Project VIII: Serial Transformation
Each day, we make use of serial transformations continually. They help navigate ourselves through our environments in various ways.
In every day speech, transitional words link to other words, phrases, ideas to content.
They assist readers to move from one concept to the next, sometimes building a more complex idea or something greater in their coherent relationships.
This assignment does just that.
We have already seen numerous painters work in this way. Think back to J.M.Turner, Claude Monet, Vincent van Gogh, Jasper Johns, Takashi Murakami to name only a few.
GOALS
Within each serial transformation, your paintings should take on a new look at the same subject matter.
The trick is to decide what to paint.
Your ideas can morph into one and other by way of:
i. New color relationships
ii. Or, into new lighting situations
iii. Or, may exhibit different emotional qualities within the series
iv. Or, how light falls across the same object under different conditions
v. Or, how an object may transform from one representation concept to another
vi. Or may move from representation towards abstraction
vii. Or possibly make a transformation not even mentioned here.
viii. Or you may wish to take one of our earlier assignments as the bases of this project and allow it to evolve!
Take some risks and think of others!
Remember, you are steering the ship!
Link to this for additional ideas:
PROCESS ONE:
You need to do some research and capture some painting ideas that inspire your idea.
Download them into your sketch book, cite their URL, and make notations of what you are keenly interested in the paintings.
You need to find some images that will be the foundational beginnings of your project.
Download these into your sketch books and cite their URL
Organize your thoughts through concept thumbnail sketches in your sketch books. Remember, they should take on the same orientation and proportion of your ideas. Try out vertical and horizontal orientations
Your final painting for the serial transformation will be at the very least a diptych, but may be larger, a triptych, or larger
Decide on the number of physical pieces you will have in your project
Compose your panels thoroughly
Note their overall palette in your sketchbooks
PROCESS TWO:
Transfer your ideas onto your substrate
You have already learned so much already!
You need to take your gained knowledge and put it into practice in this assignment too!
Concepts and Applications:
- i. Palette mixing
- ii. Tertiary mixing and knowledge
- iii. Temperature of color
- iv. Intensity and saturation of hue
- v. Contrast and value of interpreting light
- vi. Resolving composition and balance
- vii. Color families and creating an emotional/symbolic palette
- viii. Application of material via layering, scumbling, glazing with gel mediums making a variety of opacity "skins," applying impasto paint, etc.
Note: If you have not already done so, you need to experience stretching one canvas on stretcher bars for at least one of the course assignments.
In your sketchbooks you need thorough evidence of the work you have significantly put into thinking and researching this assignment.
This means you need thorough notes deposited into your sketch books:
- Download images of other artists with similar ideas (+ URL)
- Make noted comments on these paintings and include details
- What is the concept you are hoping to achieve in these paintings?
- Work out your palette
- 8 concept thumbnails minimum
- 2 larger, detailed drawings evolved from the thumbnails
- Work out orientation of your work
- Consider innovative ways of putting your canvases together
(vertical and horizontally stacked, stitched together, 3d items in-between them, etc.)
MINIMUM edge = 14"
Must have at least two canvases
student works::
