Digital Work: JPEG Files

Just learned how to convert large Photoshop files into smaller JPEG files!  Above are my three concept boards and my surrealistic landscape.

Scientific Principles Value Project

I am excited to being working on the Scientific Principle project.  It combines aspects of surrealism, scale, proportion, geometry, and personal inspiration in order to develop a pleasing composition.  Surrealism emphasizes that which is dreamlike and encourages subconscious approaches to art.  The resulting artwork often lacks the ability to be rationally explained.  This is a critical component in our new projects.  I find it difficult to think in an irrational way to achieve a positive outcome, however the challenge is enjoyable. 

            Scale and proportion relate to the size of objects.  They are closely tied to the emphasis of a focal point.  Also, in past centuries, scale has been used to depict and relate thematic importance.  The use of scale and proportion is an integral part of the design project.  It helps to create depth and dimension within the composition.  This dimension and depth then begins to form a visual separation between the foreground, middle ground, and background. Without the objects of various sizes placed throughout the artwork, such as the enlarged microcosm, the viewer would lose any and all sense of depth.

            Geometry is one of the basic foundations for this assignment.  Emphasis is placed upon the golden mean, the desirable middle between two extremes.  It is important that we incorporate the golden section of a rectangle into the piece using the Fibonacci number sequence.  Along with all this, the extended criteria must be met as well.  The following elements must be included: striations, a light source, contrast, perspective, cropping, and enlarging.  These elements will assist in the creation of depth and the illusion of space.

            My concept is based off of the bird of paradise flower, more formally known as Strelitzia.  I will focus on the flower as the microcosm portion of my design and will zoom in on its structure and delicate features.  Because it is native to South Africa, I plan on developing the theme of an African landscape within my piece.  This will influence my macrocosm component and will allow for a more expansive viewpoint.  For the section that is required to be inspired by the golden mean, I intend to depict a vine or plant with leaves protruding from its sides.  I would like to simplify its shapes and reducing it to its most basic structure.  This will allow me to manipulate geometric forms.  Again, I am thrilled to being working on such a project, and am prepared to take on all of the work it will require to receive a successful outcome.

Strelitzia (bird of paradise / crane flower)

Concept Boards: Editing

I decided to go back into my some of my concept boards and make some major adjustments. The results look something like this... 

Scale & Proportion Concept Board

Illusion of Motion Concept Board

I think that I am finally happy with the results. Hopefully any further adjustments will be minor.

:)

Surrealistic Collaged Landscape: Inspiration

Dorothea Tanning

A Parisian Afternoon (Hôtel du Pavot)

1942
Oil on canvas
40 1/2 x 17 3/4 in

I'm in the process of looking up inspiration for the surrealistic collaged landscape project that we will be working on over the next couple of weeks.  While researching artist Dorothea Tanning, I came across her oil painting A Parisian Afternoon (Hôtel du Pavot).  I was immediately drawn to the composition of this piece.  In my landscape I hope to use buildings and architecture in combination with elements of nature, as Tanning did.  With that in mind, my overall goal is to establish an ominous mood, aesthetic appeal, and strong composition in my finished product.

Charles Ray: Hinoki

"Hinoki has a seductive, tactile presence. It boasts impeccable craftsmanship with an ornate and varied surface where original impressions of bark have been translated into an expert vocabulary of descriptive lines. As such it is constantly shifting, depending on your vantage, between a carved surface and a trompe l’oeil reproduction."

Caroline Picard

The Undead Tree of Charles Ray

November 2nd, 2012

Charles Ray, “Hinoki,” 2007. © 2007 Charles Ray. Courtesy Regen Projects, Los Angeles.

Detail of “Hinoki.”

Currently in our studio classes we are experimenting with different textures and the techniques that will allow said textures to be created.  I am really enjoying the trial and error process of learning what methods form certain textures in art and design.  

This quote, from an article on Art21, immediately caught my eye because it directly correlates to what we are exploring in class.  The piece "Hinoki" by Charles Ray displays an imitation of actual texture, but in doing so it possesses it own actual, tactile texture.  I find this work of art to be dynamic and loved reading about it.  Picard's article is an interesting one and describes the artwork in depth.

Concept Boards

I'm currently in the process of going back and taking another look at my three concept boards.  I'm pretty happy with them so far, and am pleased with the way they have turned out.  Although, as far as my scale and proportion concept board goes, I am wondering if I should add more text to it.  I love all of the images in it, and feel as though adding more text to it may clutter the entire composition and make it feel too jumbled.  I suppose I will leave it as is for now and perhaps go back into later and move some things around if need be.

My Scale and Proportion concept board

Camille Pissarro: Le Boulevard Montmartre, Temps de Pluie, Apres-Midi

Camille Pissarro has been described as the father of Impressionism.  His artwork depicted rural and urban lifestyles seen in France during the time.  His oil painting Le Boulevard Montmartre, Temps de Pluie, Apres-Midi exemplifies Pissarro’s skill and ability.  This depiction of a rain-soaked street conjoins his avant-garde techniques with the traditional and structured landscape subject.  Painted in 1897, this piece displays atmospheric perspective, implied texture, actual texture, pattern, emphasis, balance, and visual interest.

            The atmospheric perspective in this piece is very straightforward.  It is apparent at first glance that the buildings, trees, and people all become less distinct as they recede backwards into space.  This lack of definition through the use of perspective creates a realistic sense of depth within the painting.  Along with perspective, texture is also very obviously at work in this Le Boulevard Montmartre, Temps de Pluie, Apres-Midi.  Both implied and actual textures are on display.  The implied texture is found in the way in which Pissarro depicts his subject.  For example, the way in which he paints the trees describes their natural texture that we, as human beings, know them to have.  The actual, tactile texture exists on the surface of the piece.  It is the artist’s brushstrokes that fashion this real texture for the viewer. 

            Pattern can also be seen in this work of art.  Pissarro demonstrates the element of pattern in the way that he paints the buildings.  Each building’s windows create a recognizable arrangement and aid in the unification of the overall painting.  Finally, emphasis, balance, and visual interest are formed through his use of value within the painting.  This is successfully accomplished because of the way in which Pissarro evenly distributes his dark and light values.  Overall, Le Boulevard Montmartre, Temps de Pluie, Apres-Midi is a brilliant artwork that displays multiple elements and principles of art working together harmoniously.

Camille Pissarro.Le Boulevard Montmartre, Temps de Pluie, Apres-Midi, 1897. Oil on canvas.52.5 x 66 cm.Private Collection.