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 The world of reality has its limits; the
world of imagination is boundless. Not
 being able to enlarge the one, let us
          contract the other.
                         Jean Jacques Rousseau
Creative Imagination is a interplay of several key
 Synthesis- the mind’s ability to form uniform
  patterns out of chaotic input
 Simplification- ability to reduce complexities to
  basic elements
 Detachment- disassociation of left brain thinking
  (logical) that allows insights to emerge from the
  right brain thinking ( intuitive)
 Energizing- activating the mind towards making
  new connections, reassociations, and
               Creative Process
   Preparation- Inquiry, Research
   Incubation- Time to think
   Illumination- Application and Communication of Ideas
   Verification- Reflection
      Transformation: Operational
 Magnification: The
  "reconstruction" of a
  subject on a much
  larger scale than of the
  original; for example, a
  pencil sharpener, eight
  feet high as a subject
  for sculpture.
 Making an object appear
  smaller. An image-
  development strategy used
  to decrease the apparent
  size of an image. The
  contrast between the large
  female figure and the tiny
  man expresses the artist's
  idea that the evil is not a
  omnimpotent force greater
  than ourselves--a force
  that is more powerful than
  ourselves. But rather, evil
  in in reality that miniscule,
  insipid character within our
  own mind. Perhaps the
  greedy selfish thought, the
  indifference, the envy, and
  the desire to harm.
 Repeating images or
  forms within a
  composition, a grid
  kaleidoscopic pattern,
  in reflected images, et
 Changing the original
  qualities of objects and
  surfaces: a "soft" hone,
  a "wooden" light bulb,
  a "concrete" pillow, et
 Reversing colour,
  perspective, functions,
  relative sizes and so
  on; reversing the "laws
  of nature," such as
  gravity, et cetera.
 Splitting or fragmenting
  objects or images. The
  subject may be either
  partially developed,
  fragmented, or
  dismembered. Splitting
  planes, as in Cubist art.
           Partial Delineation
 Drawing carving, or
  presenting only a
  portion of an image in
  its finished state;
  depicting an image
  emerging or becoming
  engulfed in its
  ‘Slaves’ for example.
 Changing an object or
  image by deformation,
  distortion, or
  progressive states of
  degradation; burned,
  decomposed, crushed,
  cracked, et cetera
 The use of latent or
  hidden images;
  obscuring the qualities
  by wrapping, masking
  or camouflaging.
 Depicting images or
  forms in progressive
  states of change.
Salvador Dali - Metamorphosis Of
 A radical form of
  creating Jekyll-and-
  Hyde transformations,
  mutations, alterations,
  hybridizations, re-
 Presenting several views
  or time modes
  simultaneously; for
  example, simultaneous
  presentations of side, top,
  back, and bottom views,
  as in Cubist painting;
  temporal dislocations,
  such as the simultaneous
  presentation of childhood
  and adult memories or
  various time-space
  situations; simultaneous
  presentation of different
  sensory experiences
                 Soft Focus
 Changing focus of all
  or parts of an image;
  blurred edges or con-
  tour lines;
  photographic images
  blurred by movement
  or panning.

                          Monet- Houses of Parliament, Sunset
 The intrusion of an object
  or element into a space or
  environment not normally
  its own; the displacement
  of an object or elements
  into a new situation. For
  example, a huge egg
  towering above the
  skyscrapers of New York
  City's skyline.
Unexpected combinations
 juxtaposition, juxtapose -
  The state or position of being
  placed close together or side
  by side, so as to permit
  comparison or contrast.
 Robert Minor produced this
  drawing as an editorial
  cartoon, commenting on a
  1916 steel workers' strike. He
  emphasized the thrust of the
  soldier's bayonet by drawing
  its direction as the
  counterpoint to that of the
  worker's body. The grace of
  this juxtaposition results in our
  feeling all the more shock at
  the sight of the pointed blade.
              Collapsing Volume
 (or vice-versa: expanding
  two-dimensional forms into
  three- dimensional
  objects): Rendering three-
  dimensional subjects to
  appear flat or transparent,
  through the use of contour
  line, silhouette, transparent
  planes, et cetera. And the
  reverse: a well-known
  painting interpreted as a
  three-dimensional form.
 Inanimate subjects can be
  made "to come to life":
  organic or in-organic
  subjects can be given
  human qualities. Functions
  can also be implied
  through image repetition
  and progression; for
  example, overlapping
  silhouettes of scissors in
  various open and closed
  positions to suggest
  Progressive Image Breakdown
 Subjecting an image to
  treatment that tends to
  deteriorate, obscure, or
  progressively break down
  to simple shapes or
  patterns; using translucent
  collage overlays to
  obscure images,
  sequential photocopying to
  break down detail; gridding
  and transforming;
  computer serialization, etc.
     Positive-Negative Reversal
 : Using the
  photographic negative
  rather tprint (or both) in
  a composition; using
  female molds or
  concave shapes
  abstract figurative
  sculpture (as in the
  work of Alexander
  Archipenko '- Cubist
     Project- We all have issues
Part 1- ISSUES-Pick an issue that you are concerned about. It can be social,
political, environmental, personal, etc.. Write a short paragraph explaining the
issue and why you are concerned about it. This issue has to be in keeping with
the school’s policies of no pro-violence, pro-drugs, hate literature etc. Collect
pictures from magazines, newspapers, and text from the computer or print
sources. I prefer colour images so you learn how colour prints in tonal values (
let’s say at least 50% must be colour).
Part 2- COLLAGE (1-3 class periods)- A collage is an
effective tool to get you started. The collage allows you to
manipulate your images using the PRINCIPLES and
ELEMENTS of design while paying attention to the
concept of light and dark contrast.
Also think of the Transformation Techniques we just
learned and try to incorporate at least one technique in
your collage- if you are unable to incorporate one of these
techniques in your collage you can do so in the next
drawing step of the assignment.
As you are assembling your collage you must be sensitive
to how the various colour values translate into a
monochromatic scheme- namely, tones of black and
white. I will be looking for a lot of tonal variety in your final
Keep in mind the following criteria:
•A minimum of 3 elements and/or principles (&
•Glued on to copy paper in-between 8 ½” x 11” to 11” x
17” (you may want to have it the same proportions as the
final Mayfair Paper)
•Images which support your issue
•Text may be incorporated
•Images should demonstrate a relationship to one another
•Images should at least touch or extend beyond two of the
edges (they’ll be trimmed)
Part 3- Light and Dark
Textural Drawing (10 class
The collages are the
your drawing. Before you
start your drawing you must
see me with your collage.
They will guide you but are
no means a rigid template.
Think ahead about how you
may want to manipulate
these images, using the
transformation techniques
explained in class, to get
your message across. Make
an effort to change
something which you feel
might enhance the final
The following are some suggestions:
Using the outline/contour of an element, create a pattern instead
Changing the size of the element
Changing the location of an element, or part of the element
Drawing a section in a stylized fashion
Darken or lighten some values

You may choose other techniques. What is important is that you extend the
    collage in some manner to strengthen the composition. Use your art
    criticism skills to improve your collage. You are to transfer the collage to
    your Mayfair by using the grid method, make sure your grid lines are very
    ligh (2H pencil) to the Mayfair paper by using a grid pattern.

•   Photocopy collage
•   Consider and execute any necessary changes
•   Superimpose a grid over top of your collage in order to help you
    transpose it onto your paper’
•   Draw- medium –drawing pencils ie. HB, 3B, 5B, 6B, black and white
    prismacolours, charcoal; support- 26” x 20” Mayfair paper.