Anne

=In-Class Work=
 * toc**

Landscape Painting

 * Technical Skills**
 * Meets the Standard**
 * Justify Selection:** The painting is passed in on time. It is an Ansel Adams based painting with the list of suggestions on back. It is not of the best quality in the mountains, or the most detail, but it has enough in most places. The skyline and layers are a little messed up and not detailed, but the shadows of the trees in front are detailed.

Meets the Standard**
 * Creative Problem-Solving Skills
 * Justify Selection:** The painting does demonstrate a basic translation of the Ansel Adams photo. There are tertiary colors in the sky, you may not see it, but they are there. The trees are dark like the trees in the picture were dark. The layering because of starting too early was messed up, but it worked out for the better in the end. I started with the mountains in the beginning, not the sky. I should’ve done it the other way around. Then the rest of the painting might’ve worked better, but from there, there was no going back and I messed up a lot of layers afterwards.

Final Still Life and Reflection

 * Look at the famous artist’s work that we discussed in class (the laminated sheets). Compare your marks to the marks created by Henry Moore, Vincent van Gogh and Giorgio Morandi. Which of the three artists’ marks, are the most similar to yours? Explain why and exactly where you used these marks:** I am most like Vincent van Gogh because of the similarity in cross-hatching . In my watering can, the cross-hatching on the darker side is similar to the cross-hatching on the bench in Vincent van Gogh’s The Hague: April, 1883. Also, The rounded cross-hatching in the chair’s arms are similar to the rounded cross-hatching in the woman’s back of her arm in the picture. Plus, the light shading down the back of the lady in the picture is similar to the white on the watering can handle and legs of the rocking chair.
 * Look at your work (all in the portfolio) and progress over time. What drawing(s) make you the most proud? Please explain:** The brown paper simple still-life makes me the most proud because I like the shading and how composition. I like how it has some expression. It’s not an attempt to be perfect, but rather a try at getting what I see down. I also like the composition of my final thumbnail drawing, which I used for my still-life drawing. The still-life only makes me proud because I know I put a lot of effort into it, but it doesn’t look at all like a success to me.
 * What are three important things you have learned? Please explain why they are important.** The first important thing I have learned is that it’s good to get a lot of thumbnails in order to create a good composition. To have lots of options and plans for your composition is key. I also learned that you should stick to one charcoal color at a time, which I wish I had because then it would have gone faster. In addition, I found that lines are key to making it look good. Don’t color, use your lines.

**Vocabulary and Paintings**
Hue - another word for color, sometimes it means the lighter shade of the original color Primary Colors - red, yellow, and blue Secondary Colors - green, orange, and purple Tertiary Colors - colors created by mixing two primary and secondary colors Analogous Colors - colors that are next to each other on the color wheel Monochromatic Colors - all one color done in different shades (such as a painting done in all one color, but having different shades of the color) Complementary Colors - colors positioned opposite each other are complementary High Intensity - the full strength of a color such as straight out of a tube, saturated Low Intensity - grayed down colors that are neutral, muted variation of the pure color (straight out of the tube) by mixing in black or white with its pure form Warm Colors - vivid and energetic colors, they tend to advance in space Cool Colors - colors that give an impression of calm, they create a soothing impression Autumn Light, Mark Wethli, 1995, Monochromatic Colors Pearlblossom Highway, David Hockney, 11-18th April 1986, Primary Colors Under a Northern Sky, Mark Wethli, 1992, Low Intensity In Newfane VT, Wolf Kahn, 2004, Secondary Colors The Railway at Bois-Colombes, Paul Signac, 1886, High Intensity The Red Buoy, 1895, Paul Signac, Warm Colors My Shanty, Lake George, Georgia O'Keefe, 1922, Cool Colors Train Trestle, Bath, Tina Ingraham, 2008, Tertiary Colors Flight, Mark Wethli, 1997, Analogous Colors Papal Palace, Avignon, Paul Signac, 1900, Complementary Colors

Portrait Value Collage with Reflection
Technical Skills: The right side of the face is detailed, while the rest of the face and background is not so defined. There are enough gaps to be noticeable. The pieces do usually overlap. The pieces are quite small, too. The mounting is fine. The mod-podging was put on a little too heavy. I think it meets the standard. Creative Problem-solving Skills: The right side of the picture of the face looks the most three-dimensional of all the picture. All six (possibly more) values are used. It is not a crystal clear picture of the photograph, but it definitely looks like a representation of it through the collage media. The features on the face are not all very well defined. The left side of the picture face’s eye looks like it is below the other, but really, the light is highlighting below the eyebrow. This makes the eyebrow look like it is the lighter spot, but really it is above this lighter spot. This makes the onlooker think the eyes are not level with each other, but crooked. Also, the hairline is weird because the top of the forehead it comes down in some awkward shading. Seeing which parts are and which parts aren’t hair is also difficult to tell. The size of the pieces are very, very small in places, which made it difficult, but look good at the same time. I think this also meets the standards. 3. Why might the exercise of breaking down a photograph into value shapes help when you are drawing? This would help in a variety of ways. One is that it will let a person be able to see the differences between light and dark, and the shades in between a lot better. Another reason is that when drawing, it would be easier to portray the shades of light and dark if you can tell the difference between the two. A third reason is that because of the value shapes (the ripped pieces of paper) it is a different media that teaches us how to use paper to show different texture. Recognizing different textures, especially with black and white, is very important. = =

Negative Space with Reflection
Technical Skills Justification: There are more than four thumbnail sketches done, which have various compositions and one that was chosen for the final negative space drawing. Several different patterns were tested with and doodled on the experimentation page. Although, the final drawing’s pattern changes a little, the detail is high quality and really makes the white of the plant pop out. When standing far away from the drawing, the negative space is dark and it defines the positive space clearly. When closer to the drawing, it is easier to see the cobweb like designs, plus it is easier to see that filling in the entire negative space would have taken a lot of effort. Even though the drawing was brought home, there is really no wrinkles and it is quite tidy. Creative Problem-Solving Skills Justification: Even though as a whole the composition is dynamic, the negative space design does change. Both the negative space and the positive spaces are equally interesting, although the positive space may be more interesting from afar. The pattern is very original, creative and unique. The problem with the pattern is that it changes. When it was first began, it was not very together and it was smaller, but by the end, it is larger and it lines up in a more defined pattern. Why do artists make thumbnail sketches before starting a formal drawing? In what ways did it affect your work? Artists make thumbnail sketches before starting the real drawing in order to practice and train their eye on the subject, to get a better idea of what they are trying to portray, to and to have less of a chance of messing up on the final drawing. If I hadn’t done thumbnail sketches, I would not have had the same composition. Also, I would have not had a very good idea of what I was doing. My work would have not come out nearly as well if I hadn’t done the thumbnail sketches. Why does it matter what pattern you choose for your background? How do different patterns affect the "look" of this project? It is important what pattern you choose for your background because, for one thing, the spacing between your lines can define how light or dark your negative space is. Also, it is important because different patterns will give different contrasts in between each individual bit of the pattern. Sometimes they can even make an image that fools the eye. A pattern can change how a formal drawing looks because the pattern can make the picture look different up close and from far away.

Leaf Design with Reflection
Technical Skills Justification: The technical skill on the free choice and tension designs is good because they are neat, clean cut and do not have pencil marks. The craftsmanship is fine in these two designs. The rhythm design is not as neat because there is more excess glue on it. The symmetrical design is messy and not crafted as well. Overall, the technical justification would be a Meets or a little better than a Meets because there is really just one messy design. Creative Problem-Solving Skills Justification: The free choice is an interesting solution because it draws the eye to a corner, while still balancing the positive and negative. The tension design has feelings of tension between the leaves; the leaves look like they are being pulled away from each other. The rhythm design has less equality between positive and negative space, is still a reflective design of rhythm because it pushes the eye along the diagonal path with uneven layers of leaves. The symmetrical design although sloppy, is a mirror image split down the middle. There is an imbalance in positive and negative space in this design, too. Which of the four designs do you feel is the most successful in terms of using positive and negative space well? Please explain: The best one with positive and negative space is the free choice design because there seems to be an equality between the black and the white. There is the square cutout left from one of the leaves, and the rest of the leaves in the picture play off of that. Where the black square ends, the white begins, but the leaves continue. This balance results in a successful use of positive and negative space. Which one of the four designs do you feel best communicates the assigned Principle of Art? Please explain: The tension design best reflects it’s principle because the spaces in between the leaves and the square are close, sometimes even overlapping. The square looks recently separated from its pieces. This spaces are so close in places that they look as if the leaves could be put back easily, although this magnetic force between the black doesn’t seem to be working. The feeling of tension is displayed over a small space, but because it is so small, it makes tension even more there.

=**Sketchbook Assignments**=