Final Project #17

Manual Magazine Layout Alteration

STA 113:009

Work Days:  Today (4/23), Mon (4/27), Wed (4/29)

Project Due: During our Finals Week meeting, Friday, May 8, 10 AM

Objective:

To combine what we have learned about the Basic Design Elements and apply it to an existing design via paint, collage and drawing.

Process:

You will re-design 5 existing pages of a magazine. The existing layout can include any combination of text and image.

Please make photocopies (black & white) of the pages before you begin- this is for my reference while grading.

One recognizable element of the existing magazine page must remain.

These are the requirements of what needs to be altered between your 5 pages. You may mix and match methods within a single page.

Create deeper space in two places using 2 of these methods:

-        overlap

-        1 or 2 point perspective

-        atmospheric perspective

-        size change

Change or add a color scheme in 2 places using 2 of these schemes:

-        monochromatic

-        complementary

-        warm to cool or cool to warm

-        analogous

Change the visual balance of the page 4 times, using any of the following:

-        value

-        size

-        shape character

-        lines to direct the viewer

-        visual weight

Mount the finished pages cleanly onto Brisol board with a 1 in. border around the image. If needed, weight your page and Bristol under books to get a flat surface.

On the back, please write a few sentences describing what elements have been changed and how, referring to the list of requirements. Please be sure to turn in the photocopies of your page with your project.

Grading:

Each page will be worth 25 points, for a total of 125 points. I will look at:

Effort

Successful alteration and understanding of concepts

Craftsmanship

Creativity

Monochromatic and Complements/Real Color

STA 113:009

Work Days: Wed 3/25, Mon 3/30

Project Due: Wed 4/1

Objective:

To continue using acrylic paint, see the effects of different paint concentrations, to use one found composition and use it as source material for two compositions. To see the range of monochromatic and complementary color schemes. To mix “real” found colors.

Vocab covered:

complementary colors, color value, monochromatic color, intensity, neutral colors, color temperature 

Step 1: Cut out a 1 x 1 in viewfinder out of paper. Use this window to look at magazines and find a composition (no text) that interests you. Try to avoid large areas of pure white. The composition should have at least 6 distinct colors (even if the colors are close to each other hue-wise). Outline this 1 x 1 in section and carefully cut it out using the Exacto. Mount this square on a small piece of Bristol. This will be the source material for the next two paintings.

Step 2:  On a sheet of Bristol, make a 12 x 12 in square with pencil (centered). Translate the shapes found in the 1 x 1 in square (Check with me for how complex your layout is). You will then mix colors both monochromatically and by using a complementary color to match the value and intensity found in your source. Your base color will be pulled out of a hat. From there, you can add white, black or the color’s complement to investigate the range of tints and shades.

Step 3: Again on Bristol, give yourself the 12 x 12 in square and shapes from your source. This time you will aim to mix the exact colors from the magazine. Remember that using complements, shades and tints and getting more specific with hues (for example: a very reddish violet) will help you achieve the “real” color.

Grading:

Monochromatic/Complement Painting

Range of tints and shades and complements to achieve right value   35 pts

Craftsmanship (no visible pencil lines, no excess paint, following directions)

15 pts-                                                                                                                                           

Total: 50 pts

Real Color Painting

Accuracy of colors  35 pts

Craftsmanship (no visible pencil lines, no excess paint, following directions)            15 pts                                                                                                                                   

Total:  50 pts

______                                                                                                                        

 100 pts

Complementary Colors (dealing with the mucky muck)

STA 113:009

Project Due: Wed. 3/25

Objective:

To mix primary and secondary colors with their complements. This decreases the luminosity of the pure colors and gives cues as to how to mix more complex colors.

Step 1: Draw out 3 columns of 5 1 inch squares evenly spaced on Bristol

Step 2: Paint in the pure colors of your primary and secondary colors on either end of each set.

Step 3: Mix a perfectly even mix of the complement (ex: not too blue or too orange) and paint it in

Step 4: Paint in the middle steps.

Grading:

Completion of all complement mixes (3 sets of 5 mixes)   30 pts

Craftsmanship (even colors, clean edges)   10pts           

  ————–

  40 pts

 -Paint your composition, with great care, precision and patience, taking care to fill in the areas of color completely.

 -The image area should be opaque, not transparent, with no streaking and none of the illustration board showing through.

 -Do not slop on the paint heavily, but distribute evenly and smoothly.

 -Mix your colors thoroughly, before applying the paint to the board. Do not use much water, as this will thin the paint out too much and make it transparent.

 -If you are painting a straight line, consider using your drafting tape or a guide to help you– I do not want to see shaky or crooked lines. If you are using drafting tape, do not brush into the tape, as this will force paint under it, and cause excessive bleeding. Rather, paint along the edge of the tape.

Format:

1. Slides (10)

            Which painting shows higher contrast?

            A or B

2. Short Answer w. Slides (3)

            Describe how this photograph is visually balanced.

           Which painting shows a higher degree of hierarchy? Where and why?

2. Multiple Choice (10)

            A way of creating space in a painting would be…

            A. using organic shapes                          C. creating unity

            B. to overlap forms                                    D. to use more negative space

Projects #6, 7, 8

STA 113:009

 Schedule:

2/26: Complete Grayscale, begin pixel portrait

3/2: Work Day

3/4: Work Day/Critique

Objective:

You will learn to mix paint by only using black and white. The middle grays created will be explored in their entire nuance. Additionally, you will learn how to cleanly and evenly apply and use acrylic paint.

First, you will make a 9-step grayscale on Bristol. This will act as a reference for the next projects. Sensitivity of value will be practiced.

Second, using the ranges of gray you created, you will make a self portrait where the average amount of value in the grid squares will be represented by one shade of grey (or white or black) per square on the larger grid painting. You will use economy to distill a small part of an image into one value. The combined result in a “pixel-like” painting (more abstract).

Lastly, you will make a more representational painting while still adhering to the grid and value scale. Detail and abstract shapes within each square can more realistically represent the portrait, while still accurately describing the value range given.

Step 1: Project #6 Make a value scale

On a sheet of Bristol, measure out 9-1 inch squares in a row  (centered) without any white space in between. Mask off the edges of the row of squares with tape. #1 will be pure white paint and #9 will be pure opaque black paint. Begin by filling in #1 and #9 first, then mix your middle gray (#5). Check my example gray before moving on. From here, mix the middle grays between #1 and #5 and between #5 and #9. Tape cleanly between squares as you work on them.

Step 2: Project #7 Pixel Portrait

Take the photo that I took of you and grid it out into ½ in squares. On Bristol, leave a 1-inch border and grid out ¾ in. squares. Tape off the surrounding border. You will then estimate the average amount of value in each square of the printout and assign a level of gray to it (refer to your grayscale to choose). To help grid out the entire portrait, assign numbers to the grayscales and fill in the squares on the Bristol with the corresponding gray before applying any paint. Cleanly paint in each square opaquely, taping off larger blocks as you go. Fill in the entire painting- when the values are approximated well, when you un-focus your eyes, the image will make more sense.

Step 3: Project #8 Chuck Close-ish Portrait

Using the same grid over the same printout with the same grid dimensions, you will again paint the portrait, but you can now use more than one value within each square- this will give you more specific control over the image. Still work square by square, using the numbering method (think paint-by-numbers).

Grading:

Grayscale Completion

Accuracy

Cleanliness                                                                                                                        10 pts

Pixel Portrait

Range of grays/black/white

Readability

Craftsmanship                                                                                                            40 pts

Chuck Close-ish Portrait

Range of grays/black/white

Specificity within grid/Readability

Craftsmanship                                                                                                            50 pts                                                                                                                       

                                                                                                                                    ————–

                                                                                                                                      100 pts

Paint Application Tips:

o    Apply paint in one direction to make an even square. After the first initial covering, lightly brush over the square (with less paint on your brush) to smooth ridges.

o    The blacker the gray (esp. #7, 8 & 9), you may need to give two thin coats of paint to get good opacity.

o    Between each gray, clean your brush in water. Be sure to dry your brush before going to the next color. We will not be thinning paint at all- this will warp the Bristol and make the paint transparent.

o    Do not slop paint down- this will be harder to control and to make look even. Apply in short, thin strokes. You can always give another thin coat of paint if it doesn’t cover well. Excess paint will also warp the Brisol.

o    Be sure about your numbering in the pixel project before diving in with paint- you will want to do all of the same number at one time so you don’t have to remix a batch of paint.

Photo Analysis (space)

STA 113:009

Project Due: Beginning of class, Mon Feb 23

Objective:

You will describe the space in a landscape photograph by manipulating only found text as a line-like device. Layering different directions of line in different densities and positions will help to flesh out the idea of space in your landscape.

Step 1: You may use the grid system to figure out the photo’s proportions when they are translated to the Bristol sheet. At minimum a 1 in border needs to be around the image area, but no more than 2 in.  This may require you to crop your photo in a proportionate way to enlarge (see me if you need assistance).  On the Bristol, give yourself enough information regarding the different shapes given in your photo—how they overlap, recede or use a gradient..

Step 2: Cut out shapes from the found text that describe the direction of the landmasses or objects in your photo. Using the tracing paper transfer method might be helpful as you build the space and fill in abstract shapes. Varying and paying attention to the direction of the text to mold out shapes and better describe the undulations will take this assignment further. Differing values of text or background for the text can help exaggerate space (see Girl With Pearl Earring Example). 

Step 3: Fill out the entire page- do not leave any of the image area blank- use paper to describe even the whites of the picture. If needed, cut more lines of text to layer and better describe details. Erase away any pencil lines. Do not use Sharpie on this project, even as a border.

Step 4: Type up a write-up explaining how space is created (see criteria below)

Grading:

Strength of Translation (design, use of line direction, value range created)  30 pts

Craftsmanship (no visible pencil lines, following directions, clean cuts)                        10 pts

1 paragraph write-up (typed) explaining how space is created and indicated in the project via:

gradient

overlap

size change

vertical location

vanishing point perspective

(refer to handout) 10 pts                                                                                                                       

 ————–

50 pts