A Room of One's Own

Light As A Character: Select Photo

I found this photo to be most intriguing due to the contrast of light and dark and the movement of light throughout the photo. The light leaking in from above emphasizes the stark black figure of the napkin holder and then falls softly on the wooden table. Also, the figures in the background are out of focus, creating another form of contrast between soft and hard edges. The breaking of the rule of thirds by the light also creates an interesting and unexpected composition. 

Shutter/Aperture Project

What adjective did you choose?

I chose the word "solitude" to inspire my photographs because I was intrigued by the different directions in which the word could be taken. Solitude could be synonymous with loneliness and imply a sense of abandonment or sadness, but it could also be synonymous with independence and a sense of contentment. I photographed a variety of different objects that stood alone and tried to convey not necessarily a sense of sadness but rather solitude by choice, as the objects functioned by themselves and without the help of other objects. They could stand alone by choice, which I found intriguing. 

This photograph illustrates "solitude" because I found this bench to be very peaceful and interestingly lit. The photograph is interesting because it shows the bench from an unusual angle and captures the sense of abandonment without looking melancholy. I believe that the light prevents the object from appearing ominous and the peaceful nature of the bench creates a certain solitude. This photo utilizes a somewhat shallow depth of field because the front of the bench is more focused than the back of the bench and both are shown in closer detail than the foreground. The rule of thirds is also employed because the main part of the bench occupies the center vertical third but not the upper horizontal third, creating an intriguing composition. 

The photo represents solitude because although the plant is alone, the sunlight streaking the top of the photograph provides a sense of warmth and calm, bringing the photo from lonely to simply solitary and at peace as opposed to troubled. The background is very out of focusing comparison to the subject, placing emphasis on its details. I used aperture to ensure that the plant was the center of the composition. I think that the light also played an interesting role in capturing the mood of the photograph. The rule of thirds is slightly broken with the placement of the plant, as it is between the second and third vertical thirds, but the light streaking in from the sun occupies the center vertical third to create an interesting contrast. The foreground is far more detailed, but the background is also interestingly lit. 

I find this photo to be slightly eerier than the other photographs yet I believe that the vegetation in the corner provides a more cheerful mood despite the solitude of the iron fence. The fence sits in solitude but not in a way that exudes loss or lack of companionship. There is a shallow depth of field, focusing on the center curl in the iron fence. The fence portions behind and in front of this curl are not as focused, and the background behind the fence is very unfocused, placing special emphasis upon the details of this center curl. The rule of thirds is employed in that the fence does not occupy the left vertical third and there is focus placed on the portion of the fence within the center vertical third. 

This photo demonstrates my theme of peaceful solitude because although the background is dark and empty, the flower lying in the foreground is blooming and alive. The flower does not require other elements and stands on its own in a calm independence that I would describe to be solitude. The flower is placed in the center of the vertical middle third and the horizontal middle third, immediately drawing the eye towards it. The photo has a very shallow depth of field and all emphasis is placed upon the flower petals and core. There is slight activity in the lower background but the foreground is most in focus, relating to the shallow depth of field. 

Pinhole Camera Reflection

Conceptual IntentionsWhat did you find meaningful about the process and practice of this project? Where does your voice and style as an artist emerge in this project? If you did not find the practice and process meaningful or you do not feel that your voice emerged in this work, why not?

I felt the project was meaningful because I was able to actually create my own camera out of household materials and take successful and interesting photographs using very simple technology and creative thinking. I was able to show my voice through varying my use of photograph locations and in designing my personal camera to fit my personal preferences. I was able to take photographs that demonstrated my compositional skills using the camera that I created. 

Stretch and ExploreWhat challenges did you face over the course of this project? what changed over the course of your project?  What opportunities or occurrences led to these changes? Given what you know now about building a camera, how might you have changed your concept or approach to working?

I had trouble with effectively creating my camera so that my photos were not overexposed to light. I had to experiment with various photo locations in order to find those with optimal light and shadow in my quest for a successful photograph. Over time, I chose locations with more light because darker locations did not produce photographs that were as interesting or effective as those with bright lighting. I would have probably chosen a paint can or other cylindrically shaped object because from the experiences of my classmates, it seems that objects in this shape make the most light-tight cameras. I used a box and although it worked effectively eventually, I had to work much harder to create a light tight environment than my classmates with cylindrical cameras.  

Formal IntentionsHow have you deepened your understanding of photography in this project? Describe your pinhole prints. Please upload at least three examples to your blog. 

This project helped me to understand the importance of light and composition in photographs. I gained a better understanding of aperture and how to use it efficiently and successfully. I also learned to take photographs of locations with interesting and diverse compositions in order to take complex and unique photos. In my first two pinhole prints, I took photographs of a darker environment and ended up with lighter and less successful prints. They prints were more blurred and out of focus. After changing my location, I was able to take more focused and contrasting photographs of Maxwell Music Hall. I was more pleased with this location and was able to take successful and interesting photographs. 

Photography Still Life

Reflection

Light

Three Or More Objects

Close Up

Final Art Reflection

Final Art Reflection

Natalie Turner

1) Which project do you consider your most successful? How did you develop your craft with this assignment? What tools, methods and materials were essential to your success with this project? What ideas, feelings or meanings did you want your piece to express? How did you go about expressing it? 

     Personally, I consider this most recent Landscape photography project to be my most successful piece. I enjoyed using the dark room to print aesthetically unique and interesting photographs. I also believe that my work in this project was successful because I felt very inspired while taking photographs during our trip to Phoenix Lake. I really enjoyed experimenting with lighting and framing and I think that I was able to successfully capture unexpected moments within simple landscapes. The cameras that we used were essential to my success, as well as the dark room development process. Using different camera settings with the digital camera helped me to achieve the desired effect with different photographs. Also, experimenting with my developer in the dark room helped me to create unique and successful dark room prints. Having the ability to make appropriate adjustments to my photographs using Aperture on the computer allowed me to make the colors in my photos vibrant and interesting while emphasizing certain aspects of the photos.
     The feeling that I was trying to express through my photography was a sense of serenity and peace. Although there is tension in my landscapes, I find the overall aesthetic of my photographs to be relaxing and serene. This was also the effect that I was going for in my dark room photography. I repeatedly used water in my digital photographs that was settled or moving slowly in order to portray this feeling of serenity. The natural elements present in my photographs also helped me to show peace, as I find the outdoors and natural world to be relaxing, especially when captured in a still photograph. 

2) Which project was the most challenging? Look at your brainstorming or original intentions for this project. How does the final work(s) resemble your preliminary sketches or plans? What changed? Why did you make the changes that you did? What problems emerged in the creation of this project? How did you solve the problems? 

     For me, I found the plaster sculpture project to be the most challenging for me. My final work very vaguely represents my original thoughts and ideas. During the brainstorming process, I found it difficult to transfer the three dimensional concepts that I had visualized in my head into a two dimensional sketch on paper that sufficiently expressed the idea I was going for. I found it very difficult to draw the different angles of three dimensional figures that I could conceptualize but struggled to physically plan out. I solved this issue by beginning my process with a two dimensional drawing and then forming the idea of the three dimensional final piece around the drawing, rather than the other way around. I found that this way made it easier for me to make sketches that accurately illustrated the effect that I was going for in creating the sculpture.
     After handling my initial conceptual struggles, I also found it difficult to work with plaster. I had never carved with the medium before and I did not expect it to be as labor intensive as it was. However, through trial and error, I was able to successfully develop methods of carving and smoothing that made an aesthetically intriguing final piece. Throughout the physical execution of my idea, I struggled both with the medium and with successfully portraying my conceptual intentions. However, through experimentation, I found that I was able to create a sculpture that represented my ideas and concepts of strength and potential motion in a smooth and fluid plaster sculpture.

3) Please discuss three new strengths you've discovered or deepened this year. One formal strength (your ability to work with things like composition, balance, rhythm et cetera), one technical or media-specific strength (working in a specific medium or honing a specific skill) and one conceptual strength (your idea development in the specific project). 

     To begin with, I have become stronger with expressing rhythm through my work this year. At the beginning of the year, I typically preferred working with symmetry and balance in my work. I preferred all of my artwork to be very realistic and detailed. However, through the exploration of new mediums and the development of my technical skills, I became more adept with using rhythm to make pieces flow in a logical manor. I found that utilizing rhythm within various pieces allowed me to better communicate concepts and ideas while creating a more interesting final work. I found rhythm to be particularly important during the photography portions of the course and while utilizing Photoshop to create digital media pieces. Paying attention to rhythm helped to make my digital and darkroom photographs more intriguing to look at, as it created more of a sense of movement and interest. Also, when creating digital artwork using Photoshop, I found rhythm to be a key element in making a cohesive and complete-looking composition.
     I have developed a strength in Photoshop. I had never used the program before partaking in this class, and I originally found Photoshop overwhelming and difficult to navigate. However, after a basic tour of its features and functions, I was able to play around with the program and experiment. Through experimentation, I learned to better use Photoshop and all of its useful features and tools to create intriguing digital pieces. The variety of Photoshop projects that we had allowed us to have a certain freedom to explore the program and play around with it for awhile, which I found was key to my success when creating my diptychs and my texture collage.
     I found that my idea-forming and conceptual development processes became much more thoughtful and complex throughout the course of the year. Due to our focus on conceptualization and brainstorming for many of our projects, I had clear intentions set before I began to work on a project and this helped me to efficiently create meaningful compositions. For example, during our wire sculpture unit, as opposed to wandering into the project without basic framework, the conceptualization processes that we participated in allowed me to experiment without losing sight of my eventual goal, and it aided me in my focus on specific technical skills. Drawing several human figures repeatedly helped me to decide what it was that I wanted to represent with the wires. Eventually, through conceptualization, I was able to create a wire sculpture that conceptually emulated that photograph that I had brought into class. 

Texture Block Collage

Landscape Photography

Sculpture Reflection

Sculpture Final Reflection

I first began to draw my conceptual sketches while looking at a photograph of a woman in the process of running. I was intrigued by the configuration of her leg muscles as they were tensed to take a running step. I traced and sketched some of her leg muscles in various repeating patterns until I found a pattern that I found interesting and then I developed upon this sketch to create my final concept. My concept was based upon the power and explosive potential held in her leg muscles and the ability that they had to create movement while they were not currently in motion. I used the curvature of leg muscles in my sculpture and made the final piece very smooth to represent the compactness and curves of the muscles. I saw the muscles in the picture to be very smooth and curved, and I considered both of these qualities when forming the texture of my final piece.

     At first, I found plaster to be very difficult to work with once dry. My plaster was very crumbly and I found it difficult to be precise, which was frustrating to me because I can be quite a perfectionist. I was not eager to use big hammers and chisels to make a detailed and precise piece, but I eventually learned to use the tools gently and carefully in order to create the precise details that I wanted to create. I learned to tap the chisel lightly with the hammer, as hard hits would shatter parts of the piece. I also learned to be very precise about the angles I used with the chisel so as not to carve too much of my sculpture off with one hit of the hammer. 

     I was un experienced with plaster carving before this project, as I had never used it before. I thought that it would be softer and flakier but found it to be dry and dustier and more difficult to carve exactly. I did not originally intend on creating a completely smooth piece, but after some experimentation with the buffing tools and the sandpaper, I decided that I enjoyed the effect created by smooth curves and lines. Next time, I would ideally use a more complex concept when carving plaster because the majority of my piece was smooth indents without big changes in texture or form. I would like to create a more complex and adventurous sculpture in the future using plaster because I found it overall enjoyable to work with, despite being tedious. I found the carving experience relaxing and I enjoyed smoothing the sculpture. However, I believe that making a more complex or interesting sculpture would have a more pleasing visual effect. 

Photoshop Project

Color Project Reflection

1) How did you develop your craft with digital camera and photoshop in this project? What tools, methods, and materials were essential to your success? How did you use your skills of observation?
     I learned to alter lighting to make a successful digital picture. I had never before used professional lighting when photographing art, so I found this process to be a learning experience for me. It was difficult to get the proper amount of lighting without creating a huge glare on the paintings, so although it took me awhile, I learned to move the direct light back slightly to achieve the desired lighting angle. With photoshop, I learned to be more precise with my placement of the photographs on the document and make sure that they were proportional, especially while transforming them. I used my skills of observation to see where I should be putting the paintings so that they would be properly and pleasingly juxtaposed in the photoshop project. Also, I had to use my skills of observation when attempting to take the best possible photographs. I had to see the ways in which light changed and affected the paintings, and proper use of lights was essential to my photographic success.

2) Explain the choices you made concerning the design of your color palette for the digital diptychs and your paintings:
a. Did the process of "finding examples" and creating diptychs influence your later painting choices?
     By looking at real-life examples of different color schemes, I was able to observe the ways in which color interacted naturally and use this knowledge to create a cohesive diptych that made logical sense. Also, when making painting choices, I observed the ways that colors looked next to each other and chose to use colors that complemented each other in some way. I would choose colors that were aesthetically pleasing to me when put together, and I would put paintings together in my diptych that made sense when juxtaposed.
b. Explain how the "expressive" and/or "formal" qualities of color influence your choices'
     The expressive qualities of color allowed me to express emotions and ideas through my choice of colors. In the monochromatic painting, I used the color red because I thought that it was appropriate to use a warm color to portray a spicy hot sauce. The color helped to show the emotions I felt when looking at the hot sauce. The style of painting that I used was particularly expressive as well. When I would use different textures, it helped to make more vibrant, interesting compositions that expressed feelings. I found that the different color schemes were some of my favorite formal elements to work with, and I saw each painting as a puzzle with a solvable color scheme. I found the quality of line was challenging to achieve precisely using the brushes that I chose, but the bold colors helped me to make clear distinctions between tints and shades. Overall, I found the vibrancy and diversity of color and painting styles to be very enjoyable to work with.

3) How did you develop your craft of painting? What did you learn about the "tools" of painting? Which specific insights gained in your practice led directly to your becoming a more confident "painter"? How did you use your skills of observation? 
     Throughout the process of painting, I learned to develop and experiment with different styles of painting. For two of my paintings, I chose a smoother style of painting with clean lines and long brushstrokes. For the other two, I chose more expressive styles that involved shorter brushstrokes and more paint to create two different interesting textures. I used different brushes to experiment with the different strokes and create different expressive qualities. The range of brushes or "tools" allowed me to create pieces with unique qualities that were diverse from one another. I learned that I was able to make paintings with different expression by changing the ways that I use the tools.
     I became a more confident painter as I saw that changing my techniques could differ my work and make it more interesting. I also learned how to deal with the differing textures of the paint and create cohesive pieces despite the differences in thickness and spreadability. The key was to mix paints thoroughly and keep colors consistent. I also learned to be experimental in my color choice and expressive in the way that I use the paintbrush. All of these lessons taught me to be a more confident painter. I used my skills of observation in deciding which shades and tints to use to represents different values and highlights within my compositions. I had to look carefully at the original photograph to decipher whether to use tints or shades to create dimension, and I had to observe the natural ways that the light hit the object.

4) How has this project taught you to observe color?
     This project has taught me to observe the ways in which color is present in the natural world and look at the ways that different color projects relate to each other. I have begun to notice different color schemes in the world. I have begun to notice triadic color schemes and analogous color schemes on buildings or in nature. I see that colors work together to make pleasing photographs or paintings, and I have begun to notice different shades and tints of the same color and how they create depth and dimension. Now, I look at color as a more expressive medium than I had originally observed.

Color Scheme Paintings Part 1

For my monochromatic painting, I used tints and shades of red. I struggled a bit trying to make the colors distinct from one another, but i feel that I was eventuall able to successfully convey shadows and highlights with the use of only red. Once the shades became darker with more black, it was slightly challenging to retain the integrity of the red color without making it too black. However, the red tints with white created a variety of different qualities that all looked very different. I used a smooth painting style to create clean lines and solid colors. 

For my analogous painting, I used the colors green, yellow green, and green blue. I struggled trying to make the piece look not monochromatic, because yellow green resembles a bright green and blue green resembles a dark green. I think that adding white to these colors made them slightly less pure green, however, I think that the overall piece resembles a green monochromatic painting. I used a less clean, more free form style that involved dabbing the paintbrush up and down on the paper when painting this one. I am pleased with the overall result, but I wish that I had been able to create more distinct colors that did not all look like tints and shades of green. 

Charcoal Drawings

Compare how the different methods allow you to:

1) Represent form

The charcoal drawing on paper helped me to evoke form because it was easy to create dark shadows with harsh strokes. It was also easy to create highlights by leaving paper blank or adding white conti crayon. Although it was more difficult to create light values using the eraser on the charcoal, the lights and darks produced have a prominent sense of form. There are also many grays in this piece on the left to portray dimension and form. Although the charcoal on the paper was faster to draw with and easier to produce value, it was more challenging to produce a realistically accurate sense of value. It was harder to avoid using too many contour lines with the charcoal on paper, whereas with the eraser on charcoal you were forced to rely on light and value to portray form. 

2) Evoke emotion

The drawing on the left portrays a darker emotion to me, as the background and the majority of the piece are a dark black. The softer lines and shapes help to make a darker, softer, more melancholy emotion. On the right, the emotion is much lighter. Also, the scratched and rubbed lines and shapes make the feeling lighter and faster. However, the lack of dark colors prevent the piece from becoming too dark or intense. With the composition on the left, the lack of light tones further darken the feeling and emotion of the piece. 

3) Define composition

With the drawing on the right, the eye is drawn to the lantern in the front and then the darker tones and shadows guide the viewer on a sort of diagonal up and across the piece. The eye travels from the shadow of the lantern, up the shadow of the watering can, and up into the items in the upper portion of the piece. The eye is also attracted to the fabric shadows and the shadow beneath the mallet. The contrast between the dark and light colors are what create interest and define the composition in both pieces. In the drawing on the left, the eye is mainly drawn to the lamp structure on the left portion of the page. It also travels up the right side of the page, but the light values on the lanterns draw the eye the most and define the composition. 

To what degree do these drawings resonate with you aesthetically? (Did they allow you to fully express your intuitive sensibilities, artistic vision, etc? What did you enjoy / find uncomfortable about the process? 

I found the process of the piece on the left to be more frustrating because I prefer to be precise and detailed in my drawing approach, and I found this challenging using the bulky erasers. The erasers had to be used very carefully in order to keep the integrity of the items I was drawing. I do not find it to be as pleasing aesthetically because there is not enough contrast between light and dark to make the piece interesting and intriguing. I aesthetically prefer the composition on the right because the contrast guides my eye along the drawing. I think that the shadows make logical sense and accurately portray the form that the drawing was modeled after. I enjoyed smudging the charcoal with a paper towel because I found that it gave me lots of freedom when making shadows. 

Charcoal Still Life 2 In Process

I would say that I am roughly 50% finished with my piece. I have finished drawing countour lines and general outlines for every object that I plan to incorporate, but have just begun to shade using charcoal. I plan to use the charcoal to add depth and dimension to the composition. I am pleased with my outlines of the latern especially, and plan to pay special attention to this lantern while working with the charcoal. I would like the proportions to be more precise, but will hopefully improve upon that as I continue to work with charcoal. I hope to add many different values of black, gray, and white when creating shadow and light. I still have lots of work to go, but I am generally pleased with the point which I am currently at. 

Charcoal Still Life 1

What is successful about this piece? What did you do really well? Why?

I believe that I successfully used lines of different value and thickness to represent the objects that I drew. I used thicker, more contrasting lines in areas of great depth and shadow to portray the dimensions that I saw. I used value to create both light and shadow in the piece, especially with the fabric below the objects. I erased in certain areas to show the light that I saw reflecting off of the shining material. I do think that my proportions were a bit off, and I am still working on making objects realistic sizes in relation to each other. However, I think that as a composition, the piece is unified and flows realistically. I also believe that I successfully represented the shadows and lights that I saw while looking at the arrangements of objects.