Sketchbook and Animal Morphing Projects

Hello all,

I am hoping you are all catching up and getting your projects finished thus far. I noticed there are quite a few of you that have not posted on the blog for the Animal Morphing Project. Please do so as soon as you can.



Just a kind reminder: The participation/critiques on your blog are a graded into your overall points. Please make sure you are getting EVERY project finished and the ones needed posting, posted.

Thank you all and have a great week!

SPACE

Space refers to the area that a shape or form occupies. It also refers to the background against which we see the shape or form. Space can be defined as positive and negative. The positive space of a design is the filled space in the design—often it is the shapes that make up the design. Negative space is the back­ground. The negative space in design is as important as the positive area.

We live in a three-dimensional world of depth. When we look around us, some things seem closer, some further away. The artist can also show the illusion of depth by using the following means:

Shading - modeling with light and dark

Linear perspective - the relationship between apparent size and space

Atmospheric perspective - how the atmosphere affects the appearance of objects in space

Overlapping - objects in front of one another



In this lesson you will:

Study the design considerations of flat space

Learn the basics of linear perspective

Learn to control space with atmospheric perspective

Shading is the way to make objects appear three-dimensional on a two-dimensional
surface. The different values created when light hits a three-dimensional object cause that object to be seen as occupying space.

When items appear round (occupy space) the illusion of depth is generated. Shading can make
objects look three-dimensional but that limits them to occupying shallow space. 

Overlapping is where objects appear to be on top of one another each and closer to the observer than the next. There is no clue, using only overlap, as to how deep the space is. All you can tell is what thing is closer to you than what. If overlap is used alone with flat shapes, the space
remains fairly flat.

It takes perspective to give the illusion of deep space. 

There are two systems of perspective: 

linear and atmospheric.

Linear Perspective is a system for drawing objects that use lines and vanishing points to determine how much an object’s apparent size changes with space.

It was formalized during the Renaissance and is based on the concept that an object appears smaller as it gets farther away from an observer. The “lines” in linear perspective are used to diagram how much smaller the item would appear.

Basic Concepts With Linear Perspective

The Picture Plane is the “window” that is represented by the picture, refers to the flat surface of the canvas or the physical material onto which the art is placed.

Ground Line is a line that is parallel to the picture plane at the base of the object being used.

The Horizon Line is a theoretical line that represents the eye level of the observer. The horizon line is the same as the horizon (the edge of the land against the sky) only on a large flat plane like the ocean. 

Indoors the horizon is often not visible but there is still a theoretical horizon line representing the point of view of the observer.

Vanishing Points are points usually on the horizon line where receding lines (planes) meet. The number and placement of the vanishing points determines which perspective technique is being used.

Basic Concepts With Linear Perspective:

The Picture Plane is the “window” that is represented by the picture, refers to the flat surface of the canvas or the physical material onto which the art is placed.

Ground Line is a line that is parallel to the picture plane at the base of the object being used.

The Horizon Line is a theoretical line that represents the eye level of the observer. The horizon line is the same as the horizon (the edge of the land against the sky) only on a large flat plane like the ocean. 

Indoors the horizon is often not visible but there is still a theoretical horizon line representing the point of view of the observer.

Vanishing Points are points usually on the horizon line where receding lines (planes) meet. The number and placement of the vanishing points determines which perspective technique is being used.

One point perspective

Two-point Perspective is used when you look at or into the corner of an object. There are two
vanishing points since the two sets of sides are receding in two different directions.

Two point perspective

Three-point perspective is a development of two point perspective. Like two point it has two vanishing points somewhere on the horizon. But three point perspective also has a vanishing point somewhere above or below the horizon which the vertical vanish to.

Three point perspective

Atmospheric perspective is how the atmosphere affects the appearance of objects in space

Atmospheric perspective deals with how the appearance of an object is affected by looking at it through a layer of air. Moisture, dust and pollutants in the atmosphere act to filter the visual
information.

Things To Consider With Atmospheric Perspective:

Foreground means in front - the area immediately in front of the observer.

Middle ground is in the middle. There is no specific measurement for what the limits are -- it is just in the middle.

Background is in the distance. The term means behind (in back of) something. In a landscape it means far away.

Contrast: Use a highly contrasting image for the foreground. It should have high contrast within it and contrast with its surroundings in your image. As the scene goes farther back, use less and less
contrast. Be aware of a highly contrasting background with a softer middle ground. 

Focus: Make the foreground the sharpest in the image, the middle ground the next sharpest and the background the dullest if possible.

Details: Use an object for the foreground that has a lot of details. The background should be chosen because it has little in the way of details. The middle ground, as usual, is in the middle.

Color: Keep the foreground bright and warm in color. The background should be the dullest and
coolest in color. Be careful of warm colors in the background since they will want to come forward.

How to Critique Your Sketches

How to critique your sketches

Assessment is part of designing. A designer needs to determine the value or significance of what he or she has created. In design, there is a bottom line: design must communicate an intended message to an audience, usually a mass audience. For this reason, it is imperative that a designer’s work is on track, intelligible, and communicative. Here are six simple critique checkpoints to follow 

1. 

Define the problem.

•  Restate the problem in your own words. Namely, what are you being asked to do? 

•  Did you solve the problem? 

•  Did you go astray? If so, how and you get back on track? 

•  What is your concept(s)?

•  Explain how you solved the problem.

2. 
How many sketches did you complete?

Try to push your ideas. Perhaps your first sketch in intelligent; however, the point of doing many sketches is to push you design-mind further — to stretch your imagination and problem-solving capabilities. There is always more than one great solution. 

3. 
Are your sketches clear enough for someone else to be able to “read” them? 

Thumbnail sketches are crude indications of your visual ideas. The key word is visual. A sketch isn’t a finish/ although, it should have enough visual information — be delineated clearly enough — for someone else to know what you mean, to visually interpret it. 

4. 
Did you explore the possibilities? 

Do you have more than one idea or are your sketches variations on one answer?

It is absolutely plays to have more than one idea. In practical terms, if this were a real job, the client may not like your one idea and then you would be stuck without a backup solution. Besides, it’s challenging to push oneself to come up with many ideas. 

5. 
Are you design sketches visually interesting? 

Would your design capture someone’s attention and hold it long enough to communicate the intended message? 

Creating graphic impact is necessary. Graphic impact is achieved when the elements and principles of the design language are utilized and serve the design concept. Graphic impact can be loud or soft, classic or unconventional. Ask yourself: Is the design compelling? 

SHAPE PROJECT 2- THURSDAY 16, 2010

Paper Drawings


Supplies: 
Black construction paper
Glue
Scissors
Large white 18" x 24" paper






Gather a photograph or image you want to draw.


Create a contour drawing of the image (We spoke about contour drawings last week).


Instead of paint, pencils or pens to draw this piece we are going to be using black construction paper.  keeping in mind the shapes you are creating in your image. 


I am adding a link I found quite inspiring to this project:


http://www.dancingscissors.com/Home_Page.php

an example of my paper drawing

SHAPE PROJECT- TUESDAY 14, 2010

Objective: Explore shapes, organic and geometric, in relationship to a two-dimensional surface

Produce two-dimensional works using shapes while focusing on the principles of design.

Glue stick or spray adhesive

Scissors/utility (xacto) knife

Sketchbook

Black construction paper

Project Instructions:

Geometric Shapes

Choose a geometric shape; squares, circles or triangles for example. Using black construction paper, make several different sizes of your chosen shape. Keep in mind the size of your working plane- Your sketchbook. Think about your space and how you are using it to create your designs. 

Organic Shapes

This time you will create your own organic shape and make several different sizes that fit inside the page of your sketchbook.

Focus on the principles of design while working with your shapes. 

Principles:

Contrast- offers some change in value creating a visual discord in a composition. Contrast shows the difference between shapes and can be used as a background to bring objects out and forward in a design. It can also be used to create an area of emphasis.

Emphasis- is an area that first attracts attention in a composition. This area is more important when compared to the other objects or elements in a composition. This can be by contrast of values, more colors, and placement in the format.

Movement- is a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to object by way of placement and position. Directional movement can be created with a value pattern. It is with the placement of dark and light areas that you can move your attention through the format.

Rhythm - is a movement in which some elements reoccur regularly. Like a dance it will have a flow of objects that will seem to be like the beat of music.

Unity - brings together a composition with similar units. If your composition was using wavy lines and organic shapes you would stay with those types of lines and not put in just one geometric shape.

Pattern- is the repetition of an element (or elements) in a work. An artist achieves a pattern through the use of colors, lines or shapes.

Balance- is a feeling of visual equality in shape, form, value, color, etc. Balance can be symmetrical or evenly balanced or asymmetrical and un-evenly balanced. Objects, values, colors, textures, shapes, forms, etc., can be used in creating a balance in a composition.

Once you have found a few interesting designs glue them in your sketchbook. 

You DO NOT have to critique this project (unless you want to), but do feel free to post them on your blog.

SHAPE

Shapes are flat self-contained defined areas of geometric or organic form. 

A FORM is a three-dimensional geometrical figure (sphere, cube, cylinder, cone, etc.), as opposed to a shape, which is two-dimensional, or flat.

Categories of Shapes:

Geometric Shapes - Circles, Squares, rectangles and triangles. We see them in architecture and manufactured items.

Organic Shapes -Leaf, seashells, flowers. We see them in nature and with characteristics that are free flowing, informal and irregular.

Positive Shapes -In a drawing or painting positive shapes are the solid forms in a design such as a bowl of fruit. In a sculpture it is the solid form of the sculpture.

Negative Shapes -In a drawing it is the space around the positive shape or the shape around the bowl of fruit. In sculpture it is the empty shape around and between the sculptures.

The Importance of Critiquing/Posting to Blogs

Hello out there in Blogland!

I just want to take a moment to remind you all to post and critique your work and to critique your classmate's work as well.

Your participation is key. Your Blogs are part of the learning process and a grade in this class.

Please post any questions you might have about this process here. The idea of having this blog is to learn and question things.

I am looking forward to reading all of your postings soon!

Best and happy critiquing!!

Contour Drawing fun!

Sample of contour drawing

What is Design?

DESIGN
To design means to plan. Almost everything we come in contact with has been designed by someone. The people that design these things used a surprisingly similar process.

COMPOSITION
The products of design are compositions- arrangements of the visual elements. They are as varied as the objects you see around you. This class will specialize in the design and composition of two-dimensional artwork. Much of the class will be spent investigating the design principles, the organizational tools used in the process. You will also learn the design elements, the visual building blocks of design.

The Value of Confusion

Are you confused about how to proceed with your hottest new idea or project? Puzzled? Baffled? Disoriented?

If so, take heart! Confusion is not always bad. In fact, it is often a necessary part of the creative process.

The weirdness enters when you start to judge yourself for being confused. Then, instead of benefiting from this normal stage of "not knowing" you end up in endless rounds of self-talk, procrastination, and worry- none of which will serve you on your way to creating something wonderful.

What IS confusion, really?

Technically speaking, it's a state of mind in which the elements you are dealing with appear to be indiscriminately mixed, out of whack, or unable to be interpreted to your satisfaction.

Everyone from Einstein to Mickey Mouse has had this experience. It comes with the territory of trying to innovate.

Most of us, unfortunately, have a hard time acknowledging it.

"Not knowing" has become a euphemism for "ignorance" or "being unprofessional." And so begins our curious routine of appearing to know and giving bogus answers- to ourselves and others- in a pitiful attempt to mask our confusion and maintain a sense of control, brilliance, and selfhood.

Our fundamental discomfort with not knowing- much in the same way that a person who breaks up with their sweetheart often rushes too quickly into the next relationship- prevents us from mining the value of this potentially fertile time of dislocation.

Picasso puts it well: "The act of creation is first of all an act of destruction."

Translation? Great breakthroughs emerge after times of dissolution, chaos, and confusion. Jump too quickly into the next thing and you may be short-circuiting a critical stage of the (yes, often uncomfortable) creative process.

Wasn't the universe itself created out of chaos?

llya Prigogine, a leading brain researcher, describes this phenomenon as the "Theory of Dissipative Structures". Simply put, it means that when things fall apart, they eventually reorganize themselves on a higher level (if they don't first become extinct).

And while this transition stage certainly looks and feels like confusion, what's really happening is that the old structures are giving way to the new.

Lao Tzu, one of China's most revered sages, knew all about this phenomenon:

"I am a fool, oh yes, I am confused. Other men are clear and bright, but I alone am dim and weak. Other men are sharp and clever, but I alone am dull and stupid. Oh, I drift like the waves of the sea, without direction, like the restless wind."

Somehow, he knew that "things" needed to be a little mixed up for there to be sufficient space for something new to enter his life. He knew that sometimes it was wisest just to let life unfold - and that any knee-jerk attempt to clear up what he perceived to be confusion would only leave him with his old habits, patterns, and routines.

There is no need to fight confusion. Let it be.

It's a stage we must pass through on the road to creation. Fighting confusion only makes it worse- like trying to clean a dirty pond by poking at it with a stick.

And, besides, even while our conscious mind is telling us we're confused, our subconscious mind is processing a mile a minute to come up with some amazing solutions, in the shower, while we're exercising, driving home from work, even in our dreams.

Look at it this way...

First, we REFUSE (to have our status quo threatened). Then, we get CONFUSED (trying to sort out all the new input). Next, we try to DIFFUSE the process (by regressing or denying.) Eventually, we get INFUSED (inundated by new insights). And, finally, we get FUSED (connecting with previously unrelated elements to form a new and unified whole).

So, what is your next step? Allow confusion to be what it is- the catalyst for new and more elegant solutions in your life. And if you really can't stand the confusion, know there are simple things you can do to go beyond it:

1. Take a break from the problem at hand


2. Get clear about what's confusing you


3. Talk about your confusion with trusted friends or co-workers


4. Seek out missing information


5. Redefine your problem or challenge


6. Pay attention to your dreams and other clues bubbling up from your subconscious


7. Ask for input/feedback from others


8. Let go


9. Realize it took years for the post-it (an accident in the lab) to go from idea to commercial product


10. Find the humor in it

http://www.ideachampions.com/weblogs/archives/2010/06/the_value_of_co_1.shtml, The Heart of Innovation, Posted by Mitch Ditkoff at June 2, 2010 01:44 AM