Monday, January 4, 2016

Create > Optical Movement

Create > Optical Movement

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Goal Concept:
Exploit visual opposition and transition in artworks to evoke kinetic properties that lead the viewer’s eye through various pathways in its pictorial field.

Access Prior Knowledge:
“The fluctuation resulting from continuous construction-destruction, disintegration-integration processes seems to animate things with movement, power and life.  Opposition and transition, therefore, are fundamental laws of design.” ~ Henry Rasmusen

New Information:
Optical Movement
Although a painting is a static object, it possesses ‘kinetic’ properties insofar as the eye of the view is led through various pathways in its pictorial field.  The visual transition may be agitated or tranquil, depending on the artwork and the artist’s purpose.

To achieve optical movement, factors such as repetition, opposition, transition, rhythm, dominance and variation are applied to line, color, tone, space and texture.  The more interesting transitional networks incorporate contrasting elements.  
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Van Gogh’s portrait shows a dramatic use of color and texture; the painting is a choreographed constellation of forces and optical movement energy which reflect the artist’s impassioned attitude to art and life

Artist References:
Robert Campin > http://goo.gl/EiyGjW  
Hassel Smith > http://goo.gl/el6ixi  
Vincent Van Gogh >  http://goo.gl/U9QE  

Apply Knowledge and Skills:
Instructional Strategy
  • Nonlinguistic representation
Learning Activity
Create > Interrupted Energy Field

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Goal: Develop an energy field interrupted and redefined by environmental shapes

Studio Activity: Interrupted Energy Field
Imagine an energy field of closely spaced lines and an object within it.  An analogy would be water flowing around rocks in a river.

As a subject for this experiment, work either directly from a still life or from an online image.  Make a light pencil outline drawing of the subject on a sheet of drawing paper.  Next, use a sharpie pen to draw closely-spaced horizontal lines on the background which cross over the subject to describe its form.  The lines should suggest a cross-sectional form as well as producing a visual texture.  DO NOT outline the images in ink, but allow only the cross-sectional lines to suggest their form.  Finish by erasing the underlying pencil lines.

Trigger Mechanisms:
Repeat, disguise, animate

Visual Examples

Materials:
Paper, pencil, sharpie marker

Instructional Strategy
  • Nonlinguistic representation
Learning Activity
Create > Pointillistic Counterchange Pattern

Goal: Create visual density gradients and alternating figure ground relationships using closely grouped dots or lines

Studio Activity:  Pointillistic Counterchange Pattern
Cut out three separate shapes from a magazine. For example, cut out a large letter, a geometric shape and recognizable object such as a dog or tree.  
Or use tracing paper and historically significant art reproductions to gather forms and shapes.
To achieve visual interest, be sure to vary the size of the various objects.  
On a drawing surface, trace around the shapes multiple times, moving them slightly to discover the best arrangement.  
As you work, pay particular attention to the organizational principles of repetition, variety, transition, balance and emphasis to create an interesting composition.  
As you trace the outlines, allow the shapes to overlap each other and allow the lines to overlap for a transparent effect.  
Finally render the composition with multiple colors or values.

Trigger Mechanisms:
Repeat, superimpose, animate, combine
Visual Examples

Materials:
paper, ruler, compass, scissors, felt-tipped marking pens, templates

“Visual and psychological qualities make the observer feel that what he is seeing contains within itself its own organic energy thrusting outwards.  If a work of art has its own life and form, it will be alive and expansive, seeming larger than the material from which it is made.” ~Henry Moore


Optional Studio Create > Pointillistic Image Pattern

Studio Activity:  Pointillistic Image Pattern
Be inspired by George Seurat’s paintings > Un Diamanche a la Grande Jatte > http://www.webexhibits.org/colorart/jatte.html
Make a light pencil line drawing of a selected subject on a sheet of paper.  Switch to an ink pen and render the composition using only dots.  Create dark and light passages as well as ‘modeled’ effects by controlling the pointillistic technique.  DO NOT outline any portion of the drawing.  Instead, rely on closely-packed dots to define images and edges.  Finally, finish the drawing by erasing traces of the underlying pencil drawing.  Or, render the same composition using only closely spaced lines and some areas of solid black.  Create tone patterns through spacing, thickness and cross-hatching of lines  


Generalize, Reflect & Publish:
Instructional Strategy
  • Evaluate the results
Learning Activity
Reflect > Should I go back and rework anything?
  • How did you combine art elements (line, color, shape, texture, value)  to develop art principles? (Unity/variety, balance, emphasis contrast, rhythm, proportion/scale, figure/ground relationship)
  • Where are the dominant shapes, forms, colors, or textures that carry expressive significance?
  • Why Is the work ordered and balanced or chaotic and disturbing?
  • What gives the work its uniqueness?
  • Is symbolism used in the work to convey meaning other than what one sees?
  • Does the work evoke any feelings?

Instructional Strategy
  • Providing Recognition
Learning Activity
Publish > Share your album to our G+Community > Concepts & Creations category
Display > Add your photos to the Event

Instructional Strategy
  • Providing Feedback
Learning Activity
Critique >
  • Give positive feedback > +1 every image that deserves it
  • Give peer feedback > Give 2 peer images a VTS critique > http://goo.gl/1WWmBY
Self-assess >