licenses mean? Which one is appropriate for this type of use?
• Do we need to credit the photographer?

How to Submit your Projects

1. On the back lower right-hand corner of each work, write the following in pencil:
1. Your full name
2. ADV1100 + your section number
3. The name of the project and exercise.
2. Protect your work by creating an envelope using tracing paper and drafting tape (NOT masking or scotch tape)
3. Make sure you create an envelope that is easy to open and close. (DEMO)

Lab – Class 11

Value-Added Portraits: Value Scale

• Create a Value Scale (a graduated scale of achromatic gray tones).
• On a piece of 9×12″ bristol, use this guide to create 4 scales starting with 2 steps and ending with 9 steps ranging from black to white in even, progressive increments.
• You may want to do a few practice runs on a piece of scrap bristol. Try mixing black and white in a variety of proportions until you get a progression from light to dark and the paint application is smooth and free of brushstrokes. REMEMBER: That adding 50% black + 50% white may not get you a perfect middle value! All mediums are different, you need to experiment. Don’t worry, you’ll get the hang of it!
  
• Label (in good handwriting) your 9-step value scale with black, low dark, dark, high dark, mid-value, low light, high light, white.

Painting Tips:

• Mix a very small amount of water thoroughly into the paint, for each value you create. The consistency should be like whole milk or cream. Before you apply paint to paper make sure it’s completely mixed in the palette to produce a flat consistent appearance. We want flat, blocks of paint with no streaks or brush marks.
• Wash your brush after each value is mixed and applied. Keep two containers of water, use 1 for washing your brushes and 1 for adding water to paint. Use a paper towel or rag to get excess paint and water off the brush before mixing a new value.
• Use non-stick tape along the edges of each square to create a sharp painted edge. Wait for the paint to dry completely before removing.
• If your completed scale is not accurate and does not produce even, progressive value increments, repeat the exercise.
• Escape Hatch: If your edges end up being very sloppy or uneven, you may also cut out and remount the value steps on a fresh piece of bristol.

Homework Class 10

1. Complete the Value Range Evaluation Exercise.
   
2. Materials needed next class: CPB, 9×12″ Bristol, pencils, eraser, cutting mat, knife/scissors, ruler/T-square, tubes of black and white gouache, brushes, rag, palette, water container, drafting tape. (NEW supplies!! — see supply list!)
3. Print out this document and bring it to class.
4. GRADES: Project #1 grades are available. Visit the Check Your Grade page and register for a password. If you did not submit your email in class, then you will not be able to check your grade.

Homework Class 11

1. Complete the Value Scale exercise.
   
2. Materials needed next class: CPB, 9×12″ Bristol, pencils, eraser, cutting mat, knife/scissors, ruler/T-square.

Vocabulary REVIEW

1. The Practice: Concept + Form are ingredients that a designer uses to produce a composition that communicates meaning. The relationship between the Concept (idea) and the Form (process/result) produces the Content (meaning).
   • Concept: A comprehensive idea or generalization that brings diverse elements into a clear relationship.
   • Form: The organization of elements in a composition arranged according to principles that will support the communication of the concept.
   • Content: The expression, essential meaning, significance, or aesthetic value derived from the relationship between the concept and the form. Content refers to the sensory, subjective, psychological, or emotional properties of a composition, as opposed to our perception of its formal qualities.
2. The Elements: basic components used as part of any composition, independent of the medium.
   • Line: An series of points, which has length and direction. It can be the connection between two points, the space between shapes, or the path of a moving point. A closed line creates a shape.
3. The Principles: basic assumptions that guide the design practice.
   • Rhythm: Is a repeated pattern, such as what we hear in music. In different art forms, it can be a very complex interrelationship or a regular, steady beat.
   • Repetition: Repeating a sequence; occurring more than a few times. In design, repetition can create visual consistency and a sense of unity.
   • Pattern: Unbroken repetition, the repeating of an line, object or symbol.
   • Variety: Visual rhythm is often punctuated with variations or changes in color, texture, or form. Creating variety is easy. Too much variety can lead to chaos and confusion for the viewer. A designer must effectively use pace and spacing to create rhythm and achieve unity in a composition.
   • Monotony: Without variety or change, excessive repetition can lead to boredom and uninteresting compositions.

Discussion

Group Critique (1 hour)

1. Setup your work somewhere in the classroom.
2. Present the following:
   • Creative Process Book with sketches, writing, assessment and work hour tally
   • Monotony Line Network
   • Variety Line Network
   • Staccato / Legato Pattern Mashups
   • Rhythmic Elevation drawing
3. Review  Assignment #2: Aural Topographies : Visualizing Sound
4. Review Vocabulary: Line, Pattern, Repetition, Rhythm, Variety, Monotony, Unity
5. Based on the project guidelines, choose 1 student that has most successfully completed the project.
6. Spend 10 minutes crafting a statement about the chosen student’s work. Discuss the finished work using the vocabulary above. The critique you give will not affect the student’s grade, but it will affect yours.
7. Present your statement to the class and include:
   • your name
   • what you are presenting (title and design problem)
   • which parts are successful and why
   • which parts are unsuccessful and why

Lab (1.5 Hours)

Written Review

1. Based on your short statement above, write a 1-page review of your classmate’s successful Rhythmic Elevation composition.
2. Take a few minutes to interview the artist and determine if your understanding and interpretation of the work is similar or completely different from the artist’s intentions. It’s okay if it’s different!
3. Your review must include a detailed description of the goals of the assignment (in your own words!) and must use the design vocabulary we’ve studied thus far within a discussion of Concept, Form, Content.
4. FOR EXAMPLE:
   1. Discuss how the Content of the Rhythmic Elevation composition, whose Concept is to create a variety of repeated “sounds” or rhythmic patterns within a figure/ground composition, communicates… “a rhythm similar to the sound of a chorus of birds, the swell and crash of an ocean, a certain type of music, etc.” or “a feeling of joy, sadness, excitement, etc.”
   2. Describe how the Form (use of  line weight, line direction, pacing and spacing of line, figure-ground relationship, organic and geometric shapes, repetition of horizontal pattern, use of economy, etc.) successfully supports the Concept and explain how and why this allows the Content to be communicated.

Photo-shoot

• Please come and get your photo taken by the professor (for use in the next project)
• IF you miss this class, contact the professor to get your photo taken or to learn about guidelines for taking your own.

Homework

1. Finish your 1-page, well-written critique/review. The final piece should be typed and printed with your classmates name, the title of the project, and the date at the top. Make two copies, one for your creative process book and one for your classmate. Do not put your own name on the page.
2. Materials needed next class: CPB, 9×12″ Bristol, pencils, eraser, cutting mat, knife/scissors, ruler/T-square, tubes of black and white gouache, brushes, rag, palette, water container, drafting tape. (NEW supplies!! — see supply list!)
3. Check this website the day before for additional supplies
   — UPDATE: Print out this document and bring it to class.

Lab

1. Critique of Staccato / Legato Pattern Mashup.
2. Introduction to Assignment #2 | Rhythmic Elevations
3. Work in class.

Homework

1. Complete or rework all parts of  Assignment #2. See Assignment page for details.
2. Be prepared to turn in your assignment for grading and critique. Make sure it is neatly wrapped in tracing paper and labeled with your full name, project name, and course and section number.

Lecture

• Review Elements and Principles
• Explore this project: Seaquence

Lab

1. Critique of Staccato / Legato Patterns. Work on inked pattern mashup.
2. Introduction to Assignment #2 | Rhythmic Elevations
3. Work in class.

Homework

1. Complete parts 1 & 2 of  Assignment #2. See Assignment page for details.
2. Materials Needed: 14″x17″ Bristol, ruler/t-square, pencils, inking pens, knife/scissors, cutting mat, collage materials, or any materials of your choice.

Lecture

• Review Elements and Principles from last class
• Discuss examples of Repetition in web design from Design Meltdown
• Examine different types of Pattern design from Artlandia and examples in class.

Lab

Assignment #2 | Aural Topographies

1. Critique of  Line Networks : Monotony and Variety
   • Use vocabulary: Rhythm, Variety, Pattern, Repetition and Unity.
   • What works, what doesn’t work?
2. Pattern Exercise: Staccato / Legato Patterns
3. Work in class.

Homework (UPDATE)

1. Complete Writing Exercise & Monotony and Variety Line Networks. See Assignment #2 page for details.
2. Work more on your Staccato / Legato Patterns. See Assignment #2 page for details. We will complete these in the next class. Come prepared to work.
3. Materials Needed: 9″x12″ Bristol, ruler/t-square, pencils, inking pens, knife/scissors, cutting mat, collage materials or any materials of your choice.

Critique (1 hour)

1. Setup your work somewhere in the classroom (spread out)
2. Present the following:
   • Creative Process Book
   • Inked Thumbnails
   • Cut-Paper Compositions
3. Review Project Guidelines: Assignment #1 | A View from My Window | Figure-Ground Relationships
4. Based on the project guidelines, anonymously choose 3 students that have successfully completed the project.
5. Discuss the finished work in terms of concept, craft, what was learned, and the creative process:
   • your name
   • what you are presenting (title and design problem)
   • which parts are successful and why
   • which parts are unsuccessful and why
   • what you learned from this exercise
     

Lecture (30 Min)

The Elements: basic components used as part of any composition, independent of the medium.

1. Line: An series of points, which has length and direction. It can be the connection between two points, the space between shapes, or the path of a moving point. A closed line creates a shape.

The Principles: basic assumptions that guide the design practice.

1. Rhythm: Is a repeated pattern, such as what we hear in music. In different art forms, it can be a very complex interrelationship or a regular, steady beat.
   1. Repetition: Repeating a sequence; occurring more than a few times. In design, repetition can create visual consistency and a sense of unity.
   2. Pattern: Unbroken repetition, the repeating of an line, object or symbol.
   3. Variety: Visual rhythm is often punctuated with variations or changes in color, texture, or form. Creating variety is easy. Too much variety can lead to chaos and confusion for the viewer. A designer must effectively use pace and spacing to create rhythm and achieve unity in a composition.
   4. Monotony: Without variety or change, excessive repetition can lead to boredom and uninteresting compositions.

References:

Lab (1 Hour)

1. Introduction to Assignment #2 | Aural Topographies : Visualizing Music
2. Materials needed:
   • Creative Process Book, pencils (wide range from 4h to 4B), inking pens (range from thick to thin).
   • Your favorite piece of music on CD or flash drive.
3. Work in class.

Homework

1. Complete the first experiments for Assignment #2 : Line Networks : Monotony and Variety
2. Materials needed next class: 9×12″ Bristol, ruler/t-square, pencils, inking pens, tape. — check website for extra supplies.

Assignment Review (1o min)

1. Take a moment to read through the Assignment #1 project guidelines.
2. Reform your groups from last class and discuss the project goal and requirements.
3. Make sure you are all in agreement.
4. Send 1 ambassador from your group to another group to explain the project guidelines.

Demo/Lab

1. Demonstration: Large, cut paper compositions
   • Materials Needed: 1 sheet 14×17″ Bristol, black paper, scissors, exacto knife, cutting mat, glue, ruler/t-square, pencils, tape.
2. In-Class Work: Complete Assignment #1: Cut Paper Compositions
3. Individual meetings with Professor.

Homework

1. In your Creative Process Book, at the end of the View from My Window section, document your “Thoughtful Assessment” and “Work Tally”.
2. ALL ASSIGNMENT #1 WORK IS DUE: Bring all parts of Assignment #1 to class for critique. Check project guidelines for details.
3. Materials needed next class:
   • Creative Process Book, pencils (wide range from 4h to 4B), inking pens (range from thick to thin).
   • Your favorite piece of music on CD or flash drive.

Review

The Elements: basic components used as part of any composition, independent of the medium.

• Point: An element that has position (x,y), but no extension or mass. A series of points forms a line, a mass of points becomes a shape.
• Line: An series of points, which has length and direction. It can be the connection between two points, the space between shapes, or the path of a moving point. A closed line creates a shape.
• Shape: Created by line (contour) or a grouping of points, it is an area that is separate from other areas, defined by its perimeter.
  • Organic shape is one that resembles the flowing contours of an organism.
  • Geometric shapes,  such as circles, triangles or squares often have precise, uniform measurements.

The Principles: basic assumptions that guide the design practice.

• Picture Plane: The imaginary plane represented by the physical surface of a two-dimensional image, comparable to the glass through which one sees a view beyond a window. Artists use relative position on the picture plane to create the illusion of space, such as foreground, middleground, background.
• Picture Frame: The outermost limits of the picture plane. This boundary (rectangle, square, circle) is represented by the edges of the paper or the margins drawn within.
• Figure (positive space): The shape of a form that serves as a subject in a composition.
• Ground (negative space): The space surrounding a positive shape or form; sometimes referred to as ground, empty space, field, or void.
• Figure/Ground: The relationship between positive and negative space.
  
  • Obvious (stable):  A figure/ground relationship that exists when a form stands clearly apart from its background.
  • Reversal: A figure/ground relationship that occurs when positive and negative elements are equal and alternate foreground and background dominance.
  • Ambiguous: A figure/ground relationship that challenges the viewer to find a point of focus. The figure and ground seem interchangeable.
• Unity: Refers to the cohesive quality that makes a composition feel complete and finished. Unity gives it the feeling that all the elements relate to each other in a compatible way to form a unified whole.
• Economy: Using only the elements necessary to communicate an idea, emotion, or formal concept. Less is more.

Groupwork

Students break into groups:

1. Picture Plane/Picture Frame Group
2. Figure-Ground Group
3. Unity/Economy Group

Research and discuss your group’s concept. Use the following guidelines and outcomes.

• Designate 1 speaker and 1 idea recorder
• Make a free-flowing list of ideas related to your concept.
• Refine concept definition in your group’s own words.
• Present definition and at least 2 examples of the principle or element discussed (student work assignment, drawing on chalkboard, book, magazine or online images)
• Students present results to class.

Lab

Assignment #1 | A View from My Window | Figure-Ground Relationships

1. Critique of Inked Thumbnails (using vocabulary above)
2. Demonstration: Assignment #1: Cut Paper Compositions
   • Materials Needed: 1 sheet 14×17″ Bristol, black paper, scissors, exacto knife, glue, ruler/t-square, pencils, tape.
3. Work in class.

• Rework Inked Thumbnails, if necessary.
• Start Cut Paper Compositions (Students either did not finish or needed to rework Inked Thumbnails)
• Individual meetings with Professor.

Homework

1. Rework Inked Thumbnails, based on critique.
2. Complete Assignment #1: Inked Thumbnails Cut Paper Compositions + Assessment and Workhour Tally. See Assignment page for details.
3. Materials needed next class: 14×17″ Bristol, black paper, scissors, exacto knife, glue, ruler/t-square, pencils, tape.
   creative process book, pencils (wide range from 4h to 4B), inking pens, your favorite song or piece of music on CD or flash drive.