“the 4 c’s” strategies to improve a portfolio...inspired by malcolm liepke, “in her arms”...
TRANSCRIPT
“The 4 C’s”
Strategies to Improve a Portfolio
Nicole D Brisco
TAEA VP Membership
School Arts Contributing Editor
www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm
www.nicolebrisco.blogspot.com
COLOR
Innovative Colors
• Utilize artists as master teachers.
• Use color schemes that express mood or tone.
• Do not limit yourself to similar imagery.
– Example: Use the colors of a landscape for a portrait.
• Use appropriate color schemes for the style in which you are working.
– Example: It is difficult to use a triad color scheme on a work that requires
blending and value.
• When working from life consider colored light.
• Print original self directed photos in black and white to avoid predicable
colors.
• Experiment with colors on a test page first.
• Blend your own colors. Never work directly from a tube.
• Ask yourself what colors would create the color you seek. Example: It is
bluish, greenish, brownish.
Field Test Colors First
Inspired by Eric Fischl, “On the Stairs of the Temple” 1990
Student Work
Inspired by Erin Morrison “Journal 2007”
Student Work
Inspired by Catherine Mackey “Urban Doorway”
Student Work
Inspired by Malcolm Liepke “Catnap”
Student Work
Inspired by David Janssen “Motion #1”
Student Work
Inspired by Jylian Gustlin “Erro 15”
Student Work
Inspired by Odd Nerdrum “Return of the Sun”
Student Work
Inspired by Alice Neel “Hartley”
Student Work
Inspired by Francoise Nielly “Abstract 17”
Student Work
Inspired by Jason Shawn Alexander “The Last Red Hat” 2007
Student Work
Inspired by Malcolm Liepke, “In Her Arms”
Student Work
Inspired by David Cobley, “At The Easel I”
Student Work
Inspired by Larry Rivers “Washington Crossing the Delaware”
Student Work
Inspired by Katelyn Alain “A Masculine Affair”
Student Work
Inspired by Harry Ally
Student Work
COMPOSTION
Inviting the Viewer in Through Composition
• Composition can make a good drawing bad and a great drawing amazing.
• Always consider visual movement in a work of art.
• Thumbnails are essential. The more thumbnails you have the more options
you have for success. Typically the first idea is the least interesting.
• Consider the interior composition, the edges, and depth within the space.
• NO MOP (Middle of Space) unless it is clear and intentional.
• If you are struggling use a digital camera. It allows you to easily zoom in
and out and move around to create a full composition.
• Combine thumbnails if they are too boring.
• Edit. Edit. Edit. Consider cropping part of your image off to eliminate
space.
• Take a picture of your work and print it out. Work on top of this piece and
experiment with what you can do to make it better. Sometimes it is difficult
to risk take on your actual piece.
EXPLORE A VARIETY OF IDEAS
Unusual Perspectives: Worms Eye, Human Eye, and Birds Eye
Controlling The Eye Through Line
Moving the Eye Through Repetition of Elements
Balancing the Work Though Color
Convergence to Control the Eye
Diagonals, Verticals, and Horizontals to Direct
The Importance of Space When Used Correctly
Middle of Page When Used Intentionally
Longer or Taller Compositions to Create Interest
Rhythm to Help the Eye Flow
Shadows to Create a More Dynamic Space
Variety of Size to Create Interest and Focal Point
Leading the Eye In Using the Edge of the Page
Filling 2/3 of the Compositon With Positive Space
Dealing With Depth of Space to Make a Simple Composition Interesting
Balancing Complexity with Simplicity
Search for Compositions that Capture Repetition in the Natural World
Overlapping and Layering to Create Interest
Abstraction Through Natural Objects to Create Design
Subliminally Repeat Patterns to Create Unity
Use Your Sketchbook to Explore a Composition
Force a Focal Point Through Unusual Scenarios
CONTENT
A Point of Departure
• Begin with an interesting concept.
• Search for ideas using other artists, definitions, word mapping (www.visualthesaurus.com) , books, or poems.
• Combine ideas to make more complex ideas.
• Consider visually abstract imagery. Example feelings, moods, time. Ideas that you must illustrate conceptually.
• Consider concrete imagery. Example houses, figures, objects. Ideas that can be easily represented.
• Thumbnail through multiple personalities.
• Respond to your world. Don’t just represent it.
SEARCHING FOR IDEAS
Ideas Through Words
Ideas Through Identity
Ideas Through Perception
Ideas Through Abstract Representation
Ideas from Individual Objects
Ideas Through Emotion
Ideas Through Combining Concepts
Ideas Through Social Commentary
Ideas by Combining 2D and 3D
Ideas Through Identity of an Inanimate Object
Ideas Through Combining Real and Fantasy Worlds
CONTRAST
High Lights and Low Lights
• Always consider the work in person and through the lens of a camera.
• Look at your work with a blurry eye. Can you see the images easily when you do this?
• Work with light. You can always tone it down but it is hard to amp it up without understanding it.
• Consider light in a variety of ways: Colored Light, Unusual Light Sources, Multiple Light Sources, Natural Light, Light Patterns, and Shadows.
• If you are having a difficult time seeing that your work appears muddy take a picture of it and adjust the lighting. Did it make a difference? If so revisit your work and push the highlights and low lights.
• Consider using color in your shadows and not black.
VALUE SCALE
Light To Influence Environment
Strong Contrast to Create Mood
Full Range of Value to Show Form
Light To Identify Focal Point
Using Color and Light
Contrast to Juxtapose Two Ideas
Light to Separate Two Spaces
Light Used to Address Negative Space
Lighting to Create Drama
Multiple Light Sources
Under-painting or Exposing to
Define Light
Light to Control Eye Movement
Working with Multiple Solutions to Make a Bold Image
Unusual Light Sources
Colored Light to Create Interest
Using Color to Create Shadows
Chiaroscuro
“The 4 C’s”
Strategies to Improve a Portfolio
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Nicole D Brisco
TAEA VP Membership
School Arts Contributing Editor
www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm
www.nicolebrisco.blogspot.com