FINAL ART 2017

one. looking back over the course of the year, and your blog posts, which project or projects were the most engaging for you? Where did you fully own your process as an artist? where did you get lost in the material or the making of work? 

I really loved all of the projects, to be completely honest. I feel like I was able to fully own each assignment and explore and push myself as an artist for each. I think what made this year so much fun and such a success for me was that I was able to take the message of the prompt and connect it with visual themes I'm excited about. The beauty of it too, and I've never experienced this fully in an art class before, was the opportunity to persist and get through a project despite set backs. In fact, I think four out of five of my projects had major speed bumps, and I think I'm more resilient because of it. But to pick a singular project, I would choose the beacon one with the light, just because I was able to focus intimately on the minutia of the rock and the shipwreck and the clouds. 

two. you have had a year of tremendous artistic growth. where do you see that you have grown the most? think about the studio habits as you answer and explain--observe, stretch and explore, craft, express, understanding the art world, reflect. which of these areas do you feel the most comfortable with? how do you see that comfort showing up in your creative practice?

I think last year I was able to develop my style really well, but this year, I able to much more fully explore my message as an artist. This year was my time to really explore my intention, and formulate the so what of my art. I was able to find that I like for my art to serve a purpose - to tell a narrative or explore an idea. But I think, but as Mr. O has pointed out, I think could push myself further in terms of my presentation, and embracing the opportunity that my medium provides. 

three. which assignments were the most successful? which assignments were the most frustrating? What are one or two things that your teacher does really well? What is one important piece of advice that you would offer your teacher so that they could make this class better?

My most successful assignments, or ones I'm most proud of, are certainly my digital work, just because I could feel myself improving and growing through the process. These, being the most challenging, were also the most frustrating for me, often having to rethink the piece, redo unsaved work, or deal with a challenging interface. Mr. O is great in every way, is extremely helpful, and is willing to work with my point of view without imposing his own. I think, to be completely honest, the class is basically perfect; it is a balance between structure that some people need and creativity and fluidity that inform the creative process. 

Who am I as an artist?

After talking about it for a couple weeks now, and doing art for the entirety of my life, I realize that asking who I am as an artist is intimately connected with the larger question of who am I. Its evolved in skill and precision, but I think my larger intentions were the same when I was painting with my grandma at age 4. Then, and now, I am ferociously curious about the world around me, and seek to document it and explore it through my art. All forms of communication are limited, language through speed and vocabulary, facial expression through misinterpretation. Art is yet another form of communication for me, indeed - it seems to hold true that a picture is worth a thousand words. I draw what my words can't describe, what I can't show to others - be it a feeling, a story, or something else in our world. That's why art is important to me. But additionally, I choose to focus on the moments, however small and mundane, that compose our human experience. Because oftentimes, more than our wildest dreams and fantasies, our own reality is what is truly breathtaking. As a result, I dive into the mundane and explore it for longer than I initially expected. How about painting a shipwreck on an island? I ask. I then spend hours painting out the cracks and bumps on the rocks, exploring the complexity that surrounds us. I use my computer and other 'non-expressive' mediums so that I can tame the art - so that it won't rise up and rebel against my intention. That's who I am as an artist, someone who uses art as a tool to express what my words can't, to express something about the human experience.

Text Project

1.  In what specific ways did the employment of "text" engage you as an artist?  

• What was difficult or challenging?  

The most difficult aspect of the project for me was grappling with the immediate power of added text. So much so, that at the time of this writing I have not yet decided on the wording. This aspect, the immediate attention that text grabs, was exponentially more challenging than the formal aspects of the piece, which I have begun to come to grips with. Although challenging, the color, composition, character work, and other aspects of the piece were relatively clear. 

• What formal, technical and/or conceptual insights did you gain through this practice?

This piece was a continuation of my exploration of using art as a narrative device. The concept was something quite different, and it was a bit of a risk, but I think I got my theme across, the inability to let go and move on, and sort of surprise the viewer in the process. 

2.  Where do you see your authentic artistic voice in this work?  

• What did you learn about yourself as an artist through this project?  

I learned that I enjoy concept design much more than the minutia of details. My ability to focus on many more panels this time around was much more enjoyable than focusing on tiny rock textures and the like. I also continue to love telling stories through my work, and might gravitate towards this as a larger project in the future. 

• Speak specifically to aspects of concept, technique, formal analysis and/or expression.

I think I was able to stretch myself in interesting ways for this project. The human figures were even more cartoony and representative than the ones before. I also really enjoyed the quick workflow of photo collage to easily make a background. 

Mapping Project

Conceptual Intentions 

What did you find meaningful about the process and practice of this project?  How did you address the notion of mapping?  Where does your voice and style as an artist emerge in this project?  If you did not find the practice and process meaningful or you do not feel that your voice emerged in this work, why not?

I think of the map as an extremely powerful narrative too, because it contians so much in its very design. Thus, I tried to exploit the idea of being off the map, and the subversion of this material tool in favor of the path. I hoped to capture the emotion of this moment in the central panel. My style, which by now I realize is very graphic and simplified, was epitimized in this project, and I also hoped to tell a narrative - exploring the unknown. 

Stretch and Explore

In what ways did your intentions change over the course of your project? What opportunities or occurrences led to these changes? Given what you know now about your work and your materials choices, how might you have changed your concept or approach to working?

I had a pretty clear vision about this project from the very beginning. The sketch I made on the first day was identical to the final version. But the use of photoshop allowed for me to explore details - such as the fungus creeping away in the final panel (the forest looks scary, but when you jump in, it becomes less so). I decided to go with a wider shot for the last panel as well, as it tied the piece together more. The addition of vines and trees in the backround give a real sense of depth as well. Because I'm not that experienced with photoshop, I would have liked to be more efficient, but that just comes with practice, especially in terms of intelligently creating layers. 

Understanding the Art World

Who influenced your process for this project? Who are the artists you looked at? How did their work inspire your conceptual intentions and/or process?

Jeff Smith, the creator of Bone, is one of my favorite artists. He actually uses ink for his panels, but for coloring, he does something similar, using photoshop to color the work. I tried to emulate his focus on narrative over any distractions like weird lines, colors etc. 

Reflect

What did you the experience of the critique provide you? What insights were helpful to you in future process? What insights were you able to provide your peers in their process?

The critique was very eye-opening, as well as affirmative for me. Most of the criticism was along the lines of "I want to see what happens next", "is the character a guy or a girl", or "what is in that darkness?" Although these might seem like negative responses, this was exactly what I was going for. I really wanted for this to be the spark that could ignite a story in many different ways. 

Map project midway reflection

The screenshot function on my computer doesn't work, and I don't want to upload a huge file, but I would be happy to show it to you on Monday.

Violet gave me some really helpful suggestions about composition and color balance. She suggested I push some of the greens and reds into the central frame, which I agree with. It would also be an interesting way to show reflection. She liked the direction that I was taking it though, and I like it so far as well. I'm going to work on it as much as possible outside of class - if not this weekend then next. Anyway - her main comments were about the aforementioned color and the composition of the second frame in terms of color gradient.

Intentions

 my intentions...


For the unexplored territories project, I want to explore storytelling through my art. Represent the feeling of an unexplored land through maybe the medium of a graphic series. I also want to continue where I left off last year using digital materials. What I am envisioning right now is a two panel black and white series that I will comp in photoshop.

Final Blog Reflection

Please post a quality image documenting your final image.  

You may also include any impactful process imagery. 

Guiding Prompts for reflection:

1.  Discuss your intentions:  How did you approach the guiding theme of "repetition"?  How did you come to this final image, and what does it ultimately represent to you?  Link your overarching ideas and intentions to specific aesthetic and formal decisions (medium, composition, style, etc)

I hoped to use repetition in my project by having the same characters with different expressions - showing the change that an emotional expression can have on that persons appearance. The medium I used - photoshop - allowed for me to easily and accurate repeat my characters whilst changing the emotional qualities. This image for me represents the similarities of human expression for even the most dissimilar people. 

2.  Reflect on your feedback.  What did viewers observe most in your work?  Assuming that these observations represent what is most successfully communicated by your work, how successful were you in communicating your intentions to your viewer?

People mainly liked the style of painting and new medium I used, and mostly had problems with the presentation. I think people clearly saw what I was trying to express through the emotions. Thus, my intentions were successful. 

 What did you find most interesting about the conversation generated around your work?  

The conversation around using the more non-emotive parts of people to represent emotion came up, and I thought that was really interesting, for example using the hair to portray emotion, etc. 

What opportunities for further development of the artwork were discussed?  How do you respond to these bits of critical analysis?

People maybe thought they should be presented together, but separated by character. In addition, for presentation, I think it would be helpful for it to be printed as well. 

3.  Reflect on your strengths and opportunities as an artist (as represented by your work on this project.)  Which studio habits are strengths in your practice? What tendencies define your artistic practice (formal, expressive, conceptual, etc)?  In what areas were you focused upon stretching and exploring in order to grow your artistic potential?  

This project was really fun for me as well as challenging, as it was a new medium. My ability to conceptualize was most useful for me. For example, I had no reference whatsoever in creating these images, in both character design and emotions. This was a new thing for me. In addition, I've always wanted to pursue character and concept design and it was great to explore that. 

4.  Understand your art world (relative the your class).  What work discussed resonated with you most?  Why?  What is available in that thinking, process, or aesthetic for you to bring into your artistic practice?

If we are talking about other people's work, I thought Logan's was really interesting, and I liked the graphic element to it. I could definitely use her sense of presentation in my work, as well as her ability to design something graphically that is really intriguing. 

Printmaking Final reflection

• describe your “creative decision making” process for this project.  What led you from initial insight to final product?  Consider both intuitive and formal decisions.

As per usual, I really wanted something that portrayed the subject realistically, but also stylistically and emotionally in order to explore the power of representation. When taking photos, I tried to capture a different emotion in each, and when choosing, picked those photos that felt the most authentic and interesting. Stylistically, I chose to go with flowing lines, almost as if the final work was painted with large strokes. The final product was simply the meeting of the emotion portrayed in the initial photo, along with the style and realism I so often rely on. 

• Consider the final image; to what degree does it represent an “authentic” representations of you artistically? 

The self portrait is quite authentic towards who I am. In addition to recognizably being me, I think the sly smile and bright eyes are true to my persona. Limited by the inaccuracy of the medium, I was often forced to hint at certain details I would have liked to more fully express, however the final piece represents my intentions relatively well. 

• Consider the feedback received.  To what degree does that support your intentions?  What themes stand out?  Anything alarming?

Nothing alarming, and mostly positive things. People pointed out accuracy, attention to detail, contrast, and the pop of the blue (although I can't find the blue piece). My intentions being to add emotions but keep realism were affirmed by these positive observations. Many people, which is totally fine, thought it looked like I was a trickster or scheming about something.

Print Post

Upload images of your preliminary work.

Discuss your intentions for your final self-portrait.  What technical methods will you employ?  

Im using relief printing. This is because the relief printing adds a layer of simplicity and contrast to the print - something I hope to utilize. 

What themes/ideas/intentions do you intend to communicate?  

I sort of wanted to create a brooding but mischievous image, with my raised eyebrow, glint in my eye, and smirk. Also half my face is in darkness, which adds an air of mischief. 

What artists, historic periods, or other inspirational imagery have you found to help inspire your work?

Not any besides the pictures of myself. I hope that the final piece is really a product of my imagination. 

What questions, if any, remain for you as you resolve your imagery for this project?

Not many. I think I have the image figured out in terms of style, intention, and formal qualities, now I just have to put in the work to finish it!

Artist Emulation Project

Part 3:  Reflection Blog Post.  Generally you want to discuss your process, how the process helped you develop your artistic process, how well you employed our artistic habits, and to what degree you find the end result aesthetically pleasing.  You may wish to refer to the following prompts in developing your reflection.

1.  Describe your goals:  Clearly and briefly describe the main formal tenets of your chosen artist's style.  Expand to explain what you were attempting to communicate to the viewer based upon the overarching goal of emulating the artist.  Be specific as possible.

Salvador Dali used lighting and shading in order to make a realistic painting, although it had surreal subjects. His style is extremely realistic, using tiny paint strokes in order to create the shading and value so consistent throughout his style. In terms of subjects, his paintings convey the dream world and the subjects that lie therein. Often, the subject exists in a strange landscape, complete with surreal colors and sometimes exaggerated or perfect forms in order to invoke a feeling of surrealism. 

2.  Explain what you learned about the practice of painting in the process.  What stylistically, conceptually, and or expressively of your emulation did you find most exciting creatively?  What processes were most difficult?  How did you expand and develop your painting ability?  

I feel like I became more efficient as the painting progressed, but at the same time felt more disconnected to the subject and less immersed. I was definitely able to improve my technical abilities as the project went on, and I think that with enough time, I would be able to realistically paint a subject - which was my goal for my project. I was able to use compositional techniques as well in order to create a twisting island that I hoped was pointing towards the castle. I thought the idea of creating my own subject from my mind was the most exciting for me. Normally, we have to paint a real thing and observe it, and it was fun for me to not be so held down to the subjects standards. The repetition was challenging for me, as well as the extreme amount of focus and patience it took to paint the same type of wave for a week. As I said before, I think my artistic process benefited profusely from this process, especially because I was not copying a subject, instead creating my own. 

3.  How much of you is in the painting?  How much of the artist?  In what ways did you deviate from the style of the artist?  Why?  

I think the surrealist aspects of the painting are inherently Salvador Dali, but I think I was able to add my own stylistic aspects as well. Firstly, I think our subject differed, as Dali used symbolism to express his ideas, whereas I used aesthetic conceptual ideas that intrigued me to make something that looked interesting and compelling. I feel like I did a good job in emulating his style, but in terms of subject, I wanted to convey a feeling rather than a message. 

4. In the end did your process and persistence lead you to a successful painting? Utilize feedback in explaining. 

I feel like my painting was successful, mostly because of the persistence in shading and expressing the subject. At the time of this writing, the painting is unfinished, and this is because of the lack of uniformity in detail throughout the whole piece. The finished parts of the painting are well-done and emulate the style of Dali. 

Interim Dali post

Right now I am working on the waves in order to contribute to the tumultuous vibe of the ocean. I think the sky is pretty good, but I intend to add clouds. I also want to add a central subject to the painting, namely the island. Most of the criticism I received was due to the incompletion, and thus confusion that emerged - i.e. Why is there a giant blue spot in the middle of the ocean? (it is a shadow). They thought that the waves and sky were great. I think I should try and increase the efficiency of my methods, which is happening naturally through the development of my craft.

In to the Woods Reflection

1. In this flat, we hoped to communicate the coziness and warmth of a bakery. We also tried to show that although they were poor, they are trying to promote their business. Because of this, we tried to express a facade of happiness and warmth, while in reality there were deep unhappinesses that the baker has. My strengths do not include painting, however, so I focused more on the sketching phases and the perspective. I do feel that after this project I have improved the freedom of my painting, giving up the rigid control I expect from the pencil.

2. I personally enjoy the individual projects more than the group ones. As I said before, in art, it is important for me to be in complete control in order to accurately express myself. I had to give up control in this project a little bit - oftentimes when other people had different opinions, I had to give in a little bit and let my group-mates take control. I thought that this was a really arduous but rewarding process for me, being able to bend and collaborate with the people in my group.

3. The process for me was extremely rewarding, as it allowed me to give up a bit of control over the art and leave the success or failure to other people or the medium itself. Sometimes, when the lack of control was successful, I was able to look at the success of my peers and learn from their craft. When the change was unsuccessful, I had to talk with my classmates and find a solution, or figure out how to fix the problematic area myself. The large flat also allowed for me to loosen up my paint strokes, and focus on the larger picture, not the unnecessary details.

Pictures for previous post

Learning to see Final Reflection

1. I feel like my intentions at the moment, and of course this will change, are to study an object and be able to portray it, to find a connection with it. In all three of my pieces I focused a lot on formal elements, using topography to convey form on the horse skull; shading to define value for my landscape, and on my most-time consuming picture - the pinecone - I feel I used many formal elements to create a realistic piece.

2. I learned that my artist voice focuses on the emotion and formal elements of the subject, but not of me as the artist. I think that when I draw the pinecone or the landscape or the skull, I try and assess the feeling the subject has or conveys - the landscape was moody, so I expressed it moodily, but I was not feeling moody that day. The use of formal elements are only tools to portray the reality of the subject. I used harsher outlines for what I thought was a menacing skull, softer shading for the fantasy-esque landscape, and a multitude of lines to convey the realism of the pinecone. I think my process is great at what it intends to do - express things for how they are. But there is a flip side, where I am sometimes just the observer taking artistic notes. I would like to experiment with taking a similar subject and make different emotional representations, and also with mediums not focused on realism, but the extremes of line and value that make them more expressive.

3. My group was very kind, giving me lots of praise similar to what I said earlier for what works well about my process. They emphasized the realism and formal elements - value, form, line, etc. They did say, which I also said earlier, that I should inject some more emotion into my pieces in the form of color and different mediums rather than pencil. I 100% agree - hopefully during the play set project I will be able to let go of detail and focus on the larger piece and be more expressive, and further refine my process.

Art Class Feelings

How does coming to this visual arts class help you as a student?

For me, although art itself is a crucial part of being a student, the habits of mind that have helped me immensely include concentration/focus, as well as expression and creativity. When I concentrate on a piece of art, I have grown to be able to focus solely on the task at hand, with no regard for distractions. I feel I use this during tests or while doing homework. The creative expression that I have cultivated has allowed for me to put my unique touch on essays and other projects.

What are you excited about?

Over the summer, it was fun for me to mess around with the applications of drawing beyond creative expression, which of course is still an important part of art. I am excited to improve as an artist but also take my drawing skills in directions that I did not know about before.

What do I need to know about you to support you this year?

That I have trouble negatively critiquing the work of others, but am often really constructively-critical on myself - I keep my own work to a high standard. It would be great if you could help me realize how to fix the things that just 'seem wrong' or that 'I don't like'. Often I realize I don't like my art but cannot specifically pinpoint how to improve.

Learning to See

I think that in the future, I need to add more color to my drawings to bring them more fully to life. I think I also need to keep doing what works, which is one of two things; expressive and elegance for ink, and use of texture and value in drawings. I feel like this approach utilizes the strengths of both mediums. I plan to add more color as well as stick with what I think works. 

FINAL REFLECTION

one. looking back over the course of the year, and your blog posts, which project or projects were the most engaging for you? Where did you fully own your process as an artist? where did you get lost in the material or the making of work?

I really liked all of the projects, but if I had to pick one, it would be the charcoal. In the charcoal piece, I feel like I developed the most and had the most fun in the process. Being able to explore value was extremely exciting at that time, and being able to experiment with the value really was able to give unique life to the drawing. During the process of this drawing, it was nice to lose myself in the art, because I had already figured out what I wanted to convey in the piece. In the lantern piece especially, I was able to have my own creative take on the art, which was fun and new, not only drawing what I saw, but experimenting with the light source being inside the object. Overall, I thought it was the piece wherein I was able to have the most fun by develop and explore the most as well. 

two. you have had a year of tremendous artistic growth. where do you see that you have grown the most? think about the studio habits as you answer and explain--observe, stretch and explore, craft, express, understanding the art world, reflect. which of these areas do you feel the most comfortable with? how do you see that comfort showing up in your creative practice?

I feel that I have always been a pretty good observer and crafter, and although I think I did develop these areas, not to the extent of the other areas mentioned. Stretching and exploring was important for me, especially in the area of drawing and painting. For me, the main piece of wisdom I learned was that art is not meant to be perfectly realistic - we have photos for that. Thus, I think I developed the most in the areas of stretch/explore/express. The reason we draw (for me at least) is to express ideas and expand upon that which we see. As mentioned above, I think I did this well in the charcoal piece, and I think my woodblock print was a great way for me to not just copy a photograph, but to imagine something I thought might be cool and see it realized. Also, I have gained some knowledge on the art world, and also engaged in the reflection process for my art, something I have never done. The reflections prompted me to self reflect while doing my artwork, which was a great way to improve my process.

three. think about the things we've studied this year--line, form, shape, color, pattern, texture, positive & negative space. discuss a few of these terms that are the most engaging for you. what have you learned about them? how do you have a better understanding of them?

The most engaging art ideas for me were texture, form, and color. Texture was interesting for me primarily in my clay sculpture. Because of the malleability of the clay, I was able to experiment with different textures, initially going for a smooth texture, then a ridged one. This experimentation cultivated a new arsenal of tools at my disposal, as I had more experience with the concept. Form was explored in both 2d and 3d space through the clay and the charcoal drawings. The main thing I learned from this was that form can be expressed in different ways, but it has an important relationship with value, texture, and color. The deeper understanding of how these things connect is the main thing I learned as a growing artist. The relationship between colors was important for me because it was something I had not previously talked about, and a very intriguing subject.

four. course evaluation. which assignments were the most successful? Which assignments were the most frustrating? What are one or two things that Mr. O/Ms. Seal do really well? What is one important piece of advice that you would offer your teacher so that they could make this class better?

The most successful projects for me were the drawing and painting ones, because I am already decent at this art form, but most successful in terms of growth as an artist would have to be the woodblock prints or the photographs, as these were explored topics to me. For me, the texture blocks and the plaster were really frustrating. Personally, if I have an artistic idea, I want to express it clearly and quickly, and the plaster did not allow for speed or clarity, and neither did the woodblocks. I think one thing that is really cool that you guys do is always make sure we are doing are own art and making our own artistic choices. I know that if I were an art teacher, I would love to just tell the kids how to do it right, even do it for them. But I think that you made us become our own artists, which is really awesome, and I really thank you for letting us grow independently, only helping us on the path we want to go down, but not changing the path.This is my personal opinion, and of course probably this would be more advanced, but I think it would be really cool - maybe as a senior - to have a digital art class for the more practical applications of drawing and painting that are used all the time in comics, special effects, concept design, website/graphic design etc. Just would be a cool thing to consider, as lots of art is going digital (and photoshop is already acquired). This class though, did exactly what I expected of it, quite honestly. It gave me an in-depth view of the different ways art can be created, and I grew in the process. It was really fun for me, and thanks so much for a meaningful and engaging year of art. 

Print block reflection

Document your image/final presentation and any "folio" elements (sketches, proofs, experiments, etc)  you feel are important to exemplifying your growth through this project.     

Post a few images to your blog and Complete a reflective blog post referring to the following prompts:

1.  Explain how you arrived at your image and how that concept exemplifies who you are as an artist.

I actually did not use an image, I chose to sketch out my own idea. I was trying to think of something that would tell a story, and also had high contrast, which works with the print block style. I think I am an artist that tries to tell a story, not just represent a moment in time, and through this image, I think I was able to exemplify that a picture is worth a thousand words. I think the sunrise shows that the guy was presumably up all night, and the fact he is in a state of forlorn waiting maybe suggests he was waiting for the train. 

2.  Discuss the process of printmaking and your connection to it as an art form.  Do you find the process exciting and inspiring?  Is the process too mechanical?  Do you find the idea of printing multiple images in such a traditional manner enticing?  Include your sense of your technical growth, and or opportunities for "discovery" offered by the process.

I like printmaking, sort of ish. I think contrast is a great way to express emotion, and I think it works great for specific types of images. Printmaking encourages emotion and exploration, and also pulls at the idea of negative space. While doing this process, I realized that at the lines needed to serve a purpose. It was difficult for me to curve the negative space and think in this way, but it was a good experience for me to make each part intentional and fully understand the image inside and out. I think the process of being able to replicate images easily is also very enticing, as it allows for the experimentation of emotion through color. 

3.  Explain your choice for final presentation and your group discussion surrounding the idea. 

For my final presentation, I chose to use the red one and the white one. I thought the white and black one was high contrast, and the dark red evokes emotion as well. I chose these two because in addition to being good prints, they displayed different emotions. Rich said "I like your attention to detail. It is intricately carved." Others agreed. I personally think all the details made it more cohesive as a whole. 

Complete the Self Assessment Rubric and turn it in!

FINAL VALUE REFLECTION

Formal Intentions

What did you find meaningful about the process and practice of this project?

What I found meaningful was creating the same type of art using different practices. I felt that I was able to express forms and ideas through charcoal and I think it contributed to my skill in this way. 

What are some techniques you fostered to work with the charcoal? 

I fostered the use of shading and also the use of the white charcoal to contribute to the value of my drawing. I feel that through these techniques I was able to create that which I imagine with a higher level of accuracy, especially using value to my advantage. 

What intrigues you about working with charcoal? 

Charcoal is cool in my opinion because it is a sort of mix between clay and pencil. Like pencil, it is two dimensional and is applied to the paper. But also like clay, it is malleable and is able to be mixed and spread. I think the mixture is very intriguing. 

What frustrates you?

 The charcoal frustrates me in the same way it intrigues me. For the mediums that are not malleable (like pencil and unlike paint, charcoal and clay) there are a high degree of accuracy that is lost in the malleable nature of the clay.

Stretch and Explore

In what ways did your intentions change over the course of your project?  

At the beginning of the project, I intended to draw the subjects with extreme accuracy. But for the second drawing, I think I solely used the object as a guide to form, and then I was able to play with the charcoal values. 

What opportunities or occurrences led to these changes?

Using the lantern as a subject led me to the question "what would it look like if it were producing light?" This question led to my experimentation with value in this way. 

Given what you know now about your work and your materials choices, how might you have changed your approach to working?

I would have let myself experiment with the malleability of the charcoal more. I felt that I didn't do this enough and treated the charcoal more like a pencil then a value-studded sheet of clay

Consider our work with value over the course of the entire project, what did you find meaningful about the process and practice of paying attention to light and contrast?

The way we observe the world visually is using value and color. Paying attention to value is more fully understanding the way we perceive the world. This was extremely important while doing this project. 

Where do you feel you found the most success, in drawing or in photography? 

I feel like I was more successful in drawing, because I was able to spend more time with the subject, whereas in drawing, every part is created individually, so a relationship with the object is more fully developed. It was tricky in photography because every moment was fleeting, and each aspect was not able to be perfected to its full potential

What do you attribute that success to?

I attribute my success to a balance. This balance is between working on individual components and working on these things as a whole. I felt like I was able to pay close attention to each individual component while keeping in mind the relationship between each part as a whole

What does paying attention to value offer you as an artist? How does your understanding of value impact your artwork?

Value is a critical part of how we percieve the world, and thus how we express our ideas relating to it. As an Artist I think I am able to now express ideas with a higher degree of confidence, and with a higher degree of accuracy to my own thoughts on the subject. 

Value photography project pt 1

- Consider our focus on the Element of Value:  How did your practice capturing black and white photographs through our various daily practice routine afford you a deeper understanding of the power of light in art?

Through our daily practice, I feel that I was able to more fully appreciate value and light mostly by experimenting with the lighting environments. I feel that I was able to utilize a white or black background to more fully draw attention to the object. Also, I learned how to use focusing to blur and focus the light in my image. Also, after much experimentation, I was able to more fully utilize direct sunlight and reflected light to increase interesting facets of my photos. 

-  Recall specific moments where you found or saw something that inspired your work in this project.

My photo that I took of the Santa for the drawing unit compelled me to more fully explore this object. In addition, after seeing the interesting texture of the mallet, I made sure to highlight this in my representation of the image. 

-  How much did you expand your ability to observe “value” in your work?

I feel that through utilizing greyscale and contrast, I was able to make my photos more interesting. I experimented with different backgrounds as well as subject matters to play with tees to ideas and more fully develop my understanding. 

- Consider the habit “engage and persist”:  What did you learn technically (both in shooting and editing your photographs) through your engagement in the process of experimentation, analysis, and persistence?

Through this project, I learned that many photos, even if set up meticulously, will not always work. Because of this, I realized that I must take many photos, and edit as much of them as I can, then, with fresh eyes, come back and choose my favorites. 

- What, specifically,  did you “learn” through the process of this project?

In addition to developing my habits of mind, I learned to take more compelling photos using greyscale, contrast, rule of thirds, fibonacci, etc. I learned when to utilize these tools and learned when and when not to use them to more fully complete my photos. 

-Consider our work with composition during this unit.  Were you able to recall the earlier experiences you had experimenting with composition and apply that to your work on this project?  Do you feel like you have a better understanding of how to manipulate and utilize the aspects of composition in your art?

Yes. Using things I learned from the paper cut out project I was able to improve my photos. From that project, I learned compositional styles, for example center of interest, rhythm and repetition. I feel that now that I have new additional tools at my disposal, the interesting qualities of my photos can increase. 

-To what degree do you agree or disagree with the class feedback you received in choosing your “best” image?  What new insights about your imagery did the class discussion about your work provide for you?

I really agreed with the class's feedback for my photos. Many people thought the Santa was very interesting and unexpected. This was good feedback for me because I have come to know the Santa object very well. A set of fresh eyes was useful feedback for me because it showed me how we can become inclined towards photos we have worked on for a long time. The comments I got on the other two photos were helpful, but only reinforced ideas which I already had.