Paulette C.

LESSON #5

OPTION #1

TOOL ASSESSMENT

  • Handi Quilter-Medium-Arm Sewing Machine
  • Janome-Home Sewing Machine
  • Large Ironing Surface+ Cutting table with drawers + all the tools for that
  • Wet Studio
  • Thermofax(my designs) & Silk Screens(blanks for deconstructed work & Gel Plates
  • MX Dyes;Setacolour paints;Silk Screen Paints;Gel Mediums; Stencils (mine); Lucky Gal;-)
  • Computer

ART WORK

Current

Digital Prints & manipulation on IPad apps

Printing on fabric(weird ones beside cotton—cheesecloth; Tyvek; Lutradur et al)my larger format printer or Spoonflower

Thread sketching layered pieces do give dimension & accent focal points (big challenge here I seem to have too many)

Historical work

Spontaneous Piecing (Nancy Crow influence)

Quilting & Design of Quilts

LESSON 5-OPTION #2

PART 1

#1-TOPIC SELECTION —AGEING

#2-FROM ESSAY OF LESSON 5

What I care about (long long list)

  • people in my life family; friends
  • colours I love
  • Aging -tough parts -best parts—connected with that is my 3 series focusing on my Madrona /Arbutus trees on our property..I realized that they very much are a symbol for aging for me!

#3-Skill Assessment

  • Need to learn &/or perfect surface design skills moving away from quilting as such
  • Ahem fusing in particular as I haven’t had much success with it but your video Jane has given me hope;-)

#4 Colours

  • Yellow-green + red-violet (complements)
  • Split complements of the above
  • Triadic of yellow-orange; red-violet; blue-green
  • Triadic with orange-yellow; blue-green; purple

Part 2

Aging—Best Parts & Tough Parts ( will concentrate on Best Parts for now)

 

 

 

Martha T.

Exercise 1 Assessing My Current VISUAL Vocabulary

  • Bright colors
  • Secondary colors
  • Orange -yellow
  • Warm colors
  • Leaves
  • Tendrils
  • Bark
  • Trees
  • Flame shape:  spirit, God, life, impermanence
  • Circles
  • Stones
  • Shells
  • Fish
  • Bubbles

Assessing My Current CONTENT Vocabulary

  • Impermanence
  • Giving
  • Blessings
  • Love
  • Inspiration
  • Finding one’s way
  • Spirit
  • Gratitude

Exercise 2 Strategizing a Series

THEME:  Iris, based on my iris paintings on fabric & paper

FREE ASSOCIATION and culled words for visual inclusion

  • Cultivation
  • Garden
  • Rocks
  • Fence
  • Birds
  • Sunshine
  • Soothing
  • Growth
  • Beauty
  • Royalty
  • Fleur de lys
  • Natural beauty
  • Fragility of life
  • Moment in time
  • Graceful
  • Inspiring
  • Gratitude for life & beauty
  • Joyful

COLOR ROLES

 

  • Purple & blues: Main characters, crowd scene & scenery
  • Greens: to enhance purples & blues
  • Yellows: occasional characters that support main characters
  • Black:  to outline main characters & to create supporting cast

TOOLS & MATERIALS:

  • Photos of iris, rocks, goldfinch, fences
  • Textile paint
  • Old book page
  • White, hand-dyed & commercial
  • Burlap
  • Photo print on fabric
  • Printable organza: supporting cast like rocks
  • Chicken wire to print on fabric
  • Perle cotton to embroider layered raw-edge applique
  • Polyester net for texture
  • Colored paper to create mock shapes for auditioning

Paulette C. - Exercise 3

Background is silk screened with a variety of blues and greens and yellow dyes

Then browns screened and sponged &combed . I liked the lightwhich seemed to suggest a forest to me.

I want to get some screens made with different trees I have sketched but experimented with several apps using "my trees"which serve as designing tools until I settle on screens. 

So worked with transparency in background shapes and colour and value shifts with three different tree sketches to give depth and dimension.

Focus tree has the most details & is darker in value than the rest of me.the trees. I feel much more confident about depth and dimension!

Barbara I.

I had a tough time with abstraction… but I wanted to give it a go. This is my first attempt to reduce an object to see what comes forward as a form to manipulate.

Last weekend, my husband and I took our annual anniversary trip – a random meandering through an area of Tennessee. We were fortunate to come upon a student art sale at the Appalachian Center for Craft near Smithville. I took many pictures, but there was a blue glass globe at the base of a tree that caught my attention.

6.1

This weekend I took that picture and manipulated it in Photoshop. I noticed a surface element on the globe that appeared in the various iterations of the picture. But it wasn’t until I used the “Pencil Sketch” of the globe that the forms were truly exposed.

6.2

I used that image to create an abstraction in fabric. I fused the green batik to a piece of felted wool for a foundation. Next, I used four fabrics from a gradation and cut the surface forms I interpreted from the globe sketch and fused them to the foundation. Next steps could be blanket stitching around the forms or couching some hand-dyed yarn to further emphasize the curves. Not sure… I find the simple design quite pleasing. So, if this qualifies as an abstraction, I think I get it :-)

6.3

Thanks!! I've had a dandy time!

If the Open Studio is still an option, I have an idea for a series from Lesson 5. If not, I've had a GREAT time and learned so much!

Sandy G.

1) Overlapping: quilt by Caryl Bryer Fallert-Gentry 

2) Transparency: Parabollipses • 49” x 49” • Copyright © 2016 • Caryl Bryer Fallert-Gentry • Bryerpatch Studio • www.bryerpatch.com

her design concept:

This design grew out of a series of sketches I made in Corel Draw, using crescent shapes and ellipses. I chose the colors to create the illusion that the shapes were partially transparent. The shapes were cut from solid colored fabric, many hand-dyed. The background is divided into light in the top right corner and dark in the lower left corner. The patterned, background fabrics are from two of the collections I have designed for Benartex. 

3) another example of transparency giving the illusion of depth. reinforced by the play of bright yellow against the dark green…also by Caryl Bryer Fallert-Gentry

4) Size and Placement and Detail: this photo by Andrew Burr is from the most recent Patagonia catalog….and i think this photograph illustrates the use of size: the cactus in the foreground is full of detail and is large compared to the small kayakers in the river below…your mind knows that the cactus is smaller in real life than people, the photographer achieved depth by using the cactuses in the foreground to frame the kayakers 5) Color: another quilt by Caryl Bryer Fallert-Gentry…this is sort of reverse psychology..i think of deeper as being darker and yet here she leads you into the spiral by using darker colors on the outside and draws the eye into the bright focal point in slightly off center…. seems to me to be a visual expression of “light at the end of the tunnel” 6) Value and detail: the background is darker and the lights the girls are holding are luminous and beaconing to us to step in. they are in a world of their own with the real world way back in the distance. even tho this is an impressionist painting, the suggestion of detail is more pronounced in the foreground.

5) Color: another quilt by Caryl Bryer Fallert-Gentry…this is sort of reverse psychology..i think of deeper as being darker and yet here she leads you into the spiral by using darker colors on the outside and draws the eye into the bright focal point in slightly off center…. seems to me to be a visual expression of “light at the end of the tunnel” 6) Value and detail: the background is darker and the lights the girls are holding are luminous and beaconing to us to step in. they are in a world of their own with the real world way back in the distance. even tho this is an impressionist painting, the suggestion of detail is more pronounced in the foreground.

6) Value and detail: the background is darker and the lights the girls are holding are luminous and beaconing to us to step in. they are in a world of their own with the real world way back in the distance. even tho this is an impressionist painting, the suggestion of detail is more pronounced in the foreground.

(On her site: “Diane Leonard is one of America's most highly respected contemporary impressionists. Raised in Boston, Massachusetts, she has the privilege of being one of only twenty-five members of the Society of American Impressionists. A self-taught artist, her work is exhibited worldwide.”) 7) Another Diane Leonard. I guess the focal point is the closer arm of her chair and her wine glass..or maybe her bright red dress? because of the perspective, we are not in the picture, but it is as if we just walked up and there she was.. the warm cheerful yellow flowers in the lower right are balanced by the flowers in the upper left, and making her seem like she is right where she needs to be! In terms of creating depth, the lighter foreground is closer than the darker background behind her chair… (?) And there is more detail in the foreground…but i don't think this is about a great distance behind her! 8) i promise, this is the last Diane Leonard! she creates depth with the darker foreground and lighter background. and further with the detail on the girl and the dog! that dog is so realistic!  

7) Another Diane Leonard. I guess the focal point is the closer arm of her chair and her wine glass..or maybe her bright red dress? because of the perspective, we are not in the picture, but it is as if we just walked up and there she was.. the warm cheerful yellow flowers in the lower right are balanced by the flowers in the upper left, and making her seem like she is right where she needs to be! In terms of creating depth, the lighter foreground is closer than the darker background behind her chair… (?) And there is more detail in the foreground…but i don't think this is about a great distance behind her!

8) i promise, this is the last Diane Leonard! she creates depth with the darker foreground and lighter background. and further with the detail on the girl and the dog! that dog is so realistic!

9) Value: this is a Latifah Saaffir quilt which uses value to create depth. darker colors at the front; lighter in the back. reinforced with the color chips also darker towards the front. 

Priscilla S.

OPTION 2: STRATEGIZING A SERIES

1.  I’ve been thinking about and living with this idea for months....... developing one or more pieces about the FLINT MICHIGAN LEAD WATER HORROR.

2.  Word Associations:

Children - Impact On; Educational; Ability to Obtain Employment; Future Care

Parental Caretakers -  Overload; Impact on Children’s Lives;  Obtaining Clean Water; Getting Children Tested; Supporting Children in School; Daily Living Responsibilities

Daily Living - Cooking with Water; Showers; Brushing Teeth; Laundry

Clean Water - Access To: Cost; Containers; Heavy; No Car to get to Fire Station;  Burden on; 

Political - Governor’s Actions; When Did He Know; Political Power; Take Over of City Government; Voter Suppression; Congressional Hearings; Funding for Governor’s Legal Bills

Schools - Impact on Learning; Report Cards; Additional Resources Required; Behavioral Issues

Medical - Testing for Lead; Current Medical Care ; Future Medical Care ; Dealing With Behavioral Issues; Nutritional Support

Economic - Dollars to Replace Pipes; Dollars for Medical Care; Dollars for Caretaker Support; Dollars for Lawsuits; Dollars for Reimbursement of Bad Water Bills; Dollars for Conversion to other Water Sources; Dollars for Clean Water; Dollars for Inspections; Funding for Infrastructure

Water Pipes- Lead In; Corrosion; Replacement; Resources to Replace; 

Lake - Lead Clean Up

Social Issues - Poverty; Race; Class

Media - Head in Sand for Too Long; No Trust In; 

Feelings - Anger; Rage; Despair; Worn Down; Frustrated; On Overload; Unfair

Excuses/Responsibility - Recognition Some Caretakers May Take Advantage

  1. FIRST CULLING OF ELEMENTS

     Children

     Clean Water

     Pipes

     Schools

     Medical

     Economic

     Feelings

     Text

  1. COLOR 

     Water Pipes- Black; Corroded; 

     Dreary - Muted; Greyed; 

     Sludge Colors

     Text - ???????

  1. SAMPLING STAGE
  2. One vision is to make panels connected by dowels representing the pipes....with each panel making a picture representing one of the elements above.  Try wood dowels connected with combination of stitch/ transparent fabric as background layer.  Then additional layers of imagery and text, again in stitch, transparent fabric, (i.e., school, bad report card).  Refine specific imagery and text under Elements above depending on size and weight of panels.  Panel sizes ranging from 6” x 8” to 10” x 12” ?????

Tools:  different size dowels (consideration of weight and size for hanging); paint; organza; cheesecloth; threads; 

b.  Another vision is a series of collage type imagery and text using the above ELEMENTS with black pipe (dowels) sewn into the piece.  Possible size 24” x 40”.  I wont develop this further at this point.

KEEP THINKING:  HOW MUCH OF THE STORY TO TELL.  THIS IS ALWAYS AN ISSUE FOR ME WITH MY FOCUS ON SOCIAL JUSTICE ISSUES.  IT FEELS TO ME AS IF I WANT TO LEAN ON THE SIDE OF TELLING MORE OF THE STORY.  AND SOME OF THE WORK I’VE MADE WITHOUT TELLING ALL THE STORY, I FIND MYSELF USINGTHE ARTIST’S STATEMENT TO ENHANCE THE MEANING.

CHANGE IN DIRECTION:  FLINT MICHIGAN LEAD CRISIS

I woke up this morning knowing that I had not culled my original list nearly enough.  I have now eliminated all issues except for : CHILDREN.  My goal is to continue with the stitched panel approach but take the panels through from the time children are in the womb to an older age.  The panels will be staged to reflect the impact of the lead poisoning in children on each stage of a person’s life.  

Also i’ve been wrestling with the issue of how to show the sludge of lead on a fragile stitched piece as I envision having sludge leach from the pipes.  And have come up with some options including backing the stitched piece with either organza or netting which will still allow for a “holey’ lace effect but handle some process involving a “sludgy” look, e.g., perhaps painted puff paint or heavy yarn or wool roving painted to looklike sludge.

And finally, I’ve been thinking about how such a piece that becomes somewhat 3 dimensional with the sludge will ship for exhibitions and determined that with the panel effect, the piece can be carefully folded panel by panel and shipped in a flat box (say 15" x 15" rather than rolled.

i haven't started the sampling yet as I had to order some different size sticks but I’m getting excited. 

Uta L.

Looking at depth in famous artists’ work I somehow ended up with lots of sculptures, although not entirely so.

The first pictures are photographed off the catalogue of a sculpture garden which extends all the way through Norrland in Norway – Skulpturlanskap, here’s the link - it includes approx. 35 sculptures, some of them in very remote places, and a magnificent project. When I was traveling in the Lofote Islands I went to see some of the sculptures, although I haven’t seen even half of them. They create a special feeling of depth indeed!

Other sculptures which I found pictures of that seemed to create a very special depth-construction are “Suspended” by Menashe Kadishman at Storm King Art Center and 

“Raumform” (shape of space) in Poland (photos taken from book “Destination Art”):

Then Nancy Holt’s Sun Tunnels, which I really want to go and see some day, should I ever get the chance, and other sculptures/installation.

As for paintings, I thought Paula Modersohn Becker is a very interesting case. Her figures – lots of them self-portraits – seem to appear as rather flat faces. But in the second picture, she is using the red flowers and leaves to create the impression that the woman is ‘behind’ these parts.

In my quilts, I have sometimes tried to create depth, but it hasn’t really been very successful, I think. In Shapes XX I tried to do this via value changes, in addition to the changes in size in the squares. However, I’m not satisfied with how the blue side creates less of the effect of withdrawing into the background than the green side. 

Shapes 17 actually has 3D-depth – threads are protruding, and the blue circles are only partly attached.

Shapes 3 in its arrangement of circles also creates a bit of depth.

Then I am adding some recent photos.

Gail N.

Mirek Bialy. This painting shows transparency giving visual depth. 

Nick Naughton. One Day in the Rose Garden. This is a mixed media piece by my son, Nick. It uses linear perspective leading to the White House in the distance which is in contrast to placement of the migrant workers in the field. The known object of the White House is juxtaposed by the field. 

Nick Naughton. Fruitful Harvest. This wood-cut print by Nick uses size, placement and detail to achieve depth with the workers against the brighter plants. 

Vincent Van Gogh. Sunflower. I chose this as an example of value with the different shades of yellow and brown which gives what could be a blah painting depth and interest. 

Han Van Meergren. Christ with the Adultress. The men in the background fade with less detail and placement behind the Christ figure. Interestingly, this painting was bought by Hermann Goring. 

My work. I was thinking about Downton Abbey and the fabulous clothes, fabrics and elaborate trimming. It was a pleasure to watch just for this feast for the eyes. So I started to compose a Deconstructing Downton (title TBD). This is just started, nothing attached. I'm not sure if I'll finish it or start over but if I do I have in mind to sew snaps and hooks and eyes on the background fabric. Perhaps sew beads on the edge of the black curved piece. I'm not sure how this reflects our lesson, but it has depth with the found materials and lace, which would be loose.

Barb I. - Project Three and Four

This is a very elementary study to demonstrate size, placement, and transparency.

On March 7th, my daughter, a saddlebred horse trainer and riding instructor, was loading up a U-Haul for a new job near Jefferson City, MO. When she called the farm to say she was getting ready to leave, the owner said she couldn't talk because the barn was on fire. The farm is Fairview Farm in New Bloomfield, MO. They lost their main barn/stall area, the colt barn, and the riding arena. Forty horses survived, but seven perished along with three dogs. I have been dealing with the tragedy of the fire, as well as the now uncertain future for my daughter. As a response, I felt compelled to make something. I cut out three different sizes of saddlebred images and made a sun print with watercolor paint on PDF fabric, and added cheesecloth and tissue paper. Placement, size, and the sun print method created an image of horse souls rising through the smoke. I'm not totally satisfied with the final product, but thought I'd send it as a first draft.

Priscilla S. - Project Three

I took pictures of the process as I went along (except I forgot one adding the darkest salmon value.)

The piece I created uses the following techniques to create depth:

OVERLAPPING:  first layer is text with black ink; second layer is text with gray ink; third layer is light value painted cheesecloth; fourth layer is medium value painted cheesecloth; 5th layer is dark layer painted cheesecloth; 6th layer is needle punched roving using the same textual movement used in the background first layer.   I fused the layers moving from the background to the foreground with each layer going darker.

TRANSPARENCY:   layers of cheesecloth

SIZE: rectangles smaller and smaller as they come to the foreground

PLACEMENT IN PICTURE WORLD:  blue oval is near bottom

COLOR AND VALUE: Both rectangles in different values and pop of blue color

Here is another version which adds another layer of overlap.  

Here is another version which adds another layer of overlap.  

Barb I.

Creating the illusion of depth and dimension

Paintings:

Albert Bierstadt, “Kern River, CA”

I was amazed at the landscape paintings by Bierstatd, especially the Yosemite Valley series. However, this picture captures his ability to use detail in the foreground, size in the contrast of the horses and riders with the trees and ultimately the massive cliffs in the background, and value with the darker colors in the foreground.

Georgio De Chirizo, “Mystery of a Street”

The use of lighting/shading and the sharp shadows cast in this painting, in addition to the linear perspective enhanced by the decreasing size of the arches, emphasize the drama and mystery lurking in the upper portion of the painting.

Arnold Bocklin, “The Isle of the Dead”

The color contrast between the dark green trees and the stark white stone draw the viewer onto the island. Lighting and shading also play a role in this illusion. But ultimately, the small boat with the vault has very subtle lines in the water showing it is moving towards the island.

Fra Angelico, “The Annunciation”

This painting demonstrates the use of overlap (with the columns) and transparency (the holy light in gold) to create a sense of depth. The artist also uses size with the larger figures in the foreground and smaller figures portrayed higher and “farther” away.

Domenico Beccafumi, “An Unidentified Scene”

The varying sizes of the people milling about the building provide a sense of depth, as does the placement of the building which is higher and therefore, farther away. The color of the background and sky is lighter and cooler than the foreground.

Max Beckmann, “The Journey on the Fish”

I think this artist relies heavily on overlapping to provide a sense of dimension: the blue fish’s fin, and the arms of the man and woman are all examples of overlapping. He also uses dark lines as shading which adds to the dimensionality of the cloth and body forms.

Anselm Kiefer, “To the Unknown Painter”

When I saw this painting, I thought of chaos, followed closely by a nod to the current political climate in the US… Kiefer uses the placement of the tomb, or mausoleum, in the upper third of the picture to emphasize depth. The foreground also has definite linear perspective provided by the lines leading to the tomb. The colors provide a hard contrast, which to me implies we are watching devastation beyond the tomb.

Photos: 

Jaume Plensa, Globe installation at Cheekwood Botanical Garden, Nashville, TN 2015

The parallel lines of the path lead to the globe, and the silver/white light illuminates the globe against the dark green of the background trees and the shrubs along the path.

Eel River, Logansport, IN, 2015

Linear perspective is displayed in the almost mirror image of sky and river converging on the trestle and tower which are in the distance. The trees on both banks provide a dark contrast adding to the illusion of depth.

Quilts:

Tumbling Blocks (created by a member of the Music City Quilt Guild, Nashville, TN)

This is one of my favorite illusions created with the use of value and complementary colors. There are also “transparent” ribbons created with contrasting threads and free motion quilting.

Libby Lehman: “Drift 3”

 Libby is one of my quilt heroes. Here she uses overlapping in addition to the transparent ribbon technique and complementary colors. This quilt is moving in many directions!

Pat Maixner Margaret, “Morning Glory”

Watercolor quilts have always been a favorite of mine. This landscape piece, done by one of the originators of the art form, uses value, and more value, and more value.  The dark foreground is our “window” looking to the lightest areas (the sky) beyond the mountains. The quilts are made with 2.5” squares of floral fabrics sorted by value and arranged to create the illusion of depth/distance.

Priscilla S.

Again, I spent pretty much two full days with many art books looking for pieces which reflected the illusion of depth and dimension.  I was drawn to more modern and abstract pieces as they felt more challenging to figure it out.  Also I aimed to bring in different art media/techniques. Some of my examples feel rather subtle but maybe it was those I was most intrigued by.  And some I didnt have a sure answer for.

TWO BODIES, by Geluniene, is a tapestry creating depth with the use of reference to   a recognizable object; light coming from her right; shadow from her leg; and color in the body contours.

RODO by Basquiat is a painting which creates depth by reference to the back wall; placement of the man and chair with the chair falling off the front of the picture, BUT interestingly, the figure is flat but placed in a dimensional room.

CHRISTINA’S WORLD by Andrew Wyeth is an iconic painting using several techniques designed to imply depth including placement of Christina in the foreground;  size with the house in the background much smaller; and detail of the foreground .  This picture is personal for me as my brother in law lived on a hill overlooking this location in Pennsylvania.

THE MIGRATION SERIES, THEY WERE VERY POOR by Jacob Lawrence (12” x 18”) is a painting reflecting depth with the use of placement of the table and two people in the picture world; and, so interestingly, the purse hanging on a nail which appears to be quite a distance back.

HER HAIR GROWS by Margaret Scott is a silk chiffon and wool felted piece which, while the depth is subtle, it is reflected by the overlapping of the young girl against a book; the shape of the hands combing? the hair; and the light and color shading of the girl’s face. I’m not sure of the white transparencies impact on depth? 

INFANTA SERIES by Elisabeth Tarr which was made with painted paper and stitch (40” x 24”) reflects dimensionality through the use of size of the two people; size of the steps; placement of girl; color in girl’s dress; and linear perspective. Again,  there is transparency but i’m not sure that impacts depth. 

CURTAIN CALL FOR APHRODITE by Lori Pelish is a pieced quilt which reflects depth through placement; different sizes and colors of the women; and lessening of detail in background. 

AT THE WINDOW by Audrey Walker, one of my favorite artists, is a hand and machine stitched piece reflecting depth with overlap of the curtain to the woman to the background; light coming in from the woman’s left; and the coloring of her face.

PASSAGES OF TIME by Jan Beaney, another of my favorite artists, isa hand and machine stitched piece reflecting depth through color and value as they diffuse up from the foreground ; and size of the mountains compared to the foreground flower patch.

EVE FALLING FROM GRACE by Alice Kettle, another of my favorite artists (92” x 62”) is a machine embroidery piece which I had to include because it is not easy for me to figure out.  The light appears to be coming from the foreground or perhaps from the sky (sun) and so that could account for the leaves? being lighter in the foreground than the background.  The placement of the figure might suggest depth.  Confusingly, there is a shadow from the light off the figure’s body, but not the face.    Could this be an aerial view and then how would the depth principles apply?

LYTES CARY MANOR GARDEN by Jane Haigh, is a wool embroidery reflecting depth through size; overlap; color; value; and linear dimension.  I dont know what the two black columns framing the entrance are referred to as a technique for suggesting depth but they help me to feel as if I’m entering some place behind them. I guess it could be overlap.  I’ve noticed the technique a lot.

YOUR TECHNOLOGY FAILS US, YOU ME, by Jules de Balincort, reflects depth through overlapping, although I didnt see any other techniques used and it’s interesting , as the piece does feel dimensional with a thick bundle of stripes taking up dimensional space in front of a white background.

VIGOROUS BLOCKADE, a painting by Jacob Feige,  reflects depth by overlap of the ladder, large piece of wood, and icicle like forms in front of the what appears to be a covered entranceway to some different space.  It’s the black ceiling of the walkway which most gives me the feeling of depth and i’m not sure how to describe or name that as a technique.

ANGEL PINK by Chris Vasell, a painting, reflects depth via overlap of the colored stripes in the foreground against the massive triangular form against the reddish pinkish background behind the massive form and then the value changes at the top of the painting.

UNTITLED a painting by Agnieska Brzezanska, reflects depth through size and value of the circles; overlap; and transparency.

UNTITLED, a painting by Katarina Grosse, reflects distance through placement in the picture world, especially with the bed coming off the front of the picture; and linear perspective. 

AFTER COROT, a painting by Howard Hodgkin, using what I’ll call the frame through which one enters to a distant part of the picture.    This is probably overlap. Also, the foreground line between the entrance.   

UNTITLED by Rebecca Salter, is a painting which indicates depth only because of the slight slit in the gray foreground behind which something intriguing lies.  I suppose this would be overlap?

THE NEWS by Jasper Johns is a painting which reflects depth through color; linear perspective; and placement of the black posts in the picture field.

UNTITLED, a painting by Berndt Ribbeck,  reflects depth through the use of transparency; and overlap to get to the large white shiny area in the background. 

DOOR TO THE SEA by Betsy Benjamin is painted on silk (78” x 29”) and reflects depth with the size of stepping stones at the bottom of the picture and moving back through the white archway to the sea.

APOCALYPTIC LANDSCAPE by Ludwig Mudner, is a painting reflecting depth through placement; and different sizes of objects.  

SEX AND THE SEASIDE by Paddy Killes is a painted and machine embroidered piece reflecting depth through placement of the figures in reference to smaller cafes and even smaller city in the far background.

CHEERING CROWD by Wayne Gonzales, a painting, uses overlap of rows of people to achieve depth.  Again, could this be an aerial view? 

NUMINA a painting by Carrie Moyer, uses overlap, transparency, and color against a neutral background to create depth.  As I look at this again, could it also just be a flat painting as the figures themselves are flat?  

THREE FRIENDS by Helen Banzhaf is a raised machine embroidery reflecting dimension through size; and overlapping.

GRAPHIC OBJECT by Mira Schendel, is a painting which creates depth with the use of size and values of the lettering.. 

EDWARD HOPPER’S painting reflects depth through the detail of the house and surrounding area juxtaposed against the receding background due to value; size; and coloring.

Debbie B.

I'm enjoying the lessons, and with 5, you're making us get down to business! I have some ideas I'm developing but those need more work. In the meantime, I recently started my first series (eek) and while I'm pleased with the first (green one), I'm not sure the second one is quite there. Since this certainly relates to this course, I wonder if you, Jane, might give me a little feedback. Thanks.

Debbie B.

I'm just getting started with this first assignment (hello everyone!). Looking for these examples was a treat (hard to stop); then it was fun to analyze them. I chose an example of each type of organization to share.

Symetrical balance

The organization of this painting by Matisse is symetrical, even though it's not exactly symetrical with slightly different elements on each side. It has a lot of energy with those bright colors, but it feels very balanced.

This tiny painting is another example. The butterfly wings are exactly symetrical, with the Istanbul image below.

Asymetrical balance

This Monet haystack painting has a heavy area of dark, dull color on the left, but the brighter colors and small tree shapes on the right makes it feel balanced.

Radial balance

This gorgeous window in the Sagrada Familia is clearly radial, but with interesting variations in color and line.

Crystallographic balance

Here we have a beautiful Phillip Taafe frieze. It's a repeat of the same tree pattern that's somehow more stunning with the multiple images on the grass-like base. Love this!

Julie M.

ASYMMETRICAL BALANCE

This first image of Our Lady of Guadalupe by Salcedo is an example of a picture that isn’t balanced perfectly in terms of imagery, but each image has an iconic shape (triangle, oval, rectangle) that is replicated equally on each side. 

The sketch for an abstract quilt also represents asymmetrical balance, but in a very different way; the elements are balanced by the “weight” of the various color values, bringing the eye across the quilt and giving it a sense of balance.

The weight of elements are also present in this asymmetrical photo split almost evenly in two by the light standard. The lower, heavier figure on the lower right is balanced by the smaller figure on the left swathed in light. 

RADIAL BALANCE

The  dahlia and the allium blossom are both vivid examples of radial balance. 

A little more unusual example of radial balance is the Cope of the Order of the Golden Fleece, a half-round textile piece with radial imagery coming from a center point. 

CRYSTALLOGRAPHIC BALANCE

A classic image from Andy Warhol illustrates the principle of imagery replicated throughout an image without a focal point. 

The same composition is seen in this quilt photo, where design elements vary little but create a dynamic image. 

Ruth B.

I've attached four rudimentary designs, one for each main balance category. I decided to set myself the task of doing all the designs with one basic image - hope that's ok. I'd like to have done more but ran out of time - I spent a disproportionate amount of time looking through books to find the examples but, boy, was it fun! I'm a bookaholic so have PLENTY of images to choose from.

I've also attached four examples of images, one for each type of balance. I found it difficult to keep to 4 images - so didn't :-). 1.9 is there because it made me smile.

Symmetrical

Symmetrical

Asymmetrical/Radial

Asymmetrical/Radial

Symmetrical photo - Richard Garvey Williams

Symmetrical photo - Richard Garvey Williams

Radial - MC Escher

Radial - MC Escher

Crystallographic - Sian Martin

Crystallographic - Sian Martin

Asymmetrical - Sue Stone

Asymmetrical - Sue Stone

Crystallographic

Crystallographic

1.9 - Radial and Crystallographic

1.9 - Radial and Crystallographic