SAS IB Art I

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Comment by David on November 15, 2009 at 10:26pm

IB Art Flex on Wednesday! Don't forget! Some of you still owe me some flex time from last time! D:

Comment by David on November 13, 2009 at 3:02am

Due on Tuesday 11/17

A Plan for your next painting.

Your next painting will be about the object you have selected to draw. The coded message in the painting should be about how it has impacted your life. How will you reveal how the object has effected you? The object must TRANSFORM in such a way that it takes on new meaning. Try using one of these "operational techniques" described by Nicholas Rourkes in the book Art Synectics:


1. Magnification: The 'reconstruction' of a subject on a much larger scale than that of the original, for example, a pencil sharpener, eight feet high as a subject for sculpture.

2. Minifcation Making an object appear smaller; for example, an "art museum" created the size of a shoe box.

3. Multiplication: Repeating images or forms within a composition, a grid structure, a kaleidoscopic pattern, in reflect images, et cetera.

4. Substitution: Changing the original qualities of objects and surfaces: a "soft" telephone, a "wooden" lightbulb, a "concrete" pillow, et cetera.

5. Reversals: Reversing color, perspective, functions, relative sizes and so on; reversing the laws of nature, such as gravity, et cetera.

6. Fragmentation: Splitting or fragmenting objects or images. The subject may be either partially developed, fragmented, or dismembered. Splitting planes, as in Cubist Art.

7. 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 environment - Michaelangelo's unfinished "Slaves", for example.

8. Distortion: Changing an object or image by deformation, distortion, or progressive states of degradation: burned, dissolved, decomposed, crushed, cracked, et cetera.

9. Disguising: The use of latent or hidden images; obscuring qualities of an object by wrapping, masking, camouflaging.

10. Metamorphosis: Depicting images or forms in progressive states of change.

11. Transmutation: A radical form of metamorphosis; creating Jekyll-and-Hyde transformations, mutations, alterations, hybridizations, re-materializations.

12. Simultaneity: Presenting several views or time modes simultaneously; for example, simultaneous presentations of side, top, back, and bottom views, as in a Cubist painting; temporal dislocations, such as the simultaneous presentation of childhood and adult memories or various space-time situations; simultaneous presentation of different sensory experiences.

13: Soft Focus: Changing focus of all or parts of an image; blurred edges or contour lines; photographic images blurred by moving or panning.

14. Transference: The intrusion of an object or element into a space or environment not normally on 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.

15.Collapsing Volume: (or vice versa: expanding two dimensional forms into three dimensional objects): rendering three dimensional subjects to appear flat or transparent, through use of contour line, silhouette, transparent planes, et cetera. And the reverse: a well-known painting interpreted as a 3 dimensional form.

16. Animation: Inanimate subjects can be made 'to come to life': organic or inorganic 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 "cutting."

17. Progressive Image Breakdown: Subjecting an image to treatment that tends to deteriorate, obscure, or progressively break it down into simple shapes or patterns: using translucent collage overlays to obscure images; sequential color photocopying to break down detail; gridding and transforming; computer serialization, etc.

18. Positive-Negative Reversal: Using the photographic negative rather than the print (or both) in a composition; using female molds or concave shapes to abstract figurative sculpture (as in the work of Alexander Archipenko and Cubist Sculptors).

Roukes, Nicholas. Art Synetics. Worcester, Mass: Davis Publications, 1982. pp. 33,34

Make sure you have the following in your IWB:

1. An explanation of what your project is going to be.
2. Any relevant cultural/historical/social connections of this project to your life.
3. How this image relates to your life.
4. Several (3-5) drawings of various possible compositions.
5. Reference material : photos/ sketches, etc. (if you take photos, leave a space in your book if you need to print them out later).