Homework Assignments

Impressionistic Marker Painting

posted May 1, 2013, 3:50 PM by Georgio Sabino III

Impressionistic Marker Painting

It's been nearly 60 years since inventor Sidney Rosenthal introduced his "Magic Marker" — named because of its ability to mark on almost any surface. The first marker consisted of a stout glass bottle to hold the ink and a wool felt wick that fed into a writing tip. He originally invented the tool for artists, but soon the entire world was clamoring for markers! Blick Studio Markers were introduced in the 2008 catalog, a double-ended, economical alternative for artists and students. The alcohol-based ink in these juicy markers is great for paper applications, but for a really unique drawing experience, try them on clear film. This project demonstrates unusual ways to work with markers, then flip the film and attach to a metallic board to make a bookmark. The results are Impressionistic, brilliant and so very juicy! Grade Levels 3-12 Note: Instructions and materials are based upon a class size of 25 students. Adjust as needed. Preparation 1. Cut Dura-Lar into smaller pieces, sized the same as a piece of Mirror Board. For larger bookmarks, cut sheet into 2-1/2" x 7". For smaller bookmarks, cut into 2-1/3" x 5". Save any extra pieces for practice. 2. Cut Mirror Board down. For larger bookmarks, cut the board in half to 2-1/2" x 7". For smaller bookmarks, cut the board in thirds to 2-1/3" x 5". Process

1. Create a preliminary drawing to place beneath the clear film or simply begin the artwork.  Process, continued Experiment on scraps of film first. Set Mirror Board aside to use for a backing once marker work is finished.

 2. Explore the capabilities of the markers on Dura-Lar using the following techniques: A) Color over same color — apply one color of marker to a larger area using the broad nib. Set the same nib down into the dry ink and leave it in place for a few seconds. Watch as it creates a juicy puddle in the middle of the dry color. As the fresh ink pours out, it pushes back the dry ink and makes a halo. Move the nib or use the edge of it and create more pools, or switch to the fine point to create a variety of sizes and shapes. B) New color over dry color — now, switch to a new color of marker and repeat the first experiment. Try various color choices: pool light colors into dark colors, complimentary colors together — even create puddles on top of puddles! C) Colorless Blender — this unusual marker has no color, yet it is just as juicy! Use it to make lighter areas and remove color. Since the blender picks up marker color, have scratch paper handy to draw on until the nib is clean again. D) Hand-Sanitizer — this is alcohol-based, just like Blick Studio Markers. Try putting some on the end of a cotton swab or, for precise control, a small brush or a vinyl-nib Color Shaper. It lifts color, blends, lightens and creates texture. The higher the alcohol content, the better it works! E) Salt Technique — like watercolor, this ink will absorb into salt crystals and form mini starburst patterns. Simple sprinkle table salt over wet ink, allow a few minutes for it to dry, then brush it away from the painting.

3. Once the marker work is complete, turn the film over. The back side will be smooth and glossy. Position it over the Mirror Board and observe the reflected light through the transparent color — it's stunning!

4. Attach the film to the mirror board by punching a hole through each, then tying them together using twine, string or ribbon. They can also be attached with a drop of glue

Wishing Banner

posted May 1, 2013, 3:46 PM by Georgio Sabino III

Tibetan Wishing Banner (art + social studies)
Tibetan wish or prayer flags traditionally are used to promote
peace, compassion, strength and wisdom. Tibetans do not
believe that the flags carry prayers to the gods, but rather
that their messages and wishes will be blown by the wind to
spread goodwill and compassion into all-pervading space.
Therefore, prayer flags are believed to bring benefit to all
living beings.
By hanging the flags in high places, Tibetans believe the Lung
Ta, or “wind horse” (a common image on the flags), will carry
the blessings depicted on the flags to all. As wind passes over
the surface of the flags, the air is purified by the blessings.
The prayers of a flag become a permanent part of the
universe as the images fade through exposure to the
elements. Just as life moves on and is replaced by new life,
Tibetans renew their hopes for the world by mounting new
flags alongside the old.
Traditionally, there are two types of prayer flags. Lung Ta are
horizontal flags made in a square or rectangular shape and
connected along their top edges by a long string. They are
most often hung on a diagonal line between two objects. A
Darchor is usually a single, large rectangular flag that is
attached to a pole and planted in the ground. Color is often
used symbolically, with blue representing sky/space, white
representing air/wind, red representing fire, green
representing water and yellow representing earth. Health and
harmony are produced through the balance of the five
In this project, students will use materials that are not
normally brought together to make a classroom Tibetan
Wishing Banner. A liquid wax resist used in ceramics will be
painted onto silk rectangles and need not be removed.
Vibrant color will be applied and a final embellishment will be
added in gold.

Grade Levels 2-12
Note: Instructions and materials are based upon a class size
of 25 students. Adjust them as needed.
1. Cut silk scarves into 12" x 14" rectangles; you will need one for
each student. One scarf will make five rectangles.
2. Thin Amaco® Wax Resist with water.
1. Give each student a silk rectangle. Raw edges from cutting can
be left as-is or rolled over onto a thin line of Sobo® Fabric Glue.
2. Using water-thinned wax resist and a brush, each student
should paint an image of his or her wish on the silk rectangle.
The wax resist should be used to outline areas. Any breaks in
the lines will allow paint to seep through, so the lines should be
as solid as possible. When finished, thoroughly wash the
brushes with soap and hot water.
3. Let the silk dry overnight.
4. Place a piece of waxed paper beneath the silk rectangle and
pin both to a piece of cardboard. Apply washes of Dye-na-
Flow® onto the silk with a brush. Dilute the paintwith water,
allowing it to flow up to the edges of the wax.
5. Sprinkle silk salt into the paint while it is still wet to achieve
halos of color and starburst effects. Let the salt sit on the paint
until it is completely dry, then brush it off.
6. When the painting is dry, add golden embellishments with
Sargent’s® Metallic Acrylics. Using fabric glue and hemp cord,
create a class Wishing Banner. Lay the individual
banners across a table and glue the cord along the
top edge. Hang the banner in a high place.

Homework/Sketchbook Assignments & Painting

posted Sep 14, 2012, 8:30 AM by Georgio Sabino III

Homework/Sketchbook Assignments (Drawing / Painting)

The only homework you should have in art class will be your sketchbook. You may at times have to bring your art projects home in such instances of being absent or if you personally feel that you need more than just class time to work on your assignments.


Below there are a variety of statements for you to pick from. You will chose 18 to do per marking period (36 for the entire semester). Sketchbooks will be collected at the end of each marking period.

Each assignment is worth 10 points.

The homework’s must be done following the guidelines given below.

  • All work must be done in your sketchbook. NO EXCEPTIONS!!!
  • You must spend at least 30 minutes per assignment.
  • Each drawing must be a full page, detailed, and the image must have shading and value ranges in black & white and/or color.
  • NO simple outline sketches will be accepted.
  • If you have any trouble please ask me for some help.

SKETCHBOOK OPTIONS: Draw or Paint into your Sketchbook

  • THE ______________ BEHIND THE DOOR?
  • Draw /paint the ___________________inside of your closet.
  • Draw/paint the contents of your desk drawer
  • Just before your mom, dad, or housekeeper cleans your room, draw it
  • Draw/paint the contents of your refrigerator
  • Draw/paint the contents of your medicine chest
  • Draw/paint the contents of your garage
  • Draw/paint your dad’s worktable after he’s worked on a project
  • Before the dishes are washed, draw them
  • Draw a pile of laundry waiting to get washed
  • If you have an octopus for a furnace, draw it
  • Draw a pile of bicycles on the sidewalk
  • Draw the guests at your parents dinner party
  • Draw/paint yourself in a mirror
  • Draw /paint your brother/sister practicing his/her instrument
  • Draw / paint your friend shooting hoops in the driveway
  • Draw yourself painting your toenails (if you do)
  • Draw your hand in multiple positions
  • Draw your hand holding a variety of objects
  • Draw your hand against other parts of anatomy (chin, knee, etc.)
  • Draw your bird, cat, dog, fish, snake, leopard, lobster doing something strange
  • Draw / paint  what is in the rear-view mirror of your car
  • Draw a dead bird in a beautiful landscape
  • Draw / paint  a flower growing next to a turned over garbage can
  • Draw raw chicken parts; cooked parts; after eaten parts
  • Draw / paint  a piece of cake and make it look delicious
  • Draw // paint  2 eggs in the shell, fried or over easy
  • Draw one popcorn kernel & draw a bag of popcorn
  • Draw // paint  a raw steak or steak bones
  • Draw moving water or still water
  • Draw / paint  a wet object, make it look wet
  • Draw an object when looking through a tube (microscope)
  • Draw / paint  an object seen through glass (how does the glass make a difference)
  • Draw something floating
  • Draw a dark object in a light environment
  • Draw a dark object in a dark environment
  • Draw the contents of a light room when sitting in a dark room
  • Climb a ladder, draw what is below
  • Climb a mountain (hill), draw what is below
  • Lie on the floor, draw what is eye level
  • Dig a hole, put a whole in the hole, draw what is in the hole
  • Fill in the hole, cover up the whole, draw the covered hole
  • Find a quiet place in a crowd, draw the crowd
  • Find a quiet place, draw the quiet
  • Find a noisy place, draw noise
  • On the school bus, draw your friends on the way to school, draw your friends on the way home. Is there a difference?
  • Shine a light through an open weave structure, draw the cast shadow
  • Draw an object that is lit by the light coming through Venetian blinds
  • Draw / paint a portrait that is lit by the light coming through Venetian blinds
  • Draw an object that is lit by a candle
  • Draw a figure that is lit by a candle
  • Draw your sister/brother by the light cast by the Saturday morning cartoons on the TV
  • Draw your father/mother by the light cast from the TV news
  • Draw an apple, pear, banana
  • Draw an apple, banana, and a wrench
  • Draw a scoop of ice cream and an old shoe
  • Draw/ paint  an apple, a vacation photo, a hammer and a gold fish
  • Tighten a C clamp on a banana, draw it
  • Draw an apple, pear, and a banana that is tightly wrapped in string
  • Copy the Mona Lisa
  • Rearrange the Mona Lisa to suit yourself
  • Put Mona Lisa in a contemporary setting
  • Copy any work of art older than you
  • Remake the above work of art in your way
  • Make a drawing that says something about the environment
  • Make a drawing that says something about the world situation
  • Make a drawing that is pure propaganda about any issue you feel strongly about
  • Make a drawing / paint that is totally truthful
  • Make a drawing that lies all over the place
  • Make a drawing/ paint  that is completely impossible
  • Look out your bedroom window, draw what you see
  • Look out your bedroom window, draw what you would like to see
  • Draw an apple, pear, banana that is wrapped in an apple, pear, banana
  • Draw / paint  two squares of a sidewalk and make it look interesting
  • Make a detailed drawing of five square inches of grass
  • Make a detailed drawing of five square inches of hair
  • Make a detailed drawing of five square inches of a feather
  • Make a detailed drawing of five square inches of a dollar bill
  • Make a drawing of grass, hair, feathers and a dollar bill
  • Draw an insect under a magnifying glass
  • Rearrange, redesign the insect
  • Change the size relationship (scale) of the insect and something else (i.e. building, ships, cars)
  • Draw a portrait of your best friend as an insect
  • Draw a self portrait of you as a beautiful insect
  • Draw a family insect portrait
  • Crumple a magazine ad, draw it
  • Crumple a photograph, draw it
  • Crumple a drawing, redraw it crumpled
  • Cut out a photo into small pieces, rearrange the photo in some other order, draw it
  • Make a drawing that looks sticky
  • Make a drawing that oozes
  • Make a drawing of a mechanical structure or machine
  • Make a drawing of a machine that oozes
  • Make a drawing of a machine so that the parts are sticky
  • Make a drawing of a fine mechanical instrument (camera) under water (use your imagination)
  • Draw the Brooklyn Bridge
  • Draw the Brooklyn Bridge over a small body of water i.e. bathtub
  • Draw a form fitted case made of wood and lined with velvet for an apple, pear, and a banana
  • Draw a chair
  • Draw the concept of the uses of a chair (sitting) without the chair
  • Draw a bed
  • Draw the concept of the uses of a bed without a bed
  • Make a drawing that illustrates the phrase “There is an insufficiency of intellect”
  • Make a careful drawing that illustrates the word “Haste”
  • Draw a monument for a bagel
  • Draw a portrait of you and your friends as cards; the queen, king, and jack of spades
  • Draw a slice of the best pizza you have ever seen
  • Make a drawing of all your drawing materials
  • Make a detailed drawing of a rock
  • Make a drawing at McDonalds
  • Draw the reflection from light bouncing off a motorcycle
  • Draw your portrait from the reflection of a shiny chrome object i.e. toaster, bowl, spoon
  • Draw the reflection from a body of water
  • Draw the reflection from a store window
  • Draw the reflection of reflection
  • Reflect on your drawing of reflection, draw your retrospection
  • Draw an aerial view of your back yard
  • Draw a transparent object
  • Draw a translucent object
  • Draw a translucent object that is inside a transparent object
  • Draw a building in which you would like to live
  • Make a drawing using a map of the USA as a motif
  • Make a portrait of yourself as you see yourself in twenty years
  • Make a pastoral drawing
  • Draw life in the city
  • Draw/ paint   a mysterious doorway or staircase
  • Drape a mysterious object in cloth, draw it
  • Draw/ paint  a moving object
  • Draw / paint  an empty room, make it interesting
  • Draw a woman wearing a big hat
  • Draw a masked man (not the lone ranger)
  • Draw a sleeping person
  • Draw a flower, make it appear dangerous
  • Draw a person looking out a window
  • Draw a person looking in a window
  • Draw a person reading a letter
  • Draw an apple, pear, and banana in outer space
  • Draw a detailed drawing of a nut and bolt


  • BALANCING ON ONE FOOT The longest recorded duration for balancing on one foot is 76 hr, 40 min.
  • Bed of nails - Iron Maiden Lee Graber was sandwiched between two beds of nails, with a weight of (1,659 lb) placed on top for a total of 10 seconds on June 24, 2000. The weight was loaded on top of him using a crane. The most difficult aspect was controlling his breathing as he had a lot of weight on his chest and he needed to relax to avoid bursting a blood vessel in his head.
  • Pulling In One Hour A team of 20 Atlas Power Gym strongmen pulled a semi-trailer truck weighing (36,620 lb).
  • FASTEST 80 FOOT POLE CLIMB Australia's Mark Bryden climbed up a 80 ft pole in 9.61 seconds at the Australasian Individual Championships
  • FASTEST TIME TO BREAK 16 CONCRETE BLOCKS Britain's "pocket Hercules" Frederick Burton piled 16 concrete building blocks on his chest.
  • Bed of Glass-The greatest weight held while lying on a bed of glass is 2229.95 lbs
  • Christmas tree balancing- balancing a Christmas tree on your chin for as long as possible...
  • Cola can balancing- Balancing cola cans on your head for the longest time possible...
  • Domino stacking- Stacking as many dominos as possible...
  • Fan of cards- Hold as many cards as possible in a fan in 1 hand...
  • House brick balancing- The largest number of house bricks ever to be balanced on the head...
  • Ironing board balancing- balancing an ironing board on your chin for the longest time possible...
  • Kitchen sink balancing- Balancing a kitchen sink on your chin for the longest time possible...
  • Ladder stilt walking- Walking the longest distance on stilts...
  • Nail stacking - For this record, the first nail (which must be 100 mm long) is placed in a vertical position….
  • Pancake Tossing- The record for the most flips of a pancake in a frying pan...
  • Paper ship Folding- Records for folding and floating paper ships...


Composition: Shooting 4 a Magazine Front Cover

posted Nov 11, 2011, 8:19 PM by Georgio Sabino III   [ updated May 1, 2013, 3:22 PM ]

LESSON PLAN/ Composition   (P.P.T.)                                                Name:  _____Georgio Sabino III

Date:  ______________________               

I.  PROJECT TITLE: Inuit Culture

         Composition: People Places and Things

A. Where

GS3 School of the Arts

B. Grade/Student Level

10-12th Grade

C. Class, Date & Time

Class, Date & Time Week Four 50 minutes Fifth Day Exam /Visual Portfolio

D. Room Description

Room Description: Art Classroom 011



From the Ohio Department of Education K-12 Fine Arts Academic Content Standards:

Benchmark A:  Demonstrate knowledge of visual art materials, tools, techniques and processes by using them expressively and skillfully. Summarize and explain the impact of a historical event or movement (e.g., realism, feminism, modernism or postmodernism) on the development of visual art.

Benchmark B:  Use the elements and principles of art as a means to express ideas. Formulate and solve a visual art problem using strategies and perspectives from other disciplines.

Benchmark C: Develop and select a range of subject matter and ideas to communicate meaning in two- and three-dimensional works of art. List and explain opportunities for lifelong involvement in the visual arts.

Benchmark D: Recognize and use ongoing assessment to revise and improve the quality of original artworks.


A. General Description of Lesson Plan: Carving the Relief Plate

Students will create a several works of art by taking photos to demonstrate depth of field

(people, places, and things).

B. Cognitive Goals (Bloom)

1.0 Cognitive: Relating to cognition

1.1 Knowledge: Demonstrating how to the focus ring

1.2 Comprehension: setting the area of the picture that is sharp is known as the focal plane. The distance in front of and behind this focal plane itself is the area in focus, otherwise known as depth of field.

1.3 Application: to construct a photo by creating a “good photo” using the elements and principles.

            C. Affective Goals (Krathwohl)

A. Receiving: participates in the learner process /stimulate /motivate directed material for learner to hold, grasp the concept of value

B. Responds: Actively listens /reads material /comments on subject matter

C. Valuing: Chooses improve skills and demonstrates and appreciates

D. Organization: Relates different materials but also internalize one solution

E. Value Complex: Demonstrates all-encompassing skills

D. Psycho/Motor Skill Goals (Simpson)

1.0 Body Movements: eyes are looking / hands are holding camera steady to the eye.

1.1 Demonstrates the ability to use eye-to hand coordination to click at the right moment.

1.2 Demonstrates camera winder, push/pull /and apply pressure to click

1.3 Show how to press down on the button(s)

1.4 Reveal how to repeat pattern like diagonal/ vertical/horizontal lines

1.5 Show how to manually create depth of field

1.6 Demonstrates how to look and observe: How to look at different angles or sides of the object


E. Vocabulary

1.0 Vocabulary of Art Terms: Composition

1.1 Angle of View

1.2 Aperture

1.3 Bracketing                                    

1.4 Depth of Field

1.5 Exposure Compensation

1.6 Exposure meter

1.7 F-numbers or F-stops

1.8 Film Speed/ISO/ASA

1.9 Focal Length

2.0 Focal Plane Shutter

2.1 Optical Zoom

2.2 Shutter

2.3 Light

F. Materials/Tools (quantity, quality, size, type)

1.1 35mm Camera / SLR Digital                               

1.2 Photo Paper                                                     

1.3 Chemicals                   


G. Teacher Resources: 

1.0 Equipment/Media / Books Resources:

1.1 Exposure Photo Workshop: Develop Your Digital Photography Talent [Paperback]

1.2 Photographic Multishot Techniques: High Dynamic Range, Super-Resolution, Extended Depth of Field, Stitching

1.3 Mastering Digital Panoramic Photography

1.4 Digital Exposure Handbook

1.5 Kodak Guide to 35mm Photography: Techniques for Better Pictures by Eastman Kodak Company (May 2000)

1.6 Using Your Camera, A Basic Guide to 35mm Photography Revised and Enlarged Edition by George Schaub

1.7 Basic 35mm Photo Guide: For Beginning Photographers by Craig Alesse (Jul 2000)

2. Exemplars

Student example                 Relief print                           Student example



CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90



4.  Artifacts









H. References (Media, Websites, et al.)

1. http://www.mir.com.my/rb/photography/fototech/htmls/depth.html

2. http://www.digital-photography-school.com/how-to-get-shallow-depth-of-field-in-your-digital-photos

3. http://www.youtube.com/watch?v=uzedefUXARE




A. Motivation:      Imaginative  Intellectual  Artistic  Kinesthetic

1.0 Kinesthetic:  Hands-on-approach. Note: Always cut away from yourself.

1.1 Control Hand, steady hands keeps from camera shake

1.2 Index finger and eye coordination: click to take the picture but other hands adjust range/focus

1.3 Practice the two hand “L’s” to make rectangle to produce composition. Eye-to-hand find the moment in the lens.

1.4 Apply pressure to the camera to take photo.

            B. Methodology/Procedures (Hunter)

Day One  (5 days to complete this project)

Describe / discuss / in own words / illustrate / translate what one knows to the student to learn technical use of the 35mm camera to produce depth of field.


C. Discipline Model Description (Canter)





IV.  ASSESSMENT/EVALUATION: Critical Analysis of Observed Results

A. Student



B. Teacher








Visual Arts & Humanities Department and GS3 Photography Area Student Conduct and Policies

posted Oct 15, 2009, 1:24 AM by Georgio Sabino III   [ updated Nov 12, 2011, 7:30 AM ]


Visual Arts & Humanities Department and Photography Area Student Conduct and Policies


It is expected that all students will conduct themselves in a manner that is consistent with common courtesy to all other students, faculty, and lab technicians.


Students are expected to dress appropriately for a laboratory class.  GS3 Department and Photography Area Studio Courses are officially formatted as combined Lecture | Lab sections.  This means that the lecture or lab portion of the class may occur anytime during the scheduled time block for the course. When working in the analog photography areas, including the film developing rooms, print finishing area and darkrooms, closed-toe shoes must be worn always per the darkroom safety requirements.


To insure a productive working environment for all students, please clean up your work area by returning all items to their proper storage area upon the completion of class and lab.


Computers in all areas of the photography area, including the classrooms, digital lab, print finishing area and studio, are strictly for use as it pertains to photography curriculum activities. Using the computers for personal email, downloading of music, and/or other inappropriate use will be considered a violation of the Student Code of Conduct.


There is no food and/or drink allowed in the film developing rooms, print finishing areas, darkrooms, digital labs and studio. A securely capped drink may be stored in the storage space provided and must be taken into the hallway to be consumed.


In consideration of fellow classmates and to insure a thoughtful and productive learning environment without disruption, please turnoff and put cell phones away before entering the classroom. If at any point during course instructional activities the cell phone is activated, this will be considered a violation of the Student Code of Conduct and will result in administrative action, including a warning and/or being asked to leave the classroom, and/or a short-term suspension.


The subjects and materials covered in this course may sometimes be of such a nature as to be offensive to an individual’s personal beliefs. Politics, religion, sexuality and/or morality have often been the content of artists’ efforts and will be discussed openly in a mature manner to facilitate a greater understanding of varying perspectives.


Photography Course Curriculum and Evaluation Considerations


The following is general outline of the various activities you may be engaged with during semester.  The evaluation of your photographic efforts will be based on your effort in understanding and demonstrating the aesthetic and technical principles discussed throughout the course in the development of your sense of artistic vision and technical craft. While it will be important to develop and exercise proficient technical execution with the camera and in the darkroom, it will be equally important for you to demonstrate engagement with your ideas as they relate to photography’s conceptual and aesthetic possibilities.


Your final grade will be determined by a culmination of points earned based on your performance with the below listed curriculum assignments. Questions regarding curriculum assignment grades and/or the final grade must be brought to the attention of the instructor. To provide equitable instruction for all students while during class hours, please ask questions regarding your grade during instructor office hours or after class.


Participation and In-Class Lab Practice


Students are expected to demonstrate active and engaged participation while attending each class session and in-class laboratory practice. Students must be present during the entire class and in-class lab practice to receive credit. If you leave at any time during the class without the consent of the instructor, you will be considered absent and will not receive credit for participation.


Critical Issues Responses | Text Summaries


Throughout the semester, there may be informal, 20 – 30 minute discussions in class as well as postings on the course website on various critical issues and readings on the photographic image and visual culture within both historical and contemporary contexts. Topics will explore various issues regarding photography, the history of photography, on being a photographer, as well as the sociological, psychological and cultural implications of the photographic image. For studio courses, a 2 – 3 paragraph (approximately 60 – 100 words) written response will be required to be posted to the course website or typed (handwritten not accepted) and turned-in before or after the discussion.  For lecture-only courses, textbook summaries will be required to be completed prior to the discussion of a given chapter.  It will be essential to demonstrate comprehension and basic understanding of critical ideas raised by the presentation and/or reading.


Critical Issues Presentations


In some of the more intermediate and advanced photography courses, students will give a 15 – 20 minute oral presentation on a critical issue topic in photography of personal interest.  Such topics could include the work of a photographer(s), the constructing of identity within the context of photographic portraiture, defining beauty and the cultural meanings of the photographic landscape, photography and narrative possibilities as well as other possible topics.  It will be essential to demonstrate comprehension and basic understanding of critical ideas raised by the presentation.


Shooting Assignments


With each assignment, you’ll be asked to make photographic images that explore various aesthetic and technical considerations within the contexts of conceptual possibilities that are open to your individual interests. The assignments will focus on historical and contemporary conceptual approaches within the photographic medium, the use and function of a photographic sensibility and visual language, photography’s primary aesthetic considerations, including the nature of content; the photographer and cameras’ physical relationship to subject matter; moments of exposure; the photographic frame and compositional considerations; the attention to descriptive details; the role and use of light as well as the consideration and use of photographic materials (analog | digital, color | grayscale and alternative processes). Once the images have been shot, you’ll develop a working process, including the making of contact sheets and edited contact sheets to edit for visually engaging and stimulating images, and print photographic prints with a considered sense of technical execution and craftsmanship. Upon the completion of each assignment, there will be a critique for discussion and feedback of your photographic efforts.


With each of the shooting assignments, your effort will be evaluated based upon the following considerations:


Development of your vision as demonstrated through the completion of assigned images made, the making of contact sheets and/or edited contact sheets as well as your interpretation of the assignment objectives through your use of aesthetic considerations, including the use and application of photographic theory, principles and use of materials, the role and use of light, the nature of photographic description, compositional organization strategies and techniques in suggesting emphasis of pictorial content.


Technical execution with consistent and correct camera usage, image exposure and the execution of correctly exposed contact sheets and/or edited contact sheets.


Technical execution and sense of craftsmanship with the critique images, including correct density and contrast, color/tone correction, and secondary optimization controls.


With each of assignments, you are strongly encouraged to show me your contact sheets and/or edited contact sheets so I can provide guidance with your conceptual concerns, shooting and editing process.


Technical Assignment(s)


The Technical Assignment(s) will include discussions, demonstrations and assignment(s) on the technical principles of photography, including the use digital and analog technologies and techniques for producing photographs. It is expected that you complete the required readings as well as actively take notes during class discussions and demonstrations to assist you in the refinement of your technical skills.  With the technical assignment(s), your effort will be evaluated on your understanding of the technical principles presented through your execution and sense of craftsmanship.


Student Learning Outcome (SLO) Assessment Assignment | Exercise


The Student Learning Outcome (SLO) Assessment Assignment | Exercise is a departmental assignment for all students enrolled in a particular photography course at GS3.  The assignment | exercise is designed for the student to demonstrate the understanding and knowledge of a the assigned objectives and outcomes of a given photography course.  Such (SLO) Assessment Assignments | Exercises may include any combination of a shooting and technical assignment, critical writing exercise, exam and/or preparation of a final project depending on the course enrolled in and will be evaluated based on stated course outcomes.


Quizzes and Final Exam


The quizzes and final exam will consist of multiple choice and short answer questions covering material from the class discussions, demonstrations and class handouts. The quizzes will be shorter in length, covering specific topics related to lectures and demonstrations, while the final exam will be inclusive of all material covered during the semester. It is expected that you complete the required readings as well as actively take notes during class discussions and demonstrations to assist you in the refinement of your technical skills, including the conceptual, aesthetic and technical concerns of photography within the context of the photography course enrolled in.


There will be no make-up quizzes if you are unable to attend class on the assigned quiz date.


The final exam will be inclusive of all the material covered during the class, including lecture handouts, in-class discussions and demonstrations and the assigned readings.


Academic Integrity


Cheating and plagiarism (using as one’s own ideas writings, materials, or images of someone else without acknowledgement or permission) can result in any one of a variety of sanctions. Such penalties may range from an adjusted grade on the particular exam, paper, project, or assignment (all of which may lead to a failing grade in the course) to, under certain conditions, suspension or expulsion from a class, program.


Final Project(s)


The final project(s) will consist of a portfolio of photographs processed (image processing and printing) in the GS3 Photography Lab (analog or digital) and/or within the context of various presentation strategies, including a print portfolio, artist book and/or website, that reflects the cohesive development of your photographic vision, aesthetic sensibilities and technical execution.


The evaluation of the final project will consist of the following considerations:


Development of your vision, conceptual engagement and approach of photographic strategies through your use of aesthetic considerations, including the use and application of photographic theory, principles and use of materials, the role and use of light, the nature of photographic description, compositional organization strategies and techniques in suggesting emphasis of pictorial content.


Technical execution and sense of craftsmanship with the photographs, including correct density and contrast, color correction and secondary adjustment controls.


Completion of Curriculum


It is expected that all assignments are executed and turned-in for evaluation on the assigned date at the start of class.


Assignments completed late after the assigned evaluation date will not be accepted unless prior arrangements have been made with the instructor before the assignment due date in consideration of extenuating circumstances (extreme emergency situation).

Homework: Notable Photographers

posted Oct 13, 2009, 12:58 AM by Georgio Sabino III   [ updated Nov 12, 2011, 7:54 AM ]




Write about these artists, photographers and aesthetics.

Homework: The Principles of Art and Design

posted Oct 13, 2009, 12:58 AM by Georgio Sabino III   [ updated Sep 14, 2012, 5:59 AM ]

Visual Arts: Principles & Elements of Design

20. What exactly does "Principles and Elements of Design" mean? Principles of design are the laws of designing anything! In other words, to have a good design, you should consider these principles for the best design possible. Elements of design on the other hand are things that are involved within making a design. The major difference between principles and elements is that principles are rules you have to follow and elements are things that will help you complete those rules for the best project outcome.

Elements of Design are things that are involved within making a design. The seven elements of design are color, value, texture, shape, form, space, and line. Elements of design will help your design look a lot more unique from other designs, and can help make the design symbolize anything!

1. Color is an easy one. Just make sure your design's color is right for the mood! Also make sure that each section's color matches another section's color. Colors are probably the biggest element to pay attention to. hue intensity value

Color is seen either by the way light reflects off a surface, or in colored light sources. Color and particularly contrasting color is also used to draw the attention to a particular part of the image. There are primary colors, secondary colors, and tertiary colors. Complementary colors are colors that are opposite to each other on the color wheel. Complementary colors are used to create contrast. Analogous colors are colors that are found side by side on the color wheel. These can be used to create color harmony. Monochromatic colors are tints and shades of one color. Warm colors are a group of colors that consist of reds, yellows, and oranges. Cool colors are group of colors that consist of purples, greens, and blues.

2. Value is the darkness or lightness of a color. Just as said in the paragraph above, make sure the colors you put on your design are dark or light enough for the proper mood. If you want to show a sad figure in your design, most people would give the design a darker value. On the other hand to show happy children playing around most people would recommend lighter colors.

Value is an element of art that refers to the relationship between light and dark on a surface or object and also helps with Form. It gives objects depth and perception. Value is also referred to as tone.

3. Texture helps your design to be distinctive or have identifying character and characteristics. With the proper texture, your design will look more fascinating than the average design.

Texture is perceived surface quality. In art, there are two types of texture: tactile and implied. Tactile texture (real texture) is the way the surface of an object actually feels. Examples of this include sandpaper, cotton balls, tree bark, puppy fur, etc. Implied texture is the way the surface of an object looks like it feels. The texture may look rough, fizzy, gritty, but cannot actually be felt.

4. Shape is something distinguished from its surroundings by its outline within your design. You can make your whole work a certain shape besides the common square, and then have shapes within the design shape. This makes the design more complex.

A shape is defined as an area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. [1] Shapes can also show perspective by overlapping. They can be geometric or organic. Shapes in house decor and interior design can be used to add interest, style, and theme to a design like a door. Shape in interior design depends on the function of the object like a kitchen cabinet door. Natural shapes forming patterns on wood or stone may help increase visual appeal in interior design. In a landscape, natural shapes, such as trees contrast with geometric such as houses.

5. Form is 3D similar to the idea of shape. Form is the structure of your design and how everything in the design looks like it's meant to go together. If the form is well planned and then carried out, it almost guarantees your design in black and white will be a success.

Form is any three dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark to show 3d. There are two types of form, geometric (man-made) and natural (organic form). Form may be created by the combining two or more shapes. It may be enhanced by tone, texture and color. It can be illustrated or constructed. Height X Width X Length

6. Space has to be included in your design. Space means leaving some blank areas. Why would you want to leave parts of the design blank? Sometimes a human's eye needs space to feel comfortable, and space will let the human's eye distinguish the part that's meant to be noticed compared to just the background. Sometimes not including space in your design is ok, but make sure it doesn't make it look messy.

Space is the area provided for a particular purpose. It may have two dimensions (length and width), such as a floor, or it may have three dimensions (length, width, and height). Space includes the background, foreground and middle ground. Space refers to the distances or areas around, between or within components of a piece. There are two types of space: positive and negative space. Positive space refers to the space of a shape representing the subject matter. Negative space refers to the space around and between the subject matter.

7. Line defines the position and direction of the design. If you have lines or shapes that seem to be running horizontally, then the design would seem like it's running in a left and right line. Make sure your design identifies some sort of line so that the human eye can recognize which side is the top of the design or on which side the design is suppose to start with interest.

Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. The edges of shapes and forms also create lines. It is the basic component of a shape drawn on paper. Lines and curves are the basic building blocks of two-dimensional shapes like a house's plan. Every line has length, thickness, and direction. There are curved, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines. It can be create geometric and organic shapes.

Principles of Design are the laws of designing anything! When making a design the 12 principles are contrast, emphasis, balance, unity, pattern, movement, and rhythm. Consider each of these carefully for any design and you'll be a guaranteed a great project!

8. Contrast means showing differences in two different sections of the design or showing somehow that the design being created is very different from other designs because of its contrast. Contrast can also be used to show emphasis in any part of the design.

Using elements that conflict with one another creates contrast. Often, contrast is created using complementary colors or extremely light and dark values. Contrast creates interest in a piece and often draws the eye to certain areas. It is used to make a painting look interesting [2]

9. Emphasis is given to an area within the design because that area is the focus or is more important to be noticed when compared to other places of the design. For example, your design might be to have white parallel lines going up and down. In the center of this design, you could have a circle. This circle would be a part on the design that is emphasized.

10. Balance means keeping your design like a pattern. A balanced pattern would be if you had a border on your pattern in black. Unbalanced would be if approximately one-third of the border was orange and the other two-thirds in pink. To keep your design balanced, make your measurements as accurate as possible. Keeping your design symmetric is a good technique for good balance, but not necessarily the best for all types of designs.

Balance is arranging elements so that no one part of a work overpowers, or seems heavier than any other part. The three different kinds of balance are symmetrical, asymmetrical, and radial. Symmetrical (or formal) balance is when both sides of an artwork, if split down the middle, appear to be the same. The human body is an example of symmetrical balance. The asymmetrical balance is the balance that does not weigh equally on both sides. Radial balance is equal in length from the middle. An example is the sun. [2]

11. Unity means keeping your design in a sort of harmony in which all sections of the pattern make other sections feel complete. Unity helps the design to be seen as one design instead of randomness all around your design.

Unity is the wholeness that is achieved through the effective use of the elements and principles of art. The arrangement of elements and principles to create a feeling of completeness so the image looks and feels complete. [2]

12. Pattern is simply keeping your design in a certain format. For example, you could plan to have wavy lines all around your design as a pattern, but then you must continue those wavy lines throughout the design for good patterns. It wouldn't look good if suddenly you stopped all the wavy lines and drew a picture of a dog. Pattern means the repetition of an element (or elements) in a work.

13. Movement is the suggestion or illusion of motion in a painting, sculpture, or design. For example, circles going diagonally up and down from right to left could show that the design moves up and to the right or down and to the left.

Movement shows actions, or alternatively, the path the viewer's eye follows throughout an artwork. Movement is caused by using elements under the rules of the principles in picture to give the feeling of action and to guide the viewer's eyes throughout the artwork. In movement your art should flow, because you are controlling the viewers eye. You control what they see and how they see it, much like a path leading across the page to the item you really want to be seen by the viewer.

14. Rhythm is the movement in (repetition) pattern or variation characterized by the regular recurrence or alternation of different quantities or conditions. In simpler words, it's just like pattern and shows that the design has a 'beat' or 'flow' going with it. A plain white box has almost no rhythm what so ever.

Pattern and rhythm (also known as repetition) is showing consistency with colors or lines. Putting a red spiral at the bottom left and top right, for example, will cause the eye to move from one spiral, to the other, and everything in between. It is indicating movement by the repetition of elements. Rhythm can make an artwork seem active. [2]

15. Proportion - The relation of one part to the whole, or to other parts (for example, of the human body). For example, the human body is approximately 7 to 7-1/2 times the height of the head; the vertical halfway point of the body is the groin; the legs are halved at the knees, etc. Proportion also refers to the relative sizes of the visual elements in a composition, and their optimum relationships for good design.

16. Harmony is achieved in a body of work by using similar elements throughout the work; harmony gives an uncomplicated look to a piece of artwork. Color Harmony or Color Theory is also considered a principle through the application of the design element of color. Harmony is closely allied to unity and integration.

17. Variety is the quality or state of having different forms or types. The differences, which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size and color. [2]

18. Aesthetics (also spelled esthetics) is a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty.[1] It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste.[2] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."[3][4] Defines what is Beautiful?

19. Composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject of a work. It can also be thought of as the organization of the elements of art according to the principles of art.

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