For our final project, we were split into groups and, as a group, had to decide on two antonyms that we wanted to use as the inspiration behind our projects. My group chose the words "sanity" and "insanity". Each of us were to create our own interpretation of these words through a series of six illustration board square panels. The panels had to show a transformation from one antonym into the other in a horizontal sequence using mixed media (paint, pen and ink, textures, and collage elements). For my piece, I showed the contrast between sanity and insanity by creating a somewhat symmetrical composition, but where each element was altered in some way. The lines transform from rectilinear to curvilinear, the silhouetted heads and the hands, which were collage pieces, move from light to shadow, the hands change from a natural position to a gnarled formation, and the balls change from three dimensional to two dimensional and eventually fall apart into the shattered pieces, representing a sane mind that has snapped and fallen apart. For texture, I used tinfoil on the left side as a part of the stripe pattern, because the smoothness and shininess of it reminds me of a clean, untroubled mind; on the right, I used sandpaper to create the shards of the broken circles, because it contrasts the smoothness of the tinfoil, and I personally hate the texture of it and associate it with the insanity it stirs in me. The eyes are another collage element I used, places in a normal position on the head on the left, and becoming a distorted, abstract image on the right where the head has multiple sets of eyes. The stripes, heads, and the spheres with gradation were painted, and the stippled spheres were created using a micron pen. Pictured below are some in-progess shots and the final piece.
My method of taping off the circle before painting it with a gradation.
The image I used to create the stencil for the silhouetted heads.
The first panel, taped off in preparation of painting the head.
The latter three panels, prepared to paint the curvilinear lines.
A sketch of one of the circles before collaging the sandpaper pieces over the drawing.
The completed project!
Project 4: Space
In preparation for this project, we created a painted grayscale in order to gather a better understanding for working with black and white paint, and how to create a wee range of values. We also created both one-point and two-point perspective studies, by creating boxes that recede to the appropriate number of vanishing points in a window. The end goal of project four was to create a "recipe" for three-dimentionality using overlapping, scale and size cues, foreshortened angles and interpenetration, diminution of value, transparency, and projection. For each of these six "ingredients", we created sketches. The first three were done in pen and ink and the latter three in paint. After these six designs were created and executed, we had to come up with a system that combined all of them into one piece. For mine, I used the background and tube shapes of of my foreshortening and interpenetration sketch, the idea of diminution (meaning shapes diminish in value and contrast as they recede into space) in the hexagonal holes and the tubes protruding from them, my projection as the complex rectilinear shape that I converted into one-point perspective, and the overlapping of ellipses to create the ducts coming out of this shape, transparency in the way one of these ducts shows from inside of the prism it goes through, and scale and size cues in the hexagons. Pictured below is the painted grayscale, the one and two point perspective studies, the six sketches, the layout of the final design, and the completed final design which I created using a combination of pen/ink and paint.
one-point perspective study
two-point perspective study
overlapping, scale and size cues, and foreshortening/interpenetration, done in pen/ink
diminution, transparency, and projection done in paint
Project 3: Value
Our third project required us to create a collaged self portrait using textures that we created as well as ones we found in magazines to create grayscales. First, we created these grayscales by drawing our own designs in micron pen, and cutting out textures from magazines. We altered these scales on photoshop to create a better range of values. Next, we took each others' portraits in class, utilizing light to create high contrast and trying to incorporate a full grayscale. We then printed our portrait with a grid over it, and evaluated the values on a grid by labeling a 10-step grayscale, and then filling in a blank grid with the number that corresponds to that particular spot on the gridded portrait. Using this number system as a point of reference for the four preliminary studies, which were shaded values, hatched values, stippling, and a collage made out of hole punched values. After we evaluated out portrait using each of these methods, we printed out an enlarged portrait, traced it onto bristol paper, and used our grayscales and textures to collage it. For my portrait, I used rectilinear shapes to create the illusion of curly hair, and biomorphic shapes on my face and shirt o contrast the hair and create a softer transition between values. Pictures below include the numbered grid, the grayscales we created (before and after being photoshopped), the four preliminary designs, the final design in progress, and the completed final design.
Project 2: Shape Motif + Pattern
For our second project, we created a motif using geometric and biomorphic shapes. First, we developed four, relatively simple designs to use as the basis for our motif. We then selected one of these designs and expanded it by reflecting it four times to create a symmetrical, square design. This became our stencil, which we traced 12 times on black paper before manually cutting it out using an x acto knife. Finally, we layers white, light gray, and dark gray paper behind our cut motif to create a grayscale design. Pictured below are the four preliminary designs, the subsequent stencil (which I created using the design in the bottom left corner), the process of creating the black motif, and the final product with the grayscale layering.
Project 1: Expressive Line Quality using Figure/Ground Relationship
For our first project, we had to create an abstracted image of our initials, and layer it over an abstract pattern or design based off the pictures we took for linear inspiration. After creating multiple rough sketches in our sketchbook, we had to choose our strongest four designs of both the initials and the backgrounds. We then transferred these four sketches onto larger pieces of bristol paper, and inked them using drawing ink. These four images for both the initials (foregrounds) and the backgrounds were the preliminaries to the final project. For the final project, we chose our favorite preliminary foreground and background and combined them into one large image on bristol paper. Finally, we mounted our final project onto mat board. Pictured below are the preliminary designs as well as the final project:
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