Project #1 - Plane Line Point composition
[text page; 3.2 -- 3.9]

Plane [1]
Objective: Using 16 black squares, experiment with various design possibilities within the 10" X 10" picture plane with a one inch border (total illustration board-- 12" X 12"). Make the picture plane visually intricate but two-dimensional (flat). Great variety is possible. Cut 16 black squares at 3" X 3"

Line [1] [2]
Objective: Using 48 black lines, experiment with various design possibilities within the 10" X 10" picture plane. Make the picture plane express movement, direction and visually intricate. Cut 48 -- 1/2" X 3" black lines.

Point [1] [2]
Objective: Using 100 points, experiment with various design possibilities within the 10" X 10" picture plane. Make the picture plane express movement, direction and extreme three-dimensional depth. 100 -- 1" X 1" black squares (points).

Format: Overall size for each part; plane, line and point = 12" X 12" w/ 1" border and picture plane area 10" X 10". Border can be implied & consider breaking the border. 10-20 thumbnail drawing studies for each part of Project A. Final project will be on three pieces of illustration board cut at 12Ó X 12Ó with including a 1" border. Create a dynamic composition in each quadrant: a - plane, b - line, c - point.

Supplies & tools: Black construction paper, Bristol paper, X-acto blade, straight edge ruler, rubber cement. Macintosh computer & Photoshop.

Format: consider breaking the border. 16 -- 2" X 2" black squares.
Reference language: Principles of Two-Dimensional Design, Wucius Wong. Visual Design on the Computer, Wucius Wong and Benjamin Wong


Three ways you can manipulate forms using the shape to manipulate other shapes. You can also roate the overlaying shape to form unlimited forms.

12" 12" illustration board with 1" border. Inside area, 10" 10"

url: time based planar example; Listing of The Films of Oskar Fischinger [1] Aspen, a multimedia, magazine, Four Films by Artists, Hans Richter, Rhythm 21 (1921), 3 mins. 36 secs. [2]

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PROJECT #2 Infinite space, 3-dimensional representational environment, and flat space
[text page: 3-22 -- 3-29]

Infinite space [1] [2] Charles Sheeler [3]
A. Using your drawing tools and employing the triangle, circle, and square, create a complex composition that visually suggests infinite three dimensional space. You may use overlapping and as many of the three shapes as you think are necessary.

3-dimensional representational environment [1] [2] Charles Sheeler [3] [4]
B. Using the three shapes above and the same limitations, plus the use of black, gray, and white, create a complex three dimensional representational environment*. Look at Piet MondrianÕs tree paintings he created and developed from representational information into an abstract interpretation. Other artists: Henri Matisse, Pablo Picasso, Edovard Vuillard, Pierre Bonnard, etc.

Flat space [1] [2] Charles Sheeler [3] another kind of flatness [2]
C. Using your drawing equipment, create as many complex shapes as possible within the 7" X 10" picture plane. Make the composition appear to be flat (two dimensional). Look at pattern references.

Supplies: T-square, triangle, straight edge ruler, compass, or felt tip pen, brush, black and white acrylic paint, 2 ply bristol. Begin by creating a variety of thumbnail compositions on the computer and in your sketch book. You may consider using the Wacom table for drawing into the computer. Format: A, B, & C each 7" X 10" with an implied border.



Perspective systems: 3 point perspective [1] ground plane [2] horizon line [3] levels [4]
balance [5]

www.resources:
Perspective Drawing
Dürer, Albrecht
Line Drawings Illusions
Contour drawing
Examples of contour drawings

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PROJECT #3 Found Natural Line Study
[text page: 1-0 -- 1-6]

Objective: collect six groups of different textures from nature and mount them on Illustration board. It is very important to work ahead so that glue is dry when you draw from them. Draw (investigate) the six textures employing line only- employing contour line. One to one correspondence. Do not exaggerate size, scale or texture.

1 part [1]
-- collect six different kinds of natural organic textures and glue them to the 13"X 19" grid. Three across & two rows stacked. Note illustration below. Each gray square is 5" X 5" an 1" space between and border.


2 part [1]
-- create a second grid onto illustration board; 13" X 19". Use a #BH or #B2 pencil. This is a contour drawing with careful observation of light, shadow, texture and form considerations. Sharpen your pencils on a regular basis.

3 part - extra credit
-- in your sketch book draw several of the textures for 10 min every day for a week or more. Observe and draw any changes in the organic matter, for example leaves, flowers, berries, etc. Date the drawings (approx 5" X 5") and attempt to keep in sequence to illustrate the element of decay over time. As well take small samples of different textures such as a leave under the 2D and 3D microscope and make thumbnail drawings. In your journal/sketch book make notes regarding macro and micro comparisons. Consider only drawing what changes. Several of the drawings ought to employ a magnifying glass to enhance detail.

Supplies/tools: Illustration board, HB pencil, white glue, magnifying glass. Format: 13" X 19" illustration board. Make sure you include a 1" border 6 - 5" X 5" textures mounted on Illustration board or bristol 2 ply with 1" border

url: line drawings: [1] example [2] [3]

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Project #4 Additive Color (examples) from Tim Nohe's class, Spring 1998)
[text page: 2-1, 2-2]


1. Intermix pieces of color gels, texts and found objects, and seal in a slide mount. While holding the image reading correctly, place a dot with a permanent magic marker in the lower left hand corner. Produce 12 slides and place in a slide carousel with the dot now in the upper right hand corner facing you as you drop the slide into the carousel. Allow 2 spaces in the slide carousel between your work and work by others.

2. Project the sequence of slides to form nonlinear (poetic) or linear narratives. Experiment with overlapping text, additive color, objects and images. If possible, rehearse the projection event to understand the coordination of your projector, orientation of slides, and the sorts of narrative overlaps that you wish to create.

3. The faculty will project and overlap 2 student projects to produce "chance" recombination of "cut-up" texts, images and colors.

Supplies and tools: color gels and cut up texts and images (supplied by faculty), X-acto knives and scissors, Vaseline, gel medium, objects, etc.

Overall Objective: Through performing these exercises you will develop an understanding of formal additive color relationships as well as the play of chance and improvisation in organizing and producing a projection environment.

url: additive color: [1] [2] [3] [4]

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Project #5 Value Scale Frottage
[text page 1-6, 1-9, 1-17, 1-20, 1-22]

1. The value scale is executed in a sequence of ten steps from pure black to pure white. Produce the value scale by producing a series of rubbing on organic and inorganic
surfaces. A broad range of values and textures may be produced by varying lead softness, 2H - 6B. Be sure to rub at least a solid 2" x 2" area to produce the scale.

2. Assemble all of the 2" x 2" frottage squares to produce a smoothly flowing gray scale from black to white.

3. Glue the frottage value scale down to a piece of illustration board cut 4" x 22".
Materials: pencils, white drawing paper, illustration board.

Frottage refers to the technique of rubbing paper, usually with crayon, oil or pencil, onto a textured surface below it, the aim being to capture the texture or pattern of the object's surface. In painting, frottage is the application of small dots of colour with the point of the brush. It also means to apply paint in a uniform layer by tapping a vertically held brush on the surface in repeated staccato touches.

www.resources:

Max Ernst [1] [2] [3] [4] [5]
Wipipedia Free Encyclopedia defines Frottage [from Fr. frotter: ‘to rub’]. :

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PROJECT #6 Abstract Symbols and Icons (examples)

Begin studying symbols that are present in your visual environment: logos, billboards, magazines, television, etc. Make a series of studies of these symbols in the form of
thumbnail drawings. Glue or tape examples of these symbols into your sketch book for future reference. Find the underlying structure and meaning of the symbols.

Create 10 "corporate", "brand" or directional ideograms, logos or icons. Each symbol should clearly communicate the intent and identity of the product, process or action
intended by the artist, "client" or "public" without the use of words.

Each work must be presented in a 5" x 5" square with an implied or drawn 1" border, with .5" between each 5" x 5" area. The final presentation will be on a 23.5" x 12.5"
illustration board. Segment the picture plane into eight squares as indicated above. You may make your solutions directly on the board or glue them down later, but each must
be contained in a 5" X 5" image area.

Supplies: T-square, triangle, straight edge ruler, marker, brush, black, white, and gray acrylic paint, 2 ply bristol and illustration board.


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Project #7 Filmic Composition (examples)

Choose three "gender" images and three "props", considering and redefining your notion of what gender may be. These images will become actors and props in your filmic composition. When choosing your images contrast in form and usage will be important to the success of the final project. Begin by collecting and photocopying the images. Experiment with the controls on the Xerox machine to get the best (or most degraded) image possible. Cover the images (or objects) with a large white sheet of paper to 'capture' the light from the photocopy machine. Distortion in the Xeroxes can be produced by moving the originals while the copy is being made. You may need to experiment with more tools to understand the possibilities of interaction between your images and props. Repeat the three images and props, changing scale, tone, overlap, and texture in the ten squares in the sequence from left to right.

Objective: to create a filmic composition that flows smoothly from right to left and in reverse. Add a narrative story line, cover, title, name, etc. The final work should be mounted as a "storyboard" sequencing 10 5" x 5" squares with a one inch border. You may also consider employing overlays using transparencies or tracing paper. Experiment with paper, markers, inks and other materials after the photocopy version is complete. Protect your finished work with a piece of tracing paper cut to size.

Supplies: Drawing materials, acrylic paint, drawing ink, photocopies, various tools, glue, tracing paper, etc.

Format: 10 5" x 5" squares that glued to form a storyboard reading in two horizontal rows of 5 images each. (assignments)

www.resources:
url: storyboard examples: [1] [2] [3]

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PROJECT #8 Monoprint [1] [2] detail [3]

Using acrylic paint, explore a variety of textures from various found materials utilizing different paper surfaces and colors. Collect ahead of time a variety of textures that are relatively flat. Your free to mix or use the colors from the tube. Build up three layers or more using black and white and one color, A-E and as many layers and colors that best describes a narrative or sequence in five frames. You do not have to worry about mounting onto board nor do you have to have a border. Create the following visual effects:

Using black, white and one color produce the following:
A. Negative space

B. Positive space

C. Negative & Positive space

D. Dry texture

E. Wet & Dry texture

Using black, white and a variety of colors produce the following:

F. Narrative composition-- up to five panels

In 'F' create a narrative composition from the visual effects you have experimented with in A through G. The narrative can be non-linear, abstract or representational.

Supplies: 1-2" brush, black, white, and color acrylic paint, various papers/different color.
Format: approx. 8" X 10" You ought to end up with 10completed pieces.

Artist reference: Robert Rauschenberg [1] [2] [3]
other artists working in photo collage: John Hartfield [1] [2] [3] [4] [5]
examples of narrative: [1] [2] [3] [4] monoprint narratives [1] [2] [3] [4] [5]

www.resources:
A brief history of the monoprint
How to monoprint


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Project #9 Photo Mosaics -- Mechanical Vision [1] [2]

With a 35 mm or cheap disposable camera, take 12 slightly overlapping images of a landscape, interior, still life, or portrait. Have the film processed by a quickie photo processor in 3" x 5" or 4" x 6" prints. When the prints return, reconstitute the scene, and assemble the image with Scotch removable tape (blue box). Mount the completed image on illustration board with a 1" boarder minimum.

If you do not own a 35mm camera, buy a disposable camera, and share it with a friend in class. A 36 exposure roll may be used by 3 people. Color film is also available in 12 and 24 exposure rolls. Popular color negative brands are Kodak Gold and Fuji Super G. 400 ISO film is well suited to low light situations and interiors, 200 and 100 ISO films are good for exterior scenes. Disposable cameras (some equipped with a flash) are readily available at grocery and drug stores, as well as camera shops.

Dimensions variable, 12 print minimum, mounted to illustration board.


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Project #10 Xerox Flipbook Narrative [this assignment is in progress and most likely will be replaced]

Objective: Tell a simple animated story based upon your interpretation of a fairy tale. The animation should be composed in 20 or more frames by making Xerox copies, or by drawing a scene, or intermixing drawing and Xerox. Begin by recalling a fairy tale, fable or folk story, and consider ways in which you may retell the story. To understand animation look at common actions from daily life. Is the active object frantic or serene? describing an activity or endless flow of repeated actions?, moving with a purpose or randomly? Think of the inherent visual characteristics of the object, as well as the function and relationship to other objects. Because the Xerox machine focuses on a glass plate, stick to relatively shallow objects or 2-d forms. Once an image is chosen and the narrative is storyboarded, start copying and look at each sheet in relation to the one before to make sure that the visual leap from page to the next is not too wide for the viewer to follow. Experiment with changes in visual rhythm for plot changes and climaxes. The finished copies will be used as an animated flip book. Experiment with different options of binding. Be sure to use strong, cover stock paper or index cards for your flipbook.

The narrative aspect of this problem is of great concern -- your variation on the fairy tale will be a test of your storytelling abilities. Don't confuse your audience, or assume too much. Make sure that the narrative makes sense from frame to frame. Try to understand motion as an animated sequence. The glass of the Xerox machine may be thought of as a picture plane, a stage or a movie set. Plan the narrative ahead so that motion and image characteristics may be fully explored.
Dimensions: open, dependent on process and binding method chosen.

www.resources:
ivtools flipbook galleries
Flipbook Animation and Other Ways
Powers of 10 flipbook
Flipbook, Reviewed by Ken Haas



PROJECT #11 Sound Pattern [1] [this assignment is in progress and most likely will be replaced]

Construct a complex, continuous, overall pattern using forms derived from a series of sounds. Certain adjectives can be applied to both sound and visual concepts. Dull, soft, sharp, rhythmic are all words that can be both audio and visual adjectives. Sound can thus become a source for deriving form. By listening carefully to various sounds, a visual image can be evoked through drawing. Make shapes and lines that look like specific noises sound.
Begin by isolating certain single noises. Make several cassette or mini cassette recordings of these isolated noises. Try to analyze their qualities. Listen to continuous sounds next. Make a new series of recordings. How do these differ from a single, finished sound? Consider the difference between the slam of a door and the squeak of a passing bicycle wheel. The former is an emphatic sound with a relatively clear beginning and end. It has qualities of finality and anger, a big sound, dull, but full bodied. The latter is a continuous sound, high in pitch, irritating, whining, sharp, and linear. The goal is to draw these sounds, and their descriptive characteristics, in nonobjective form. We are not interested in the literal aspect of the door or bicycle, but rather in concentrating on the quality of the sound and how, with our intuition and aesthetic to best express that quality visually.

Now try combining the shapes or lines in some kind of rhythmic repetitious pattern. Make all possible analogies between the nature of sound and visual vocabulary. What color is a scream? What texture is the sound of a car starting on a freezing morning? Using a variety of methods t ry layering the sound forms within a picture plane. Try to imply space; interweave, overlap forms. Experiment with scale changes and spatial differences.

Of primary concern in this problem is that your final piece feel sound-derived. The finished pattern should be composed of varied eccentric elements, implying space and setting up a continuous field pattern. Attention must be paid to depiction of space, composition, scale of elements, color, and texture to translate the characteristics of sounds as vividly as possible to visual terms.

Related artists: Pat Adams, Billy Al Bengston, Gene Davis, Stuart Davis, Jean Dubuffet, Al Held, Wassily Kandinsky, Joan Miro, Judy Pfaff, Lucas Samaras, George Sugarman, Jackson Pollack, Piet Mondrian, Victor Vasarely, William Baziotes, Matta, Edvard Munch.
Thumbnail drawings: 20-40 Cassette tape of sampled sounds with a description sheet. Make sure your names are on all pieces as you will hand in thumbnail drawings, and audio tapes, etc. Materials: 14" X 14" illustration board with a one inch border, various pigment, ink, etc.

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Project #12 Type as Image [1] [2] [3] [4]

Objective: Create a composition based on type only, i.e. Letters, and numbers, that illustrates a concept, or phrase. Use shape, style, and positioning of the characters to communicate your message. You need to include large, medium, and small type, including body copy. Your composition ought to be assembled using traditional cut-and-paste techniques.. You may use as many kinds of type styles as you feel is necessary to create a dynamic composition. a. Massin b. Tristan Tzara Materials: photocopies of type from magazines, books, newspaper, etc. Using the xerox enlarge, reduce, and blur the type to create the desired effect. Illustration board, photocopy, transparency, mixed media. Size: 11" X 17"

www.resources:
FUSE95 - The Forum for Experimental Typography
November 17 - 19 Haus am Köllnischen Park Berlin Mitte.
Günter Gerhard Lange Erik Spiekermann ...
Johanna Drucker - Book Review: The Visible Word: Experimental ...
... [Project Muse] [Search Page] [Sample Issues] Book Review. The Visible Word:
Experimental Typography and Modern Art, 1909-1923. ...
Digital Type @ MIT
Digital Typography