DECONSTRUCTED SELF-PORTRAIT

Painting I- OLIVER

Assignment 6

(Due: Thursday 11/13)

Deconstructed Self-Portrait

Parameters:

~Must have at least four surfaces/layers to work on (deconstructed frame/ surface/ materials)

~Must incorporate (but not limited to) acrylic paint

~Must incorporate at least one figurative element from life

~Must have artist statement

Materials: OPEN, though you MUST at least incorporate oil paint

OBJECTIVE: Create a reflective piece, representing a psychological image of self through the deconstruction of frame/ materials, surface.

You have ALL of the elements we have discussed in other projects to this point (formal/ conceptual elements, frame, materials, tools, narrative, etc) to discuss the work. IS THIS PIECE DECONSTRUCTED? HOW? DOES THAT MATTER TO THE VISUAL/ AESTHETIC INTEGRITY OF THE OVERALL PIECE?

Think about the statement--WHAT is being said?  HOW it is stated (even things as basic as grammar and writing can be taken into account). What are the materials used? HOW did you deconstruct the piece? Does this statement connect with the work? Does the statement itself strengthen/ weaken the work presented? Is there enough being said to actually give you information and clarity?

Pope - Plein Air

1) What is the emotional tone of the image, and how is this accomplished? What are the objects and what is the space?

2) Is this a balanced composition? How could this further be improved?

3) Is there volume, space, depth, and texture in both your objects and your space?

4) Have you captured a specific time of day? What time is it?

5) How could you improve this composition? Give at least three examples.

1. The image has a subtle, calm feel which is accomplished through use of a smooth field of yellow grass in the foreground leading up to a smooth dark hill, both being calm earth tones. The solid blue sky gives the piece a southwestern landscape feel with the hill being the area of focus.
2. I feel that this composition is balanced because the focus of the image, the hill, is centered on the square format canvas. I feel as though the composition could have been improved if I would have painted the picture from farther away but this would have also required more painting time.
3. I did capture a sense of volume, space, depth, and texture in my objects and space but feel as though I could have added more detail to further define these elements. I didn’t feel I had time to paint further detail because of the time-sensitive subject and my slow pace.
4. I believe my painting successfully portrays an average New Mexico day around 3:00 pm because of the solid, bright blue sky.
5. This composition could be improved by creating more detailed texture in the field and the hill. I also felt that I could have matched the colors of the landscape more precisely. The third thing I would change is the distance I painted from, I would have included more hill in the frame.

PLEIN AIR

Painting I- Oliver
Assignment 6
(Due: Thursday, 10/30)

Plein Air

Materials:
-­‐one canvas 20”x 20” or larger
-­‐oil paint, mediums & brushes


Objectives:

We have discussed the origins of plein air painting and the Impressionist objective of “capturing light” and post-Impressionist goals of “expressing emotions” with color and brush strokes. Your goal is to do BOTH in a single image. You will need to fill a single canvas with a museum ready composition painted OUTDOORS.

Learn to paint in PLEIN AIR, capturing natural light:

Control/activate the background
Balance highlights and shadows
Provide areas of visual movement
Repeat accent colors
Consider viewing from different angles

Review basic composition techniques:

Rule of thirds, avoid centering
Cropping, fill the whole space
Activate the edges


I want you to also consider, IN ADDITION TO FORMAL/ ACADEMIC composition, what is being EXPRESSED and HOW.

1) What is the emotional tone of the image, and how is this accomplished? What are the objects and what is the space?
2) Is this a balanced composition? How could this further be improved?
3) Is there volume, space, depth, and texture in both your objects and your space?
4) Have you captured a specific time of day? What time is it?
5) How could you improve this composition? Give at least three examples.

Print this out and bring it in with your painting, as well as posting it to the blog under the title, “PLEIN AIR”.

Hwk: 10/23 Plein air, Color Layering, Percieved Blending

Hwk: 10/23 Plein air, Color Layering, Percieved Blending

We begun last class by discussing PLEIN AIR (outdoor) paintings and different techniques used by Impressionist and later post-Impressionist painters, to both capture light and express emotion quickly!

Last class we explored BROKEN STROKE and POINTILLISM. This class we are exploring HATCHING. All of these are techniques for laying bits of color right next to each other to create perceived OTHER colors.

TO WORK ON YOUR PROJECT:

http://www.outdoorpainter.com/news/how-to-frame-paintings-at-a-plein-air-event.html

http://painting.about.com/od/landscapes/a/plein_air_paint.htm

http://keenewilson.com/page/3230/plein-air-painting-concepts-and-techniques

Your homework is to begin your PLEIN AIR painting. 

ALSO work on your feedback for your STILL LIFE projects. You MUST give written feedback (posted to blog in "comment" section under each project post) to EVERYONE in class.

ALL OF THIS IS DUE NEXT THURSDAY, 10/30.

FAT OVER LEAN

FAT OVER LEAN

http://www.easy-oil-painting-techniques.org/oil-painting-process.html

http://painting.answers.com/oil/what-is-the-principle-of-fat-over-lean-in-oil-painting

http://www.artistsnetwork.com/medium/oil/fat-vs-fatter

http://www.artisanhq.com/a-guide-to-oil-painting-mediums-and-their-uses-playlist

http://www.youtube.com/watch?v=DAQnar9Jf1M

Pope - Master Copy

Dave Correiaillustrator

Born in New Orleans and raised in the San Francisco bay area, Dave Correia has been drawing his entire life. At an early age, he was administered a steady dosage of comic books, horror films and video games; all of which have had strong influences on his artistic style today.

His drawings are often tedious with detail and washed with de-saturated yet subtle color. He has described his work as therapeutic and frustrating all at once.

Dave's illustrations were widely seen in the successful Scion XD Little Deviant advertising campaign. His illustrations were used in numerous commercials, print ads, billboards, websites, posters, vehicle wraps and various guerilla marketing strategies.

Aside from his freelance artwork, Dave also self-publishes and exhibits his personal work at various comic shows and art galleries across the country.

Maestas master project

Alla Prima, distortion, projects, and surface

Hwk 10/3: Alla Prima, distortion, projects, and surface

Today we discussed several things:

1) How to create canvas board. Your next project I have opened up the surface for you, but you WILL NEED 12" x 14" (or larger) canvas boards, gessoed and primed for each class through November 6th. These can be store bought, but are much cheaper to make, if you so choose. Masonite OR panel board + archival glue & water + canvas or muslin. You can use staples on panel board, but not on thin surfaces. Remember to gesso your surfaces with 2-3 coats if you are prepping your own.

http://ampersandartsupply.blogspot.com/2013/06/painting-on-panel-differences-between.html (This is a site explaining different TYPES of panel and how they act/ look. ALL can be made into canvas board)

http://www.wikihow.com/Make-a-Canvas (remember glue and a bit of water are BETTER, AND you need to penetrate EVENLY through the canvas to the board).

All of these sites are using different adhesives, different boards/ panels, and different fabrics. Make sure your fabric is a cotton or linen and your glue (at least for projects!!) is acid free. All of the rest of this has a bit of give to it. There is no HARD science to this.

2) After 3 or so inquiries about surface for the MASTER COPY/ MASTER STUDY  I have opened this up to a surface of your choice. Be smart with your tools and materials. You will have 3 weeks to finish BOTH paintings. They are DUE Tuesday, 10/21.

For reference to the other class' choices again, here is the link to their blog: http://unmfigurepainting.blogspot.com/2013/11/blog-post.html  

Remember not EVERY pairing was necessarily successful, in looking like they came out of the same studio! Be critical of your choices in this project! The source material for your MASTER STUDY paintings do not necessarily have to be from life, but they MUST be in keeping with your Master's methodology and aesthetic.

3) You need to revisit your acrylic STILL LIVES. I want museum quality work! Fix anything that need to be fixed with acrylic and/or oil. These are DUE on TUESDAY, along with a post to the blog answering the questions on intent.

4) Bring in your UNEXPECTED COLOR paintings so I can photograph them on Tuesday.

5) You need to paint one image of an object being distorted by water (partially in/ partially out OR partially behind the water). This can be done on your other small piece of masonite and should take at least 2 hours to paint. Remember to gesso first and CONTROL YOUR LIGHTING! Since this is a fairly short painting natural light is acceptable, but will change drastically after 2-3 hours. Paint WHAT YOU SEE (color/ shape/ size/ distortion, ect) NOT what you KNOW to be true!!! Those WITHOUT explicit objects are distorting the background. This is acceptable, but you MUST paint a detailed background. PLEASE NOTE: There are BOTH reflections AND shadows!! You need to paint BOTH.

These are DUE on TUESDAY!

MASTER COPY/ MASTER STUDY

Painting I- OLIVER

Assignment 4

(Due: Tuesday 10/21)

MASTER COPY/ MASTER STUDY

Materials: oil on (2) OPEN SURFACE CHOICE (suggested canvas boards), EACH 18” x 24” (minimum)

OBJECTIVES: To ask you to delve into the individual components that create another artist’s aesthetic (brushwork, palette, image choice, composition, narrative/ audience response, etc). You will be replicating the work of a master artist, AND creating an ORIGINAL second piece IN THE STYLE OF your master artist.

This is a THREE-PART project. EACH panel is 18”x 24”, and these two paintings will work together to act as a set. They MUST read as if they came out of the same artist’s studio, and done by the same hand.

PART 1 (MASTER COPY): You will be asked to choose work from an artist to research and replicate using skills developed in class. The easiest method for replicating this is by using the grid technique we employed earlier in class. This is an oil painting assignment, and will be in color. You will be asked to present both the original image you have chosen, as well as your own.

PART 2 (MASTER STUDY): You will create a SECOND, original work in the style of your master. This is to be done from life, and seem as if it came from the same studio (aesthetic).

PART 3 (artist statement): Copy and paste a version of an artist statement OR interview of your master talking about PROCESS or their work. Include a link if possible.

Schoen - Still Life

Katy Schoen

acrylic on board, 24"x 36"

       The objects I used for my still life are a crutch, a leg brace, two empty pills bottles, and an Ace wrap bandage. Each of these objects were connected to my knee surgery, which is what I tried to center my narrative on. I had no specific audience in mind, but those that were familiar with knee injuries seemed to identify the objects much sooner. I attempted to balance the still life on a diagonal line created mostly by the crutch. The still life was placed on a bed whose edges are marked by the darker purple corners. I have texture, but due to my flat style of painting, the depth of my still life can be improved upon.

Maestas, Still life

Rebekah Maestas

acrylic on board, 24"x 36"

    The subjects that i used are all similar colors. I picked a scarf, a hat and a bowl of pumpkins. What i was trying to portray was a fall theme. which is why i picked colors that were all light brown, brown an orange. All colors that i feel are fall like.The still life was placed on my kitchen counter, i didn't want to paint my cabinets so i placed a brown board behind the objects. 

      My intended audience would be people who like neutral colors and who are drawn to fall like images. but really my audience does not really matter, my favorite season is fall so i guess i can say that i was the main audience. I feel that i did a balanced composition, all the objects are are well portioned to each other. there isn't anything that is too small to be in the piece. the way the i placed the objects i feel that your eye just flows over all the objects. i think that i used the space wisely. i could maybe further improve the composition of the scarf and give it more of a fluid flow to it. The hat has depth to it, the shadows give it the feel that it could be 3-D. The pumpkins might be a bit flat, i had a hard time matching the colors and making sure that they were different. the hat also has texture to it, the pattern on it looks like texture. the space has depth, the shadow behind the board makes it seem that the board is leaning and there for adding volume to the piece. the counter top makes it so that my objects are not just floating in space. also the scarf makes the objects more grounded. over all i feel that i captured volume, space, depth and texture with the objects that i picked.