Texture take home - handout
Week 5 TEXTURE | Lantin | STUDIO ART I
due Tuesday Oct. 9
To translate visual surface quality with line and to explore how texture can create a bridge between two-dimensional works and three-dimensional works.
- · square of hardboard – covered both sides in matte medium (done in class)
- · cut paper, hot glue and other things that make texture
1) In your sketchbook create six thumbnails of potential nonrepresentational* designs that will combine the sample texture patterns you created in class.
Remember that you can create value (depth) through adding multiple layers of tiny marks –this makes the patterns denser. Also- what happens when you create the same visual texture but once with very small marks and again with large marks? How does the identical texture change?
*NON-REPRESENTATIONAL – think back to the first exercises we did in class – the lines on the page, the stretched shapes, figure/ground exercises. There should be no shapes that are descriptive of objects, specific spaces or landscapes.
2) Using the chosen thumbnail design, develop it into a design using the most interesting texture patterns you created in class. Your goal is to create one major visual flow (dominant movement) as well as at least three minor flows. There should be no large empty white (flat) spaces that aren’t deliberate. Try to cover the entire surface of the card with compelling and convincing visual texture.
START WITH THUMBNAILS!!! This will save you time and headache. Plan out your composition first in your sketchbook, then transfer the design with built surfaces on your cardstock.
Don’t forget to ask yourself these questions….
- · Do I have a dynamic composition? If you have ANY doubt you probably don’t! Remember if it’s not interesting to you, it will not be interesting for others to look at. No floaty small shapes in the middle of your compositions! Make your shapes larger and crop them!
- · Are three edges of the picture plane being fractured by shapes?
- · Is there a visual flow (remember your eyes are your best tool here, does your eye move throughout the composition? This is directional dominance, the goal of our line assignment)
I would like to see integrated into your projects….
- · Try to develop a focal point in the textural composition with contrast, placement, or isolation. How does your eye move through the composition?
- · Think about developing a hierarchy of "readability" where the eye goes first to the focal point and then expands outward, in a spiraling fashion, to other areas of the composition.
· Craft, craft, craft!!
These will be discussed in critique on the 9th and evaluated as part of mid-terms. They will be used as printing plates on the 25th of October
SKETCHBOOKS and all preceeding homework assignements DUE IN CLASS OCT. 9
They will be returned by the 11th in class
- all planning and preliminary sketch work for the 5 homework assignments
- any inspirational images you have found and not put up
- the mirrored line drawings and 3-d letters and other in class exercises
- START COLLECTING COLORS – paper, paint chips, magazine cut-outs etc.