My design utilizes color and values to emphasize focal points and lines with high contrast areas. Curvilinear lines and organic shapes are used to draw the eye around the entire painting, and to attract the eye to the main focal point with convergence. The entire space is utilized and negative spaces are used to create holes where shapes overlap and depth is established. The painting is asymmetrically balanced with most of the weight favoring the lower right hand corner. The visual flow is established with directional lines as mentioned before, each line has some repetition with variation and is a complimentary color of the color it is painted on to create contrast in order to attract the eye around the composition. The primary focal point is the oval-like shape in the lower right corner of the golden section and is established with many complimentary colors and values creating contrast, and is the center of the converging lines. It’s also on an area that has a contrasting value to the rest of the painting. The illusion of space is created with a very contained look and a low angled viewpoint, giving you the feeling of being very small from your viewpoint. The painting has predominantly cool or muted colors with areas of brighter hues to contrast them.
The concept was the idea of madness. An emotion not really of anger per se, but rather of mental instability. Almost everything conveyed in the painting is of an organic form, and close but not quite to the color and textures of flesh. This gives the viewer a very unsettling feeling from the painting, and the many lines that are similar but not the same give a very out of control feeling. Any control that there is, whether it be in color or value, gets flipped as the eye is drawn further down and any control you thought you had is lost in the darkness.
What I would find most successful in this painting is; the clear differences between areas via the use of color as opposed to actual black lines, the organic look of everything, the different values and hues, and how there is not a lot of noticeable white spots where there is no paint. The downside is it could have used more shading and gradations, also the purple needed to be lighter in the one area. The overall composition is very chaotic but that is somewhat on purpose. Overall I would say the craftsmanship is decent and the design accurately portrays the desired feeling.
These are my colored self portraits made using the value contour sketch from the value self portrait.
For the monochrome piece, I used purple and mixed it with black and white to get different tints and shades. Using these tints and shades, I made a gradient on the skin where there is shadow, and on the hair where it is mostly dark with some highlights. This piece falls short due to some issues with the gouache paint getting too watery, creating a watercolor effect.
For the analogous piece, I used red, red purple, and red orange, once again tinting and shading by mixing with black and white. This one uses reds for the skin, red purples for the hair, and red oranges for highlights. This piece has less water color issues than the monochrome but still has a bit and the paint did not cover in all areas when it dried thus making some white dots.
For the complimentary piece I used purple and yellow. The normal purple was used for hair and some shadow, and the yellow was used for skin and other bright areas, then mixes of both were used for shading mostly on the skin but also on the hair. This one has the same issues listed in the analogous piece.
This is a self portrait made from different value paper clippings. It occupies the entire composition. It has all 9 of the values however some of them were painted very close to black so it’s hard to tell. It has a fairly wide value range going from white to black and with several gradients. Facial features are not outlined. The picture is centered and all parts are glued down according to the value grid drawn from a real life photograph.
This collage piece includes overlapping paper cutouts and threaded twist ties as its tactile textures. It has a main focal point where the black paper texture and twist tie textures lead into, and it is emphasized further by the lack of texture surrounding the paper dot as a sort of negative space. From the Primary focal point there are several factors from curvilinier lines to gradient textures that lead the visual flow out and back to the focal point. This piece made extensive use of a protractor to make some clean lines while most of the visual textures are free handed. The collage possibly suffers a bit from too much variety, and a few line mistakes. The texture in the curved lines (made from rubbing a protractor covered in ink) has some interesting qualities but came out a bit messy.
This picture is a practice for directional dominance. Its primary focal point is the darkest part of the spiral, and has another focal point where all the triangles converge. The convergence of the triangles also establish the start of the visual flow, leading into and around the spiral with implied lines that make the picture seem larger than it actually is. The directional dominance is established with the use of several triangles with a value range pointing in one direction and the spiral crossing over its path. It has a good composition following the rule of thirds and avoiding things like cutting the page in half. It makes use of a full value range in several areas, and actually reverses the value scale with the vertical lines on the spiral. It is assembled well, measured to be center and secured with rubber cement. Its shortcomings are in the form of some wobbly lines and some marks made by mistake, with the addition of some pencil lines that were applied to hard and thus aren’t easily erased.
This negative space project uses paper cut outs to create the composition. It uses the cut outs and the leftover paper, reversing the negative and positive space on either side. About half the paper is used for each side. The balance is heavier near the top of the composition, drawing your eye towards the upper middle section and implying it’s importance. The design has some nice visual flow and focal points, it draws the eye around with a mix of rigid and curvilinear lines. It perhaps suffers a little bit from a lack of interesting points near the bottom. The final design is mostly glued down, the images themselves have been secured to the Bristol boards with rubber cement, and have been measured so they are centered.