For the next sustained investigation, you will create small multiple pieces to create your artwork. See below for inspiration: Portraits are not the only things that can be distorted for an emotional effect. Also, landscapes can be distorted by color or shape for an emotional effect. Sometimes, even new worlds will be created by an artist to portray a certain feeling or purpose. Giorgio De chirico--Italian surrealist PainterFortunato Depero--Futurism PainterSurreal Photography--I found all these samples by doing a quick google search. Its amazing the imagery you will find in surreal photography. Some of its created with photoshop, some in the darkroom, and some with clever forced perspective. (Some of you who are painting and trying to create new worlds, may want to do some searches to get inspiration before you create your worlds.) Lighting can be used in artwork to create a wide range of emotion. It could set a calm tone/feeling or one of anxiousness or terror and a wide range in-between. Light can be used naturally with a VISIBLE light source in the piece (window, fire, candle flame, sun, sun rays, electric light, etc.) Light can be used SUPERNATURALLY within the piece. Having the light shining from an inanimate object or a person/ animate object within the piece. As you are creating your work, consider using distorted imagery to enhance an emotional effect. Nothing you have to do has to be completely photorealistic! Deb Weiers--artist on instagramOne of my favorite artists that I follow on instagram is Deb Weiers: @debweiersart . She creates beautiful "wonky faces" as she calls them. Mostly she does human portraits, but I love how she distorts her animals as well. Check out some of her recent work. She uses ink, mixed media, collage, acrylic, and drawing media. The last photographs shows her process for her larger work.
Below are two choices for artists that you can watch this week. Both use MULTIPLE layers and various mixed media. Pay attention to the process that your selected artist uses. How could they document the process if they were submitting an AP portfolio?
choice #1: Arturo Herrera
The link to the art 21 video is here: https://art21.org/watch/art-in-the-twenty-first-century/s3/arturo-herrera-in-play-segment/
From Art 21: “Being Latin American, you are made up of so many fragments from different cultures,” says Arturo Herrera. For the Venezuela-born artist, collage is the natural expression of his mixed identity. Herrera’s collages combine cartoon elements with abstract shapes to explore the interplay of childhood memories and adult desires. In his Berlin studio, he photographs elements of his own drawings and then develops the film canisters in various liquids, which seep in and alter the film. “I think there is a potential for these images to communicate different things to different viewers in a very touching way,” he explains. “But that experience is not a public experience, it is very private, and very personal.” Choice #2: Julie Mehretu
Here is the art 21 link to Julie Mehretu's video: art21.org/watch/art-in-the-twenty-first-century/s5/julie-mehretu-in-systems-segment/
From art 21: “Trying to figure out who I am and my work is trying to understand systems,” says Julie Mehretu, shown working with her assistants in Berlin on seven large canvases for a show at Deutsche Guggenheim. “The thing that keeps me going is the painting,” she says, “and in getting lost in doing that a language is invented.” Mehretu’s abstract compositions reference modernist architecture, Google Maps, Coliseum-like buildings, and defaced structures. Mehretu is also shown working on the biggest project of her young career: a 21 by 85 foot long mural commissioned by a major financial institution in Lower Manhattan, to be completed during the most severe financial crisis since the Great Depression. Characterizing the task before her as “absurd,” she wonders “can you actually make a picture…of the history of capitalist development?” For the next sustained investigation, you will be required to add a constraint: Foreshortened Figure. (This could be a person or animal, but must change the proportions to use foreshortening. ) Constraint Description:
Project Steps: 1. Take reference photos of 1-5 people interacting that is showing extreme foreshortening. 2. Roughly sketch out your favorite compositions for what you might want to draw for this foreshortening assignment in your visual journal. If you need practice drawing foreshortened figures, please reference the guide below and practice drawing more simple foreshortened forms (such as your hand) before moving on to a whole figure. 3. LIGHTLY draw your composition in pencil on your surface ON 12x16 inch surface FOR 3x4 inch PHOTOS OR ON 12x18 inch surface FOR 2x3 inch PHOTOS 4. Use your chosen material to fill in the colors and/or values of the figures/characters! The work of Cristina TroufaCristina Troufa is a Portuguese artist born (February 6th,1974) and based in Porto, Portugal. Cristina holds a Licentiate Degree in Painting since 1998 and a Masters Degree in Painting since 2012, both in FBAUP (University of Fine Arts of Porto). She has exhibited throughout Portugal, in solo and group shows since 1995 and international exhibitions in Italy, Spain, Australia, France, Canada, Denmark, Taiwan, England and USA. Cristina Troufa wants to consolidate the idea of a self-portrait and/or self-representation but on the other hand wants to reflect on a spiritual, emotional, and psychological inner self-portrait, that may be done conceptually. She uses her own image in autobiographical paintings that explore her life and spiritual beliefs. As a form of self-knowledge and self-questioning, her work explores an inner world in a symbolic way, which remains inaccessible to the voyeur that can only guess what each painting represents. Advanced/ Ap student examples of extreme foreshortening:
We are about to begin our 3rd sustained investigation, but for this one, our constraint is to add a minimum of 5 different types of mark making somewhere within the composition. The good thing is, that there are thousands of ways to make marks. What you have to determine is what will work for you and how can the use of marks relate to your topic/composition?
(AP 3D, you can add mark making to the surfacing of your next sculpture). Use at least 2 different types for 3D. What is "mark Making"?
"In art, mark making is a term used to describe the different lines, patterns, and textures that are made visible as a manifestation of applied or gestural energy. It is the gestural “language” of the artist, and it is a term that can refer to any art material applied to any surface. Mark making happens not only with paint on canvas or pencil on paper but in every form of expressive drawing. Aside from what these marks may add to a painting they possess unique characteristics that have the power to identify artists, almost as fingerprints do, to art aficionados." https://www.ubelarts.com/blog/mark-making-inspired-by-the-masters-to-find-artistic-voice/
"Marks can be descriptive, expressive, conceptual, and symbolic in nature."
"Artists often use mark making and gestural qualities to express their feelings or emotions about something they have seen or experienced."
"Mark-making is the broad term used to include all marks that are made visible as a manifestation of applied or gestural energy. It is the gestural language of drawing, and marks are the component parts within it. There are an infinite number of marks possible, and our nomenclature for them is limited - lines, dots, dashes, smudges, etc.. It is difficult to refer to specific marks, and know that the term adequately communicates its intended meaning. Everybody makes his or her own unique set of marks and every medium has its own particular quality of mark." https://personal.utdallas.edu/~melacy/pages/Drawing/AS01_MarkMaking_DrawingProjects/MarkMaking.html
"Mark making is a term used to describe the different lines, patterns, and textures we create in a piece of art. It applies to any art material on any surface, not only paint on canvas or pencil on paper. A dot made with a pencil, a line created with a pen, a swirl painted with a brush, these are all types of mark making.
Mark making can be loose and gestural, or structured and controlled such as hatching. Most artists work with a variety of marks in every painting, but there are some styles, such as Pointillism, where just one type of mark is used." It is easy to think of a mark as a building block for whatever you choose to create:
Other ways to think about mark-Making:
Mark making styles:
MARK MAKING PART 1: EXPLORE THE MARK!
Use 1-2 pages in your sketchbook to experiment with as many different types of marks you can think of to make with as many different media you may have to make them. Making marks can include drawing, erasing, stamping, swiping, pulling, printing, or painting the media on your sketchbook. (Paint, charcoal, oil pastel, pen, pencil, watercolor, marker, experimental tools, etc.). (see below for sample mark making images)
CHECK OUT THESE VIDEOS BY ERIKA COUEY TO DEMO WATERCOLOR MARK MAKING
PART 2: WATERCOLOR MARK MAKING
Utilize something related to your sustained investigation as part of the process or as a layer within your image. You can use this as part of the background design to create added texture, rhythm or movement.
EX: if your concentration is about freedom vs. imprisonment, you could use rope (representing imprisonment) to create movement lines in your background. Ex: if your concentration is about natural herbs used in cooking, you can use those actual herbs ground up to make a paste and include into the paint layer. (this may not be seen, but its a symbolic part of your process) Ex: if you concentration is about a tragic fire, you could take actual ash and use it as a media within your piece. (be sure to take photos of you burning to create the ash and be under the watchful eye of an adult ) Ex: if your piece is about the dangers of rumors, you could photocopy rumors of what people are saying (I'm assuming online rumors) and use them in the background of the overall piece. MARK BRADFORD--FOCUS ON THE PROCESS!!
If Mark Bradford was going to show images of his work to the AP College Board, how would they be able to see the process? How should he explain the process in his artist statement? How is his choice of materials important to what he is trying to say in his art?
Art21 Mark Bradford link: https://art21.org/watch/art-in-the-twenty-first-century/s4/mark-bradford-in-paradox-segment/ Want to find out more? Check out these other Mark Bradford interviews!! Radcliff Bailey: uses meaningful objects in his mixed media work!
This internationally famous artist from Atlanta uses meaningful objects within his mixed media work! Check out this interview with the artist about his piece "Seven Steps East." Interview taken from "Amherst Student" https://amherststudent.amherst.edu/article/2018/04/03/qa-artist-radcliffe-bailey-process-creation-and-acceptance.html
Option #2 Constraint: Addition of fibers, Fabric, yarn, string, etc. OR addition of Weaving within the composition
Create any type of composition you'd like, but somewhere within, you will need to include Fabric, Yarn, String, OR some sort of Weaving. See below for other artists who use some of these types of techniques within their work.
Create a work of art that helps to investigation your inquiry question of choice using the Rule of Thirds to plan out your composition. For our Sustained Investigation #3, we will focus on the work of Alexandra Dillon. You can find more images of her work on her site here: Portfolio | alexandra-dillon (alexandradillon.com) Her work uses objects as the surface of her painting. For your pieces, you will need to find an object that is in some way related to your sustained investigation topic and use that as the surface for your artwork instead of traditional canvas or paper. Student examples: |
Fun SitesMarilyn Maker
Silk- Interactive Art Tessellate Jackson Pollock (splatter painter) Build Your Wild Self Mondrimat Mr. Picassohead Mandala Maker Art Games Bomomo Art Pad The Color Test Getty Games Archives
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