1. “The 4 C’s” Strategies to Improve a Portfolio Nicole D Brisco TAEA VP Membership School Arts Contributing Editor www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm www.nicolebrisco.blogspot.com nbrisco@pgisd.net

2. COLOR

3. Innovative Colors Utilize artists as master teachers. Use color schemes that express mood or tone. Do not limit yourself to similar imagery. –Example: Use the colors of a landscape for a portrait. Use appropriate color schemes for the style in which you are working. –Example: It is difficult to use a triad color scheme on a work that requires blending and value. When working from life consider colored light. Print original self directed photos in black and white to avoid predicable colors. Experiment with colors on a test page first. Blend your own colors. Never work directly from a tube. Ask yourself what colors would create the color you seek. Example: It is bluish, greenish, brownish.

4. Field Test Colors First

5. Inspired by Eric Fischl, “On the Stairs of the Temple” 1990 Student Work

6. Inspired by Erin Morrison “Journal 2007” Student Work

7. Inspired by Catherine Mackey “Urban Doorway” Student Work

8. Inspired by Malcolm Liepke “Catnap” Student Work

9. Inspired by David Janssen “Motion #1” Student Work

10. Inspired by Jylian Gustlin “Erro 15” Student Work

11. Inspired by Odd Nerdrum “Return of the Sun” Student Work

12. Inspired by Alice Neel “Hartley” Student Work

13. Inspired by Francoise Nielly “Abstract 17” Student Work

14. Inspired by Jason Shawn Alexander “The Last Red Hat” 2007 Student Work

15. Inspired by Malcolm Liepke, “In Her Arms” Student Work

16. Inspired by David Cobley, “At The Easel I” Student Work

17. Inspired by Larry Rivers “Washington Crossing the Delaware” Student Work

18. Inspired by Katelyn Alain “A Masculine Affair” Student Work

19. Inspired by Harry Ally Student Work

20. COMPOSTION

21. Inviting the Viewer in Through Composition Composition can make a good drawing bad and a great drawing amazing. Always consider visual movement in a work of art. Thumbnails are essential. The more thumbnails you have the more options you have for success. Typically the first idea is the least interesting. Consider the interior composition, the edges, and depth within the space. NO MOP (Middle of Space) unless it is clear and intentional. If you are struggling use a digital camera. It allows you to easily zoom in and out and move around to create a full composition. Combine thumbnails if they are too boring. Edit. Edit. Edit. Consider cropping part of your image off to eliminate space. Take a picture of your work and print it out. Work on top of this piece and experiment with what you can do to make it better. Sometimes it is difficult to risk take on your actual piece.

22. EXPLORE A VARIETY OF IDEAS

23. Unusual Perspectives: Worms Eye, Human Eye, and Birds Eye

24. Controlling The Eye Through Line

25. Moving the Eye Through Repetition of Elements

26. Balancing the Work Though Color

27. Convergence to Control the Eye

28. Diagonals, Verticals, and Horizontals to Direct

29. The Importance of Space When Used Correctly

30. Middle of Page When Used Intentionally

31. Longer or Taller Compositions to Create Interest

32. Rhythm to Help the Eye Flow

33. Shadows to Create a More Dynamic Space

34. Variety of Size to Create Interest and Focal Point

35. Leading the Eye In Using the Edge of the Page

36. Filling 2/3 of the Compositon With Positive Space

37. Dealing With Depth of Space to Make a Simple Composition Interesting

38. Balancing Complexity with Simplicity

39. Search for Compositions that Capture Repetition in the Natural World

40. Overlapping and Layering to Create Interest

41. Abstraction Through Natural Objects to Create Design

42. Subliminally Repeat Patterns to Create Unity

43. Use Your Sketchbook to Explore a Composition

44. Force a Focal Point Through Unusual Scenarios

45. CONTENT

46. A Point of Departure Begin with an interesting concept. Search for ideas using other artists, definitions, word mapping (www.visualthesaurus.com), books, or poems.www.visualthesaurus.com Combine ideas to make more complex ideas. Consider visually abstract imagery. Example feelings, moods, time. Ideas that you must illustrate conceptually. Consider concrete imagery. Example houses, figures, objects. Ideas that can be easily represented. Thumbnail through multiple personalities. Respond to your world. Don’t just represent it.

47. SEARCHING FOR IDEAS

48. Ideas Through Words

49. Ideas Through Identity

50. Ideas Through Perception

51. Ideas Through Abstract Representation

52. Ideas from Individual Objects

53. Ideas Through Emotion

54. Ideas Through Combining Concepts

55. Ideas Through Social Commentary

56. Ideas by Combining 2D and 3D

57. Ideas Through Identity of an Inanimate Object

58. Ideas Through Combining Real and Fantasy Worlds

59. CONTRAST

60. High Lights and Low Lights Always consider the work in person and through the lens of a camera. Look at your work with a blurry eye. Can you see the images easily when you do this? Work with light. You can always tone it down but it is hard to amp it up without understanding it. Consider light in a variety of ways: Colored Light, Unusual Light Sources, Multiple Light Sources, Natural Light, Light Patterns, and Shadows. If you are having a difficult time seeing that your work appears muddy take a picture of it and adjust the lighting. Did it make a difference? If so revisit your work and push the highlights and low lights. Consider using color in your shadows and not black.

61. VALUE SCALE

62. Light To Influence Environment

63. Strong Contrast to Create Mood

64. Full Range of Value to Show Form

65. Light To Identify Focal Point

66. Using Color and Light

67. Contrast to Juxtapose Two Ideas

68. Light to Separate Two Spaces

69. Light Used to Address Negative Space

70. Lighting to Create Drama

71. Multiple Light Sources

72. Under-painting or Exposing to Define Light

73. Light to Control Eye Movement

74. Working with Multiple Solutions to Make a Bold Image

75. Unusual Light Sources

76. Colored Light to Create Interest

77. Using Color to Create Shadows

78. Chiaroscuro

79. “The 4 C’s” Strategies to Improve a Portfolio To view or download this Power Point go to: www.pgisd.net To left pull down menu: Pleasant Grove High School To go to: Teacher Web Pages Select: Nicole Brisco Click on sidebar: TAEA 2008 (This is a large file please be patient in downloading it) Nicole D Brisco TAEA VP Membership School Arts Contributing Editor www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm www.nicolebrisco.blogspot.com nbrisco@pgisd.net