Design Foundation
Assignment 4
Contemporary Super Hero, Popular Icon Retablo with water media and natural pigments
Carlos Fresquez
Super hero
In contemporary popular fiction, a superhero is a type of hero character possessing amazing abilities, supernatural
phenomena, or superhuman powers and dedicated to protecting the public. A female superhero is sometimes called
a super heroine. Fiction centered on such characters, especially in American comic books since the 1930s, is known
as superhero fiction. Some superheroes use their powers to counter day-to-day crime while also combating threats
against humanity by super villains, their criminal counterparts.
Cultural Icon
A cultural icon is an artifact that is recognized by members of a culture or sub-culture as representing some aspect of
cultural identity (theirs or others). Its form, therefore is distinct (to be recognizable), reproducible (to be pervasive),
durable (for retention in the collective memory), and representing some narrative that is understood by the receptive
group.[1] Cultural icons vary widely, and may be visual (for example, an iconic photograph such as Korda’s
Guerrillero Heroico of Che Guevara), audio (the song "Somewhere Over the Rainbow" from the film The Wizard of
Oz), an actual object including a building or a vehicle (the Coca-Cola bottle designed by Earl R. Dean, the Eiffel
Tower), an event (Russian Revolution, Sinking of the RMS Titanic), a person or group of people (The
Beatles, Mahatma Gandhi), or may be applied to less tangible concepts and ideas (an iconic journey or view).
A Retablo is a painting on wood, usually pine, coated with gesso (a mixture of gypsum and animal glue), on which
images are painted with watercolors or with pigments made from organic materials; a painting with a religious
theme on a flat surface which is usually a pine board (New Mexico) or tin (Mexico).
Santos are protectors and or mediators
All through human history, there have been people who believe that sacred objects and images have the power to
intervene or mediate in the lives of the devotee, to offer defense from illness or harm, or to ensure fertility or
prosperity. While angels are guardians and protectors, so too are patron saints. Patron saints can be particular to the
individual, according to date of birth, occupation, country, state, city or town of origin. Some patron saints have
numerous representations. For example, San Francisco is the patron saint of both New Mexico and Santa Fe.
Additionally, San Francisco is the patron saint of children, animals, and environmentalists.
Folk Art- is Art created by artists who have little formal art education and/ or are self-taught. Folk artists may work
within established traditions (as did retablo artists) or innovative their own distinct art forms. Folk artists often
demonstrate great ingenuity and creativity in overcoming technical difficulties. Folk art is traditional in nature,
rooted in the customs of a people, and is frequently produced by unidentified artist. New Mexico santos evolved
from Spanish and Mexican Roots, stylistically they developed into new, original creation that reflected the
distinctive culture in which they were made.
Iconography A readily recognizable visual symbol used to stand for a specific idea important to a culture or
religion
Santero/a
The "saint-maker" is a creator of religious art who paint and carve images of Jesus Christ, the Virgin Mary, saints
and angels. These Retablos and Bultos are specific images that were copied over and over again. These images were
sold at shops, marketplaces, and near important pilgrimage destinations. Very few academically trained artists made
retablos, but most of the artists were self-taught. They didn’t typically sign their work, so today we can only figure
out where some of the retablos were made or who made it if we can use comparison to distinguish the workshop or
the style of a particular santero.
The traditional santeros of New Mexico worked primarily with local, natural supplies. Starting with a wooden panel,
usually ponderosa pine, artists applied a gesso made from baked gypsum and animal-hide glue or wheat flour paste
as a binding agent to hold the paint. The wood was primed with gypsum that he ground by hand and mixed with
water and glue made from rabbit skins and animal hooves. After the santo image was painted on the wood, it was
then sealed with varnish made from the sap of pines. Since few imported dyes were available, artists made the
majority of their water-based pigments made from local clays, minerals, carbon soot, plants, barks, roots, and
flowers, which they then applied using homemade brushes. They used a piñon-sap varnish for waterproofing and
final protection of the santo. Some santeros used a final coat of natural beeswax to seals the finished painting.
Santeros used the same woods and pigments that the Native Americans used for kachina carvings.
Cortinas/Curtains- the majority of retablos are painted with drawn curtains in the upper corners, a convention
derived from draperies shown in engravings and paintings imported into the colony. Perhaps the drawn-aside
curtains intend to the beholders that they were viewing the sacred and that they were quite fortunate that the drapes
were not drawn together. The privilege of a revealing implies as well a re-veiling.
Frames- Nearly all retablos are bordered by painted frames, and some have either a peg-attached frame or a frame
created by carving one have inch or more into the central surface to be painted.
Decorative additions to retablos:
Lunette is the semi-circular top portion of a retablo.
Rosette is a top for a retablo sometimes with a baroque element
Assignment:
On a pine board you will create a contemporary retablo using natural pigment and watercolors. You are to
incorporate/design a super hero, popular icon, or cartoon character along with the traditional decorative elements of
the retablo cortinas/curtains , frame/trim, and Lunette/rosette in retablo.
Materials per Student:
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Pine board 18” x 11”
Traditional ground (primer) with gypsum and hide glue
Water colors and brushes
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Natural pigments
Gum Arabic
News print
Graphite paper
Tracing paper
Line: The path of a moving point that is a mark by a tool or instrument as it is drawn across a surface. A line is
usually made visible by the fact that is contrast in value with the surface on which it is drawn.
The physical characteristics of line are many: Lines may be straight or curved, direct or meandering, short
or long, thin or thick, zigzag or serpentine. A line may be continuous, unbroken; or it may consist of
isolated objects or points in space like the constellation of the Big Dipper that are connected by our eyes to
form an implied line.
A. The hand-drawn or calligraphic line is more informal, personal and variable; it may be weak or strong,
delicate or bold stiff or fluent, wavering or firm, thick or thin soft and blurred or sharp.
B. The straight line suggests rigidity and precision. It is positive, direct, tense, stiff, uncompromising,
harsh, hard unyielding.
C. The slightly curved or undulating line is loose and flexible. Because of harmonic transition in the
change of direction, it has a flowing continuity. Its slow, lazy movement is passive, gentle, soft, and
voluptuous.
D. The more vigorously curved line changes direction rapidly. This line is active and forceful.
E. The zigzag, jagged, or crooked line with its sudden, abrupt change of direction is nervous and jerky.
The rhythm is spasmodic and staccato. The line is excited, erratic; it suggests electrical energy or
lightning agitated activity or conflict, battle and or violence.
F.
All lines have direction-horizontal, vertical, or diagonal.
1. The horizontal line is in harmony with the pull of gravity. It is quiet, passive, calm and at rest. Horizontal
line suggests a feeling of rest or repose. Objects parallel to the earth are at rest in relation to gravity.
Therefore compositions in which horizontal lines dominate tend to be quiet and restful in feeling. One of
the hallmarks of Frank Lloyd Wright's architectural style is its use of strong horizontal elements which
stress the relationship of the structure to the land.
2. The vertical line is suggestive of poise, balance and of strong, firm support. Vertical lines communicate a
feeling of loftiness and spirituality. Erect lines seem to extend upwards beyond human reach, toward the
sky. They often dominate public architecture, from cathedrals to corporate headquarters. Extended
perpendicular lines suggest an overpowering grandeur, beyond ordinary human measure.
3. The diagonal is the transitional, dynamic or kinetic and suggest a feeling of movement or direction.
Since objects in a diagonal position are unstable in relation to gravity, being neither vertical nor horizontal,
they are either about to fall, or are already in motion. In a two dimensional composition diagonal lines are
also used to indicate depth, an illusion of perspective that pulls the viewer into the picture-creating an
illusion of a space that one could move about within. Thus if a feeling of movement or speed is desired, or
a feeling of activity, diagonal lines can be used.
4. Horizontal and vertical lines in combination communicate stability and solidity. Rectilinear forms stay
put in relation to gravity, and are not likely to tip over. This stability suggests permanence, reliability and
safety.
Shape: An enclosed area that is identifiably distinct from its background and other shapes. It can be bounded by an
actual outline or by a difference in texture, color or value surrounding a visually perceived edge. A shape has width
and height but no perceived depth. It is two-dimensional, but can exist on a plane other than the picture plane.
Organic or natural shapes: typically are irregular in outline, and often asymmetrical. Organic shapes are most
often thought of as naturally occurring that resemble the freely developed curves found in organisms. These shapes
are found in nature. Leaves, sea shells, and bones are examples of a natural shape. Natural shapes are often irregular
and fluid.
Abstract or distorted shapes: A shape that is stylized or a simplified version of natural shapes. A symbol found on
signs, such as the stylized wheelchair shape for handicapped access, is one example.
Geometric shape: A shape that is related to geometry. Geometric shapes are usually simple, structured, and often
symmetrical. Geometric shapes are squares, circles, triangles rectangle, and the circle but also octagons, hexagons,
and cones.
The square denotes honesty and stability. Squares are familiar, trusted shapes. Squares and rectangles are probably
the most common geometric shapes we encounter. Some designers might equate square with boring. It's true that
other, unexpected shapes can grab attention better than the simple square but don't forget the importance of comfort
and familiarity. A square can symbolize honesty, stability, equality, comfort, or familiarity. It could also symbolize
rigidity or uniformity.
The circle suggests infinity. The circle can also be protective (think of protective encircling arms). They can also
denote free movement such as a rolling ball or a more controlled movement such as a spinning globe. Circles could
also suggest something well rounded or complete. Similar to protectiveness, circles could also imply security.
The triangle suggests action. They are dynamic. Triangles may convey either conflict or strength. Triangles can
direct movement up, down, left, right — depending on which way they point, but rather than moving themselves,
they point the way for the viewer. Triangles are suggestive of many different shapes and ideas. They can represent a
religious trinity, a pyramid, a flag or pennant, an arrow, a beacon.
For your sketch book:
A. Create two pencil studies before you start your collage.
Is it necessary to plan your design in thorough detail before you start, or should you let it develop as you go along?
Planning a painting can be a help as you know exactly what you're going to do, but it could also inhibit spontaneity.
Letting a collage evolve as you work is very free and lets you be spontaneous, but also leaves you open to the
possibility that the collage won't go anywhere and you'll end up with a mess. Ultimately the degree to which you
plan out a painting depends on your personality; some people find it essential and others a hindrance. But regardless
of how detailed you like to plan (or not), there are numerous decisions that have to be made before you to start to
paint.
B. Take a 4” x 6” digital image of the final collage and glue it into the sketch book. The digital image of your
collage can be printed at the Regis copy center for a nominal fee. Make sure your digital image is in focus, squared
off and color and value are comparable to original painting.
C. Describe your collage in a typed paragraph and place (glue) into your sketch book.
You will make observations about what you see. You have to be objective. For this part please make no inferences
or express opinions. You are going to create a list of what you see. List only the facts about the artwork and write a
paragraph base on this list:
Subject matter: Geometric shapes, abstract, non-objective, organic landscape
Medium: acrylic, pencil, charcoal, mixed media, collage
Style: hard edge, flat, realistic, surreal, fantasy
Technique: Opaque, flat colors, glue, and overlap, superimpose, compare and contrast
D. Analyze your collage in a typed paragraph and place (glue) into your sketch book.
How do you compose or design (organize) your painting? This is where your knowledge of the elements of design
and the principles of design play an important role. The combinations of these, elements and principles help the
artist create the mood of the work or express a particular point of view or message. Base this paragraph on this list:
Design elements: line, shape, value, color, size, direction, texture, focal point,
Design Principles: repetition and rhythm, dominance and subordination, unity and variety, contrast,
balance, emphasis, scale and proportion
Contemporary Retablo examples:
Frank Zamora
Frank Zamora
Student Examples: