Please respond to the readings in at least 150 words. Follow the guidelines for completing lectures and research before posting your work under the appropriate blog entry.
Student Work
Monday, January 21, 2013
Your proposal for a series of prints!
Please post a scanned or typed copy of your proposal here by Thursday, Jan. 24th at 9 am. You should also include your first project proposal as well.
Project Proposal 1 Concept (Why this image? What is the overarching meaning or message or purpose you want to convey to the viewer?) Nomenclature is what is referred to as the act of ‘naming things’ in everyday life. These names differ from culture to culture but have root and meaning in a particular society. I want to question the actuality or truth we take for granted related to this idea of names being set in stone for particular objects, places, and people. 2 Subject (What objects, figures, spaces, etc. will you use to convey your concept?) To convey this concept I will use personal photographs of everyday objects such as a shoe or coffee cup and pair it with a word not usually used to identify that object such as ‘bird’ for the shoe and ‘scissors’ for the coffee cup. 3 Form (How will you arrange things (i.e. composition) and use color, value, shape, line, texture, space to support your concept?) I would like to use an arrangement similar to Warhol’s “Marilyn” to display either two or four objects in bright, crisp colors symmetrically aligned with clear print underneath the images. The texture will be smooth with heavy defining outlines around the photographs for a clear separation of colors and space. 4 Techniques (Which printmaking techniques will best support numbers 1-3?) The printmaking techniques I will use to support my idea will be monotype and photo transfer. 5 Style (Will you use elements of abstraction, realism, or a blend of the two?) I will use a blend of both abstraction and realism 7 Steps needed to complete project 1.Choose photographs of objects 2.Choose font and words for objects in photographs 3.Determine layout and color of photo transfer 4.First apply monotype then photo transfer on top a.Monotype: creates boarders for objects to reside b.Photo transfer: objects and print 5.Once layers printed experiment with sharpie over outlines
[Note: As I am trying to develop the idea for my senior project, much of this proposal's information will be the same as the statements on my senior exhibition proposal.]
Part One:
With a double major in studio art and psychology, I plan to use my art to convey a message that, at its root, describes the process within the human brain that enables various components to function as a whole. When looking at a work, one viewer physically sees the same image as the next viewer. However, interpretations for a specific work can be limitless because of the personal perspective each viewer holds. Thus, there is an interaction not only within the physical elements of the individuals’ brains to create the artistic experience but also between the collective interpretations of the art community that come together to form the overall opinion of the work. On a broader scale, I want to apply this concept to the way individuals function as a single component of a global whole. In modern American culture, we often take the individual components of the means for granted as our eyes are set on the end result.
For inspiration to formally convey my thoughts, I look to such artists as Chuck Close, Oliver Herring, Andy Goldsworthy, and Robert Rauschenberg. I am inspired by Close’s works for his ability to make up a whole with smaller parts. Herring and Goldsworthy intrigue me for their concern with the process of making the art. Finally, Rauschenberg has always been one of my favorite artists for his skill of combining and layering various media to make a cohesive whole, which I believe will directly apply to my printmaking endeavors.
Part Two:
For my prints throughout the semester, I want to work with the idea of smaller parts coming together to make a whole. In looking at a whole, the smaller pieces are often overlooked. I see this in my own life when I am so caught up with where I’m going and what I’m doing that I forget to appreciate the little things. So, in my series of prints, I plan to contrast the “little things” with the “whole.” From a distance, the print will appear to be a singular image [for the most part]. Upon closer inspection, the viewer will notice that the smaller parts come together to complete the work.
First Project (Etching and Xerox transfer):
In creating my first project, I want to experiment with my aforementioned concept by contrasting “the whole” with the “little things.” For this assignment, I want to combine all of the things I miss as I rush toward class each day. I make it to class, but I am unable to appreciate such things as the dew on the grass or the way the light casts shadows through the trees. So, in my process to contrast the whole (class) with the little things (the things I usually miss), I will be taking the time to appreciate the latter.
The techniques I plan to use to achieve my goal are best explained through these steps (3-7 can be done in different orders than specified): 1) Leave early to go to class and take notes on things I normally miss. Figure out how to best represent them. 2) Next day, bring my camera to take pictures of these objects/events. I plan to use textures/close-ups to represent these things. 3) Put together all images into one document. 4) Experiment with colors of the document. 5) Print in such a way that it can be used as a Xerox transfer. 6) Take picture of the CFAC to represent the whole. 7) Use the contours of the CFAC to create bold, scratchy lines on the copper plate for the etching aspect of the print. 8) Complete many Xerox transfers. 9) Ink up the copper plate (with black then white then a couple shades between) and then run them through the press on top of the Xerox transfers. 10) Do a variety of prints and figure out if I want to go back to the picture document and change colors and shapes based upon the contours of the building.
Andrea D'Alfonso (I could only post half my response, too many words I guess. I'll try to post the second half as well.) PART ONE: What forms of communication interest you? I enjoy humor, and clear messages, rather than looking at a piece of art and searching for a long period of time to make a connection from thin air. I like to see corny and funny art. Enjoy seeing people’s expressions/responses to art when I talk to them. Which artist roles do you connect with personally? Not sure if this is answering the question or not but…expressing myself through my art. Trying to make what I find interesting, interesting not only to me but to others as well. Inspiration? Chuck Close: Love him! Put colors near each other to make an overall different look/color. You see something and then you look again and see something else. David Hockney: puts disjointed pictures together and makes a cohesive whole. I enjoy dramatic shadows/light being created. I enjoy geometric/flat 2D shapes and such. Also zooming in and drawing attention to things others may easily overlook. (Find the beauty)
PART TWO: Pose a question and make a statement about something? The circus is reminiscing of childhood innocence, and good memories from a simpler time of wonder and amazement, when everything was new and larger than life. (You could be engulfed by the magic of the circus) It is an escape from reality, to a place that will always be happy, or at least appear that way. OR Make Circus signs, as in street signs and “do not” signs, and construction signs. Because like life, the circus can also be under construction and on a rocky road. AFTER ALL THE CIRCUS IS A MACHINE. Explore your life experiences/reference personal memory? I always went to the circus when I was younger, and present day as well. My Dad did/does magic and I do too. I used to make balloon animals and I still go to the circus every January. I also have an unusual love for clowns, I’m not sure why. I guess it was always a connection to the magic, and part of that world. I go to magic conventions every year also and there are always a few clowns attending (not dressed like clowns of course) It really makes me mad when people say they are afraid of clowns, especially when they are afraid of the happy clowns. The circus was huge to a tiny child and it still is a big/exciting event for me. (Maybe the feeling of familiarity is something I enjoy when I go to the circus.) There is a play called Barnum: and one song in particular always stays in the back of my mind. The lyric I love from it is: “Join the Circus like you wanted to, when you were a kid.” I think I love that because I then think that all children wanted to be a part of the circus and the magic, but these dreams/ideas faded, as they grew older. But like the lyric said its never too late to go back (even if it is only through memories) and join the circus; escape, even if it is only foe a few hours. Clowns wear makeup, and you can’t always tell what they are truly feeling.
Continued— There are three types of clowns: 1. Auguste 2. Whiteface 3. Tramp or Hobo Explore formal qualities such as line, color, shape, and space? Red, yellow/mustard, tan/beige, maybe blue. Do something with spotlight and shadow? Geometric shapes--- radial lines/rectangles, gotta love that rule of thirds. I believe typography would be interesting to have; it would give it that old circus poster feel. (Not sure if I want to go in only the poster direction though.
PART THREE: What subject matter do you wish to portray? The circus (happy) could possibly mix some carnival and magic into it. How are the visual elements arranged? With purpose and precision, crispness? Rule of thirds, space, rhythm. Will you be working with realistic, abstract, or non-objective imagery? I will try to use realistic imagery along with abstract shapes.What color palette will you use? Red, yellow (or mustard0, tan/beige, and blue. navy or royal. If I go with the circus signs probably just red, white, and yellow? Transparency Sounds like it will create intrigue as well as look fun….I think so, yes. Texture? Don’t know yet. probably not. Value? Backgrounds/shapes in back may be lighter. Foreground, bold. (Sidebar, Caravaggio is awesome! Love his dramatic lighting and that reminds me of circus spotlights.)
ART 392 DMMP PROJECT PROPOSAL
1. Concept: Combine the image of the ringmaster with me as a younger child, because. Your Dad (my Dad) was like the ringmaster of my life when you (I) was a kid because you listened to them and they ran the show. Or go with the circus street signs/construction signs because even magical things can be brought into the “real world”; something familiar such as road signs. Bring the circus into everyday experience and relate it to life. Ex: Yield to the ringmaster. And no high heels on the tightrope. People grow up and forget how to live simply and enjoy what used to be so fun, the circus can help you escape and re-live old memories. LIFE HAS SIGNS AND RULES, WHY SHOULDN’T THE CIRCUS? BUT AFTER ALL IT IS THE CIRCUS SO IT SHOULD BE FUN! 2. Subject: Clowns Triangle, radiant shapes Circles Clown noses Top hats Spotlights Traffic signs? Silhouetted things on the signs Use of humor. 3. Form: With the sign concept I would use strong solid lines and shapes and perhaps a simple color palette of red/black/white/and an occasional yellow. Don’t know about texture yet. ---I liked the construction look with the bumpy torn cardboard lines through the collagraph process.
4. Techniques: Transfer and etching or Monotype and etching
5. Style: I think I will use a mix of realism (photos) with geometric shapes. Sounds like it would work out rather nicely.
Steps needed to complete project? 1) Decide which way I’m going to take the project 2) Make a copy of photo---perhaps change the color 3) Inverse the image on the copier 4) Make a copper etching 5) Then transfer the photo image 6) Wet image/paper in bath 7) Wait 10 min 8) Ink my copper plate 9) Then transfer the etching over the paper 10) Repeat as many times as needed to make 3 copies that are as close to the same image as possible.
PART ONE Although there are several aspects of communication that attract me, with the subject that I chose to do I will stick mostly to that "artists invent new forms to inspire and enhance." I connect with this because I like to be able to use my art to show people things in a different way than they may have seen before and because I like people to be inspired by my art and be able to say that they too connect with it. And since I like to play around and experiment, usually I can come up with something completely different that can do those things. One particular artist, although a photographer, that inspires me greatly is Clark Little. His amazing photos of surf and beach themes really inspires me to do art of that sort because it's exactly what I love. PART TWO My concept for these series will be, very broadly, surf. As someone so into the surf culture and trying so hard to be able to bring it to where I am, a place with almost no surf culture at all, I sometimes struggle with that a lot. I want to be able to express the kind of person I am, through that particular culture, in a place where it is almost non-existant and be able to share it with others and maybe then they will be able to become a part of that culture as well. PART THREE As a fan of bright colors, my plan for most of these prints is to include those kinds of colors in the majority of my prints. The subject matter will be different aspects of surf and part of that which I consider to be part of me and who I am. I plan on working a lot with realistic images but could also play around with non-objective imagery as well. Since this is my first printmaking class I'd like to be able to try all kinds of designs and such. PROJECT PROPOSAL 1.Concept- As a person totally immersed in the surf culture I consider it to be part of who I am. With these series of print I plan on showing that part of me that is so into that culture by taking aspects of different things from it and portraying it as it deals with me. 2. Subject matter- I plan on using a lot of iconic ideas related to surf to portray this concept. Pictures, maybe of beaches, waves, surf, etc. along with hand drawn images of different things that relate to me. 3. Form- I plan on using a lot of the bright colors related with surf, also a lot with who I am, and using them in the majority of my pieces. As to the rest of the form, I'd like to experiement with a lot of different things to see which is the best way in which I can make my point in my art. 4. Techniques- for my first piece I'd like to start off with a zerox transfer and then with a copper etching over it. I'm not really quite sure how to do any of the future projects so I don't really know what techniques I'd use... 5.Style- I plan on mixing a lot of real images in order to create a sort of abstract idea 7.Steps- find the image for the transfer that will go with what I want to portray, make the drawing that I'd like to go with that particular image, create the copper etching with that drawing, transfer the image (although I haven't decided if I want a classic print or a more unique one yet), and finally etch the image onto it:)
PART ONE: I feel that the most important way to communicate to people is through emotion, which is far more universal than language alone. I like creating artwork that evokes a sense of discomfort and uneasiness within the viewer. I think that it is the artist’s role to raise difficult perspectives and create something that sparks someone to feel introspective. I am inspired by many existentialist literary men as well as the Romanticism period in general. Artist-wise, I find myself inspired by Francis Bacon and Modiglini who both were masters at distorting the figure. I am also inspired by Chris Burden and Vito Acconci for their ability to push unsettlingness onto their audiences. I find myself drawn to artists who deal with the figure, because I feel that figurative work automatically taps into a certain psychological level that other subject matter might not be able to.
PART TWO: I want to draw upon my own experience with anxiety towards my existence. I was raised Roman Catholic but have been internally an atheist as far back as I can remember, which has a large amount of influence on me. I want my work to address the elusive nature of identity and the disconnect and isolation that one can feel, while also giving respects to the eloquence of mystery, in spite of how dreary it can be. Since I want my work to have a mysterious/dark quality to it I am thinking I will most likely use black, white, gray and purple within my art. I want my artwork to be very expressive and experimental.
PART THREE: I want to get at this theme of existential dilemma via the metaphor of the obscured figure. Since a l of what I am dealing with is drawn upon from personal experience, it makes sense to me that I should create a series of self-portraits. I would like to do a mix between realistic and abstract; sort of an exaggerated, expressive figure that is still realistic enough so that it is recognizable. My color palate will be minimal: grayscale and purple. Since printmaking is a new medium for me, I would really like to explore what makes the medium unique from other art forms, so I am sure I will inevitably experiment with texture.
DMMP PROJECT PROPOSAL 1.) Concept: I want to create an image that evokes a feeling of mystery, elusiveness, and anxiety to represent the overall concept of an existential dilemma. I would like my artwork to ultimately cause someone to become introspective on their own existence, or at least have an emotional response.
2.) Subject: I will be obscuring a self-portrait and tapping into questions of identity through use of the figure. Due to the fact that identity is vital to the work, I will be using primarily the hands and face of a figure.
3.) Form: I am going to create compositions that are likely asymmetric and in an elongated rectangular orientation to mimic the exaggerated figurative aspects found within the piece. The colors will be minimal to get at the feeling of anxiety, discomfort, and mystery. The only color I will introduce throughout the series will be an accent of purple which is representative of intellect, spirituality, and a higher-self. I want to experiment with texture as well to perhaps obscure the figure and create an level of chaos to the image.
4. Techniques: I am naturally drawn to combining etching and callograph to get across a feeling of both eloquence and chaos, though I am also really intrigued by the acetone transfer technique…so I really just want to experiment first before deciding!
5. Style: I want to blend both abstraction and realism.
7. Steps: - sketch out a couple of different ideas - experiment with the three techniques I am interested in & narrow down choices or see which works best for what. - do Xerox transfer - add etching on top - do collograph last if it works out well.
1. The fashion industry is a subject matter that I would like to explore throughout the duration of this course. My experience working in the industry and my candid thoughts/interpretations from an insiders perspective will fuel the concepts and messages I choose to convey through my work. Coveted designer items and accessories, fashion icons such as Anna Wintour and Karl Lagerfeld, popular narcotics, and NYC memorabilia will be used to symbolize and cover various aspects of this industry. I want to open up the viewer's mind to what I have taken from my experience by producing a series of blunt, satirical visual statements.
2. As I said above, I will use photographic transfers of fashion icons, accessories, fashion magazines, metro cards, text conversations I have had, etc. and screenprint text relating to each image over them. The text will have a black rectangular background, and the text will be white.
3. The photographic transfer will be placed in the middle of white BFK paper, and the text block will cover the image (if it is a person, I will have the text cover the eyes to hide the identity/give a sense of mystery). Otherwise, I will place the text block where I feel it is appropriate. The look will be simple but create powerful statements.
4. I will use photographic transfers for my images, paint over where the text block will be with white gesso, and screenprint the text over the gesso.
5. I will use elements of realism, because the images will be found, real images.
7. Steps: -make list of images i would like to use/cover all grounds of my experience -create clever sayings that relate to each image -print out images i wish to use -transfer images on to bfk paper -type sayings into photoshop -print sayings, cut them out -paint over images where text will be placed with gesso -create screenprint stencil -screenprint text on top of image
Part One
ReplyDeleteGraffiti, or street art, is a form of communication through art that interests me at the moment. Particularly colors and styles of 90s hip-hop and rap as a form of expression intrigue me. Banksy inspires me in his use of satire and graffiti to open the public’s eyes to political issues. While studying at the University of Sydney, I developed a great appreciation for graffiti but also love the baroque style. Another possible influence to my work would be Rauschenberg for his use of layering as a style in print making. I plan on exploring Art21.org for more ideas and inspiration. One very cliché inspiration for my print making is that of Andy Warhol and his combination of color and alignment.
Part Two
I am currently studying Linguistic Anthropology and I am intrigued by the many ways of using language as expression. Recently, the question has been raised of “is a picture worth 1000 words?” This question has interested me in the sense of applying common language mechanics and cultural relations to my print making. An examples of this would be the expression of negatives such as, ‘he is not sitting next to a gorilla.’ I want to explore language through print making by attempting to project speech through images.
Part Three
To accomplish this concept I hope to use a variety of qualities such as print, photographs, and personal sketches. These elements will be combined in a scattered, almost spastic arrangement of elements in my work with realistic imagery combined with abstract accents. For the color palette, I want to use a wide variation of colors for the same print in order to alter the acceptance by the audience. I will be using bold darkness in my image’s color and style because it better communicates my view of language in the American society.
Project Proposal
1 Concept (Why this image? What is the overarching meaning or message or purpose you want to convey to the viewer?)
Nomenclature is what is referred to as the act of ‘naming things’ in everyday life. These names differ from culture to culture but have root and meaning in a particular society. I want to question the actuality or truth we take for granted related to this idea of names being set in stone for particular objects, places, and people.
2 Subject (What objects, figures, spaces, etc. will you use to convey your concept?)
To convey this concept I will use personal photographs of everyday objects such as a shoe or coffee cup and pair it with a word not usually used to identify that object such as ‘bird’ for the shoe and ‘scissors’ for the coffee cup.
3 Form (How will you arrange things (i.e. composition) and use color, value, shape, line, texture, space to support your concept?)
I would like to use an arrangement similar to Warhol’s “Marilyn” to display either two or four objects in bright, crisp colors symmetrically aligned with clear print underneath the images. The texture will be smooth with heavy defining outlines around the photographs for a clear separation of colors and space.
4 Techniques (Which printmaking techniques will best support numbers 1-3?)
The printmaking techniques I will use to support my idea will be monotype and photo transfer.
5 Style (Will you use elements of abstraction, realism, or a blend of the two?)
I will use a blend of both abstraction and realism
7 Steps needed to complete project
1.Choose photographs of objects
2.Choose font and words for objects in photographs
3.Determine layout and color of photo transfer
4.First apply monotype then photo transfer on top
a.Monotype: creates boarders for objects to reside
b.Photo transfer: objects and print
5.Once layers printed experiment with sharpie over outlines
[Note: As I am trying to develop the idea for my senior project, much of this proposal's information will be the same as the statements on my senior exhibition proposal.]
ReplyDeletePart One:
With a double major in studio art and psychology, I plan to use my art to convey a message that, at its root, describes the process within the human brain that enables various components to function as a whole. When looking at a work, one viewer physically sees the same image as the next viewer. However, interpretations for a specific work can be limitless because of the personal perspective each viewer holds. Thus, there is an interaction not only within the physical elements of the individuals’ brains to create the artistic experience but also between the collective interpretations of the art community that come together to form the overall opinion of the work. On a broader scale, I want to apply this concept to the way individuals function as a single component of a global whole. In modern American culture, we often take the individual components of the means for granted as our eyes are set on the end result.
For inspiration to formally convey my thoughts, I look to such artists as Chuck Close, Oliver Herring, Andy Goldsworthy, and Robert Rauschenberg. I am inspired by Close’s works for his ability to make up a whole with smaller parts. Herring and Goldsworthy intrigue me for their concern with the process of making the art. Finally, Rauschenberg has always been one of my favorite artists for his skill of combining and layering various media to make a cohesive whole, which I believe will directly apply to my printmaking endeavors.
Part Two:
For my prints throughout the semester, I want to work with the idea of smaller parts coming together to make a whole. In looking at a whole, the smaller pieces are often overlooked. I see this in my own life when I am so caught up with where I’m going and what I’m doing that I forget to appreciate the little things. So, in my series of prints, I plan to contrast the “little things” with the “whole.” From a distance, the print will appear to be a singular image [for the most part]. Upon closer inspection, the viewer will notice that the smaller parts come together to complete the work.
First Project (Etching and Xerox transfer):
In creating my first project, I want to experiment with my aforementioned concept by contrasting “the whole” with the “little things.” For this assignment, I want to combine all of the things I miss as I rush toward class each day. I make it to class, but I am unable to appreciate such things as the dew on the grass or the way the light casts shadows through the trees. So, in my process to contrast the whole (class) with the little things (the things I usually miss), I will be taking the time to appreciate the latter.
The techniques I plan to use to achieve my goal are best explained through these steps (3-7 can be done in different orders than specified):
1) Leave early to go to class and take notes on things I normally miss. Figure out how to best represent them.
2) Next day, bring my camera to take pictures of these objects/events. I plan to use textures/close-ups to represent these things.
3) Put together all images into one document.
4) Experiment with colors of the document.
5) Print in such a way that it can be used as a Xerox transfer.
6) Take picture of the CFAC to represent the whole.
7) Use the contours of the CFAC to create bold, scratchy lines on the copper plate for the etching aspect of the print.
8) Complete many Xerox transfers.
9) Ink up the copper plate (with black then white then a couple shades between) and then run them through the press on top of the Xerox transfers.
10) Do a variety of prints and figure out if I want to go back to the picture document and change colors and shapes based upon the contours of the building.
Andrea D'Alfonso (I could only post half my response, too many words I guess. I'll try to post the second half as well.)
ReplyDeletePART ONE:
What forms of communication interest you? I enjoy humor, and clear messages, rather than looking at a piece of art and searching for a long period of time to make a connection from thin air. I like to see corny and funny art. Enjoy seeing people’s expressions/responses to art when I talk to them. Which artist roles do you connect with personally? Not sure if this is answering the question or not but…expressing myself through my art. Trying to make what I find interesting, interesting not only to me but to others as well. Inspiration? Chuck Close: Love him! Put colors near each other to make an overall different look/color. You see something and then you look again and see something else. David Hockney: puts disjointed pictures together and makes a cohesive whole. I enjoy dramatic shadows/light being created. I enjoy geometric/flat 2D shapes and such. Also zooming in and drawing attention to things others may easily overlook. (Find the beauty)
PART TWO:
Pose a question and make a statement about something? The circus is reminiscing of childhood innocence, and good memories from a simpler time of wonder and amazement, when everything was new and larger than life. (You could be engulfed by the magic of the circus) It is an escape from reality, to a place that will always be happy, or at least appear that way. OR Make Circus signs, as in street signs and “do not” signs, and construction signs. Because like life, the circus can also be under construction and on a rocky road. AFTER ALL THE CIRCUS IS A MACHINE. Explore your life experiences/reference personal memory? I always went to the circus when I was younger, and present day as well. My Dad did/does magic and I do too. I used to make balloon animals and I still go to the circus every January. I also have an unusual love for clowns, I’m not sure why. I guess it was always a connection to the magic, and part of that world. I go to magic conventions every year also and there are always a few clowns attending (not dressed like clowns of course) It really makes me mad when people say they are afraid of clowns, especially when they are afraid of the happy clowns. The circus was huge to a tiny child and it still is a big/exciting event for me. (Maybe the feeling of familiarity is something I enjoy when I go to the circus.) There is a play called Barnum: and one song in particular always stays in the back of my mind. The lyric I love from it is: “Join the Circus like you wanted to, when you were a kid.” I think I love that because I then think that all children wanted to be a part of the circus and the magic, but these dreams/ideas faded, as they grew older. But like the lyric said its never too late to go back (even if it is only through memories) and join the circus; escape, even if it is only foe a few hours. Clowns wear makeup, and you can’t always tell what they are truly feeling.
Continued—
ReplyDeleteThere are three types of clowns:
1. Auguste
2. Whiteface
3. Tramp or Hobo
Explore formal qualities such as line, color, shape, and space? Red, yellow/mustard, tan/beige, maybe blue. Do something with spotlight and shadow? Geometric shapes--- radial lines/rectangles, gotta love that rule of thirds. I believe typography would be interesting to have; it would give it that old circus poster feel. (Not sure if I want to go in only the poster direction though.
PART THREE:
What subject matter do you wish to portray? The circus (happy) could possibly mix some carnival and magic into it. How are the visual elements arranged? With purpose and precision, crispness? Rule of thirds, space, rhythm. Will you be working with realistic, abstract, or non-objective imagery? I will try to use realistic imagery along with abstract shapes.What color palette will you use? Red, yellow (or mustard0, tan/beige, and blue. navy or royal. If I go with the circus signs probably just red, white, and yellow? Transparency Sounds like it will create intrigue as well as look fun….I think so, yes. Texture? Don’t know yet. probably not. Value? Backgrounds/shapes in back may be lighter. Foreground, bold. (Sidebar, Caravaggio is awesome! Love his dramatic lighting and that reminds me of circus spotlights.)
ART 392 DMMP PROJECT PROPOSAL
1. Concept:
Combine the image of the ringmaster with me as a younger child, because. Your Dad (my Dad) was like the ringmaster of my life when you (I) was a kid because you listened to them and they ran the show.
Or go with the circus street signs/construction signs because even magical things can be brought into the “real world”; something familiar such as road signs.
Bring the circus into everyday experience and relate it to life.
Ex: Yield to the ringmaster. And no high heels on the tightrope.
People grow up and forget how to live simply and enjoy what used to be so fun, the circus can help you escape and re-live old memories.
LIFE HAS SIGNS AND RULES, WHY SHOULDN’T THE CIRCUS? BUT AFTER ALL IT IS THE CIRCUS SO IT SHOULD BE FUN!
2. Subject:
Clowns
Triangle, radiant shapes
Circles
Clown noses
Top hats
Spotlights
Traffic signs?
Silhouetted things on the signs
Use of humor.
3. Form:
With the sign concept I would use strong solid lines and shapes and perhaps a simple color palette of red/black/white/and an occasional yellow.
Don’t know about texture yet. ---I liked the construction look with the bumpy torn cardboard lines through the collagraph process.
4. Techniques:
Transfer and etching or Monotype and etching
5. Style:
I think I will use a mix of realism (photos) with geometric shapes. Sounds like it would work out rather nicely.
Steps needed to complete project?
1) Decide which way I’m going to take the project
2) Make a copy of photo---perhaps change the color
3) Inverse the image on the copier
4) Make a copper etching
5) Then transfer the photo image
6) Wet image/paper in bath
7) Wait 10 min
8) Ink my copper plate
9) Then transfer the etching over the paper
10) Repeat as many times as needed to make 3 copies that are as close to the same image as possible.
PART ONE
ReplyDeleteAlthough there are several aspects of communication that attract me, with the subject that I chose to do I will stick mostly to that "artists invent new forms to inspire and enhance." I connect with this because I like to be able to use my art to show people things in a different way than they may have seen before and because I like people to be inspired by my art and be able to say that they too connect with it. And since I like to play around and experiment, usually I can come up with something completely different that can do those things. One particular artist, although a photographer, that inspires me greatly is Clark Little. His amazing photos of surf and beach themes really inspires me to do art of that sort because it's exactly what I love.
PART TWO
My concept for these series will be, very broadly, surf. As someone so into the surf culture and trying so hard to be able to bring it to where I am, a place with almost no surf culture at all, I sometimes struggle with that a lot. I want to be able to express the kind of person I am, through that particular culture, in a place where it is almost non-existant and be able to share it with others and maybe then they will be able to become a part of that culture as well.
PART THREE
As a fan of bright colors, my plan for most of these prints is to include those kinds of colors in the majority of my prints. The subject matter will be different aspects of surf and part of that which I consider to be part of me and who I am. I plan on working a lot with realistic images but could also play around with non-objective imagery as well. Since this is my first printmaking class I'd like to be able to try all kinds of designs and such.
PROJECT PROPOSAL
1.Concept- As a person totally immersed in the surf culture I consider it to be part of who I am. With these series of print I plan on showing that part of me that is so into that culture by taking aspects of different things from it and portraying it as it deals with me.
2. Subject matter- I plan on using a lot of iconic ideas related to surf to portray this concept. Pictures, maybe of beaches, waves, surf, etc. along with hand drawn images of different things that relate to me.
3. Form- I plan on using a lot of the bright colors related with surf, also a lot with who I am, and using them in the majority of my pieces. As to the rest of the form, I'd like to experiement with a lot of different things to see which is the best way in which I can make my point in my art.
4. Techniques- for my first piece I'd like to start off with a zerox transfer and then with a copper etching over it. I'm not really quite sure how to do any of the future projects so I don't really know what techniques I'd use...
5.Style- I plan on mixing a lot of real images in order to create a sort of abstract idea
7.Steps- find the image for the transfer that will go with what I want to portray, make the drawing that I'd like to go with that particular image, create the copper etching with that drawing, transfer the image (although I haven't decided if I want a classic print or a more unique one yet), and finally etch the image onto it:)
Kelly B.
ReplyDeletePART ONE:
I feel that the most important way to communicate to people is through emotion, which is far more universal than language alone. I like creating artwork that evokes a sense of discomfort and uneasiness within the viewer. I think that it is the artist’s role to raise difficult perspectives and create something that sparks someone to feel introspective. I am inspired by many existentialist literary men as well as the Romanticism period in general. Artist-wise, I find myself inspired by Francis Bacon and Modiglini who both were masters at distorting the figure. I am also inspired by Chris Burden and Vito Acconci for their ability to push unsettlingness onto their audiences. I find myself drawn to artists who deal with the figure, because I feel that figurative work automatically taps into a certain psychological level that other subject matter might not be able to.
PART TWO:
I want to draw upon my own experience with anxiety towards my existence. I was raised Roman Catholic but have been internally an atheist as far back as I can remember, which has a large amount of influence on me. I want my work to address the elusive nature of identity and the disconnect and isolation that one can feel, while also giving respects to the eloquence of mystery, in spite of how dreary it can be. Since I want my work to have a mysterious/dark quality to it I am thinking I will most likely use black, white, gray and purple within my art. I want my artwork to be very expressive and experimental.
PART THREE:
I want to get at this theme of existential dilemma via the metaphor of the obscured figure. Since a l of what I am dealing with is drawn upon from personal experience, it makes sense to me that I should create a series of self-portraits. I would like to do a mix between realistic and abstract; sort of an exaggerated, expressive figure that is still realistic enough so that it is recognizable. My color palate will be minimal: grayscale and purple. Since printmaking is a new medium for me, I would really like to explore what makes the medium unique from other art forms, so I am sure I will inevitably experiment with texture.
DMMP PROJECT PROPOSAL
DMMP PROJECT PROPOSAL
ReplyDelete1.) Concept: I want to create an image that evokes a feeling of mystery, elusiveness, and anxiety to represent the overall concept of an existential dilemma. I would like my artwork to ultimately cause someone to become introspective on their own existence, or at least have an emotional response.
2.) Subject: I will be obscuring a self-portrait and tapping into questions of identity through use of the figure. Due to the fact that identity is vital to the work, I will be using primarily the hands and face of a figure.
3.) Form: I am going to create compositions that are likely asymmetric and in an elongated rectangular orientation to mimic the exaggerated figurative aspects found within the piece. The colors will be minimal to get at the feeling of anxiety, discomfort, and mystery. The only color I will introduce throughout the series will be an accent of purple which is representative of intellect, spirituality, and a higher-self. I want to experiment with texture as well to perhaps obscure the figure and create an level of chaos to the image.
4. Techniques: I am naturally drawn to combining etching and callograph to get across a feeling of both eloquence and chaos, though I am also really intrigued by the acetone transfer technique…so I really just want to experiment first before deciding!
5. Style: I want to blend both abstraction and realism.
7. Steps:
- sketch out a couple of different ideas
- experiment with the three techniques I am interested in & narrow down choices or see which works best for what.
- do Xerox transfer
- add etching on top
- do collograph last if it works out well.
1. The fashion industry is a subject matter that I would like to explore throughout the duration of this course. My experience working in the industry and my candid thoughts/interpretations from an insiders perspective will fuel the concepts and messages I choose to convey through my work. Coveted designer items and accessories, fashion icons such as Anna Wintour and Karl Lagerfeld, popular narcotics, and NYC memorabilia will be used to symbolize and cover various aspects of this industry. I want to open up the viewer's mind to what I have taken from my experience by producing a series of blunt, satirical visual statements.
ReplyDelete2. As I said above, I will use photographic transfers of fashion icons, accessories, fashion magazines, metro cards, text conversations I have had, etc. and screenprint text relating to each image over them. The text will have a black rectangular background, and the text will be white.
3. The photographic transfer will be placed in the middle of white BFK paper, and the text block will cover the image (if it is a person, I will have the text cover the eyes to hide the identity/give a sense of mystery). Otherwise, I will place the text block where I feel it is appropriate. The look will be simple but create powerful statements.
4. I will use photographic transfers for my images, paint over where the text block will be with white gesso, and screenprint the text over the gesso.
5. I will use elements of realism, because the images will be found, real images.
7. Steps:
-make list of images i would like to use/cover all grounds of my experience
-create clever sayings that relate to each image
-print out images i wish to use
-transfer images on to bfk paper
-type sayings into photoshop
-print sayings, cut them out
-paint over images where text will be placed with gesso
-create screenprint stencil
-screenprint text on top of image