Untitled

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Brainstorming for Video project

Song: Blank #3 by The World is a Beautiful Place & I Am No Longer Afraid to Die

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Unit 2 Final Project Artist Statement

For this project, my concept is camouflage and cultural appropriation. My influences were mainly Hiberno-saxon illuminated manuscripts, and I used the color palette from the Norman Hall at the Masonic Temple. My main concept is camouflage, and what i love about Hiberon-saxon illuminated manuscripts is how the pages are so intricately designed and decorated that the words blend into the background patterns, which also incorporate human and animal motifs. Therefore I created my own “illuminated manuscript” page, trying to imitate the way that the words camouflage into the intricate patterns. The page reads “To be” and I used motifs of two hands, two sets of eyes, and two serpents. The overall page layout/design and patterns I used were inspired by or taken directly from Hiberno-saxon illuminated manuscripts. The concept of cultural appropriation applies to my project because I imitated and used the characteristics of a traditional Hiberno-saxon illuminated manuscript carpet page to create my own. Such illuminated manuscripts I used for inspiration include The Book of Kells, The Book of Durrow, and The Lindisfarne Gospels. These carpet pages can be quite colorful, with their hues traveling all over the page. I tried to make my colors travel throughout my design, while maintaining areas where the eye can rest. In addition, gold leaf was commonly used in illuminated manuscript decoration, so I made the line-art of my drawing colored gold as an accent (just like it was used to accent the Norman Hall as well).

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Unit 2: Blending In Vs. Standing Out

Final project finished

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Color Study #3

In this color study, I toned down the background more than the others. I kept the background to browns and tans, low color contrast with a few spots of high value contrast, so as not to be completely separated from the foreground. Overall, this palette is on the warmer side, with much use of green, red, and warm tans/browns. Green and red, complementing each other, are being used the most in the foreground. To bring in some cool tones, the interlace pattern inside the O is colored with two blues, differing in value to make the center pop more. Also, on the border of the O there are two greens differing in value as well, making the weaving pattern more interesting and aiding in variation. As in the first color study, I put a dark color as the border separating the foreground elements from the background, which is a light tan; I did this to help the foreground pop from the background. However, in this study, the interior motifs in the background are in low contrast to each other, so that the background and foreground are not competing so much. However, the border is all red, which is a bit distracting and overpowering in terms of warmth and color contrast.

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Color Study #2

In this color study, I went much darker with the values. I also kept to a cool temperature palette, with red and gold as the exception. Gold is used as the accent color, appearing in the line-art, eye, and the motifs inside the T on the right side. The red contrasts in color and value with the blue, purple, and brown surrounding it; separating it from the green of a similar value. Red is mainly kept within the foreground elements (the T); and appears a bit in the dragon, which is colored green to complement the red to standout from the background. Red and gold, warm colors, contrast with the cool and neutral background and border, which consists of greens, blue, purple, and browns.

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Color Study #1

The colors in this study are all derived from the color palette of my Masonic Temple room, the Norman Room. I mainly focused on complementary colors (green and red, purple and yellow/tan/gold) for the foreground forms and neutral, brown tones for the background. Since gold is an accent color in the Norman Room, I made all of the lines in the drawing gold. For the hands, I kept them in a light flesh tone to keep it naturalistic and recognizable, since it is a main motif in my drawing. I decided to have dark values border the foreground forms, adjacent with a lighter value separating it from the background. Next to that lighter tan color, I made the background a dark brown; however that creates a big contrast with the light green interlace and the hands motif, making the piece too busy, preventing the hands from standing out as much as they should. Overall, this color study is fairly low contrast, in both color and value.

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Hiding in Plain Sight Part 2: Line Drawing Studies/ Rough Draft of Final Project

This design is based off of Hiberno-saxon illuminated manuscripts, and focuses on the ways in which human and animal motifs and words or phrases are camouflaged into the elaborate carpet page designs.

In this design I incorporated human eyes and hands, serpents, and the phrase “To be.”

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Hiding in Plain Sight Part 2: Line Drawing Studies

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Hiding in Plain Sight: Part One Response

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Color Study of the Caravaggio painting Calling of Saint Matthew.

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Simultaneous contrast is when an adjacent color brings out another color’s compliment. This can happen in terms of color contrast, value contrast, and temperature contrast. In my workbook 8, the contrast largely happens in value and temperature, as the gray square on the left appears lighter and warmer against the dark red, while it appears darker and cooler against the light blue. In the contrast of extension squares, the green gray appears slightly more saturated when surrounded by more red, while it appears more gray and desaturated with less red.

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Workbook 7

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Chosen Masonic Temple Room: Norman Hall

Workbook 6 Color Scheme Images:

Complimentary: yellow/gold and purple/red

Split Complementary: Green, red, yellow/gold

Triadic: Blue, red, yellow/gold

Tetrad(rectangle):green, blue, red/pink, yellow/gold

Analogous(and masterwork): red, orange, yellow, tans, browns. Caravaggio, Calling of Saint Matthew, 1597-1601.

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Color Unit 1 Final Project Artist Statement

My piece depicts a figure sitting on a couch with their head dissolving into a cloud of smoke. I got my inspiration from a doodle in my sketchbook of a figure, sitting on a couch in the same position, whose head is just a black spiky blob/silhouette. I incorporated the gradation mainly in the cloud of smoke, and then in the skin of the figure as well as the change in color of the wall to the floor. The gradation is in hue and saturation. The everyday object I used was tea, and I used it to create the smoke cloud. I used five different teas: matcha, lemon ginger, lemon zinger, black tea, and Tazo zen green tea. The motivation behind my choice to use tea is that I have a lot of it in my dorm, knew it came in various colors, and thought it would have a nice texture when combined with a a drawing/painting. Tea is considered healing and calming, so I thought it was an interesting comparison to use tea to represent smoke which is damaging and toxic.

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Workbook #5

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Workbook #4

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Color Unit 1 Final Project Finish