Visual Narrative

Visual Narrative

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These are the images I cut out and chose for the Visual Narrative piece. At first when I was looking through the magazines, I was drawn to people automatically; I was looking for authentic photographs of people and their surroundings. When I started to narrow down my collection of cutouts, I came up with the theme of “Teenage Angst” due to the mysterious looks in the people’s eyes. I wanted to run with that theme especially because of the age I am in, and most of my classmates as well. We all can relate to the desire of expressing ourselves in different ways, whether that be by different clothing, hair color changes, or the makeup we wear, etc. These cutouts can represent those feelings in different ways, and I hope to execute them the best way I can.

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This is an aerial view of the word webs I created of all the pictures I cut out of different magazines. The instructions were to write down words that are related to this thing, or words that came to mind when thinking of this image. After doing that, we had to consolidate our piles down to 7-10 images, which was hard for me. As soon as I did that however, themes and ideas started blooming in my head; that’s where I came up with “Teenage Angst”.

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This was the grouping I made, which involves the cutouts in the first photo. What really stood out to me in most of the cutouts were the harsh eye contact that gave off a mysterious or angsty feel. That really spoke to me. I also liked how each photograph had its own tonal quality that matched the emotion or lack thereof in the subject’s face. Together, they work well to hopefully make a unifying piece.

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This paragraph or grouping of sentences describes the feelings I get when looking at the five images I chose. I see “teenage angst”, mysterious, understood, and frustrated underlined several times. From writing this paragraph, I wanted to express how we feel so much pressure as teenagers to live up to what our parents want for us, but that sometimes their perfect image of us can be misconstrued because of how we want to dress or act. We can be misunderstood even by the people that have raised us. We all want to represent ourselves the way we see ourselves, and that’s sometimes difficult.

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When given the opportunity to select a word to help give our project an extra spice, I chose ‘anxious’ which I felt could work well with my theme. At first I was unsure, but after some thought, “Anxious Teenage Angst” did not seem too bad after a while. The idea of an anxious teenager being enveloped by the harsh city lights was an idea that came to mind after some collaboration.

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This idea shows the unity of teenagers by positioning them so that one eye meets in the center. The circular effect could insinuate confusion and anxiety of the stage of life they’re going through. Each cut out would be slightly curved, so that it would be a  circular mess of cutouts.

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This could show the overwhelming feeling of being in the city, therefore the teenager could be anxious. The city would be repeated, and reflected with a low opacity.

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This was my first thumbnail. I liked this one because I think it best captured my idea so far. The most unspoken and mysterious of the Beatles will be showing through the low opacity of the city. I will add another effect to show the anxiousness and angst, but I like how him taking a picture of himself in the mirror adds a dark effect.

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This was the last and least developed of the ideas. The city will be enveloping the girl in the center as the reflection of the skyline eats away at her. I like the concept behind this one, but I’m not sure how I will be able to execute it.

I am hoping that all of my ideas will soon come together, and allow one final composition to come through.

Project 2 Recap

Project 2 Reca: 2D

The overall objective of project two was to bring to life more of Gestalt’s Principles using unity and variety, and how they can apply to the outside world. There were four projects we worked on, which were the unity and variety pieces, a digital file and an ink wash piece, a found Gestalt using iDraw, and the human elements group and individual project. All of these projects cultivated a better understanding of how to digitally create a Gestalt principle, how to find it in your everyday life, and then how to create your own. By being taught this way, we are given a better idea of the subject matter, and are able to see this principle in our everyday lives and beyond.

What I learned was that patience is key in many instances, including when using ink wash. Waiting for the ink to dry was probably the most difficult part of this assignment, because if you didn’t wait long enough and your pulled the tape off, there is possibility that you pulled off ink with it. Patience and craftsmanship with this piece was key. Other things I learned were that you have to be very specific about hue, gradation, and opacity when using technology. Sending pictures to the printer with similar values can sometimes be an issue because they can come out the same. When you print your piece and aesthetically it is the way you pictured it, that’s one of the best feelings.

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Another thing I learned is not to be afraid to think outside the box. For the human elements project, it really forces you to think about how to use the human body to create your own depiction of a Gestalt principle. I used one of my proximity depictions, and thought of how tension can work by using hands. I brought glitter to school with me, and decided that using it would be a good idea; besides the clean up, it was.

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This project really applies to life because it really puts into perspective the amount of principles of art we see each day. I especially liked the human elements projects out of all of them, because we used a piece of our first project, and incorporated it into a different one. Art is so versatile, and one ides can be used for so many different things. I really enjoyed this project, despite the difficulty of attaching these media files.

Response to the Incomplete Manifesto for Growth

Response to the Incomplete Manifesto for Growth

Throughout our careers as artists, we are told a multitude of things that encourage us during our research and experimental stages of our practice. These things, and more, are listed in An Incomplete Manifesto of Growth, which covers all ends of the spectrum with advice and ways to go about certain ideas. All artists should be given this document at least once throughout their education because of how informative and inspirational it is. From the manifesto, there were several points that really stood out to me, the first being to allow events to change you. This one struck me not only because it was the first on the list, but also because this point is thought provoking. When experiencing new things and trying to form ideas for a piece, one must be open minded and be willing to change ideas when the opportunity presents itself. As artists, we all should be open to experiences that give us new ideas and allow inspiration to come through. Second, is to capture accidents. This one also stuck out to me, because when solving a problem, one answer may be wrong for one question, but could be right for another. Art and its meaning is all about answering a question, and finding a way to represent something visually. And lastly, one must explore the other edge. To me, this one means to go beyond what is expected and different from everyone else; explore other sides to a piece that someone has not thought of yet. All artists should read this manifesto, and add points that have helped them throughout their careers.

Two points I would add to this manifesto are to use found objects to heighten an idea and to observe. When making a piece, don’t stay with the usual mediums. Explore, and use things found on the street or in your everyday life that could be useful. Pieces that are inspired by other objects are not only interesting to the eye, but can provide a conceptual idea as well. Second, observe as much as possible. Watch your peers; ask them questions about their process and inspirations that allowed them to start an artwork. The best way to learn different techniques and understand different styles is to observe other artists.

Launching the Imagination: Chapter 10

Notes:

  • Unity: Similarity, oneness, or cohesion
  • Variety: Difference
  • Increase unity by the following:
    • Grouping: By location, orientation, shape, or color
    • Containment: Having a unifying force created by the outer edge of a composition
    • Proximity: The distance between visual units
    • Continuity: Having a fluid connection among compositional parts
    • Repetition: Using the same visual element a number of times
    • Closure: When your minds connect fragmentary information into complete forms
  • Increase variety by the following:
    • Line Variation: Using different line diameter and texture
    • Variation in Texture: Smooth vs. textured surfaces
    • Variation in Pattern: Different colors or patterns
  • Grid: Series of intersecting lines
    • Matrix: Three-dimensional grid
    • Balance: The even distribution of weight or force among visual unity
  • Different types of Balance:
    • Symmetrical Balance: Forms are mirrored on central axis
    • Radial Symmetry: Design elements extend out from a central point
    • Asymmetrical Balance: Equilibrium among visual elements that do not mirror on an axis
  • Subordinate Forms: Secondary forms
  • Dominate Forms: Primary forms
  • Scale: Size of a form compared to human body (Hand-held, human scale, or monumental)
  • Proportion: The relative size of visual elements within an image
  • Contrast: When two or more forces operate in opposition
  • Emphasis: Giving prominence to certain part of a design
  • Focal Point: Compositional device used to create emphasis
  • Anomaly: Break from the norm
  • Rhythm: Organization of multiple repeating elements in a deliberate pattern
  • Tempo: Rate of change

Ch. 2 :Color: A Workshop Approach

  • Hue: Referring to a color by its name
    • Monochromatic: One hue
    • Analogous: Colors adjacent to each other on the color wheel
    • Complementary: Based on pair of opposites
    • Triadic: Any three equidistant colors when configured as a circle of hues

Color schemes evolved to simplify the problem of color harmony and to provide a guideline for the discussion of color in art and design

  • Hue continuum: contains infinite number of hues
  • Value: Relative luminosity
    • Value continuum: contains infinite values
    • Grayscale: Graduated scale of value
  • Saturation: Relative purity/ measure of inherent light
    • Saturation continuum: All levels of saturation
    • Prismatic colors: Purity of the hue (as much as possible)
    • Muted colors: Lie outside the prismatic colors
    • Chromatic grays: Subtle or discernable hue
    • Achromatic grays: The inner colors of the color wheel
  • You can change a color’s saturation without changing its hue and value, and vice versa
  • In 3D art, the surface features and the angle and intensity of light all need to be taken into consideration when looking at colors
  • Two distinct kinds of colored objects
    • Forms that are colored materials
    • Forms that have colors applied to them