Project_04_Value Portrait

Green 2 d_08value and contrast from Thomas Everett Green

Project_005_Value Portrait

Project 005_01

Value Interpretations

Materials

-photocopies/printouts of famous portraits

-various papers (white black and 3  shades of gray

-X-acto knife with sharp blades

-Rubber Cement

-1 22x30 bristol

Step 1:  Find a portrait online of a famous character in history, movies, music, etc. print the image out to 11x17 Option: you may wish to posterize the image as I will demontrate in class. This can help you with visualization.  

Step 2: Using abstraction, the photoshop tools, and your own judgment, decide where the various gradations in values merit individual shapes.  For each shape you will need to assign a value with your assorted gray papers.  You may want to do this using a number system (ie. 1-black, 2-dark gray, 3 middle gray, 4 light gray, 5 white)

Step 3:  Using a pencil gently break down the portrait into a set of five values,  be sure to simplify (remember you are going to be using cut paper).  Keep this as simple as possible while still giving the viewer all the pertinent information. 

Step 4: Cut the shapes out of the appropriate colored papers and adhere using rubber cement. you may want to build this up on black, or you may want to start with a middle gray and add highlights and lowlights to the main shape.  Plan your strategy in advance based on your image. 

NOTE: for smaller shapes you will want to place them over the larger shapes in LAYERS instead of trying to assemble these like a jigsaw puzzle.

Project 007_02

Value Portrait Part 2: Working from the same photograph, you will assign VALUES for areas of the composition using a grid.

Step 1: using a pencil, gently grid off your printed image.  Option: you may use Photoshop to create a value mosaic of the photograph, assign values to each square (or basic shape of your choosing).  After assigning values to the areas of the composition

3.   Step 2: using a paper cutter or exacto knife cut rectilinear (or tesselations of other basic) shapes and adhere to the composition.  Squares should be between no less than 1/2" and no more than 1" each.  

Finally:  You will mount your 11x17 inch composition on a sheet of bristol.  

     

           

Examples from previous student work: 

Because this is a summer class, you will only have to do one of these.  You may choose a pixelated version or a posterized version of this project. 

Project 003 Rhythm, Repetition and Pattern.

P_003

Visualizing Rhythm With Typography

Design Spotlight: Paula Scher

ARTIST SERIES: Paula Scher from Hillman Curtis on Vimeo.

Artist Spotlight:  Kehinde Wiley  (PATTERN)

Green 2d 06_ryhthm_repetition_pattern from Thomas Everett Green

PROJECT _003

Objective

To create  compositions using the same letter form exploring two different rhythmic ideas.

Materials

·       Cut black paper

·       2-ply Bristol white ground sheet

·       Rubber cement

Procedure

First: Conduct research on Graphic design of Bauhaus and Art Deco.  Print images of patterns and design that you like and inspired by.  Place these in your sketchbook. 

·       Select a single letter in a typeface that you feel will lend itself to a composition emphasizing repetition.
-     Think about the shape of the letterform.  Does it appeal to you with regard to shape and negative space?

Select from ONE of the following

1. . In your composition, create an arrangement of the letterforms that creates a progressive rhythm.

  OR

2.  In your composition create an arrangement of the letterforms that creates an alternating rhythm.

Create 6-10 "sketches" of your designs in your sketchbook or by using Adobe Illustrator (then print and place in your sketchbook) 

·       Cut the letters out using an X-Acto Knife.

·       Use only black paper for the letterforms.

·       You must have at least 7 characters for your arrangement. 

·       The selected letter may change in size to embellish the movement of the rhythm.

·       Mount your 9.5 x 12.5 composition on the 12x19 groundsheet (you should have one leftover from assignment 2) 

Hints: 

Pay attention to the intervals (spaces between) the letter-shapes. These shapes are just as important to the rhythm as the letters themselves.

You may use the computer to print out templates of these letterforms, but it is by no means required.  You are also welcome to use Adobe Illustrator (recommended) or Photoshop to create "thumbnail" sketches on your ideas.  

Think of and research music.

Take your time so your compositions will be neat and look nice. 

How to use Illustrator as a method for "sketching" out ideas

Progressive

EXAMPLES BELOW: 


Notice how the progressive example seems to have a logical,  flowing pattern. We can see how its intensity would flow, maybe even becoming more quiet as it sinks into the distance.

Alternating

Notice how the alternating rhythm seems more like an irregular pattern. We could see it as having a repetitious beat. An irregular/alternating beat perhaps.

Example Student Work:

Noma Bar

Today we are working on our second project.   I will come around and help you work out design and finalize your designs for you projects.    I am also happy to help out with any other issues you might like assistance with.  If you are just joining us.  Please see project guidelines and lecture materials by clicking on this link:

You are selecting ONE of the following Gestalt Principles:

1. Continuity
2. Similarity
3. Proximity
4. Closure

Here is a refresher of the laws we reviewed in Tuesday's class. 

The Gestalt Principles SIMILARITY / CONTINUATION / CLOSURE / PROXIMITY / FIGURE & GROUND Gestalt is a psychology term which means "unified whole". It refers to theories of visual perception developed by German psychologists in the 1920s. These theories attempt to describe how people tend to organize visual elements into groups or unified wholes when certain principles are applied. These principles are: Similarity Similarity occurs when objects look similar to one another. People often perceive them as a group or pattern. The example above (containing 11 distinct objects) appears as as single unit because all of the shapes have similarity. Unity occurs because the triangular shapes at the bottom of the eagle symbol look similar to the shapes that form the sunburst. When similarity occurs, an object can be emphasized if it isdissimilar to the others. This is called anomaly. The figure on the far right becomes a focal point because it is dissimilar to the other shapes. SIMILARITY / CONTINUATION / CLOSURE / PROXIMITY / FIGURE & GROUND / TOP Continuation Continuation occurs when the eye is compelled to move through one object and continue to another object. Continuation occurs in the example above, because the viewer's eye will naturally follow a line or curve. The smooth flowing crossbar of the "H" leads the eye directly to the maple leaf. SIMILARITY / CONTINUATION / CLOSURE / PROXIMITY / FIGURE & GROUND / TOP Closure Closure occurs when an object is incomplete or a space is not completely enclosed. If enough of the shape is indicated, people perceive the whole by filling in the missing information. Although the panda above is not complete, enough is present for the eye to complete the shape. When the viewer's perception completes a shape, closure occurs. Examples SIMILARITY / CONTINUATION / CLOSURE / PROXIMITY / FIGURE & GROUND / TOP Proximity Proximity occurs when elements are placed close together. They tend to be perceived as a group. The nine squares above are placed without proximity. They are perceived as separate shapes. When the squares are given close proximity, unity occurs. While they continue to be separate shapes, they are now perceived as one group. The fifteen figures above form a unified whole (the shape of a tree) because of their proximity. SIMILARITY / CONTINUATION / CLOSURE / PROXIMITY / FIGURE & GROUND / TOP Figure and Ground The eye differentiates an object form its surrounding area. a form, silhouette, or shape is naturally perceived as figure(object), while the surrounding area is perceived as ground (background). Balancing figure and ground can make the perceived image more clear. Using unusual figure/ground relationships can add interest and subtlety to an image. Figure The word above is clearly perceived as figure with the surrounding white space ground. In this image, the figure and ground relationships changeas the eye perceives the the form of a shade or the silhouette of a face. This image uses complex figure/ground relationshipswhich change upon perceiving leaves, water and tree trunk. GESTALT PDF EXERCISE SHEET

IDEAS:

In the image above we are seeing several phenomena.   The law of closure around the figure, the law of similarity in our mind's need to separate the figures into light blue and dark blue, and finally, the law of proximity allows us to see two groups (or figures) based on how close they are to each other.

 Above we see the edges of the words create "CLOSURE" which signifies to us, the viewer, the shape of the light bulb.

 Above, we are also seeing the law of "Closure" happening.

 We can see the law of continuity applied in the image above.  Because of the placement of the squares in a spiraling pattern, we visualize linear spirals towards the center of the composition.

 In the image above, we are seeing the effects of two phenomena again. because of the direction of the lines, we are seeing continuity create a shape, or closure of the box shape in the center.

 The Above image illustrates the gestalt principle of closure.   The edges of the horizontal lines create the shape of a fish.

 In the above image, we are seeing several phenomena occur.  The PROXIMITY of the shapes force the viewer to group the sets of shapes.   SIMILARITY also helps that process.   We perceive the shapes as a tree with a grouping of leaves at the top of the image.

What principles are you seeing in the above image?

NOMA BAR

Notes on Craftsmanship

Craftsmanship

What is craftsmanship?

Definition: to make or devise, especially with great care

Examples of poor craftsmanship:

-torn edges

-smudges/fingerprints

-dried glue

-creases

-pencil lines

-coffee rings

-cigarette holes

-tattered/curled edges (unless intended)

-water marks

-etc

Ways to avoid poor craftsmanship:

-always work on a clean, flat surface

-watch what you are doing

-keep food, drink, etc away from work

-don’t roll, fold, or crease paper

-keep work off the floor

-transport work in a portfolio

-erase all pencil lines, smudges, and fingerprints

-use just enough glue so that edges don’t curl up

-use a straightedge when cutting with an x-acto knife so that edges are straight

-keep edges clean (unless intended otherwise)

-use papercutter if necessary for long straight edges

-keep your borders clean when mounting your work

-if an accident does occur, fix it or start over if necessary (I will not accept excuses!)

-make your work important to you and it will show

Poor craftsmanship can be easily prevented.

Try to give yourself plenty of time to complete projects.  

Week 2_PROJECT 2_Line, Shape, Gestalt, Focal Point, Unity and Variety

Shepard Fairey - Obey to be Better! from Gestalten on Vimeo.

Notes on Critique: 

3. Critique

4. Shape, Gestalt, Focal Point

Green 2 d_wk2_lwtech from Thomas Everett Green

Project 002

The aims of Project 002

- Experience the principles of design, including balance, figure & ground, focal point

- Understand the Gestalt laws of Continuity, Proximity, Closure, Similarity

- Demonstrate craftsmanship.

Step 1.  Select one of the Gestalt principles you will be illustrating.

Step 2.  Conduct online research finding images and inspiration for your designs.  Print these out and put in your sketchbook.   You may use these as reference and inspiration, but do not copy what you have found.    Create your own work. Remember what happened to Shepard Fairey when he used the image he found on the internet. 

Step 3.  Sketch Graphics (no shading, only shapes) which represent the principles that you drew earlier.  You should complete a minimum of 4 sketches for each principle.  If your ideas are not well enough developed you will continue to sketch until you and your instructor (ME) can agree on something that is exciting.  PUSH your designs!   Make something that is both exciting and 
interesting. 

Step 4.  Create ONE composition using cut black and white paper to be mounted and shown in class 

RULES:  

Try to create a focal point in your compositions. 

You are welcome to use black on white or white on black.  You may use organic shapes, geometric, or a combination of both. Your compositions may be in either Portrait or Landscape. 

Note:  Your final design might reflect more than one of the principles of Gestalt organization, and that's okay.  But, try to focus on the principle that you have selected.   You will mount your final composition on 1/2 of a sheet of Bristol as pictured below.