Goal: Use the tilt-shift effect on 3 historic artworks and 3 real life scenarios.
Studio Activity:
Tilt-shift photography is a technique that makes real objects appear small, as if they were part of a miniature scale model. This is achieved through blurring and distortion - either with special camera lenses (Nikon or Canon); lens adaptors (Hasselblad), digital manipulation, or using an app or Photoshop. There are also websites that convert images to tilt-shift photos (http://tiltshiftmaker.com )
Start with a high quality, well lit, in-focus photograph; take the photo from above and to the side as if looking down upon a scale model. Choose a relatively simple scene and make sure people are small.
Be inspired by the work of Serena Malyon > http://goo.gl/8Ri7 that applied the tilt-shift technique to famous Van Gogh paintings. The effect took flat, 2D images and gave them the illusion of 3D scenes from the past.
Goal: Create a Landscape painting using a Grisaille Underpainting Technique
Concept:
Edgar Payne said, "A really good painting requires 'color vibration,' where each color feeds off one another. An undertone assures that one color is sensed all over the piece pulling the work together.
Studio Activity:
Use an underpainting tone then paint a complementary based color scheme on top.
A red underpainting will enhance the greens of nature to vibrate and energize yet pull the work together harmoniously.
Design Thinking > Artist Habits of Mind Everyday Westosha Art students are performing tasks requiring college level abilities of skill and knowledge. Throughout the school year, band and choir students compete for and win awards by performing college level material. Art students submit college level art work to the Advanced Placement College Board to earn 3 college credits. Like an athlete who puts themselves out there to compete and perform at optimum levels, so to do our art students who put themselves in front of judges and curators that evaluate and reward their efforts. We believe there are two deterrents in place here at Westosha CHS that stifel an art students full potential to participate. 1. extra graduation requirements and 2. scheduling. We believe that a boon for the students would be a STEAM approach to the STEM movement. For more information, I encourage you to click through posts on Westosha FAD here > http://goo.gl/Qt60ky This document highlights information about Westosha Band > https://docs.google.com/document/d/1wiFsTxDtJE1EaavvFW6L-A2Q7JddgqkFaNaEjfDpj_c/edit?usp=sharing The slideshow highlights Westosha Art's beliefs and strategies to promote and encourage this high level of performance. If you have any questions or would like to continue this conversation, do not hesitate to contact me > kuepper@westosha.k12.wi.us or 262-843-2321 x324 Thank you for viewing.
Goal: Create 3 multi-exposure images by combining multiple exposures within one photograph to create the illusion of many identical elements within a composition.
Studio Activity:
Be inspired by the work of Lera > http://goo.gl/Hlo1PW in which several mystical figures move dramatically within the frame. Watch the video by Ultimate PhotoGuide explaining one method of easily combining multiple exposures >https://youtu.be/xVP1GkJvJfU . Another method is the Pano-dash shown in this video > https://www.youtube.com/watch?v=fTz4Nhgm_SQ Set up a tripod or a DIY tripod as in this video > https://www.youtube.com/watch?v=fTz4Nhgm_SQ at 1:55 and shoot multiple shots from the same location having an individual move about.
Designing is creating conceptual and visual unity by giving order to diverse but interrelated and interdependent parts.
Access Prior Knowledge:
“Through the volume of space, we move, see forms and objects, hear sounds, feel breezes, smell the fragrance of a flower garden in bloom” ~ Francis D.K. Ching
New Information:
Space
Space is either...
...an objective (or external) reality
...a subjective (or mental) construction
As an objective reality, space interacts with for to determine the shape of a visual image. As a subjective construction, it is an imaginary phenomenon that is manipulated by imagination and fantasy.
The Distance Between Things
The physicist is concerned with space that can be measured by math and geometry. The artist manipulates space and form in an objective way to establish physical arrangements within a spatial frame. Francis Ching describes space as a material substance like wood or stone yet inherently formless.
The Interval Between Points in Time
We mortals live within a linear time-space. Things and events are separated by points in time. “What we call length is a duration of experience measured in time.” ~Buckminster Fuller
Space can be defined as something which encapsulates forms. Although it is usually thought of as ‘empty,’ to the designer, poet or musician, space is real with boundaries and limits.
A Cognitive Phenomenon
The space between objects in a visual field is measured by binocular vision in which dual images are transmitted to the brain through electro-chemical impulses and then fused to establish spatial references.
A Subjective Phenomenon
Daydreams and fantasies are subjective visual constructions. In the mind’s eye, such visuals are exempt from the restrictions of chronological time and space. The mind can collapse space and time, reverse them or mix them with other time-frames. Subjective space is never fixed or static but flexible and able to present simultaneous fusions of past, present and speculative future events.
A Way to Organize Visual Elements
Artists can work with illusory space (the 2-dimensional space of drawing, painting or photography), or actual space (the 3-dimensional space of sculpture or architecture).
Sighting (drawing by eye) is a process of comparing the relationships of angles, points, shapes and spaces. Notice how shapes and forms visually change as you change your position or perspective. You can use your pencil or fingers to 'calculate' the angles of the shapes edges relative to the horizontal and vertical.
Position yourself facing a corner of a room. The edges of your paper are horizontal and vertical guides. 1. Find a vertical corner (where two walls come together) and draw that straight vertical line on your paper. 2. Sight the upper corner (where the ceiling meets the wall) and notice the angle at which those lines leave your pencil. 3. Draw those lines leaving the vertical line at the same angles. 4. Do the same sighting and drawing at the bottom of your vertical line (where the walls meet the floor). 5. Work your way down the walls, check every angle (moldings, pictures, doorways, windows...) relative to vertical and horizontal. 6. Sight the relative widths and lengths of walls, cabinets, furniture or other objects in the room.
