Value Pattern/Value Structure (value and form)
With the digital camera, four pictures are taken of your face, each picture approximating one quadrant of your face.
All quadrants should be printed in the grayscale as large as possible.
One will be taken without a filter, a straightforward photograph. but can be altered through a filter or materially depending on your overall project design needs...
One will be altered in Photoshop with a pixalating filter.
The last two will be taken in a 6 or 7-step value scale and printed out in a grayscale.
1) The first photo will remain unaltered and will be part of your final composition, but can be altered through a filter or materially through design media depending on your overall projectís design needs...
2) The second pixilated photo should be grid off on illustration board (start with the paint from your nine steps value scale). You probably will use many more than 9 values. You most likely will not use the white step and black step to visually match your printout, but your leftover paint from your value scale will give you a start. †Using a brush or a home made "stamp" like an end of an eraser, parallel the values of the individual pixels from your printed reproduction. Texture is O.K., but try to remain consistent through out.
3) The third photo quadrant that has a six or seven-step scale should be reproduced with only three values of mi-tientes papers (black, white, and a middle gray) Adjustments will have to be made to approximate transitions of the six values with the amount of black, gray or white paper. You should start with the LARGEST, most GENERAL shape of value first, and then work towards increasingly smaller shapes.
4) The fourth quadrant (which is also a six or seven step value scale,) should be reproduced in rubbings (frottage). Place bond paper on numerous interesting actual textures or patterns. With the side of your 6B graphite stick/ conte/ or charcoal (be consistent with your choice of media), rub the top of the paper to capture your simulated textures. The harder you rub, the darker it will be, the less pressure you exert, the lighter. Your goal is to have many interesting simulated textures in a wide range of values from very dark to very light.
With this as your raw material, cut up the textured bond paper that parallel the value structure of that quadrant of your face and are the most interesting, but work together (Unity & Variety) All shapes used must have simulated textures in them. Consider when choosing the textures, not only the local values, but visual texture that follows (and enhances) the form. As in Number 3 quadrant (above), you should start with the LARGEST, most GENERAL shape of value first, and then work towards increasingly smaller shapes.
5) Overall, consider the negative space around your face in all four quadrants. Think about how to enhance your area of emphasis (focal point). You may wish to look for something (like angle of a shape, texture, and etc. that bridges figure to the ground. Think of complexity and clarity of your figure to your ground.
Cement all four quadrants into what approximates your face and cement onto a neutral
piece of illustration board, white, cream or gray. At this time you can manipulate the quadrants to come together as a whole visual experience.
- To gain experience in the use of value to create the illusion of form
- To experience the process of abstracting form to flat, 2D shapes
- To gain experience judging relative value
- To judge relative value in how it relates to overall composition (including the framing device)
- To experience judging and incorporating implied texture into a design
Each of the three quadrants that are manipulated is worth two grades.
The final overall product will be worth two more grades for a total of eight grades.