Arts Media and Performance
at Los Angeles Mission College
Art 501 Two Dimensional Design
Required Packet
Professor: Deborah Paulsen
Form and Visual Ordering
The evolution of form
Art tools and media produced by the hand of the artist:
The Elements of Art
Line
Shape
Value
Texture
Color
The Principles of Organization
Are employed according to
Harmony (repetition and rhythm)
Variety (contrast, elaboration)
Balance (symmetrical, asymmetrical, radial)
Proportion (size and scale)
Dominance and Subordination
Movement
Economy
creating
Space and Unity
Vocabulary List
Visual Elements
Line: contour, cross contour, gesture, expressive/descriptive, accidental, hatching/cross-hatching, stipple
Shape and Form: organic, geometric, rectilinear, stress/strain, explosion/implosion
Texture and Pattern: invented/imitated, visual texture (simulated, decorative, spontaneous, mechanical) tactile texture, natural,
modified natural, organized (pattern)
Light and Color: light/dark, value/gradation, density/concentration, intensity/brightness, chiaroscuro, depth/flatness,
transparency/opacity, tint/tone/shade
Organization of Color: color wheel, warm/cool, harmonies, analogous, complementary, split compliment, triad, tetrad
Optical Effects: simultaneous contrast, afterimage, luster, iridescence, luminosity
Principles of Organization: Compositional Attributes
Direction/Movement: horizontal/vertical, rhythm/harmony, change/fluctuation, pattern, variation, radiation, optical effect,
dynamic/static, anomaly
Position: figure/ground, high/low, gravity/weight, dominance/subordination, balance (symmetrical/asymmetrical)
Space: open/closed, foreground/middle-ground/background, size/scale, linear and aerial perspective, negative/positive,
tense/relaxed, ratio/proportion dominance/subordination, golden mean (4 to 9 ratios)
Interrelationships of Shape and Form:
overlapping, touching, detachment, compression, union
Conceptual Ideas
Representation: realistic/figurative/objective, abstraction/distortion, non-objective/non-representational
Function: objective/subjective, intuitive/expression
Meaning/Content: specific/ambiguous, self-referential, beauty/deconstruction, symbolic/metaphoric, sublime, myth,
social/political appropriation, iconography
Design: the process of selecting, ordering and arranging.
Line
On a large piece of drawing paper draw a variety of expressive lines using a various media; such as pencil, black pen, charcoal,
black ink or paint. No symbols, only mark making. Continue to collect examples of line from the Internet and magazines and
bring to class.
Use a blank sheet of paper and the X-acto knife cut out a 3” box.
This will be used as a cropping tool. Use the box as a window to discover and compose the most exciting groups of lines. Draw
a box around each set of lines you select using the cropping tool. Make a set of 12 squares. Carefully cut out all selections, using
the X-acto knife and straight edge, no scissors.
Arrange the grid in a way that makes sense, such as progressively expressive lines, or in some sort a rhythmic manner,
eliminating the three least expressive squares. Form a grid of nine.
Cut and prepare the white mat board (15” x 15”) by lightly lining out where you will glue each piece as shown below. Give the
entire grid a two inch border with one inch in-between each box. Proceed by gluing down each square using the glue stick.
Apply the glue to the back of the square, cover all areas consistently including the corners, be careful not to allow glue to touch
visible areas of the mat board. Make sure the final presentation is clean and perfect!
Line Rubric
Score
1. Materials
Preparation
4
Well prepared with
appropriate
materials. Clean
area at end of class.
2. Use of Expressive
Line.
Very expressive.
A very full range of
types of line are
illustrated.
A wide variety of
materials are
utilized.
Organization is well
balanced, not too
symmetrical, good
rhythm is created.
3. Use of a Variety of
Materials.
4. Organization.
5. Craftsmanship
Total Score/5
Notan
Excellent
craftsmanship.
Squares are cut to
the correct size,
glued down
completely and
straight.
Overall appearance,
neat and clean.
3
Somewhat well
prepared with
appropriate
materials. Good
clean up at end of
class.
Good expression. A
full range of types of
line are illustrated.
A variety of
materials are
utilized.
Organization is
somewhat balanced.
Good
Craftsmanship.
Squares are mostly
cut to the correct
size, glued down
and fairly straight.
Overall appearance,
neat and clean.
2
Somewhat
prepared with
appropriate
materials.
Acceptable clean
up at end of class.
Could be more
expressive and
include more
variety.
Could use a wider
variety of
materials.
Could be
organized for
better balance,
may be too heavy
on one side or too
symmetrical.
Craftsmanship
needs
improvements.
Squares are
incorrectly cut,
not glued down
properly. Overall
appearance is
could use
improving.
1
Not prepared
with appropriate
materials. Clean
up needs
improvement at
end of class.
Very little
expression and
variety.
0
No
preparation.
No clean up.
Very little use of
a variety of
materials.
Design is out of
balance, serious
errors in
organization of
squares.
No variety of
materials.
Craftsmanship
needs major
improvements.
Squares are
incorrectly cut,
not glued down
properly. Overall
appearance is
sloppy.
No effort
toward
craftsmanship
has been
made.
No
expression.
No variety.
No balance.
As adapted from the book:
Notan: The Dark-Light Principle of Design by Dorr Bothwell and Marlys Mayfield
Symmetrical and Asymmetrical Balance
Our first objective in this problem is to achieve asymmetrical balance. Balance is a universal property of all things. We cannot
stand or walk until we learn to feel balance.
In nature there are two types of balance: symmetrical and asymmetrical. Symmetrical balance always proceeds from a
central point and is based on the principle of scales or seesaw. Forms symmetrically arranged work on a vertical, horizontal
or diagonal axis, all extending from this central point of balance. The emphasis or weight is repeated equally and appears
fixed or static to the eye, giving a feeling of stability and certainty. It is a design that can easily be seen and understood as well
as rationally or mathematically. A snowflake is a good example of radial symmetry.
Symmetrical balance may be bilateral or radial. One of the many examples of bilateral symmetrical balance is the butterfly:
an identical pattern is repeated in either side of two halves of a median line. The human body is also bilaterally symmetrical.
Asymmetrical balance is not always logical, nor easy to perceive. The perception and creation of this kind of balance are
based on feeling rather than reason; to be right it must “feel” right. It is dynamic and freer than symmetrical balance, because
it is based on movement and continuous shifting of weights or accents. In all arts asymmetrical balance is a great basic
principle. In painting is involves complex balances and contrasts of hues and textures. In this exercise we will only be
concerned with balance of black and white.
Selecting Shapes
In this problem you will be working with the arrangement of five shapes cut from black construction paper. In devising your
shapes to achieve asymmetrical balance, think of forms that have no noticeable direction or movement, but that convey a
sense of weight.
What shapes are suitable? Water Smoothed Pebbles. Fruit such as a peach or a plum.
Materials
One sheet 12” x 18” watercolor paper. One or two sheets of black construction paper. Scissors. Ink and Bambo “Sumi” Brush.
Working Procedure
Part I
1. Rule a rectangle 10” x 12” leaving 2” at the top, 4” at the bottom and 1” on either side, with a fine-tip black marker.
2. Cut out of the black paper five shapes in a sequence of sizes. One large, one very small and three sizes in-between.
3. Arrange these five shapes or weights within the given format to create a shift of attention from one area to another.
Your objective is to create asymmetrical balance. When you decide on a composition use a small piece of tape to secure
each shape to the paper.
Part II
The next exercise in connection with this problem is a visual one.
1. Next tack to the wall and view at a distance of at least eight feet.
2. Now consider the black shapes no longer as weights or things, but a HOLES or NO-THINGS. Imagine that you are
looking at a piece of solid white wood full of empty black hoes. This visual exchange – the perception of a shift from
things to no-things – is characteristic of Notan.
3. At this point you will probably want to alter your composition. The white area may look far too vast and uninteresting.
Part III
1. The third visual exercise is to look once more from the same distance at the composition.
2. This time think of your work as a representation no longer of HOLES, but of BLACK ROCKS in WHITE WATER.
3. If and when this representation is realized, both the negative and positive spaces will no longer alternate in their
existence, but will interact in an interchangeable balance. The rocks and water will become equally important.
If the black shapes in your work (now seen as rocks) were place too close together or to the edge of the format, you will find
that the negative space (the water) appears unable to flow. When this happens, the tension created by this constriction in the
design locks both the design and the eye of the viewer in one area, and the shifting balance of the whole is lost. If you have
avoided all of these pitfalls, and if you find both your positive and negative spaces have achieve dynamic identities, then your
work with have achieved Notan. This experience is at the basis of the culture of the Japanese bonseki garden where sand is
raked and appears to flow like water around the rocks.
Part IV
1. Complete the exercise by lightly outlining the “rocks” and inking them in with a wash. Allow to dry.
2. Lightly ink in where you visualize the “water” flowing.
Notan Rubric
Score
4
3
2
1
0
1. Materials
Preparation
Well prepared with
appropriate
materials. Clean
area at end of class.
Somewhat well
prepared with
appropriate
materials. Good
clean up at end of
class.
Good asymmetrical
balance.
Somewhat
prepared with
appropriate
materials.
Acceptable clean
up at end of class.
Asymmetrical
balance could
improve.
2. Asymmetrical
Balance
Very good
asymmetrical
balance.
3. Balance of Value
Very good balance
between light and
dark.
Good balance
between light and
dark.
Could improve
balance between
light and dark.
4. Organization.
Organization is well
balanced, not too
symmetrical, good
rhythm is created.
Organization is
somewhat balanced.
5. Craftsmanship
Excellent
craftsmanship.
Squares are cut to
the correct size,
glued down
completely and
straight.
Overall appearance,
neat and clean.
Good
Craftsmanship.
Squares are mostly
cut to the correct
size, glued down
and fairly straight.
Overall appearance,
neat and clean.
Total Score/5
Pattern
Not prepared
with appropriate
materials. Clean
up needs
improvement at
end of class.
Poor
asymmetrical
balance.
Balance between
light and dark
needs extensive
improvement.
Could be
Design is out of
organized for
balance, serious
better balance,
errors in
may be too heavy organization of
on one side or too squares.
symmetrical.
Craftsmanship
Craftsmanship
needs
needs major
improvements.
improvements.
Squares are
Squares are
incorrectly cut,
incorrectly cut,
not glued down
not glued down
properly. Overall properly. Overall
appearance is
appearance is
could use
sloppy.
improving.
No
preparation.
No clean up.
No
asymmetrical
balance.
No balance
between light
and dark.
No balance.
No effort
toward
craftsmanship
has been
made.
Study pattern books/internet and design an abstract or figurative shape to use as a pattern. Thumbnail
different ways of interlocking, rotating, reflecting, and alternating the shapes into different patterns (see
Ornamental Grammar Handout). Each shape must touch or almost tough to create interesting negative
space.
Have instructor “approve” design before producing pattern on large paper. No set dimensions. Complete
with black Sharpie or paint.
Ashton Pfeiffer
Student Work
Design with Pattern
Score
4
1. Preparatory
Very good
Drawings discussed
preparation, design
with Instructor,
concepts well
drawing attached,
thought out. Work
and clean up.
areas are very clean
at end of class.
3
Good preparation.
Design concepts
well thought out.
Work areas are
clean at end of
class.
2
Could be more
prepared. Needs to
develop a clearer
proposal. Work
areas could
improvement at end
of class.
Good use of shape, Shape and pattern
repeated to create need improvement
a pattern. Negative to create and
space is
interesting design
considered.
Negative space not
thoughtfully
considered.
2. Use of interesting
shape, repeated to
create a pattern.
Negative space is
successful with
design.
Excellent use of
interesting shape,
repeated to create a
pattern. Negative
space is well
considered.
3. Design
Overall design is
aesthetically
pleasing and
employs the
principles of design.
Overall design is
very good and
employs the
principles of
design.
4. Craftsmanship
Excellent
craftsmanship.
Black and white,
lines and edges are
crisp; each shape is
consistent in
appearance.
Overall appearance,
neat and clean.
Good
craftsmanship.
Black and white,
lines and edges
are somewhat
crisp; each shape
is consistent in
appearance.
Overall
appearance, neat
and clean.
Total Score/4
1
Very little
preparation.
Work areas are
not clean at end
of class.
Shape and
pattern need
improvement to
create and
interesting
design Negative
space not
considered.
Overall design is
Overall design is
needs improvement needs majors
and needs to
improvements
integrate the
and needs to
principles of design. integrate the
principles of
design.
Craftsmanship
Craftsmanship
needs improvement. needs major
Black and white,
improvements.
lines and edges
should be more
crisp; each shape
needs to be more
consistent in
appearance.
Overall appearance
should be cleaner.
0
No
preparation.
No
shape/pattern.
No Design.
No effort
toward
craftsmanship
has been
made.
Shape “Letter Design Rubric
Score
1. Preparedness:
materials, references.
Prep drawing
discussed and
attached. Clean up.
4
Excellent
preparation, with
materials and
references; design
concepts well
thought out. Work
areas are very clean
at end of class.
2. Use of 5
Excellent use of 5
letter/number forms. letter/number
Uses a variety of
forms.
different typefaces to Uses a variety of
create interesting
different typefaces
negative/positive
to create interesting
space.
negative/positive
space.
3. Design and
Overall design is
organization.
aesthetically
Asymmetrical
pleasing and
balance, variety of
employs the
size, rhythm.
principles of design.
4. Craftsmanship
Total Score/4
Excellent
craftsmanship.
Lines and edges are
crisp; each shape is
consistent in
appearance.
Overall appearance,
neat and clean.
3
Good preparation
with materials and
references; design
concepts thought
out. Work areas are
clean at end of class.
2
Could be more
prepared needs to
develop a clearer
proposal. Work
areas could be
cleaner at end of
class.
Good use of shape,
good variety.
Negative/positive
space is addressed.
Use of shape could
be improved. More
interesting use of
negative/positive
space is needed.
1
0
Very little
No
preparation. Work preparation.
areas are not clean
at end of class.
Needs more
variety in shape,
letterform choices.
Interplay inbetween
Negative/positive
space needs
improvement.
Overall design is
Overall design is
Overall design is
very good and
needs improvement needs majors
employs the
and needs to
improvements.
principles of design. integrate the
Needs to integrate
principles of design. the principles of
design.
Good craftsmanship. Craftsmanship
Craftsmanship
Lines and edges are needs improvement. needs major
somewhat crisp;
Lines and edges
improvements.
each shape is
should be more
consistent in
crisp; each shape
appearance.
needs to be more
Overall appearance, consistent in
neat and clean.
appearance.
Overall appearance
should be cleaner.
No Variety or
use a
negative/
positive
space.
No design..
No effort
toward
craftsmanshi
p has been
made.
COLOR WHEEL
Hue: designates the common name of a color and indicates its position in the color wheel. The word “hue” on a paint tape means
fillers added, no pure color.
Primary Colors: red, yellow, blue - use these colors to mix all other hues (in elementary school).
Secondary Colors: orange, green, violet - result when two primary hues are mixed.
Tertiary Colors: Y-g, B-g, B-v, R-v, R-o, Y-o - result when a primary hue and a secondary hue, next to each other on the color wheel
are mixed.
Complementary Colors: Two colors directly opposite to each other on the color wheel, when mixed together they neutralize or
gray each other (R-G, B-O, Y-V).
Analogous Colors: Colors closely related in hue, usually adjacent to each other on the color wheel and have a harmonizing effect.
Warm Colors: all colors on the left, plus yellow (warm colors tend to advance).
Cool Colors: all colors on the right, plus violet (cool colors tend to recede).
Tint: color plus white, i.e. pink or baby blue. When mixing a tint always start with white!
Shade: color plus black.
Tone: color plus black and white.
Gray: mix equal amounts of two complementary colors.
Brown: mixing any triad will give you brown, use less or more or any one color get a brown that leans toward a specific color, i.e.
red-brown.
Intensity: The brightness of a color. To change the intensity of a color with out changing the hue,
mix in a small amount of the exact complement.
To mix: Start with the weakest color, then add in small amounts of the stronger color.
Yellow = Hansa Yellow Light + Cadmium Yellow Medium
Yellow Green/Green/Green Blue = Hansa Yellow + Phthalo Blue
Blue = Colbalt + Phthalo Blue
Blue Violet/Violet = Colbalt + Violet or Quin. Magenta
Red = Cadmium Red Medium + Violet or Quin. Magenta
Red Orange/Orange/Yellow Orange = Cadmium Red M. + Cadmium Yellow M.
Student Work
Color Wheel Rubric
Score
1. Preparedness:
materials, references.
Sketch discussed and
attached. Clean up.
4
Excellent
preparation, with
materials and
references; design
concepts well
thought out. Work
areas are very clean
at end of class.
3
Good preparation
with materials and
references; design
concepts thought
out. Work areas are
clean at end of class.
2
Could be more
prepared needs to
develop a clearer
proposal. Work
areas could be
cleaner at end of
class.
1
Very little
preparation.
Work areas are
not clean at end
of class.
0
No
preparation.
2. Use of interesting
Excellent use of
interesting shape,
repeated in a circle to
create a color wheel.
Color is excellently
mixed to exactly
match printed color
wheel.
Good use of shape,
repeated in a circle to
create a color wheel.
Selected shape and
design need
improvement.
Shape
incomplete.
Color is mixed to
somewhat match
printed color wheel.
Color is could be
mixed to needs
improvement to
match printed color
wheel.
Selected shape
and design need
significant
improvement.
Color is poorly
mixed to match
printed color
wheel.
Excellent
craftsmanship.
Lines and edges are
crisp.
Overall appearance,
neat and clean.
Good craftsmanship.
Lines and edges are
somewhat crisp.
Overall appearance,
neat and clean.
Craftsmanship
Craftsmanship
needs improvement. needs major
Lines and edges
improvements.
should be more
crisp.
Overall appearance
should be cleaner.
shape or set of shapes,
repeated to create a
color wheel.
3. Color Matching
4. Craftsmanship
Total Score/4
No mixed color.
No effort
toward
craftsmanship
has been made.
Museum Visit
Writing Assignment
1. At the Museum select one THREE DIMENSIONAL work of art to examine. Carefully observe the work of art and write down all
thoughts, observations and ideas that are triggered by the work. Consider the artworks relationship to other pieces in the show.
What formal factors shape the artwork and your response to it? What is it merits and how do they relate to broader contexts?
Consider historical significance.
2. First Draft: Select from all of the ideas from brainstorming that give the best accurate description and reaction to the work.
Write a topic sentence identifying the art (artist, title, year) and then expand the description in four to ten sentences. Include
formal factors, merits, broader context and historical significance. Paper must be written in 3rd person meaning, no use of “I” or
“You.”
Ideas must be arranged in some logical order, such as in order of importance starting with the most general to the specific to
(i.e. subject, basic composition, color, line, textures, line quality, etc.) or arranged according to space (i.e. top to bottom, middle
edges, upper left to lower left). One suggestion is to follow the way that your eye is naturally directed by the composition. Relate
description of the artwork to the human experience.
3. The conclusion: should include an expansion on the discussion of merits, such as broader context, other works in show or
career or historical significance of the artist or specific work.
4. Properly quote and site any reference materials utilized, the majority of the paper should be in your own words.
5. Reread, check for logical order, with clear relationships of each idea to those that come before or follow it.
6. Revise and Proofread. Have someone you live with or a classmate read it. Consider going by the LRC writing lab. for assistance.
Ask for their suggestions. Ask them if any part is unclear. Ask them how you should improve it.
7. Type final draft, double-spaced.
Aesthetic Responsiveness (for museum trip paper)
Students will demonstrate aesthetic responsiveness by taking a position on and communicating the merits of specific works of
art, music, and literature and how those works reflect human values. Evidence will be written or oral communications that
articulate a personal response to works of art, explain how personal and formal factors shape that response, and connect
works of art to broader contexts.
Criteria
Exemplary (4pt.)
Above Acceptable
(3pt)
Acceptable (2 pt)
Unacceptable (1pt)
Focus and
Thesis:
Articulates a
personal
response to
art, music or
literature.
Clearly focuses on
specific works of arts,
narrow thesis. Provides
overview and detailed
analysis of the
components of the
work. Analyzes,
interprets and explains
with full detail, personal
responses to aesthetic
expressions.
Focuses on specific
works of arts, narrow
thesis. Provides
overview and analysis
of the components of
the work. Analyzes,
interprets and explains
personal responses to
aesthetic expressions.
Lacks focus on
specific works of art.
Lacks in analysis of
the components that
make up the works of
art. Inadequately
provides interpretation
and explanation of
personal responses to
aesthetic expressions.
Ideas: Explains
how formal
factors shape
the response.
In-depth, clear
articulation of the formal
factors that shape the
response.
Demonstrates
engagement with the
art, recognizing multiple
dimensions and/or
perspectives with
elaboration and depth;
offers considerable
insight.
With insight relates the
work to the human
experience and how the
work reflects human
and/or cultural values.
Articulates the formal
factors that shape the
response.
Demonstrates
engagement with the
art, recognizing
multiple dimensions
and/or perspectives;
offers some insight.
Needs more focus on a
specific works of art.
Provides some analysis of
the components that make
up the art works.
Acceptably analyzes,
interprets and explains
personal responses to
aesthetic expressions.
Descriptions could be
more elaborate or
detailed.
Acceptably articulates
the formal factors that
shape the response.
Shows some
engagement with the art
without elaboration;
offers basic observations
but rarely original insight.
Acceptably relates the
work to the human
experience and how the
work reflects human
and/or cultural values.
Unable to or very
minimally relates the
work to the human
experience and how
the work reflects
human and/or cultural
values.
Relates the
response to the
human
experience.
Relates the work to the
human experience and
how the work reflects
human and/or cultural
values.
Unable to or very
minimally articulates
the formal factors that
shape the response.
Shows minimal
engagement with the
art, failing to recognize
multiple dimensions/
perspectives; lacking
even basic
observations.
Score
Communicates
merits of the
specific works of
art, music or
literature in
connection to
broader
contexts.
Written in the
3rd Person
Organization
Style and
Mechanics
In-depth and clearly
communicates the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement and
significance.
Conceptually relates to
artists career and other
works in the show.
Demonstrates a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the words:
“I, you or we.”
Communicates the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement
and significance.
Relates to artists
career and other works
in the show.
Organization is logical
and appropriate to
assignment; paragraphs
are well developed and
appropriately divided;
ideas linked with
smooth and effective
transition. Introduction
and conclusion are
effectively related to the
whole.
Each sentence
structured effectively,
powerfully; rich, well
chosen variety of
sentence styles and
length; virtually free of
punctuation, spelling,
capitalization errors.
Sources are properly
quoted and sited.
Few organizational
problems on any of the
3 levels (overall,
paragraph, transitions).
Introduction and
conclusion are
affectively related to
the whole.
Mostly demonstrates a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the
words: “I, you or we.”
Effective and varied
sentences; some errors
in sentence
construction; only
occasional punctuation,
spelling, and/or
capitalization errors.
Sources are mostly
properly quoted and
sited.
Acceptably
communicates the merits
of the work by analyzing
its relationship to broader
context, such as
historical placement and
significance.
Needs to more clearly
relate to artists career or
other works within the
show.
Needs to more often
demonstrate a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the words:
“I, you or we.”
Organization, overall
and/or within paragraphs,
is formulaic or
occasionally lacking in
coherence; few evident
transitions. Introduction
and conclusion may lack
logic.
Does not
communicate the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement
and significance.
Needs to relate to
artists career or other
works within the show.
Shows minimal
demonstration of a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the
words: “I, you or we.”
Organization is
missing both overall
and within paragraphs.
Introduction and
conclusion may be
lacking or illogical.
Sentences show errors
of structure and little or
no variety, many errors
of punctuation, spelling
and/or capitalization.
Errors interfere with
meaning in places.
Sources need to be
better quoted and sited.
Careful proofreading not
evident.
Multiple and serious
errors of sentence
structure; frequent
errors in spelling and
capitalization;
inaccurate punctuation
such that
communication is
hindered. Sources not
properly quoted or
sited. Not proof read.
Junk Mail Collage: Using your mail and junk mail create a collage, use staples, glue and tape. Any Size. Avoid colorful magazine fashion images.
Emphasize color and texture of papers. Incorporate text and abstract images, for example like Kurt Schwitters.
Score
1. Preparedness:
materials, references.
Clean up.
2. Interesting use of
materials to show a
variety of textures,
and colors.
Incorporates text
and/or abstract
imagery.
4
Excellent
preparation, design
concepts well
thought out. Work
areas are very clean
at end of class.
Excellent use of
materials to show a
variety of textures,
and colors.
Incorporates text
and/or abstract
imagery.
3. Design and
organization.
Asymmetrical
balance, variety,
texture, color to
create rhythm.
Overall design is
aesthetically
pleasing and
employs the
principles of design.
4. Craftsmanship
Excellent
craftsmanship.
Overall appearance,
neat and clean.
Total Score/4
3
Good preparation
with materials;
design concepts
thought out. Work
areas are clean at
end of class.
Good use of
materials to show a
variety of textures,
and colors.
Incorporates text
and/or abstract
imagery.
2
Could be more
prepared. Work
areas could be
cleaner at end of
class.
Could improve
utilization of
materials to show a
variety of textures,
and colors. Could
more successfully
incorporate text
and/or abstract
imagery.
Overall design is
needs improvement
and needs to
integrate the
principles of design.
1
Very little
preparation.
Work areas are
not clean at end
of class.
Needs major
improvements in
use of materials
to show a variety
of textures, and
colors. Does not
incorporate text
and/or abstract
imagery.
Overall design is
Overall design is
very good and
needs majors
employs the
improvements.
principles of design.
Needs to
integrate the
principles of
design.
Good craftsmanship. Craftsmanship
Craftsmanship
Overall appearance, needs improvement. needs major
neat and clean.
Overall appearance improvements.
should be cleaner.
0
No
preparation.
No materials
utilized.
No design..
No effort
toward
craftsmanship
has been made.
Texture: Using images from magazines or personal photos, and found paper collage onto watercolor paper cut to 15” x 20” with a 7/8”
inch border. Check collage with instructor before gluing. On top of collage using gloss medium and paint attach layers of cheesecloth,
burlap or other transparent cloth or cloth like materials. Try paintings methods of wet/dry brush to experiment with getting different
textures and effects. Find a split complement color scheme on your color wheel for your pallet. Present with a 17” x 22” mat, cut with a
2” border.
Score
1. Preparedness:
materials. Clean up.
2. Design and
organization.
Asymmetrical
balance, variety,
texture, color to
create rhythm.
3. Interesting use
materials to show a
variety of textures.
4. Color – Split
Complement Color
Scheme.
5. Craftsmanship
Total Score/5
4
Excellent
preparation, design
concepts well
thought out. Work
areas are very clean
at end of class.
Overall design is
aesthetically
pleasing and
employs the
principles of design.
3
Good preparation
with materials;
design concepts
thought out. Work
areas are clean at
end of class.
Overall design is
very good and
employs the
principles of design.
2
Could be more
prepared. Work
areas could be
cleaner at end of
class.
Overall design is
needs improvement
and needs to
integrate the
principles of design.
1
Very little
preparation.
Work areas are
not clean at end
of class.
Overall design is
needs majors
improvements.
Needs to
integrate the
principles of
design.
Excellent use of
Good use of
Could improve
Needs major
materials to show a materials to show a utilization of
improvements in
variety of textures.
variety of textures.
materials to show a use of materials
variety of textures.
to show a variety
of textures.
Excellent use of split Good use of split
Use of split
Use of split
complement color
complement color
complement color
complement
scheme.
scheme.
scheme could use
color scheme
improvement.
needs major
revision.
Excellent
Good craftsmanship. Craftsmanship
Craftsmanship
craftsmanship.
Overall appearance, needs improvement. needs major
Overall appearance, neat and clean.
Overall appearance improvements.
neat and clean.
should be cleaner.
Messy.
0
No
preparation.
No design.
No materials
utilized.
Color scheme
not apparent.
No effort
toward
craftsmanship
has been made.
Dominance: Develop five thumbnails that illustrate a composition using two or more objects, in which one of the objects is
emphasized over the other objects. Dominance or emphasis can be achieved through contrast of any of the five elements (line,
shape, value, color, texture) or principles especially obvious in Proportion (size and scale), Movement (directional forces), and
Balance through isolation. Select a tetrad color harmony to utilize. Cut paper to 15” x 20” with a 7/8” border, paint design.
Score
1. Preparedness:
materials. Clean up.
2. Dominance/
Emphasis
3. Design and
organization.
Asymmetrical
balance, variety,
texture, color to
create rhythm.
4. Color – Tetrad
Color Scheme
5. Craftsmanship
Total Score/5
4
Excellent
preparation, design
concepts well
thought out. Work
areas are very clean
at end of class.
Excellent
illustration of
dominance.
3
Good preparation
with materials;
design concepts
thought out. Work
areas are clean at
end of class.
Good illustration of
dominance.
2
Could be more
prepared. Work
areas could be
cleaner at end of
class.
1
Very little
preparation.
Work areas are
not clean at end
of class.
0
No
preparation.
Illustration of
dominance could
improve.
Illustration of
dominance need
major revision.
No dominance.
Overall design is
aesthetically
pleasing and
employs the
principles of design.
Overall design is
very good and
employs the
principles of design.
Overall design is
needs improvement
and needs to
integrate the
principles of design.
Overall design is
needs majors
improvements.
Needs to
integrate the
principles of
design.
Excellent use of split Good use of split
Use of split
Use of split
complement color
complement color
complement color
complement
scheme.
scheme.
scheme could use
color scheme
improvement.
needs major
revision.
Excellent
Good craftsmanship. Craftsmanship
Craftsmanship
craftsmanship.
Edges are mostly
needs improvement. needs major
Edges are clean and clean and crisp.
Edges could be
improvements.
crisp.
Overall appearance, more crisp.
Edges not crisp.
Overall appearance, neat and clean.
Overall appearance Very messy.
neat and clean.
should be cleaner.
No design.
Color scheme
not apparent.
No effort
toward
craftsmanship
has been made.
Design Mural: Utilizing a theme from a photograph that you took create five thumbnail sketches to propose a design for a 36” x 36”
un-stretched canvas. Select a triad color scheme. Coat canvas with gesso before painting and add grommets.
Score
1. Preparedness:
materials and
research. Clean up.
2. Choice of Photo
4
Excellent
preparation, design
concepts well
thought out. Work
areas are very clean
at end of class.
Excellent choice of
photograph.
3. Design and
organization.
Asymmetrical
balance, variety,
texture, color to
create rhythm.
Overall design is
aesthetically
pleasing and
employs the
principles of design.
4. Color – Triad Color
Scheme
Excellent use of
triad color scheme.
5. Craftsmanship
Excellent
craftsmanship.
Edges are clean and
crisp when needed
Overall appearance,
neat and clean.
Total Score/5
3
Good preparation
with materials;
design concepts
thought out. Work
areas are clean at
end of class.
Good choice of
photograph.
2
Could be more
prepared. Work
areas could be
cleaner at end of
class.
1
Very little
preparation.
Work areas are
not clean at end
of class.
Choice of
Choice of
photograph could be photograph
better.
needs major
improvements.
Overall design is
Overall design is
Overall design is
very good and
needs improvement needs majors
employs the
and needs to
improvements.
principles of design. integrate the
Needs to
principles of design. integrate the
principles of
design.
Good use of triad
Use of triad color
Use of triad color
color scheme.
scheme could use
scheme needs
improvement.
major revision.
Good craftsmanship. Craftsmanship
Craftsmanship
Edges are mostly
needs improvement. needs major
clean and crisp
Edges could be
improvements.
when needed.
more crisp when
Edges not crisp
Overall appearance, needed.
when needed.
neat and clean.
Overall appearance Very messy.
should be cleaner.
0
No
preparation.
No photo.
No design.
Color scheme
not apparent.
No effort
toward
craftsmanship
has been made.