Black Box

ASSIGNMENT 1. TWO PARTS:  Collage and Drawing

SUBJECT: Collage: Part I
Investigate/explore one of the following:
-Inventory of Being
-The Passage of Time (do not reference watches/clocks in your imagery).
-Historical/Political Event
-Nature-Urban Contexts (emphasis/exploration on juxtaposed themes).

Drawing: Part II (15%)
Develop a drawing in response to the collage, in part(s) or whole.


MATERIALS:
Collage: Part I
Collect, research and photocopy/scan (only black and white) images from a variety of sources that relate to a specific theme detailed above. Limit the use of text. Collage materials are assembled on quality paper surface, min. size 18”x24”.

Drawing: Part II
Drawing is based on the use of dry media (chalks, pastels, etc.) on quality paper (min. size 18”x24”). 

      
CRITERIA: Collage: Part I
Conduct research and preliminary process work (conceptual development–idea generation, analysis, context and visual/written notation). Photocopy numerous images (manipulate scale, value and explore effects achieved through movement-blurring the image or multiple build up of images in the photocopy process). Images may be appropriated through a variety of sources including your own photographs/digital files, etc. (Do not use the computer photo-shop for the “end product” of this collage assignment). Avoid the use of the human figure as a means of conveying conceptual intent. (Referencing the figure in contexts relating to fashion, pornography or comic books are not within this assignment’s criteria parameters). Content-context and formal issues (design, grouping/organizing - shapes, value contrasts and textures, etc.) will be considered in the evaluative process. (Do not draw on/into your collage. This is a two-step Assignment process. The drawing is an alternate, but related work-process which is developed on a separate quality paper using dry media, e.g. chalks).

CRITERIA: Drawing: Part II
Study the finished collage and identify a section of particular interest. Or, a number of sections may be considered and referenced in a new compositional format (e.g. sequences). You may also choose to respond to the entire collage. Conduct preliminary process work involving - thumb-nail sketches/compositional roughs, media and surface selection/exploration. Develop a drawing in response to the collage (emphasis on interpretation rather than simply copying), e.g. enlarge (free-hand) and translate – shapes, tonal structure (value range) and textural elements (e.g. be attentive to simulating some photocopy effects – blurs, textural illusions, transparencies, etc.). The drawing should maintain narrative intent and aesthetic interest. Content/context and formal-technical issues will be considered in the evaluative process.

Assignment 2 - Split-Image Exploration

SUBJECT :

In class interval: Dependant on subject matter - select a section and develop
forms to fill the interval.

Home work interval: Subject matter is determined relative to conceptual intent. Do notuse the human figure. Avoid cliché subject matter. (Refer to in-class lecture and slide applications).


MATERIALS:

In class interval: Pencils (not graphite)/chalks: carbon, conte, charcoal, Nu-Pastel and quality paper (see course outline), Size, 22” x 32” (minimum size 20” x 26”). (Manilla, cartridge, bond and newsprint are not acceptable surfaces for this assignment).

Home work interval: Chalks (option to combine with pencils) – charcoal, willow, Nu-Pastel, conte (color media – wet/dry pastels are optional).
 

CRITERIA:

In class interval: Descriptive line - observe and represent shapes using a descriptive line. Develop shapes in order to touch/run-off all 4 sides of the interval. Consider the compositional layout of forms (static or dynamic) and the resulting conceptual implications. (Optional – students may introduce into the composition a small ratio of tone - shading). In response to content, develop linear variation by employing lines that are – thick, thin, light, dark, hesitant, continuous, broken, overlap, precise, blurred, cross contour, etc.   

Home work interval: Employ a broad value range and include textural elements. Subject matter occupies the entire interval-space (shapes/tonal elements touch or run off all 4 sides of the interval). Visual application: create tonal passages which are – varied (tonal drift), descriptive, expressive, hatched, smudged, layered, subtle  (plane change). Control high contrasts. Group light and dark values, create value transitions and select/merge shapes. Consider the value key - high (major), intermediate or low (minor) and its appropriateness in response to content. Colour optional. Content/context, media application and formal issues will be considered in the evaluative process.

Assignment 3 - Narrative Structures: Series/Sequences

SUBJECT OPTIONS:

I) Deconstruction. Choose an object that can be manipulated (squeezed, compressed, twisted, pulled apart, etc) and draw the motif at various stages of “deconstruction”. The process may be reversed – “re-construct or reassemble” an object (consider the resulting conceptual implications).

II) Metamorphosis. Choose a form that can be manipulated via metamorphosis. Draw the motif at various stages of metamorphosis.

III) Split Image. Further exploration/conceptual development utilizing a split-image format.

IV) Sign-Symbol. Similar process to the first in-class exercise with increased emphasis on personal object selection and narrative intent.


MATERIALS: Open; however, material choice should include an emphasis on drawing media (option to combine mixed media approaches). Minimum size: 20” x 26” – 22” x 32”.  Quality paper (see course outline). Students may draw on alternate surfaces: cardboard, vellum or canvas (gesso or raw). Drawings on canvas may also include mixed media approaches (e.g. tinting areas with acrylic washes, collage/image transfer). Mixed media drawings on canvas may be sealed with an acrylic matte medium (transparent spray or bush-on applications). (Manilla, cartridge, bond and newsprint are not acceptable surfaces for this assignment).


CRITERIA: Students may compose within a single composition or use a row of three to five intervals/multiple frames, e.g. a single drawing paper may be divided into 3-5 sections (horizontal or vertical intervals) or use separate drawing surfaces. Do preliminary drawings to identify – sequential order (consider conceptual implications), compositional layout and formal concerns (value structure, etc). The negative space in each unit should be considered in the drawing (shifts in value, texture, etc.).  Develop a tonal structure for the entire composition and consider tonal transitions within each interval. For option IV, the criteria would be similar to the in-class exercise and include the following combinations/transitions the use of contour-line, flat shape, 3 dimensional shapes, positive-negative reversals and sections of full surface texture. Subject matter and media selection are determined relative to conceptual intent. Utilize the full range of visual elements – varied line, broad value structure and complex shape-planar and textural development (e.g. push work beyond line-contour and flat shape resentation). Option to use colour (consider palette, saturation, relative value structure, etc) and mixed media processes (similar to in-class sequential figure exercise). Avoid cliché subject matter. Content/context, media application and formal issues will be considered in the evaluative process.

Assignment 4 - Narrative

SUBJECT OPTIONS:

I) Grid Structures. Further exploration and conceptual development utilizing a grid format (min. 6 and max. 12 stacked units).

II) R.O.M. Concept is based on/generated from research conducted at the Royal Ontario Museum.

III) Self Portrait – Issues of Identity. Develop a series of self portraits with an emphasis on approach-methods, materials and psychological-identity explorations. Note: Supplemental video and reading in conjunction with this assignment. Suggested viewing-reading: (video) A portrait in Progress: Eye to Eye, Chuck Close.  The Hand Holding The Brush: Self Portraits by Canadian Artists.  The self portrait is serial in nature (min. of 4 portraits; min. size of 18” x 24”); each portrait attempt should represent a progression/change in media, representational processes and conceptual intent (e.g. line contour in pencil/ink, charcoal, collage/abstract-deconstruction processes, oils/acrylics, mixed media applications, etc.).

IV)  Poem/Specific Text. Develop a drawing based on a poem/specific text. 


MATERIALS: Open in consultation with faculty member. Minimum size: 20” x  26” – 22” x 32”.  Quality paper (see course outline). Students may draw on alternate surfaces: cardboard, Vellum or canvas (gesso or raw). Drawings on canvas may also include mixed media approaches (e.g. tinting areas with acrylic washes, collage/image transfer). Mixed media drawings on canvas may be sealed with an acrylic matte medium (transparent spray or bush-on applications).(Manilla, cartridge, bond and newsprint are not acceptable surfaces for this assignment).


CRITERIA: Conduct research and preliminary process work with an emphasis on conceptual development/thematic investigation (involving written idea generation, analysis, researched text/visual notation, thumb-nail sketches/compositional roughs  including value structure; media and surface selection/exploration in response to concept and intent. Preliminary work should fill two pages of 18” x 24” cartridge paper. You may work directly on the cartridge paper or cut and paste relevant information from your sketchbook (original or photocopied).  Content/context and formal issues will be considered in the evaluative process. Subject matter and media selection are determined relative to text/conceptual intent. Utilize the full range of visual elements – varied line, broad value structure and complex shape-planar and textural development (e.g. push work beyond line-contour and flat shape representation). Option to use colour (consider palette, saturation, relative value structure, etc). Avoid cliché subject matter. Content/context, media application and formal issues will be considered in the evaluative process.