Cindy Guzman

Here's a tumblr page/blog where I can share my paintings with you.

[cindythecreat0r]

Over the course of the second half of the semester we painted and learned about different ways to apply paint.

For the first painting, it was a high key painting which meant that the colors were relatively pushed to the lighter end of the value scale. It was interesting to be able to pick a dark and work around maintaining a restriction on staying on the lighter scale. This painting also helped me see colors in shades and reflections that normally I wouldn’t see.

The second painting consisted of a warm or cool colors and I chose warm. The initial process started when we visited the NYPL and it’s photo collection, there we were supposed to choose a photo to later reappropriate in either a range of all cool or all warm colors.

The third painting was an excersice on glazing and we were to choose a word to portray. The process was a little more tideous than the other paintings because it was at a slower pace. Glazing took time to dry and it was a great way to continuely add shadows and highlights.

The final piece consisted of a collaboration between two students where they created a soft or woven painting. Tim and I took the liberty of creating a “quilt of chance” that embodies the feeling of being hugged or comforted. The support of this painting was a pillar in the middle of the room that allowed us to drape the quilt by emphazing the hugging quality that can be associated with comfort. Overall this class showed me the potential I hold as a painter/ well rounded artist.

[cindythecreat0r]

Our trip to the MoMa

Although we lost Romeiro’s phone, and then lost Romeiro twice... it was amazing when we go to see the photo collection! Lucky for me I had been thinking about my senior thesis that morning so it was a good opportunity to kill two birds with one stone :-) I was able to get some sweeeet photos in relation to what I was looking for! It was honestly a perfect chance to see how easy it is to have access to archives that unique and not on the internet! ;)

Check out some photos below:

[cindythecreat0r]

WHY WOULD I WANT TO BE FRIENDS WITH JAMES ROSENQUIST?

Pros:

-he’s american

-part of the pop art movement

-he does sign painting

-explores advertising and consumer culture in art and society

-(basically a graphic designer)*

*ps. graphic designers are cool too

Cons:

———————————————————————

Most of his work is compared to Andy Warhol and Roy Lichtenstein. He emphasized on the overwhelming nature of ads.

GENIUS!!

[adri6759-blog]

When an artist uses found image, what does it mean?

- It means that it is an image that was not originally theirs but they find a way to incorporate it into their own work.

What are some ways in which we might find an image? What are the limitations of these ways?

- We May find our images walking down the streets and seeing the wall art, graffiti or murials. And the limitations here is that they may not be as accurate as the actual inspiration to what made these artists create street art.

How are images transmitted to us? How might they affect us?

- Images are transmitted to us through social platforms. Such as tumblr itself gives us a way to see images without actually looking for them. They affect us because that’s how we introduce ourselves to arts of not just paintings but pictures or photography in general.

What are the qualities of certain images?

- The qualities of certain image types is basically what they correspond to us. If it’s a personal photograph well then it takes us back to when that first memory occurred.

[mary-g-paints]

Warm & Cool Colour Painting Progress + Class Discussion

Class Discussion:

During our class discussion, we learned about what constitutes a painting, when a painting is not a painting, and how images find us. We learned that a painting is any artwork created with something you can paint with or paint on. Examples of what we can paint with or paint on can be seen in the first image posted above. For when a painting is not a painting, we said that this is when something doesn’t exist or even when an artist says so. For how images find us, we choose some of the following examples including the internet, social media, billboards, magazines, TV, photos, street art, ads, etc. By discussing some of these questions, we get to have a sense of how found images influence our day to day lives.

Warm & Cool Colour Progress:

During the last class session, we started to plan out our warm & cool colour paintings. For my painting in particular, I choose the following found image of a close up of a chicken:

For my painting, I plan on making it super colorful, creative, and unique. I will insert a picture of my painting progress below. I can’t wait to see how my painting turns out when it’s finished.

[mary-g-paints]

Tauba Auerbach Painting Inspiration + Group’s “YES” Painting + Group Painting Explanation

Paintings that inspired our group’s painting:

Our group’s “YES” painting:

Explanation of group’s painting:

We looked at the way she uses a light wash background in some of her pieces. We mixed up a pink salmon color and brushed it onto the piece of paper while also using water to make it look more washed out. We then looked at the way she chooses and portrays her words for her pieces. She chose the word “OK” for one of her paintings, so we decided to go with the word “YES” for ours. We thought of different ways someone might say yes, and also made up some of our own yes pronunciations as well. We observed how Tauba enjoys using different colored text, so we used a similar color scheme to create our particular piece.

[daniellekerracm-blog]

Agatha Gothe-snape is an Australian artist born in 1980. Some of her more famous works include POWERPOINTS, a lifelong series that she continually works on. With these pieces, she draws influence from concrete poetry, color field painting, and the emergence of the internet. Gothe-snape often explores emotional and historical responses to the reception of art and has exhibited in some major international biennales.

Sources:

https://thecommercialgallery.com/artist/agatha-gothe-snape/biography

https://thecommercialgallery.com/artist/agatha-gothe-snape/exhibition/4/powerpoints-2008-ongoing

[cindythecreat0r]

For part 1 of our painting exercise, we researched some artists who use text in their work. In regards to the perimeters of the assignment, our paintings should reflect on mood and how the text is played into the context, materials, process, effect and intent.

A great artist to look at is Glenn Ligon, who says “it’s not about me, it’s about we.”

He was born in the Bronx, and is still living and working in NY. His paintings draw of writings and speeches of many diverse figures. Essentially he reveals the ways in which slavery, the civil rights movement, and sexual politics inform our understanding of American society.

Some of his techniques include silkscreening, neon and photography. He layers text in an abstract way we’re it becomes difficult to read but exemplifies the context of layering meaning.

[cindythecreat0r]

For monday, 11/4s class we were asked to research on Edward Ruscha. He is an American painter who has been painting words onto paper, canvas and litho. He started with simple words from comic inspirations from cartoon stripes. Ruscha combined this extension of subject with found materials; Cotton Puff is created using egg yolk; in Baby Cakes he uses blueberry extract to get his words down; while later works were created using tobacco juice, mint-leaf stains and gun powder. Ruscha believes that sometimes found words are the most pure because they have nothing to do with you. He usually takes things from his everyday life, I.e newspapers. What I admire most about his work is that his typography takes on an emotive role by emphasizing the feeling or essence the word holds for example in the two photos below:

As a graphic designer playing with word, scale and meaning is something we do with typography quite often.

[cindythecreat0r]

For Wednesday’s class we used our previous paintings to become pieces that we would later use as collage items or assets. With arranging these shapes compositionally we explored the experimentation of resulting with open, closed, chanced, balanced, awkward, asymmetrical and symmetrical compositions. As a result I enjoyed the balanced and asymmetrical composition the best:

[cindythecreat0r]

On Monday, we explored a fun little practice with a partner. We took in consideration how objects made us feel when we touched them. Although we did add a little twist, we had to blindfold our partners too! It was interesting to realize that even with our eyes closed many of us could gather what was the object in our hands. It allowed us to really feel for the texture and way it’s shape was. Along with that excersice, we pushed the boundaries on how to make different marks with different tools, even including nonconvential items.

Below are some amazing shots of Kira:

[cindythecreat0r]

The relaxing sounds of the rain dripping creates this experience of tranquility and calmness. In regards to painting, I think that experience can be portrayed in soft pastel shades of blue and yellow. Both colors are colors that I resonate with peace and comfort. Also when using techniques to soften your paint strokes and textures will be a visual way to experience the meditation feeling this ASMR video gives.

[daughteroftheurbanmind]

Crafty

With this canvas paper and our freedom to explore, my partners and I answered the following questions:

Ways to remove a painted mark? (top row)

Water works best to remove acrylic paint with a brush to wet the mark and a papertowel to wipe it up.

Solvent works well with cleaning an oil paint mark. On acrylic paint, the paint lightens a slightly removes.

Scrathcing only ruined the canvas. SO, if neither of the above work, one can always paint over the mark.

What makes the best “dry brush” or “scumbling” mark?

In this exercise we used a fairly clean soft brush, a semi rough one, a completely rough one, and a scrubrush.

The best brushes were the scrubrush which gave a smoother gradation and the semir rough brush which gave texture. And the paint still appeared smooth on the surface.

Problems when painting wet on wet? How to troubleshoot this?

In the last row we worked to answer this question. The wet yellow and blue started to bleed into one another. Not only may this causes “messiness” but it also creates an entirely new color. Also, when painting wet on wet one can change the hue of a color and change the intensity of the piece.

In order to troubleshoot these problems, a painter can wait until the acrylic paint dries or use oil paint which is better for blending. Or, the artist can accept the versitility of art.

[cindythecreat0r]

How to make soft and blurry textures:

Apply paint and dab with cotton ball

Alternatives:

Using a paper towel and dabbing

Painting against white paint and stroking against with fan brush

Adding a tint and blending it with the color itself

How to make a crisp/clean edge

First

One layer of tape, one layer or paint, and no medium.

Second

Added another layer of tape and embossed it. After the tape was applied we paint away from the tape.

Alternatives

Adding a medium, gesso, on to the edge of the tape as a sealer. Then you apply the paint, painting away from the edge of the tape.

Letting the paint dry and then pulling the tape away from the edge of the shape.

[cindythecreat0r]

Roy Lichtenstein

Drowning Girl 1963

Strong tonal contrast

Kazimir Malevich

White on white 1918

Limited tonal range

James Ensor

Masks Confronting Death 1888

Soft tonal contrast

Paul Signac

Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890, 1890

Full tonal range

[cindythecreat0r]

“What is something you can’t paint on?”

Prof Anna Kristensen

[cindythecreat0r]

MoMA

Max Ernst

Two Children Are Threatened by a Nightingale

1924

In this painting Ernst uses unconventional materials like wood and found objects to create hierarchy and an interesting texture. I think that his work relates to me on a graphic design level because of how he is thinking on what is conceptually important to deliver to the audience. I enjoy his use of adding unconventional materials to create a layer of supporting elements within the paintings narrative. The materials become the message.