Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
developmental
process.
In
this
exercise
you
should
be
exploring
your
individual
and
intui4ve
ar4s4c
preferences,
and
working
towards
being
able
to
ar4culate
what
these
are.
In
the
rst
instance,
this
involves
nding
one
page
in
a
Na4onal
Geographic
magazine
that,
to
your
eye,
has
visual
interest
or
impact.
Try
not
to
think
too
much
about
this,
just
respond
and
go
with
your
own
preferences
in
terms
of
colour,
paFern,
shape,
text
and
composi4on.This
should
begin
to
reveal
something
about
your
innate
ar4s4c
preferences
about
colour,
tone,
shape,
texture,
paFern,
composi4on
and
technique.
Avoid
using
the
word
like
in
your
annota4on.
Judgements
about
your
work
must
be
based
on
how
an
image
has
visual
interest/impact
to
your
eye.
Throughout
the
process
of
developing
your
artworks,
you
should
go
with
what
feels
right
to
you,
but,
as
you
proceed,
you
should
be
star4ng
to
analyse
the
formal
quali4es
of
your
composi4ons:
rela4ng
paFern
and
colour
from
part
to
part,
assessing
the
overall
colour
rela4onships,
balancing
your
composi4on
etc.
Your
artworks
may
become
pictures,
or
may
remain
purely
abstract
composi4ons,
but
by
the
4me
you
decide
they
are
nished
you
should
be
able
to
jus4fy
them
in
terms
of
their
formal,
technical
and
(if
appropriate)
thema4c
elements.
There
should
be
a
visual
order
that
you
can
ar4culate
in
your
annota4on.
In
the
Photoshop
phase
of
the
project
,
you
should
be
able
to
jus4fy
your
decisions
about
how
you
crop
and
manipulate
your
composi4on.
Throughout
your
developmental
process,
your
annota4on
should
explain
the
ways
in
which
you
see
your
changes
and
manipula4ons
bringing
out
par4cular
aspects
of
the
image
that
you
see
as
important.
You
should
be
working
towards
a
composi4on
that
works
as
a
unied
and
coherent
artwork.
At
the
end
of
your
documenta4on
for
this
project,
write
a
short
reec4on
in
which
you
explain
what
you
think
you
have
learned
about
your
own
ar4s4c
preferences.
In
your
annota4on,
you
must
always
refer
to
the
ways
in
which
the
formal
elements
are
used
to
create
unity,
balance
and
visual
impact
in
your
work
as
you
proceed
through
the
developmental
process.
You
should
always
be
referring
to
the
formal
elements
of
line,
shape,
form,
tone,
colour,
texture,
paFern,
balance,
composi4on,
technique
and
medium
(only
those
most
appropriate
to
analysing
your
composi4ons),
and
be
analysing
the
way
these
are
aec4ng
the
impact
of
your
composi4ons.
I
have
rotated
and
cropped
the
page.
This
crop
isolates
the
formal
elements
that
gave
the
original
page
its
visual
impact
for
me
pure
colours,
text,
energy.
I
rotated
the
image
simply
because
it
felt
be>er
this
way.
The
series
of
roughly
ver7cal
elements
unify
the
composi7on
and
feel
more
visually
right
in
a
landscape
format.
I
have
converted
the
image
using
the
Cut-out
Filter
because
this
converts
it
into
at
colour
tones.
I
am
becoming
more
interested
in
this
as
an
abstract
composi7on,
so
its
nature
as
a
picture
of
something
is
becoming
less
relevant
to
the
way
I
am
developing
the
image.
There
are
also
a
variety
of
pa>erns
the
pa>erns
(of
colours
and
of
rela7vely
random
shapes)
that
are
star7ng
to
add
more
visual
interest.
Working
towards
my
second
recrea7on,
I
have
scanned
my
pain7ng
and
tried
a
number
of
crops,
looking
for
a
new
composi7on
that
I
think
will
develop
further
the
ideas
Ive
been
working
on
so
far.
I
have
in
mind
to
create
another,
larger
pain7ng,
so
that
I
can
concentrate
more
on
the
energe7c
and
gestural
poten7al
that
is
in
the
rst
pain7ng.
I
like
both
of
these
crops.
The
one
on
the
leV
is
warmer
and
more
vibrant,
while
the
one
on
the
right
feels
a
bit
darker
and
more
conned
and
drama7c
(because
of
the
larger
areas
of
dark
colour
and
the
stronger
tonal
contrasts
there
is
also
less
warm,
high
key
colour
and
the
composi7on
is
more
closed).
To
explore
a
direc7on
that
is
slightly
dierent
from
the
rst
pain7ng,
Im
going
to
try
to
develop
the
right
crop
above.
It
has
a
rather
dark
drama,
and
also
the
format
is
dierent;
more
horizontal
and
landscape
than
ver7cal
and
portrait.
Heres
the
rst
stage
of
my
larger,
second
recrea7on
as
a
pain7ng
in
acrylic.
Im
just
using
a
sheet
of
foam-core
and
it
is
warping
a
bit
because
the
paint
is
only
on
one
side,
but
its
adequate
for
this
trial.
So
far,
I
can
see
that
Im
already
developing
the
composi7on
in
a
slightly
dierent
direc7on
from
the
original
crop.
The
composi7on
is
stretched
horizontally
a
li>le
more
and
Im
enjoying
the
pure
colours
and
building
up
texture
by
scumbling
and
modula7ng
the
colour.
This
is
already
crea7ng
more
vibrancy
and
energy.
Here
is
the
second
stage;
almost
nished.
The
colours
look
stronger,
probably
because
I
have
added
the
dark
areas
of
blue-black
and
this
has
created
a
strong
contrast
against
the
lighter
and
purer
colours.
Im
star7ng
to
se
an
abstracted
landscape
in
my
composi7on,
mostly
because
of
the
horizon.
I
have
also
enhanced
some
of
the
edges
along
the
horizon
to
suggest
the
silhoue>es
of
trees.
The
composi7on
is
s7ll
very
abstract,
though,
and
relies
mostly
on
the
formal
elements
and
technique
for
its
visual
impact.
The
texture
and
modula7on
of
the
colour
areas,
the
contrasts
of
tone
and
colour,
the
purity
of
much
of
the
colour,
and
the
complementary
and
warm/cold
contrasts
of
colour,
create
a
composi7on
full
of
life
and
energy,
even
if
the
overall
eect
is
a
li>le
dark
and
Here
is
the
nal
stage
of
my
pain7ng.
I
think
I
have
really
taken
it
somewhere
in
terms
amplifying
some
of
the
quali7es
that
I
liked
in
my
rst
artwork.
The
energy
and
vitality
is
s7ll
there,
and
amplied
in
the
strong,
pure,
modulated
colour
shapes
and
in
the
gesture
of
the
brushstroke.
The
strong
warm/cold
and
red/green
complementary
colour
rela7onships,
as
well
as
the
stark
contrasts
of
tone
created
by
the
dark
shapes,
also
add
to
the
feeling
of
energy
and
drama
of
the
composi7on.
There
is
also
a
balance
of
organic
and
geometric
shapes;
a
variety
that
also
helps
to
enliven
the
composi7on.
The
composi7on
is
s7ll
nicely
balanced
around
its
central
axis;
for
example
the
strong
contrasts
of
high
key
colour
on
the
right
are
balanced
by
the
strong
dark
shape
on
the
leV.
Ive
also
enhanced
the
idea
of
landscape
by
emphasising
both
the
horizon
and
the
foliage
shapes
along
this
line.
There
is
also
a
nice
play
between
real
and
abstract;
I
think
this
helps
to
engage
the
viewer.
What
can
I
say
about
my
innate
ar4s4c
preferences,
from
the
artworks
that
I
have
created
for
this
exercise?
If
the
work
I
have
created
for
this
exercise
is
any
indica7on
of
my
innate
ar7s7c
preferences,
then
I
have
discovered
this:
that
I
tend
to
prefer
pure,
high
key
and
strong
colours
rather
than
pastel
hues,
that
I
lean
towards
using
rich,
warm
colours,
with
accents
of
cooler
colours
that
my
technique
tends
towards
a
more
gestural
and
modulated
applica7on
of
the
paint.
that
I
tend
towards
seeing
abstract
rather
than
literal
composi7ons,
though
the
literal
does
creep
in
to
create
an
ambivalence
between
the
real
and
abstract.
The
formal
and
technical
aspects
of
my
ar7s7c
preferences
tend
to
produce
movement,
energy
and
a
strong
visual
impact
in
a
composi7on
more
that
s7llness
and
quiet.
My
habit
of
seeing
composi7ons
more
as
combina7ons
of
abstract
formal
elements
perhaps
suggests
that
I
look
for
an
abstract
order
more
than
a
literal
one.
This
may
be
telling
me
that
I
am
more
suited
to
abstract
subject
ma>er,
treated
in
an
expressive
manner,
with
strong
contrasts
of
pure
colour.
Project 1: EXAMPLE 2
In
this
exercise
you
should
be
exploring
your
individual
and
intui4ve
ar4s4c
preferences,
and
working
towards
being
able
to
ar4culate
what
these
are.
In
the
rst
instance,
this
involves
nding
one
page
in
a
Na4onal
Geographic
magazine
that,
to
your
eye,
has
visual
interest
or
impact.
Try
not
to
think
too
much
about
this,
just
respond
and
go
with
your
own
preferences
in
terms
of
colour,
paFern,
shape,
text
and
composi4on.This
should
begin
to
reveal
something
about
your
innate
ar4s4c
preferences
about
colour,
tone,
shape,
texture,
paFern,
composi4on
and
technique.
Avoid
using
the
word
like
in
your
annota4on.
Judgements
about
your
work
must
be
based
on
how
an
image
has
visual
interest/impact
to
your
eye.
Throughout
the
process
of
developing
your
artworks,
you
should
go
with
what
feels
right
to
you,
but,
as
you
proceed,
you
should
be
star4ng
to
analyse
the
formal
quali4es
of
your
composi4ons:
rela4ng
paFern
and
colour
from
part
to
part,
assessing
the
overall
colour
rela4onships,
balancing
your
composi4on
etc.
Your
artworks
may
become
pictures,
or
may
remain
purely
abstract
composi4ons,
but
by
the
4me
you
decide
they
are
nished
you
should
be
able
to
jus4fy
them
in
terms
of
their
formal,
technical
and
(if
appropriate)
thema4c
elements.
There
should
be
a
visual
order
that
you
can
ar4culate
in
your
annota4on.
In
the
Photoshop
phase
of
the
project
,
you
should
be
able
to
jus4fy
your
decisions
about
how
you
crop
and
manipulate
your
composi4on.
Throughout
your
developmental
process,
your
annota4on
should
explain
the
ways
in
which
you
see
your
changes
and
manipula4ons
bringing
out
par4cular
aspects
of
the
image
that
you
see
as
important.
You
should
be
working
towards
a
composi4on
that
works
as
a
unied
and
coherent
artwork.
At
the
end
of
your
documenta4on
for
this
project,
write
a
short
reec4on
in
which
you
explain
what
you
think
you
have
learned
about
your
own
ar4s4c
preferences.
In
your
annota4on,
you
must
always
refer
to
the
ways
in
which
the
formal
elements
are
used
to
create
unity,
balance
and
visual
impact
in
your
work
as
you
proceed
through
the
developmental
process.
You
should
always
be
referring
to
the
formal
elements
of
line,
shape,
form,
tone,
colour,
texture,
paFern,
balance,
composi4on,
technique
and
medium
(only
those
most
appropriate
to
analysing
your
composi4ons),
and
be
analysing
the
way
these
are
aec4ng
the
impact
of
your
composi4ons.
This
crop
isolates
the
formal
elements
that
created
visual
interest
in
the
original
page
cool
earthy
colours,
text
and
gri>y
pa>erns
and
textures.
I
have
cut
and
pasted
the
text
and
the
leV
hand
side
of
the
image
so
that
it
overlaps
the
original
picture.
I
have
also
altered
the
colour
of
the
new
right
side
of
the
image,
using
the
hue
and
satura7on
adjustment.
The
text
overlapping
the
image
unies
the
two
elements
(text
and
image)
be>er
than
them
being
side
by
side.
This
overlapping
also
creates
a
new
layer
of
texture,
pa>ern
and
complexity
to
the
composi7on.
The
division
into
colour
sec7ons
(leV
and
right)
creates
a
new
dimension
to
the
image,
but
maintains
a
sense
of
unity
through
the
repe77on
of
textures,
shapes
and
lines.
Here
I
have
simply
lightened
the
tone
of
the
image.
This
seems
to
have
brought
out
the
gri>y
textures
that
drew
me
to
the
original
image,
and
has
made
the
text
more
clearly
an
element
of
the
composi7on.
While
the
overall
composi7on
looks
quite
abstract,
I
am
also
star7ng
to
see
landscape
elements
the
diagonal
lines
appear
as
thin
tree
trunks
and
the
upper
third
looks
like
a
hillside
with
trees.
What
can
I
say
about
my
innate
ar4s4c
preferences,
from
the
artworks
that
I
have
created
for
this
exercise?
If
the
work
I
have
created
I
Project
1
is
any
indica7on
of
my
innate
ar7s7c
preferences,
then
I
have
discovered
this:
that
I
tend
to
prefer
rather
muted
and
earthy
colours
than
pure,
strong
ones.
that
I
lean
towards
using
the
complementaries
red
and
green,
blue
and
orange.
that
my
technique
tends
towards
a
more
at,
subtle
and
diluted
applica7on
of
the
paint.
that
I
lean
towards
gri>y,
grainy
and
earthy
textures,
but
also
enough
formality
in
a
composi7on
to
give
it
a
solid
structure
that
I
tend
to
prefer
a
duality
between
realism
and
abstrac7on,
using
this
as
a
means
of
engaging
the
viewer..
The
formal
and
technical
aspects
of
my
ar7s7c
preferences
tend
to
produce
s7llness
,quiet
and
order
in
a
composi7on
more
than
movement
and
drama.
My
habit
of
seeing
both
pictures
and
abstract
order
in
otherwise
random
composi7ons
perhaps
suggests
that
I
prefer
to
use
abstrac7on
to
increase
the
level
of
ambivalence
or
mystery
in
a
composi7on,
with
the
aim
of
engaging
the
viewer
more.