Your task is to design lettering (type) for use in the 'Inspirational Posters'.
Work in any medium you wish, but remember that you may easily colour in Photoshop.
Don't worry about creating the poster... we'll do that bit in Photoshop.
Look on my Type Pinboard (HERE) for inspiration.
...and see all the resources available in the post below for help :)
Tip! Draw lots and draw small.
Deadline: Wednesday 2nd Oct - period 1 _ _ _ _ _ _ _ _ Below is a video explanation of the extended study task...
Objective To enable the effective page planning of the song lyric book. Task Using the example above–ten panels on each page–draw the template into your sketchbook. Complete the pages by in putting the imagery on the left side and the lyrics on the right. N.B. Ensure that your imagery and page lyrics match up! E.G. Left side - Cowboy on old TV / Right side - The lyrics ‘watching cowboy films on gloomy afternoons’
Presentation Photograph (preferred) or scan into a new blog post. Post title: Planning the page content.
Checklist for Assessment Neatness, clarity of information, clear images.
To improve your understanding of the process involved in watercolour.
To introduce the work of relevant practitioners.
Info
Gipi often paints a set of panels that feature variations on two colours. He may use one colour as the more dominant hue, and use the other for creating tone and texture. This is called using a 'limited palette'. Look at the image below, he also employs an scheme with low saturation. A good reason for utilising a 2 colour palette is that the colour scheme will more likely achieve unity. (see the basic Principles on the class wall.) This is also the reason why I have limited the colours available in the watercolours by removing all but the dark earths and the primaries. Task Mix a muted dominant colour that you can use for your iconography. Don't worry too much about achieving local colour. Lay the paint on the drawing and allow it to gather in pools. !! Ensure that you leave the white of the paper for the lightest areas !!
Repeat for each of your drawings.
When this is completely dry—use the hairdryer—mix up a good amount of mid tone blue/brown mix. Tone can be adjusted by the amount of water added.
Use this mix to add shadow. Enjoy laying it partly over the previous colour—you now have 4 colors at play in your image.
Mix up a dark tone using the blue / brown—us this for the really dark tones in your image.
Presentation
Take a photo of your pages and post to the blog.
Checklist for assessment
Loose painting style / layering of paint / white paper left for highest value.
To improve your understanding of the process involved in line and watercolour.
To introduce the work of relevant practitioners.
To partly address assessment objective 2 & 3 'experiment' and 'record'.
Task
Gather 4 examples of relevant iconography (subject matter).
Draw them in the style of the graphic artist Gipi—his work is shown below.
Gipi's drawing style is loose. He has a wandering, broken line that is partly a
result of holding the pen further up the shaft. (I have included a video of
drawing of shoes executed in the same manner.)
Fill a spread (or A3 page) with examples of iconography from your book.
Presentation
Take a photo of your pages and post to the blog.
Checklist for assessment
Loose but accurate drawing style with a wandering, broken line.
Time needed
40 mins.
s WQ
“The ceramics teacher announced that he was dividing the class into two groups. All those on the left side of the studio would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would weigh the work of the “quantity” group: fifty pound of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot – albeit a perfect one – to get an “A”. At grading time, a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work – and learning from their mistakes – the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.”
