“The 4 C’s” Strategies to Improve a Portfolio...Inspired by Malcolm Liepke, “In Her Arms”...

“The 4 C’s”

Strategies to Improve a Portfolio

Nicole D Brisco

TAEA VP Membership

School Arts Contributing Editor

www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm

www.nicolebrisco.blogspot.com

nbrisco@pgisd.net

COLOR

Innovative Colors

• Utilize artists as master teachers.

• Use color schemes that express mood or tone.

• Do not limit yourself to similar imagery.

– Example: Use the colors of a landscape for a portrait.

• Use appropriate color schemes for the style in which you are working.

– Example: It is difficult to use a triad color scheme on a work that requires

blending and value.

• When working from life consider colored light.

• Print original self directed photos in black and white to avoid predicable

colors.

• Experiment with colors on a test page first.

• Blend your own colors. Never work directly from a tube.

• Ask yourself what colors would create the color you seek. Example: It is

bluish, greenish, brownish.

Field Test Colors First

Inspired by Eric Fischl, “On the Stairs of the Temple” 1990

Student Work

Inspired by Erin Morrison “Journal 2007”

Student Work

Inspired by Catherine Mackey “Urban Doorway”

Student Work

Inspired by Malcolm Liepke “Catnap”

Student Work

Inspired by David Janssen “Motion #1”

Student Work

Inspired by Jylian Gustlin “Erro 15”

Student Work

Inspired by Odd Nerdrum “Return of the Sun”

Student Work

Inspired by Alice Neel “Hartley”

Student Work

Inspired by Francoise Nielly “Abstract 17”

Student Work

Inspired by Jason Shawn Alexander “The Last Red Hat” 2007

Student Work

Inspired by Malcolm Liepke, “In Her Arms”

Student Work

Inspired by David Cobley, “At The Easel I”

Student Work

Inspired by Larry Rivers “Washington Crossing the Delaware”

Student Work

Inspired by Katelyn Alain “A Masculine Affair”

Student Work

Inspired by Harry Ally

Student Work

COMPOSTION

Inviting the Viewer in Through Composition

• Composition can make a good drawing bad and a great drawing amazing.

• Always consider visual movement in a work of art.

• Thumbnails are essential. The more thumbnails you have the more options

you have for success. Typically the first idea is the least interesting.

• Consider the interior composition, the edges, and depth within the space.

• NO MOP (Middle of Space) unless it is clear and intentional.

• If you are struggling use a digital camera. It allows you to easily zoom in

and out and move around to create a full composition.

• Combine thumbnails if they are too boring.

• Edit. Edit. Edit. Consider cropping part of your image off to eliminate

space.

• Take a picture of your work and print it out. Work on top of this piece and

experiment with what you can do to make it better. Sometimes it is difficult

to risk take on your actual piece.

EXPLORE A VARIETY OF IDEAS

Unusual Perspectives: Worms Eye, Human Eye, and Birds Eye

Controlling The Eye Through Line

Moving the Eye Through Repetition of Elements

Balancing the Work Though Color

Convergence to Control the Eye

Diagonals, Verticals, and Horizontals to Direct

The Importance of Space When Used Correctly

Middle of Page When Used Intentionally

Longer or Taller Compositions to Create Interest

Rhythm to Help the Eye Flow

Shadows to Create a More Dynamic Space

Variety of Size to Create Interest and Focal Point

Leading the Eye In Using the Edge of the Page

Filling 2/3 of the Compositon With Positive Space

Dealing With Depth of Space to Make a Simple Composition Interesting

Balancing Complexity with Simplicity

Search for Compositions that Capture Repetition in the Natural World

Overlapping and Layering to Create Interest

Abstraction Through Natural Objects to Create Design

Subliminally Repeat Patterns to Create Unity

Use Your Sketchbook to Explore a Composition

Force a Focal Point Through Unusual Scenarios

CONTENT

A Point of Departure

• Begin with an interesting concept.

• Search for ideas using other artists, definitions, word mapping (www.visualthesaurus.com) , books, or poems.

• Combine ideas to make more complex ideas.

• Consider visually abstract imagery. Example feelings, moods, time. Ideas that you must illustrate conceptually.

• Consider concrete imagery. Example houses, figures, objects. Ideas that can be easily represented.

• Thumbnail through multiple personalities.

• Respond to your world. Don’t just represent it.

SEARCHING FOR IDEAS

Ideas Through Words

Ideas Through Identity

Ideas Through Perception

Ideas Through Abstract Representation

Ideas from Individual Objects

Ideas Through Emotion

Ideas Through Combining Concepts

Ideas Through Social Commentary

Ideas by Combining 2D and 3D

Ideas Through Identity of an Inanimate Object

Ideas Through Combining Real and Fantasy Worlds

CONTRAST

High Lights and Low Lights

• Always consider the work in person and through the lens of a camera.

• Look at your work with a blurry eye. Can you see the images easily when you do this?

• Work with light. You can always tone it down but it is hard to amp it up without understanding it.

• Consider light in a variety of ways: Colored Light, Unusual Light Sources, Multiple Light Sources, Natural Light, Light Patterns, and Shadows.

• If you are having a difficult time seeing that your work appears muddy take a picture of it and adjust the lighting. Did it make a difference? If so revisit your work and push the highlights and low lights.

• Consider using color in your shadows and not black.

VALUE SCALE

Light To Influence Environment

Strong Contrast to Create Mood

Full Range of Value to Show Form

Light To Identify Focal Point

Using Color and Light

Contrast to Juxtapose Two Ideas

Light to Separate Two Spaces

Light Used to Address Negative Space

Lighting to Create Drama

Multiple Light Sources

Under-painting or Exposing to

Define Light

Light to Control Eye Movement

Working with Multiple Solutions to Make a Bold Image

Unusual Light Sources

Colored Light to Create Interest

Using Color to Create Shadows

Chiaroscuro

“The 4 C’s”

Strategies to Improve a Portfolio

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Nicole D Brisco

TAEA VP Membership

School Arts Contributing Editor

www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm

www.nicolebrisco.blogspot.com

nbrisco@pgisd.net