2D Design / Professor Lumin Wakoa

PROJECT #1: DYNAMIC COMPOSITIONS For this project you will learn how to utilize the elements and principles of design to find and create dynamic compositions. Materials:

Magazines 9”x12” Drawing Paper Scissors 14”x17” Bristol Board Xacto Knife PITT Pens (black) Ruler Pencils and Eraser 8”x10” piece of cardboard Rubber Cement Glue

Directions: Step 1: Create a view finder using your cardboard and xacto knife. Cut out a 3” x 4” rectangle out of the center of your cardboard. Use your ruler to both center the rectangle and achieve the correct 3” x 4” dimensions. Step 2: Using your view finder, find at least 15 dynamic compositions. These should all be non-representational; there should be NO identifiable objects within the frame. Outline the composition with pencil, and then cut out each of them with your scissors. Look for the following when choosing compositions:

• Focal Point • Unity & Harmony • Use of the entire picture plane • Asymmetrical Balance • Interesting use of negative space

• Visual Flow • Repetition • Proximity • Continuation • Directional & Converging Lines

Step 3: Choose your 2 strongest compositions. In your sketchbook using pencil, do one thumbnail sketch for each of these compositions. Each sketch should be on its own page and in a 3” x 4” rectangle (use your viewfinder to trace this rectangle quickly). To the left of your drawing, glue the corresponding magazine composition. Once completed, glue in the left over compositions (multiple on one page, front and back). Step 4: Choose your strongest composition. Re-create your composition on your 9” x 12” drawing paper. Using your pencils, lightly sketch in the dominant shapes of the composition. Then using your PITT pens, complete the composition. Only use line, do not shade in areas or use color. You are looking for the main lines and shapes that create the composition. Use the various pen nib sizes (S, F, M, B) to create variation of line thickness to create places of emphasis. Your drawing should take up the ENTIRE page, reaching the edges. Step 5: Once your drawing is complete, mount it on the 14”x17” piece of bristol board using your rubber cement glue. Make sure the drawing is centered; use your ruler to create guidelines with pencil before gluing. CRAFTSMANSHIP is extremely important for each of your designs and is part of the grading criteria. Do not fold, bend, crease, smudge, tear your artworks! Always take great care when creating each design and then put directly into your portfolio case. Craftsmanship: Care in construction and finishing; demonstration of skill and knowledge of processes; attention to detail The quality of design and work shown in something that is made by hand.

ELEMENTS&PRINCIPLESOFDESIGNDesignElements• line–avisualelementoflength;itcanbecreatedbysettingapointinmotion• shape–avisuallyperceivedareacreatedbyanenclosinglineorbycolorand

valuechangesdefiningtheouteredges• value–ameasureofrelativelightnessordarkness• color–apropertyoflight;objectshavenocoloroftheirownbutmerelyreflect

certainraysofwhitelight,whichcontainallthecolors• texture–thesurfacequalityofobjectsthatappealstothetactilesense• space–referstothedistanceorareabetween,around,above,below,orwithin

elements;bothpositiveandnegativespaceareimportantfactorstobeconsideredineverydesign.§ negativespace–thespacebetweenobjectsorthe“empty”space;the

arrangementandorganizationofnegativeshapesisasimportant,ifnotmoreimportant,asthearrangementandorganizationofpositiveshapesinanysuccessfulcomposition

• form–2d:thevisualaspectofcomposition,structure,andtheworkasawhole;3d:actualobjectswithvolumeandstructure

• volume–2d:theappearanceofheight,width,anddepthinaform;3d:thespaceoccupiedbyanobject

§ closedvolume–acompact,solidmass;materialdoesn’treachintosurroundingspace

§ openvolume–morediffuseforms;materialreachesintosurroundingspace

• plane–thetwo-dimensionalsurfaceofashape

ELEMENTS&PRINCIPLESOFDESIGNDesignPrinciples• unity–thedegreeofagreementexistingamongtheelementsinacomposition• harmony–thepleasingcombinationofpartswhichmakeupawhole

composition• focalpoint-thelocationinacompositionthatattractstheviewer’sattention

andmayrepeatedlydrawattentionbacktoitself§ emphasis-similartothepictorialideaoffocalpoint;specialattention

giventosomeaspectofacompositiontoincreaseitsprominence• visualflow–usingvariousvisualelementstodirecttheviewer’seyearoundthe

pictureplane(i.e.directionalforces,converginglines,repetition)• balance–theequilibriumofopposingorinteractingforcesinapictorial

composition§ symmetry–aqualityofacompositionorformwhereinthereisacloseor

precisecorrespondenceofelementsoneithersideofacenteraxisorpoint;impliesformality,tradition,stability

§ asymmetricalbalance–balanceachievedwithdissimilarshapes/formsthathaveequalvisualweightorvisualinterest;impliesactivity,motion,modernism

• contrast-thejuxtapositionofopposingelements(colororvalue,size,position,etc.);allowsustoemphasizeorhighlightkeyelementsbybreakingordisruptinganestablishedorderorsystem

• repetition–usingthesamevisualelementoveragainwithinthesamecomposition;usedtocreatevisualorderorconnection

• alignment–liningupshapesorforms,usuallyalongedgesorcenters;allowsustocreateorder,organization,andvisualconnectionbetweenelements

• proximity–thedegreeofclosenessintheplacementofelements;shapesorformsplacednearoneanotherarefrequentlyinterpretedassimilar,andthisisusedtocreatevisualorderorconnection

• continuation–alineoredgethatcontinuesfromoneformorshapetoanother,allowingtheeyetomovesmoothlythroughacompositionthislinecanbeactualorimplied

• direction–impliedoractualmovementofanelementwithinacomposition• hierarchy–compositionthatshowsdifferenceinsignificancebetween

elements;designerscaninfluencetheorderinwhichweperceiveelementsinthecompositionthroughcontrastandsimilarity

• closure–themind’sinclinationtoconnectfragmentaryinformationtoproduceacompletedform

• scale–asizerelationshipbetweendifferentshapesorforms

2D Design / Professor Lumin Wakoa

PROJECT #2: REPETITION, PHOTOGRAPHY, & THE GRID For this project you will learn how to find like images in the world around you. You will use photography to capture these images, taking notice of their similar shapes, utilitarian qualities, and environments, while accentuating their slight variations. Utilizing the grid as a formatting tool, you will create a collage that uses repetition to create a harmonious image. Materials: Digital Camera 14”x17” Bristol Board Printed Photographs Glue Stick Xacto Knife Pencils and Eraser Ruler HB Pencil and Ruler

Directions: Step 1: Photograph like images. Find objects in the world that are similar not only in what they are, their use, but also in their shape. Experiment with scale in the photograph, as well as your composition. You should take AT LEAST 50 photographs. Step 2: Look at your photographs on your computer, delete any that you do not want to use. Get your photographs printed at a local store, like Walmart, Costco, or a drugstore. Get two copies of each photo printed so that you have extras. You should do this as soon as possible to ensure that you have enough time to complete your project. You may also choose to print these photos yourself in color. Step 3:Look at your photographs, which are interesting to you? Which photographs are interesting when put in a group? Using your xacto knife and ruler, carefully cut out the objects in your photographs. Remember that you are creating a grid, your cut-outs should be either in a square or rectangular shape. Think about how much of the background you need, how big should your objects be. Will your photographs overlap, will they butt up right against each other, or will they be separated by white space? Play around with your options to see which creates an interesting image. What format is most appropriate for your subject? Your final collage must contain at least 12 images. Step 4: Start placing your photographs on the Bristol Board (do not glue them down yet). How big of a border do you want? This is up to you, but there should be at least a 1.5 inch white border around collage. Re-cut any photos if needed. When deciding on the final design, utilize the principles of design to establish both unity and a visual flow. Step 5: Once you decide on your composition, lightly use your pencil and ruler to make guidelines of where your grid should be (where each photograph will be). Use your ruler to make sure that your collage will be centered and that all of your lines are straight. Step 6: Using your glue stick, glue your photographs to the Bristol Board to complete your collage. There should not be any glue on top of the photographs or visible to the viewer. Once dry, erase any pencil marks that may be visible.

2D Design / Professor Lumin Wakoa

PROJECT #3: VARIATION OF LINE Line is the most basic and most commonly used element in design. For this project we will explore variation within line and how it may used to establish a visual flow and sense of space/depth. Line has the ability to evoke feeling for the viewer. Short staccato lines may evoke the feeling of anxiety or aggression, where as long wavy lines may evoke a calm and serene feeling. We will experiment with line thickness, length, value, and character to describe various emotive words. Materials:

9”x12” Drawing Paper 14”x17” Bristol Board HB Pencil Rubber Cement PITT Pens (black) Ruler

Directions: Step 1: In your sketchbook: Make a list of 10 adjectives, descriptive words that describe a feeling (for example: jittery, serene, anxious, rigid, ephemeral, etc.) Step 2: In your sketchbook: Using your PITT pens, design two lines for each of your adjectives on your list. Experiment with each of your pen sizes (S, F, M, B). You may work with thick lines, thin lines, light lines, dark lines, lines that vary from light to dark, straight lines, zigzags, curving lines, organic/curvilinear lines, powerful lines, and implied lines. Step 3: In your sketchbook: Using the lines you designed as a reference, create at least 4 thumbnail sketches with the PITT pens that adhere to the following criteria: • Create a composition that consists of 3 (AND ONLY 3) very different lines. Experiment with horizontal

and vertical compositions. Refer to the Compositions to Avoid handout when composing your sketches. • Lines must intersect with ALL FOUR edges of the picture plane. • The composition must have a focal point that adheres to the rule of thirds. Refer to the “how to create a

focal point” handout. • Use at least one of the following to create a sense of space in your design: size, overlapping, linear

perspective. • Your design must be completely non-representational; there should be NO identifiable objects within the

design. • Designs must establish unity and visual flow through the use of design principles. Step 4: On 9” x 12” Drawing paper: Choose your strongest line composition. Re-create the composition on your 9” x 12” drawing paper. Using your pencils, lightly sketch in the basic lines. Then using your PITT pens, complete the composition. Use the various pen nib sizes (S, F, M, B) to create variation of line thickness and character. Your drawing should take up the ENTIRE page. Step 5: Once your drawing is complete, mount it on the 14”x17” piece of bristol board using your rubber cement glue. Make sure the drawing is centered; use your ruler to create guidelines with pencil before gluing. Ask yourself the following when choosing your composition:

• Is the composition non-representational? • Has a Focal Point and Visual Flow been established? • Is the overall composition unified and harmonious? • Are there any shapes or negative spaces that are not activated within your composition? • Has a sense of space been established?

2D Design / Professor Lumin Wakoa

PROJECT #4: DIRECTIONAL DOMINANCE When used repetitively, lines create a directional flow, causing for the viewer’s eye to move around the picture plane. When these lines create an obvious sense of motion across the picture plane, this is called Directional Dominance. With this project we will explore how utilizing repetition with the use of line, a strong sense of movement, or rhythm can be established. We will also discover how to create visual depth through value through the placement, proximity, and size of these lines. Materials: 9”x12” Drawing Paper 14”x17” Bristol Board PITT Pens (black) Rubber Cement Ruler Directions: Step 1: On the template included in your printouts, complete one evenly stepped value scale and one gradation using your “M” PITT pen. Use only one type of mark making method (i.e. hatching, cross-hatching, stippling, etc). Light values will consist of lines set far apart- as your lines get closer together, the values will get darker. Values should gradually go from light to very dark (almost black). Step 2: In your sketchbook: Using your value scale as a reference, create at least four 3”x 4”thumbnail sketches with the PITT pens that adhere to the following criteria:

• Create a composition using many small lines to create one main directional dominance. This

will establish a visual flow within your drawing. • Create a directional conflict by changing line direction in at least one area. • Create visual depth by creating a broad range of values. “Compressed” space is established by

making the marks smaller and very close together. Create some “expanded” space by making the marks a bit larger and with greater spaces between.

• Utilize implied lines through line direction and/or utilizing negative space. • As always, compositions must establish a focal point and visual flow utilizing the principles of

design. **Hint: Value Contrast & Directional Conflict are both excellent ways to establish emphasis.

Step 3: On 9” x 12” Drawing paper: Choose your strongest line composition. Re-create the composition on your 9” x 12” drawing paper with your PITT pens, complete the composition. Use the various pen nib sizes (S, F, M, B) to create variation of line thickness and character. Your drawing should take up the ENTIRE page. Step 4: Once your drawing is complete, mount it on the 14”x17” piece of bristol board using your rubber cement glue. Make sure the drawing is centered; use your ruler to create guidelines with pencil before gluing. Ask yourself the following when choosing your composition:

• Do I have a dynamic composition, focal point, & visual flow? • Are all areas of the picture plane activated? • Has a strong directional dominance been established? • Have I established a directional conflict, are there any implied lines in my composition? • Is there a full value range created by the use of line, proximity, compressed & expanded

space?

2D Design / Professor Lumin Wakoa

PROJECT #5: BLACK & WHITE SHAPE COMPOSITIONS For this project we will explore figure/ground relationships through the use of shape. Materials: 9”x12” Drawing Paper HB Pencil BLACK paper, 9” x 12” 2 pieces of 14”x17” Bristol Board Scissors Rubber Cement Glue Stick Ruler

Directions: Step 1: On one sheet of black paper, draw 3 non-representational shapes; they should be fairly large in relation to the paper. Consider how each shape creates interesting relationships to the negative space of the paper. Cut out each of these shapes. (Approximately 50% of the paper should be utilized for the combination of all 3 shapes) Step 2: Create an identical set of these shapes so that you have two of each. To complete this, trace each cut-out shape on one additional piece of black paper, cut them out using scissors. Make sure that the cut-outs do not have any pencil marks on them. You now have 2 exact copies of each shape. Step 3: Using one set of your shapes, create a dynamic and unified composition on a piece of your white drawing paper. When designing your composition, think about how the orientation of each shape activates the negative space. Shapes should be created within the negative space (white parts of your composition). Try to create areas where the figure and ground begin to flip flop within your composition; this will help to create tension and movement within the piece. With pen, trace the composition. **Your design should have approximately a 50:50 ration of black and white** Step 4: Trade your second set of objects with your peers. Exchange each of your three shapes for three new shapes. On a new piece of white drawing paper, create another composition. With pen, trace the composition. Step 5: Create a third composition using any three shapes that you have. These shapes can consist of your original shapes and/or shapes you have traded with your peers. With pen, trace the composition. Step 6: Choose your most successful composition and evaluate how it may be improved. Edit each shape of the original composition to strengthen the composition and figure/ground relationships. You may also choose to create entirely new shapes. Once you cut out the 3 black shapes, create an identical set using your white drawing paper. Step 7: Create two identical designs that mirror each other: one using black shapes on 9x12 white paper and one using white shapes on 9x12 black paper. These designs should be mirror images of each other. Glue down each of your shapes carefully. Step 8: Take two pieces of Bristol Board; tape them together on the back to create one large piece of Bristol. Mount BOTH compositions on the large piece of bristol board using your rubber cement glue. Make sure the collages are centered; use your ruler to create guidelines with pencil before gluing. The two collages should touch each other where the two pieces of Bristol board are attached. Ask yourself the following when choosing your composition:

• Is the composition non-objective ? • Has a Visual Flow been established? • Is the overall composition unified and harmonious? • Are there any shapes or negative spaces that are not activated within your composition? The negative

spaces should read as shapes and be similar in size to the cut shapes.

2D Design / Professor Lumin Wakoa

PROJECT #6: TACTILE AND VISUAL TEXTURE Texture evokes a sense of touch for the viewer, creating visual interest in a design. Tactile texture is actual texture that can be felt with your hand; visual texture is the illusion of texture, a flat surface that appears to have a varied surface. Visual texture uses variation of line and repetition. For this project, we will explore how to use texture to create further interest in the designs we make. Materials: 9”x12” Drawing Paper 14”x17” Bristol Board PITT Pens (black) Rubber Cement Found objects Ruler Glue Stick 2 Week Project: Complete steps 1-3 during week 1. Complete steps 4-5 week 2 Directions: Step 1: Find/make a total of 6 textures around you: 3 objects that have Tactile (actual) texture AND 3 objects that have implied texture (the illusion of texture). You can use synthetic/man-made objects and/or objects found in nature. Hint: For implied texture, look for flat objects that have a print on them. Objects must be able to be cut or torn up and pasted to paper. Step 2: In your sketchbook: Using your Pitt pens, create 1 thumbnail sketch (3”x4”) of each of your 6 found textures. Fill the entire 3x4 area with the texture. Try to re-create the texture to the best of your ability. Remember to use line proximity and line thickness to create variation in value. Step 3: In your sketchbook: create 3 thumbnail (3”x4”) compositions using your found objects (no drawing). Each composition should include at least 3 different found textures. Cut up the objects into interesting shapes; think about figure/ground relationships when creating these compositions. Over-lap textures so that the entire white of the page is covered. Glue them into your sketchbook. These compositions are collages made with your actual objects that you collected. (Hint: use convex/concave shapes and cut shapes into larger shapes). Step 4: On 9” x 12” Drawing paper: Choose your strongest composition. Re-create the composition on your 9” x 12” drawing paper with your PITT pens, complete the composition. Use the various pen nib sizes (S, F, M, B) to create variation of line thickness and character. Your drawing should take up the ENTIRE page. Refer to your first texture thumbnails when re-creating each texture. Think about how each texture can create a directional dominance. Step 5: Once your drawing is complete, mount it on the 14”x17” piece of bristol board using your rubber cement glue. Make sure the drawing is centered; use your ruler to create guidelines with pencil before gluing. Ask yourself the following when choosing your composition:

• Do I have a dynamic composition and strong focal point? • Are all areas of the picture plane activated? • Have I established a full range of value created by my use of line, proximity, and compressed

/expanded space? • Are there interesting figure/ground relationships?

2D Design / Professor Lumin Wakoa

PROJECT #7: VALUE - SELF PORTRAIT COLLAGE Materials: 8”x10” Photo pencil 9”x12” Drawing Paper: 6 sheets+ Glue Stick Acrylic Paint: Black & White Scissors and xacto knife Paintbrushes 14”x17” Bristol Board Mixing Palette Rubber Cement Container for water Ruler ▪2 Week Project . Complete Steps 1-5 Week 1. Complete Steps 6-7 Week 2. Directions:

Step 1: First make a value scale to use as a reference. On your drawing paper, create a nine step value scale using your paints. Draw out a rectangle and divide into it 9 even 1” squares. The first value should be painted pure white, the last should be painted pure black. The remaining 7 sections should be used to create a stepped value scale by mixing your paints, add more white for the lighter values, more black for the darker values. Paint over any values if needed once dry. Step 2: Fold 3 pieces of drawing paper in thirds. Paint each third of the paper one of the values from your value scale. Allow to dry. Step 3: On one of your printed 8x10 portrait photos, draw a 1” grid with your ruler. I will demonstrate this in class. Step 4: Cut down a piece of drawing paper to the exact size of your photo, approximately 8x10”; use your ruler and xacto knife. The size of your photos may vary a bit, so measure carefully. It is important for your paper to be a perfect rectangle with straight edges. Draw another 1” grid on the drawing paper so that it matches the one drawn on your photo Step 5: Cut each value you painted into small imperfect shapes, varying in size and shape. Step 6: Then start placing the shapes on your 8x10 drawing paper where they should be to correspond with your photograph. Make sure you choose the correct values. Go from square to square within each grid and make sure that you match the correct values and shapes of each value within that square. Use your scissors to make any edits to your pre-cut shapes that you need. Don’t worry if you feel a value is incorrect, you can always edit it later by placing another value on top. Use the grid as tool to ensure that you are placing each value in the correct place. Using your glue stick, glue down each shape. If done correctly, there should be no areas of your paper left uncovered. To ensure that your background looks unified, use shapes in this area as well. Do not outline facial features or other areas. Each area of the face should be broken down into flat planes (shapes of value). Allow for shapes to overlap one another. If you accurately copy each shape and value, your self-portrait should be very close to your photograph. Step 7: Once your portrait is complete, mount it on the 14”x17” piece of bristol board using your rubber cement glue. Make sure the drawing is centered; use your ruler to create guidelines with pencil before gluing.

2D Design / Professor Lumin Wakoa PROJECT #8: COLOR STUDIES For this project you will explore the 12-step color wheel to complete color studies in hue, value, saturation, and mix a variety color schemes. These studies are designed to introduce you to the basics of color theory and gain experience mixing and applying gouache. Materials: 9”x12” Drawing Paper Mixing Palette Gauche Paint Container for water Paintbrushes for Gouache/Watercolor Blue Painters Tape (optional)

Directions: All Steps Should be completed on the provided work sheet (included your printed project sheets). Step 1: COLOR WHEEL • First paint in your primary colors. • Only using your primary colors, mix the secondary colors and paint in the appropriate area. • Only using your primary colors, mix the tertiary colors and paint in the appropriate area. • In preparation for your next project, practice painting clean edges to each box. You may use blue

painters tape to help you achieve crisp edges. Step 2: ACHROMATIC, MONOCHROMATIC, & TONAL SCALES • Achromatic Value Scale: paint an achromatic value scale from nearly white to almost black using

only white and black. • Monochromatic Value Scale: choose any color from your set of gouache paints. Paint a small

color swatch on a scrap of paper. Once dry, compare it to your achromatic value scale to determine its value. Remember, all colors have there own inherent value! Paint in the corresponding box, tint the color with white to create lighter values, and shade with black to create darker values. Try to match each of the values in your achromatic value.

• Tonal Scale: Paint the left box with the same color used in the monochromatic scale. In each of the following boxes, gradually de-saturate the color with its corresponding achromatic gray. The last box should be painted with only the achromatic gray. All of the boxes should remain the same value.

Step 3: ANALAGOUS COLOR PALETTE • Choose 3 adjacent colors from the color wheel and paint directly on boxes labeled 1, 2, 3 in the

same order that they appear on the color wheel. • In the appropriately labeled boxes, mix together the analogous colors to achieve more subtle

variations. In each vertical column, tint (with white) and shade (with black) each of the colors in row 4 to create full value scales for each (almost white to almost black).

Step 4: COMPLEMENTARY COLOR PALETTE • Choose one primary color and its complement from the color wheel and paint into boxes labeled

Primary 1 (far left)and Complement 2 (far right). • In the appropriately labeled boxes, mix together the complements to achieve variations in

saturation and hue. In the center box, try to achieve a neutral gray using only your complements. • In each vertical column, tint and shade each of the colors in row 5 to create full value scales for

each (almost white to almost black). (Continue to back side of this sheet)

Name:_______________________________12-StepColorWheel

AchromaticValueScale,MonochromaticValueScale,TonalScale:

AchromaticScale:AlmostWhiteèAlmostBlack(evenlystepped)

MonochromaticScale:OneHue+White+Black(matchvaluestoaboveachromaticscale)

TonalScale:OneHueèAchromaticGray(usesamehueasabove&matchingachromaticgray,valueremainsconsistent)

Name:_______________________________AnalogousColorScheme:

1

Mix1+2 2 Mix2+3 3 Mix1+3

ComplementaryColorScheme:

Primary(1)

Mix1+smallamountof2

Mix1+2toachieve

neutralgray

Mix2+smallamountof1

Complement(2)

SHADE

TINIT

TINIT

SHADE

TINIT

TINIT

SHADE

SHADE

2D Design / Professor Lumin Wakoa FINAL PROJECT Your final project will utilize all of the techniques you learned in class. We will explore how to use these techniques and apply them to an initial concept. How can a two-dimensional image be utilized for self-expression? How can it convey an emotion or idea to its viewer? You will create a non-objective abstract painting that conveys an aspect of your personality to the viewer. We will continue to explore how form and content can be utilized together to communicate an idea or emotion to your viewer. Materials:

18”x 24” Watercolor Paper Mixing Palette Pencil & PITT Pens (black) Container for water Gouache Paint Artist Tape Paintbrushes Ruler

Directions: Part I (Due week 15) Step 1: Choose 1 adjective from the list below that you feel best describes an aspect of your personality. Aggressive Controlled Adventurous Playful Energetic Dainty Analytical Moody Elegant Delicate Affectionate Adaptable Cautious Nervous Courageous Confident Step 2: Choose shapes, design principles and strategies from each of the following categories that best fit your category to utilize in your composition. Remember, that the concept of the drawing is the adjective that you chose. Every decision should be based off of this. These are just to get you started, you may use any strategies discussed throughout the semester (there is space to write in additional).

Shape • Circles • Triangles • Squares/Rectangles • Biomorphic Shapes • Geometric Shapes

Design Principles & Strategies • Repetition • Proximity • Continuation • Implied line • Directional Dominance/Conflict • Overlapping

• Linear Perspective • Scale (varying sizes) • ___________________ • ___________________

2D Design / Professor Lumin Wakoa Step 3: In your sketchbook - Using your PITT pens and creative brainstorming techniques learned in class, create at least 4 thumbnail sketches that incorporate each of the elements that you chose. The design may include additional elements and principles of design. Remember that your goal is create a visually interesting design that represents the adjective describing your personality. Your drawing must contain the following: -a unified and dynamic composition -focal point & visual flow -figure/ground relationships -sense of space/depth -activate the entire -asymmetrical balance Step 4: In your sketchbook – Choose your strongest composition and duplicate it 4 times (at least 3”x4” thumbnail size). You may redraw it OR photocopy it. On each thumbnail using your gouache paints, create 4 different color studies. Experiment with how different color schemes, values, color temperature can help support the concept of your painting, as well as your composition. These are only sketches. Each color study must adhere to the following criteria:

• You may use any of your colors. Choose colors that best suit your adjective and personality. For example, use primarily warm colors (red, yellow, orange) for happiness or anger. Use cool colors for a calm or sad image. Refer back to the color lecture on tips to create emphasis, emotion, spatial depth, vibrant color, etc.

• Limit your use of black by mixing complementary colors. Adding black and white will cause your colors to become dull and less saturated.

• Avoid using colors straight out of the tube, mix as much as possible. • Mix complementary colors to create a range of neutral tones. • Incorporate a full value range. • All areas of the composition must be painted; even areas that you would like to be white must be

painted white.

Helpful Reminders:

• Simultaneous contrast – when 2 complements are next to each other they increase the visual brilliance of each other

• Value Contrast - Areas of emphasis may be created by placing the lightest lights next to the darkest darks

• Colors change with context. If you want a color to appear lighter, place a dark color around it. If you want a color to appear darker in value, place a light value next to it.

• Color temperature can be utilized to represent different ideas or emotions. You can also use it to create space (warm colors move to the foreground, cool colors recede to the background).

• Creative Brainstorming: Specific techniques for generating many ideas and possibilities either individually or collectively. Creative brainstorming encourages a non-judgmental attitude, rapid generation of ideas, record-keeping, and a willingness to push to the edges for strange and unexpected possibilities within a limited time-frame.

• Form and Content: Physical forms and compositional principles can and should reinforce the content of any work. Content may include your emotional, intellectual, symbolic, spiritual, and/or narrative intentions, as well as subject matter (the imagery included within a piece). Unity of form and content is important to communicating an idea or message feature in any work of art or design.

2D Design / Professor Lumin Wakoa Step 5: Review your color studies with a classmate. Ask each other the following:

• Which color study most successfully depicts your intended concept? • Are all of the criteria in step 3 and 4 adhered to? • Ask for suggestions on how you may strengthen the design to support your intended concept.

Step 6: Lightly with pencil, recreate your composition within the rectangle on your Drawing paper. Your drawing should take up the ENTIRE rectangle, do not forget to consider all of your negative space! Make any adjustments you see fit. Step 8: Using your gouache paint, complete your painting. Use your color studies as a guide. The painting must adhere to the criteria in step 3 and 4. Step 9: Once your painting is complete and dry, carefully remove your artist tape and write your name on the back.

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