Sketchbook Assignment 3: Value Scale

Create a Value Scale: Stack 2 rows of 9 - 1” square boxes in a row. On the top row, Shade in 9 boxes from black to white, with middle grey perfectly in the middle. Use 6B pencil for the darker half, and a 2B pencil for the lighter half.

On the bottom row, create the same value scale by cross-hatching with the same pencils.

Sketchbook Assignment 5: Wwell Hewloow!

Cutout a partial image from a magazine, newspaper, or any printed material. Draw a continuation of the image. Try and create a sense of depth.

Sketchbook Assignment 8: Park

Create a collage that shows how to focus in and emphasize a subject within a composition (check with instructor for examples) 

Sketchbook Assignment 6: Color Wheel

Create a color wheel (extra instructions in class)

A color wheel shows the primary colors, secondary colors, and the tertiary colors. It also shows the relationships between complementary colors across from each other on the color wheel, such as blue and orange; and analogous (similar or related) colors next to each other on the color wheel such as yellow, green and blue. Black and white may be thought of as colors but, in fact, they are not. White light is the presence of all color - black is the absence of reflected light and therefore the absence of color.

Sketchbook Assignment 1: N/A

Draw an image of your new handmade sketchbook! Paste in the instructions on how you built it. Flesh out these instructions with notes to yourself about what was difficult about making it for future reference.

Project 2: Nature vs. Human

Four to five images of various artists' work 

Sketchbook Assignment 10: Will be finished when Project 5 is complete

Build the thumbnails for your book project. Show each page layout sequentially as well as your process for building your page design. (extra instructions in class) 

Sketchbook Assignment 9: GOODBYE

 www.learningtoloveyoumore.com 

Sometimes it's hard to say goodbye. It just feels easier to keep holding on. But in the long run it's usually a good idea to let go, it's the daring thing to do. It allows room for new things, for transformation. And maybe the goodbye isn't even forever, but you can't know until you really say goodbye and mean it. In some cases, goodbye is really the end, and good riddance! For this assignment, say goodbye to all the things you need to let go of: bad habits, dead people, alive people, ex-boyfriends and girlfriends, self-destructive feelings and behaviors, jobs, projects, re-occuring thoughts, etc.

Write it as a simple list:

Goodbye Bill.

Goodbye wetting the bed.

Goodbye interrupting people when they are talking.

GOODBYE

by Eboni Powers

DEUCES 

Goodbye always being the considerate person (top left: Eboni's hand)

Goodbye having ups and downs with my weight

Goodbye staying in touch with everyone

Goodbye Leggacy father side

Goodbye frowns

Goodbye chocolate 

Goodbye spending

Goodbye understanding where a person is coming from

Goodbye trying to change people for the better

Goodbye being there for everyone that doesn’t support me

Goodbye/deuces! 

Sketchbook Assignment 7: Palette of colors (from project 4)

Mixing acrylic paint, make a grid out of the palette of colors you will use to paint the artist reconstruction in project 4. (extra instructions in class)

Sketchbook Assignment 4: Stamp from gum eraser

Create a small stamp out of a raw potato, foam, gum eraser, or linoleum block (speedball linoleum is easiest). Cut it out using an Xacto knife or linoleum cutting tools. Repeat this image in such a way that the sum of all the stamps creates another image (e.g. a school of fish). Use an ink pad or some acrylic paint for your color. 

Sketchbook Assignment 2: Upside down

Draw anything you want, but draw it upside down using ink. Twice. Make it messy, using textures from your ink splotch studies.

Sketchbook Exercises

Sketchbook Exercises

1. Enter the required process folio assignments per project. (include every self-evaluation)
2. Paste the checklist below into your sketchbook. Fulfill the following exercises outside of class. (some will correlate with project directly and will be worked on in class as noted). Number each exercise with the sketch # given.
3. Use your sketchbook for yourself! This is your book, not mine. I want you to enjoy it and make it interesting, exciting, and personal. 

Sketch #	Checklist	Sketchbook Assignments
1		Draw an image of your new handmade sketchbook! Paste in the instructions on how you built it. Flesh out these instructions with notes to yourself about what was difficult about making it for future reference.
2		Draw anything you want, but draw it upside down using ink. Twice. Make it messy, using textures from your ink splotch studies.
3		Create a Value Scale: Stack 2 rows of 9 - 1” square boxes in a row. On the top row, Shade in 9 boxes from black to white, with middle grey perfectly in the middle. Use 6B pencil for the darker half, and a 2B pencil for the lighter half. On the bottom row, create the same value scale by cross-hatching with the same pencils.
4		Create a small stamp out of a raw potato, foam, gum eraser, or linoleum block (speedball linoleum is easiest). Cut it out using an Xacto knife or linoleum cutting tools. Repeat this image in such a way that the sum of all the stamps creates another image (e.g. a school of fish). Use an ink pad or some acrylic paint for your color.
5		Cutout a partial image from a magazine, newspaper, or any printed material. Draw a continuation of the image. Try and create a sense of depth.
6		Create a color wheel (extra instructions in class)
7		Mixing acrylic paint, make a grid out of the palette of colors you will use to paint the artist reconstruction in project 4. (extra instructions in class)
8		Create a collage that shows how to focus in and emphasize a subject within a composition (check with instructor for examples)
9		Use one page to make a short comic about your first kiss, a trip to the emergency room, or a movie that you loved. OR take an assignment from www.learningtoloveyoumore.com and complete it.  Record your experience in photos and writing.
9		Build the thumbnails for your book project. Show each page layout sequentially as well as your process for building your page design. (extra instructions in clas)

Project: Recreation: Mapping: Theme- Rewind

Project 4: Color Reconstruction Project & Research

04-39 Small Fruit and Large Leaves 2004 18 x 24 1/2 inches Pastel

April 26, 2011

Margaret Nes

Embracing life’s ever changing climates, being free from complexity, intricacy, and division, Margaret Nes has discovered inspirations in the grains of the earth. Nes has accepted the marvels of life which have inspired all of her pastel paintings; her unique and creative style is usually inspired from beyond the limits of perception, where she discovers a sense of faith for art allowing her to keep going.

Rooted in the richness of culture, landscape and art, Paris, France was the birth place of Margaret Nes (1950), daughter of American Foreign Service professionals. Margaret’s artistic seed was planted in Paris, to be shortly watered after.

Margaret and family lived in several places in North Africa- including Egypt, Libya, and Morocco. Margaret developed the ability to view the indigenous aspect of earth’s architecture, and desert like landscape. Margaret was raised in a home that recognized the quality, magnitude, and significance of art. Photos, painting and other artistic works followed the family throughout their travels. Most of this art was created from the craftsmanship of Margaret’s mother who received the art from the maternal grandmother- a California photographer and painter. Margaret’s father’s side of the family also contributed to their collection.

Margaret moved with her aunt and uncle at 15 years of age to Maryland for boarding school. It was here that Margaret was introduced to pastels and the fundamentals of art. Visiting with her grandmother in California in 1968 Margaret planned to enroll in Boston University College of Fine Arts. Nes’ plans changed once she fell in love with California’s culture, values and morals that ran counter to those of the established society. Margaret discovered strong unbearable emotions at 17 year of age for singing, playing the guitar, travel and music, which still remain to be influential in Margaret’s life (Creevy 1999).

Margaret went with a group of her peers to New Mexico; here she connected with the cultures and traditions of the aged Hispanic and Native people who had maintained their societies. Margaret was comforted with the familiarities that reminded her of home in North Africa. Mountainous areas streamed the desert of north New Mexico. Traveling through villages Margaret’s eyes landed on the landscape that included adobe architecture, the excessively dry air and the light that was not distracted. Finding a home in the emerging hippie culture Nes moved to Lama Mountain, north of Taos, New Mexico, which became a suitable place for an artist and other enthusiast, where she lived for almost 30 years (Wildlife Art 2003).

Nes and husband Bob Aldo (a musician), their own two-story log home, that sat on top of a mountain bordered by the bountiful and brilliant landforms that created a serene environment. Full of curiosity and wonder, Nes was able to gather a passion that motivated her creative process through their luminous surroundings and the creation of their home, that Nes and husband Aldo crafted by hand.

Nes breaths life into her pastel paintings by captivating moments from her own personal journeys, Nes states that “it is her way to explore the physical world and her own internal world, to find where these meet in the universality of existence.” 

A six series collection titled Mother Vase was created by Nes, each vase in respect of her mother’s four daughters and two grandsons. The idea of the Mother Vase continuation began when Nes’ mother was dying and a friend brought over an odd shaped vase with flowers, these same flowers continued to blossom until her mothers passing. In recognition of Nes’ mother’s life, she designed a vase with symbolic hues of green against a blue background (The World & I 1995).

Nes’ work is attractive because of her relationship to the familiar, that reaches out and seizing her attention. Through her work, Nes is able to create seamless transitions; her paintings describe a different perspective of life’s simpler beauties. Nes captures this by using a wide range of subject matter- landscape, portraits, still life, and architecture.

At age 58, aesthetically Nes exposes herself, known for incorporating sculptural works, blended with the use of soft-edges, sumptuous curves, rooflines, angles, which are designed by mood and evolve into abstract forms. Her palette ranges from the richest and most luminous of hues to the most subtle and delicate of shades. Nes benefits consciously with the way she details her work in color. She uses red and green to create brightness that would not be obvious. Nes has the ability to control what the brain sees and uses complimentary colors that make the painting more brilliant and interesting, through the visual interest, dynamic range and texture.

Collections of Nes’ work can be found in the Wilder Nightingale Fine Art, Hahn Ross Gallery, Michael McCormick Gallery, and Dartmouth St. Gallery all located in New Mexico. Connect with the channels of the world’s matrix as Nes has- ascertain, share, relate, communicate beyond verbal language and as Nes would say “move, dance, live and love,” (Simone 1993).

 

Bibliography

Captivated by the Southwest. "Wildlife Art." September 2003.

Creevy, Bill. The Pastel Book. Watson-Guptill, 1999.

Simone, Ellis. Santa Fe Art. Magna: London, 1993.

Southwest Art . "The World & I." March 1995.

04-08 Turquoise Light Shaft 2004 20 1/2 x 15 1/4 inches Pastel

Giclee/Bright Buildings Limited Edition Giclee of 75 / 21 x 28 unframed  

Guitar on Stripes, pastel (no other information was provided)

Red Carport (no other information was provided)