Final Project

Final Project
Due: May 4th

For this project, you will attempt to incorporate everything we have learned in this class into one cohesive work. Throughout the semester we have isolated different principles of design: line, shape, color, texture, space, balance and unity have all been explored independently. Now you will make them all work together.

You will be not be given the details of this assignment all at once. Instead, each class you will find out another part of the assignment. You will be allowed ample time to finish the assignment.

On Thursday the 15th you will be informed of the first part of your final.

Value Assignment

Change your image from color to black and white.
Due: April 1st

Objective: To successfully create a monochromatic landscape painting with a wide range of value. Both high and low key values should be explored and integrated.

Monochromatic painting is a useful design tool that is used by many artists as underpainting. Feeling confident in the ways that various shades of color interact and relate to each other will truly improve your ability to create successful work.

What you’ll need:
1) Acrylic paint. Black, White, and one primary color (red or blue, yellow proves to be very difficult).
2) One 8.5”x11” black and white photo of a landscape. If you have a smaller image, use a copier to increase the size to 8.5”x11”. If you have a color image, use a black and white copier to convert it. Do not simply blow up a small digital image, the pixelation will make the project more difficult.
3) Make sure the picture is a landscape, not a picture of a house. It can be an urban landscape, rural landscape, etc.
4) Paint brushes.
5) Bristol paper, 14”x 17”. This is what you’ll use to complete your painting.

TEXTURE

Due Date: March 15th

Texture is a very descriptive aspect of a work of art. In two-dimensional work texture helps us perceive three dimensions on a two-dimensional plane. Texture can also give work a tactile quality.
In this assignment we will use shape and repetition to create texture. You will be filling in different shapes with smaller symbols/shapes to create texture. The size of the symbols, their proximity to each other and repetition will create texture.

FIRST: Find a photograph of a person that is appealing to you. Draw this character onto your Bristol paper. If you like, you man divide up your paper into a grid to help with scale accuracy. It will be helpful for you to see each area of the character as a shape. Do not add any shading or crosshatching to the drawing, rely on the shapes to create this. Only the most basic shapes deserve linework.

SECOND: Once your outline is complete, you will need to decide on 10 simple shapes that relate to your drawing. Pick simple, easily recognizable, and reproducible shapes.
EXAMPLE
A picture of the face of a leprechaun would use shapes such as:
A clover
A pot (o’gold)
A buckle
A coin
A rainbow, etc.

THIRD: All of these shapes will be used for specific areas on the face to create texture. This will require you to pay close attention to the different textures on the face. Notice how eyebrow hair is a different texture than on the head. The texture of the eyeball versus flesh, flesh versus cloth, etc.

FOURTH: Fill your sketch in with the symbols. Experiment with the size of each shape, what textures are created when the shapes are bunched together as opposed to being spaced apart. There should be no white areas in the drawing, allowing the shapes to expand where there are large white areas and to bunch together in the shadows.

Your project will be graded on consistency, ambition, creativity, and basic design properties (composition, balance, unity).

Line Assignment

Due: February 18th

Line has infinite possibilities in art. Whether we are looking at the detailed sketchbooks of Michelangelo or the monumental sculptures of Richard Serra, the importance of line cannot be overemphasized. In these drawings we will explore line and it’s expressive qualities.

Choose an image that appeals to you. This image will be drawn on your Bristol pad, so you may want to choose an image that is large, or can be blown up for ease of transfer to the page. The image needs to be a photograph that focuses on a single subject, and the subject needs to be more or less centered on the page. The subject can be anything: a car, a person, a dog, a building, etc. Make sure the image is a photo, not a cartoon, drawing, or digitally created picture and that the image has a definite focus, without a lot of peripheral information.

From this image we are going to create two drawings. The first will be divided up into 4 equal quadrants. Each quadrant will deal exclusively with one of these types of line:
Vertical
Horizontal
Diagonal
Dots (pointillism)

Each quadrant should demonstrate a firm understanding of the type of line while being distinctly different from the adjacent quadrants, and creative exploration in translating the line from the image to the drawing.

The second drawing will be of the same image, and will utilize all of the previous techniques, while incorporating implied line, contour line, and crosshatching (for texture). In this drawing individual line qualities must be apparent, and an understanding of how different lines work together to create a unified image.

Shape Assignment (11:00-1:50)

Due Date: January 28th

Shape is imperative to instructional signs. Whether it is the octagon of a stop sign or the circle/line combinations of a handicap logo, shape is used to direct us and inform us. These signs use very minimal amounts of line and detail, making every part of these designs essential. Shapes are very simple, specific, and intentional.

Use shape to create 6-8 of your own instructional signs. They can be instructional or directional, but they should tell the person what to do without using words. Each piece should be finished in heavy black lines, on a half sheet of 14”x17” Bristol board.. Lines should be clean and crisp. Shapes should be proportional, direct, and instantly telling as to what they are instructing/directing us to do. Think of this as if you were presenting your creation to an employer that chose you as a designer.

Stay away from existing imagery such as the guy/girl on the bathroom door or the “no” symbol (think Ghostbusters). Your imagery can be as practical or silly as you like, but keep in mind you want these images to instantly communicate what they are instructing.

Shape Assignment (8:00 - 10:50)

Shape Assignment
Comic Book Frames
Due: January 28th

Shape is an important part of how we see things. Sometimes even the simplest of shapes can evoke a multitude of memories or emotions. One can find examples of this everywhere. A line with a bent top can make us think of a candy cane or a shepherd’s staff. The simple outline of a Coke bottle is an immediate signifier for us, as is an Absolut vodka bottle. The shape of a cross is used in religion as a signifier. The list goes on and on.
For this project, we will work on using shape to tell a story in comic book format. Comic books are created with frames. At their most banal the frames are rectangles that contain action. At their best, the frames can be incredibly indicative as to what action is taking place inside of them. The format in which these frames are situated on the page, the amount of frames, and the variety of shapes can sometimes tell the story just as well as the action inside the frames.
Create 4 sequential pages on your Bristol pad. Sketch out your shapes first, and see how they will be situated on the page. Once you have decided on your layout, draw the shapes in pencil. Your ruler should be helpful for this. Once you are satisfied how things are laid out, you should trace the lines in ink. Lines should be very clean and intentional.

Issues to address:
- Do the shapes work together?
- Do the shapes create a theme?
- Do they move from left to right (as they would in a comic book)?
- Is there enough variety?

Welcome to Two Dimensional Design.

Two-Dimensional Design (Art 1020), Spring 2010
Syllabus
Instructor: Jess Hinshaw

Office Hours by appointment
Email: jhinshaw3@student.gsu.edu
Website: http://pro-jection.blogspot.com

Course Description: This course is an introduction to the basic formal elements of two-dimensional art and design. Classroom projects are meant to familiarize you with these elements of design: line, shape, value, texture, and color. We will concentrate on them separately and manipulate them on a flat (2-D) surface. We will also discuss and use the principles of design: balance, contrast, emphasis, movement, rhythm/repetition, variety and unity, and work them into your critical vocabulary. In class you will develop ideas for assigned projects, participate in demos and critiques. Homework will include sketchbook assignments, research and, of course, time to spend completing projects.

Critiques: Informal critiques are impromptu discussions pertaining to the work at hand that are unplanned and called as we see the need. Formal critiques will be held the day assignments are due. These critiques are opportunities to look at projects and discuss their merits and shortcomings. Critiques are a time to ask questions and give your opinion. Recognition of problems and “mistakes” in a constructive environment will help you to learn and make better work in the future. It is incredibly important that you attend and participate in critique.

Attendance Policy: PAY CLOSE ATTENTION TO THIS! 2-D design is a studio course that will require your regular attendance and participation for success. Attendance is mandatory. Roll is taken at the beginning and end of class. Leaving immediately after first roll results in a full cut. Leaving before second roll results in a half cut. Two “half cuts” add up to become a full cut. A MAXIMUM OF THREE CUTS ARE ALLOWED. Each additional class missed reduces your course grade by a full letter grade. Four absences will reduce a "B" to a "C", for example. It is possible to fail this class on absences alone. There is no such thing as an “excused absence” for this class. Whether you are seeing the doctor or going to see your favorite band, all absences are equal.

Cell Phones: You may not use your cell phone during class. All cell phones should be off and out of sight for the duration of class. No text messaging, no picture taking, no receiving or making calls during class.

Grading Policy :Grades for assignments will be based on effort, effective use of visual ideas, imagination (concept) and overall quality and impact of your work. There is a focus on your personal development.

Each project will receive a letter grade from A+ to F based loosely on the following criteria:
· Successful resolution of the assigned problem, use of various design principles
· The design process
· Craftsmanship, neatness, technical ability, attention to detail, presentation etc.
· Initiative, scope of undertaking, did you challenge yourself?
· Inventiveness, absence of cliché solution

There will be five major assignments in this class. Each of these will count for 15% of your final grade, and another 15% will come from class participation in critiques. Assignments turned in late will receive one letter grade lower than deserved. “A” work that is turned in late will become a “B.”

Letter grades for this class will be given according to the following criteria:
A – Outstanding work. Firm grasp of the concept, original ideas, flawless craft, and overly ambitious.
B – Excellent work. Strong execution of the assignment, dynamic and ambitious choices.
C – Good work. Assignment is completed and concept is understood.
D – Below average work. Concept is not explored or properly executed. Technical problems.
F – It is very difficult to receive an F for an assignment in this class. Every aspect of the piece is wrong, and no attempt at critical thinking is displayed.

Materials

Sketchbook approx 9"x 12" with detachable sheets
Waterproof black ink, small bottle
Bristol board pad, vellum14"x17"
Scissors, X-Acto knife
18"-24" metal ruler
Drawing pencils (4b recommended)
White eraser, Staedtler Puraplast eraser
Small plastic mixing tray for paints
1/2" flat brush, #6 round brush (synthetic bristles)
primary yellow, red, and blue, also black and white: Acrylic paints, approx. 60mL tubes or bottles
Black drawing pen, Faber Castell PITT pen or MICRON,

Please do not use Sharpies or other markers for these projects.

You may need additional materials later in the course. I will let you know when these are needed.

Course Outline
Projects
Shape -- Use a variety of shapes to compose layout pages for comic books, with the shapes as the subject matter. 1 week
Texture/value self-portrait - Use textures to create patterns. Use patterns to create value
scale. Apply scale to portrait using grid transfer from photo. 3 weeks
Monochromatic Scale – mix black and white to create a monochromatic scale with gradual progression. 1week
Monochromatic Projects – Explore the limitations and possibilities of painting in one color but varied values. 3weeks
Principles of Design – Work on 3 small, short projects dealing with balance, unity, and space. 2-3 weeks.
Final Project - Comprehensive project using principles and elements of design. 3 weeks



*This course syllabus provides a general plan for the course; deviations may be necessary

Calendar Spring 2010

January 12 – class overview
January 14 – Shape

January 19 – No Class, MLK day
January 21 – Shape

January 26 – Shape
January 28 – Shape Critique

February 2 – Intro to Line
February 4 – Line

February 9 – Line
February 11 – Line

February 16 – Line Critique
February 18 – Intro to Texture

February 23 – Texture
February 25 – Texture

March 2 – Texture
March 4 – Texture critique

March 9 – Spring Break
March 11 – Spring Break

March 16 – Monochromatic intro
March 18 – Monochromatic painting

March 23 – Monochromatic painting
March 25 – Monochromatic painting

March 30 – Monochromatic Critique
April 1 – Intro to principles/Space

April 6 – Space/Balance
April 8 – Balance/Unity

April 13 – Unity/Final project discussion
April 15 – Final project

April 20 – Final project
April 22 – Final project

April 27 – Final project
April 29 – Final project

May 4 – Final Critique