Color Blog Assignment

Analogous Color System

Complementary Color System

Monochromatic Color System

Split-Complementary Color Scale

Achromatic Scale

Texture Project

Texture Assignment
Part One: Photographed Textures
 

 

 

 

Part Two: Scanned Textures

Value Assignment

Shape Journal Assignment

Geometric Shape:

With its abundance of ping pong balls glued all over the body of car, this Volkswagon Bug is fully decked out in geometric shapes. The ping pongs themselves are spheres which make up circular shapes decorated on the car-- the peace sign on the side door and the smiley face on the hood.

Biomorphic Shape:

These leaves scattered with water droplets are a perfect example of natural, biomorphic shapes.

Positive Shape:

The fence in this composition can be described as a positive shape, while the spaces between the boards can represent negative shapes.

Negative Shape:

The tree trunk in its self can represent a negative shape in this composition because of its dark weight dominating the space.


Nonobjective Shape:

Apples dipped in dark chocolate, covered in pecans, and drizzled with white chocolate...yum. The white chocolate drizzled on top of the apples can be an example of nonobjective shapes because they are not designed to represent a distinguishing subject or idea-- well just the idea that it will make this dessert all the more scrumptious.

Line Project

Line Composition 1:

Line Composition 2:

Line Composition 3:

Line Composition 4:

Line Composition 5:

Line Composition 6:

Composition Line 7:

Line Composition 8:

Line Composition 9:

Line Composition 10:

Journal Assignment: Line Collections

Line, Communication, and the Impulse to Order
In mathematics, a line can be defined as the path made by a moving point. Lines in math are without width or end; lines in art do have width as well as endpoints.

The weathered door is adorned with various lengths of molding (lines); the door is set in a wooden frame, which in its self is a line.

Power lines, the siding, window pains, there are lines everywhere in this composition...

 Power lines. Pretty self explanatory.

 In this composition, the boats' vertical masts can be seen in the middle ground, and the black lines in the foreground are formed to make a fence, also there is the pier that runs horizontally in the background--another line.

The balusters, the treads, and the curved handrail of the spiraling staircase portrayed in this piece can all be described as lines.

Bibliography:
Fichner-Rathus, Lois. Foundations of Art and Design. Belmont, CA: Thomson/Wadsworth, 2008. Print. 

Journal Assignment: Composition Collection

Principles of Design
Principles of design refer to the visual strategies used by artists, along with the elements of art, for expressive purposes. They include unity and variety, emphasis and focal point, balance and rhythm, and scale and proportion. All of this principles, along with the elements of art (line, shape, value, color, texture, space, time and motion), are considered to be the basis or platform to achieving an overall seemingly pleasant composition; without the proper execution of the stated elements and principles above, a person could deem a work of art to be "bad." But what makes a composition "good" or "bad"? The aesthetics of your culture greatly impact what you considered to be "good" or "bad" art.

Good Compositions:

As previously stated, balance is a key component to any good composition. Balance brings visual stability to a work of art, which this composition accomplishes. The center of attention, or the focal point, of the composition is naturally the bride in the middle, with three bridesmaids on either side of her, creating a symmetrically visually balanced work. For a work to be considered symmetrically balanced, there needs to be similarity of form or arrangement on either side, in this case three bridesmaids on each side, of a diving line or plane, the bride.

Variety, the complement of unity, adds visual fascination to any given composition. Varying shadows, textures, objects, shapes and sizes add an air of ambiguity to the piece above because it shies away from looking staged or placed. In a perfect world, all objects in the piece would be aligned so all could be seen in equal and precise views, but the jumbled and eclectic arrangement of the kitchen utensils add interest; almost wanting for the viewer to see what may be hidden in the depths of the shadows or behind one of the objects.

To have a successful composition, an artist must have a point in which the viewer's eye is naturally drawn towards-- the focal point. The focal point is an area or part of a composition that seizes and maintains the viewer's attention; to do so, an artist can visually create a line without actually drawing one. For example, in the piece above, the focal point is the last sidewalk lamp at the end of the walkway. The viewer's eye naturally starts at the foreground of a composition, in this instance it is the sidewalk lamp closest to the viewer-- the one positioned in the far left foreground The eye then travels in a "line" to the second sidewalk lamp, which in turn, leads the eye to the last sidewalk lamp-- the focal point.

Bad Composition:

The seven principles of design and the six elements of art are established for a reason. There are many things wrong about this composition that make it a bad one, no quotations needed this time, it is bad. First off, the balance is atrocious; the portion of the building in the left of the piece is overbearing and too heavy for any visual interest. Secondly, where is the focal point? Where is the emphasis? There is not much variety textures-wise, but what is it the viewer is suppose to be drawn towards? Is it the giant clock? Is it the set of windows on the second floor? Or how about the railing? Seriously, what should I be focusing on? Pretty much the only thing this composition has got going on, is the emphasis of the large protruding brick wall adorned with a drain pipe, and it is a dismal example of emphasis at best, if at all. Overall, this arrangement is sloppy and visually displeasing.

Bibliography:
Fichner-Rathus, Lois. Foundations of Art and Design. Belmont, CA: Thomson/Wadsworth, 2008. Print.