This document contains Roman La'Voy Wood's 2-D design portfolio summarizing various projects exploring fundamental design principles including line, shape, color, composition and texture. The portfolio documents experiments with techniques like contour line drawing, compositional organization formats, Notan and paper cut book art, color theory exercises with primary/secondary/analogous colors and color mixing, and a pop-up art piece exploring cool and warm color movement. The pieces were created using materials like graphite, markers, paper, paint and knives to demonstrate Wood's understanding of 2D design concepts.
How to isolate shapes and use a notan study to plan a painting. It will help you assess shapes and values and add impact to your painting. This slideshow demonstrates how to prepare a notan study in two values.
How to isolate shapes and use a notan study to plan a painting. It will help you assess shapes and values and add impact to your painting. This slideshow demonstrates how to prepare a notan study in two values.
This presentation discusses shape, it's definition and its different forms. We put shape into an artistic context by discussing multiple artists who use shape as an integral part of their work.
A core curriculum in the visual arts incorporating lessons, examples, and activities for students to learn the fundamentals in the elements and principles of art.
This presentation discusses shape, it's definition and its different forms. We put shape into an artistic context by discussing multiple artists who use shape as an integral part of their work.
A core curriculum in the visual arts incorporating lessons, examples, and activities for students to learn the fundamentals in the elements and principles of art.
Example Artist Statements Randy BoltonWorking wit.docxcravennichole326
Example Artist Statements
Randy Bolton
Working with representational images that are singular, paired, or grouped
together to form abbreviated pictorial allegories or narratives, Bolton’s screenprints
employ a kind of visual metaphoric language that is familiar, direct, and accessible
on the surface, but one that is layered to have a more subversive subtext that is rich
in double-meanings and ambiguities. Bolton’s recent screenprints are based
primarily on photographic or documentary evidence – from photos taken on his
iPhone of rather ordinary or quotidian subject matter – the kind of forlorn-looking
things that are seen and observed in the “real” world, which are then digitally
reworked and reassembled into a singular or multi-panel format to create open-
ended, associative visual narratives. Bolton’s screenprints are made using a 4-color
separation process and printed by hand in very limited editions of 10 or less, most
often on 22” x 30” Rives BFK paper.
Jennifer D Anderson
There is something about me that makes me wonder about the
imperceptible quality of stars in the noonday sun, what forces hold
clouds up in the sky, and what arranges the sundry of the universe. This
work is about the relationship of these and many other unknown things
and a faith in their existence that is strong enough to try to visualize and
recreate them. It is about working towards understanding in both a
tangible physical way and a subtler spiritual one.
Through a progressive buildup of graphite, my hand delicately asserts
itself over photographs I have taken of the sky over my home and during
my travels. Drawing is, to me, a loving process of focused attention and
deliberate mark making as well as a meditative means of creating that
reflects my visceral energies into the finished work through many hours
of prolonged touch. The work then contains within it an intersection of
humanity and nature, as well as a vast sense of intrinsic history.
I layer imagine upon imagine, skin on top of a portrait, lace below an x-
ray, toys with old age, a variety of faces. I layer photographs I have taken,
ones I have found, handwritten notes and medical diagrams. I layer to
reflect how human identity is a composite of stories, memories,
information, physical sensations, as well as the mechanisms that make
one human.
I adhere whisper thin sheets of paper together until they are inseparable. I
adhere to create images with a three-dimensional depth as one layer is
seen through another and another. I adhere because we are
amalgamation, complex and nuanced our identity includes the physical,
spiritual, past and present – one part cannot be removed from the rest.
I contrast, male and female, beauty and horror, skin and bone, childhood
and senility. I contrast to reflect the richness of the human experience and
our dualities. I contrast front and back to let the curious viewer see more,
to express how w.
1. THE DESIGN
NOTEBOOK2-D design portfolio of Roman La’Voy Wood
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My study of the fundamental relationships and principles of
2-D design; an introduction to design, color elements and their
relationships in the visual expression of ideas and concepts.
2. Measurement: Point, Line & Frame.
Continuous contour line field drawing
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As the repetition of lines between points begin to increase, they will develop a surface which then can take on the form of a
structure, presenting a visual form that is either abstract or multidimensional. This is also referred to as picture plane.
Graphite pencils, black thin and thick Sharpie. Bristol. 2015
Roman L. Wood
3. Compositional organization
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In this project I studied and created a variety of
compositional formats. These formats are spatial
organizations and relationships. Every physical element
has some sort of compositional format which is its structural
foundation. Organizational formats that I specifically
experimented with was cluster, grid, centralized, linear and
radial. The spatial relationships were space within a space,
interlocking spaces, adjacent spaces, and spaces linked by a
common space.
X-Acto knife, Canson paper, Adobe Illustrator. 2015
Roman L. Wood
4. 2-d Shape and composition
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During this project I was challenged to create a traditional
Notan composition; a purely black and white form or image
that could reveal two different images or scenes. While
drawing, I found myself having to make a mental center line
on the bristol board where my mind could switch visual modes,
creating a new outline that completely opposed the image or
form it started from. By doing this, I was successfully able to
bring about the effect of movement, where the eyes transition
from one to another and also making it harder to view
the image as a whole. I believe this is where the tension is,
fighting to see both images but naturally or almost unwillingly
jumping to either one or the other.
X-Acto knife, Canson paper, bristol. 2015
Roman L. Wood
5. 2-d Shape and composition: In The Beginning/Children’s book
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This is another project using Notan art. I created a paper-cut children’s book that tells the story of Creation. This book
was intended primarily for infants because of their developing brains and eye site, only being able to see 8 to 12 inches
away and only being able to focus on high contrast imagery that includes black, white and red. I published the book and
now have it for sale in a few local Los Angeles children’s book stores and on-line. www.whatthefam.com/books.
X-Acto knife, Canson paper, Adobe Illustrator. 2015
Roman L. Wood
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The story is told through keywords in order help early readers with pronunciation and also using their imagination to fill in the gaps.
Roman L. Wood
7. -
The text of each scene takes on the characteristics of the theme through color, format and size. It also compliments the form and movement of
the Notan artwork with it’s own forms and movements.
Roman L. Wood
8. Shape, space and Texture:
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In this section I covered shape, space and texture. I began by creating black and white, positive and negative spaces that displayed
movement. Next, I experimented with compositions that demonstrated relationships with primary and abstract shapes, designing
shapes that demonstrated either movement or stability. I then went on to experiment with symmetrical and asymmetrical or static and
dynamic shapes and spaces. Lastly, I covered visual and tactile texture by creating a scale of visual textures and then actual physical
textures with achromatic values, light to dark. With this scale, I textured one of the enlarged black and white designs.
X-Acto knife, bristol, Carson paper, magazine clippings of visual textures, variety of fabric textures, glue and double sided tape. 2015.
Roman L. Wood
9. Color Wheel Composition:
Achromatic and Prismatic:
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This color wheel composition demonstrates achromatic by mixing a variety amounts of black and white paints to create squares, when
done correctly and put together this creates a range from black through gray on into white. The second piece demonstrates the basic
understanding of prismatic colors by mixing paints to create secondary and tertiary colors. The primary colors of red, yellow and blue is
what I started with, and then arranged them in a radial form according to their prism color order.
X-Acto knife, bristol, acrylic gouache, double sided tape. 2015.
Roman L. Wood
10. Analogous color: Analogous Hues:
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In this section I covered analogous hues. I had worked my way through primary colors,
secondary colors and tertiary colors. Each color in all three groups has tints and shades,
which is either a lightening of whites or darkening using blacks. There are a large
variety of hues that scale between black and white of each color. In this project, I chose
three colors that are next to each other in the color wheel and created 3 squares of these
colors with two tints to the left and two shades to the right. After this, I took the colors I
had made and created a piece of art.
X-Acto knife, bristol, acrylic gouache, glue and double sided tape. 2015.
Roman L. Wood
11. Color Extension: Complementary Contrast:
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In this piece I am exploring complementary colors. Each complementary color contains
primary and secondary colors. When the complementary colors are contrasted in-between,
we get chromatic grays, which are much more rich and vibrant than monochromatic grays
we are used too. I started with 3 sets of complementary colors and mixed then carefully to
make a chromatic gray that was then used as a shade to blend into the parent colors. After
this, I developed a piece of art using one of the complementary color swatch sets.
X-Acto knife, bristol, acrylic gouache, glue and double sided tape. 2015.
Roman L. Wood
12. Cool and Warm Movement:
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On this project I created a series of simple paper pop ups with moving and folding elements
that also revealed some color design sequences that I learned in previous projects. The colors
range from hot to cold and the theme is a cross between 2-bit video games and bold sans
serif typeface. You can watch the 60 second action video here on YouTube.
X-Acto knife, bristol, Carson paper, acrylic gouache, glue and double sided tape. 2015.
Roman L. Wood