TRANSFORMATIONSTRANSFORMATIONS

The world of reality has its limits; the The world of reality has its limits; the world of imagination is boundless. Not world of imagination is boundless. Not being able to enlarge the one, let us being able to enlarge the one, let us

contract the other.contract the other. Jean Jacques RousseauJean Jacques Rousseau

CreativityCreativityCreative Imagination is a interplay of several key Creative Imagination is a interplay of several key

functions:functions: Synthesis- the mind’s ability to form uniform Synthesis- the mind’s ability to form uniform

patterns out of chaotic inputpatterns out of chaotic input Simplification- ability to reduce complexities to Simplification- ability to reduce complexities to

basic elementsbasic elements Detachment- disassociation of left brain thinking Detachment- disassociation of left brain thinking

(logical) that allows insights to emerge from the (logical) that allows insights to emerge from the right brain thinking ( intuitive)right brain thinking ( intuitive)

Energizing- activating the mind towards making Energizing- activating the mind towards making new connections, reassociations, and new connections, reassociations, and modifications.modifications.

Creative ProcessCreative Process

Preparation- Preparation- Inquiry, ResearchInquiry, Research

Incubation- Incubation- Time to thinkTime to think

Illumination- Illumination- Application and Communication of IdeasApplication and Communication of Ideas

Verification- Verification- ReflectionReflection

Transformation: Operational Transformation: Operational TechniquesTechniques

Magnification: Magnification: The The "reconstruction" of a "reconstruction" of a subject on a much subject on a much larger scale than of the larger scale than of the original; for example, a original; for example, a pencil sharpener, eight pencil sharpener, eight feet high as a subject feet high as a subject for sculpture.for sculpture.

MinificationMinification Making an object appear Making an object appear

smaller. smaller. An image-An image-development strategy used development strategy used to decrease the apparent to decrease the apparent size of an image. The size of an image. The contrast between the large contrast between the large female figure and the tiny female figure and the tiny man expresses the artist's man expresses the artist's idea that the evil is not a idea that the evil is not a omnimpotent force greater omnimpotent force greater than ourselves--a force than ourselves--a force that is more powerful than that is more powerful than ourselves. But rather, evil ourselves. But rather, evil in in reality that miniscule, in in reality that miniscule, insipid character within our insipid character within our own mind. Perhaps the own mind. Perhaps the greedy selfish thought, the greedy selfish thought, the indifference, the envy, and indifference, the envy, and the desire to harm.the desire to harm.

MultiplicationMultiplication

Repeating images or Repeating images or forms within a forms within a composition, a grid composition, a grid structure-a structure-a kaleidoscopic pattern, kaleidoscopic pattern, in reflected images, et in reflected images, et cetera.cetera.

SubstitutionSubstitution

Changing the original Changing the original qualities of objects and qualities of objects and surfaces: a "soft" hone, surfaces: a "soft" hone, a "wooden" light bulb, a "wooden" light bulb, a "concrete" pillow, et a "concrete" pillow, et cetera.cetera.

ReversalsReversals Reversing colour, Reversing colour,

perspective, functions, perspective, functions, relative sizes and so relative sizes and so on; reversing the "laws on; reversing the "laws of nature," such as of nature," such as gravity, et cetera.gravity, et cetera.

FragmentationFragmentation Splitting or fragmenting Splitting or fragmenting

objects or images. The objects or images. The subject may be either subject may be either partially developed, partially developed, fragmented, or fragmented, or dismembered. Splitting dismembered. Splitting planes, as in Cubist art.planes, as in Cubist art.

Partial DelineationPartial Delineation

Drawing carving, or Drawing carving, or presenting only a presenting only a portion of an image in portion of an image in its finished state; its finished state; depicting an image depicting an image emerging or becoming emerging or becoming engulfed in its engulfed in its environment- environment- Michelangelo's ‘Slaves’ Michelangelo's ‘Slaves’ for example.for example.

DistortionDistortion

Changing an object or Changing an object or image by deformation, image by deformation, distortion, or distortion, or progressive states of progressive states of degradation; burned, degradation; burned, dissolved, dissolved, decomposed, crushed, decomposed, crushed, cracked, et ceteracracked, et cetera

DisguisingDisguising

The use of latent or The use of latent or hidden images; hidden images; obscuring the qualities obscuring the qualities by wrapping, masking by wrapping, masking or camouflaging.or camouflaging.

MetamorphosisMetamorphosis

Depicting images or Depicting images or forms in progressive forms in progressive states of change.states of change.

Salvador Dali - Metamorphosis Of Narcissus

TransmutatonTransmutaton

A radical form of A radical form of metamorphosis; metamorphosis; creating Jekyll-and-creating Jekyll-and-Hyde transformations, Hyde transformations, mutations, alterations, mutations, alterations, hybridizations, re-hybridizations, re-materializations.materializations.

SimultaneitySimultaneity Presenting several views or Presenting several views or

time modes simultaneously; time modes simultaneously; for example, simultaneous for example, simultaneous presentations of side, top, presentations of side, top, back, and bottom views, as back, and bottom views, as in Cubist painting; temporal in Cubist painting; temporal dislocations, such as the dislocations, such as the simultaneous presentation of simultaneous presentation of childhood and adult childhood and adult memories or various time-memories or various time-space situations; space situations; simultaneous presentation of simultaneous presentation of different sensory different sensory experiencesexperiences

Soft FocusSoft Focus

Changing focus of all Changing focus of all or parts of an image; or parts of an image; blurred edges or con- blurred edges or con- tour lines; tour lines; photographic images photographic images blurred by movement blurred by movement or panning.or panning.

Monet- Houses of Parliament, Sunset

TransferenceTransference The intrusion of an object The intrusion of an object

or element into a space or or element into a space or environment not normally environment not normally its own; the displacement its own; the displacement of an object or elements of an object or elements into a new situation. For into a new situation. For example, a huge egg example, a huge egg towering above the towering above the skyscrapers of New York skyscrapers of New York City's skyline.City's skyline.

Unexpected combinations

JuxtapositionJuxtaposition juxtapositionjuxtaposition,, juxtapose juxtapose - -

The state or position of being The state or position of being placed close together or side placed close together or side by side, so as to permit by side, so as to permit comparison or contrast. comparison or contrast.

Robert Minor produced this Robert Minor produced this drawing as an editorial drawing as an editorial cartoon, commenting on a cartoon, commenting on a 1916 steel workers' strike. He 1916 steel workers' strike. He emphasized the thrust of the emphasized the thrust of the soldier's bayonet by drawing soldier's bayonet by drawing its direction as the its direction as the counterpoint to that of the counterpoint to that of the worker's body. The grace of worker's body. The grace of this juxtaposition results in our this juxtaposition results in our feeling all the more shock at feeling all the more shock at the sight of the pointed blade. the sight of the pointed blade.

http://www.jssgallery.org/Other_Artists/Manet/Lunch_on_the_Grass.htm

Collapsing VolumeCollapsing Volume (or vice-versa: expanding (or vice-versa: expanding

two-dimensional forms into two-dimensional forms into three- dimensional three- dimensional objects): Rendering three-objects): Rendering three-dimensional subjects to dimensional subjects to appear flat or transparent, appear flat or transparent, through the use of contour through the use of contour line, silhouette, transparent line, silhouette, transparent planes, et cetera. And the planes, et cetera. And the reverse: a well-known reverse: a well-known painting interpreted as a painting interpreted as a three-dimensional form.three-dimensional form.

AnimationAnimation Inanimate subjects can be Inanimate subjects can be

made "to come to life": made "to come to life": organic or in-organic organic or in-organic subjects can be given subjects can be given human qualities. Functions human qualities. Functions can also be implied can also be implied through image repetition through image repetition and progression; for and progression; for example, overlapping example, overlapping silhouettes of scissors in silhouettes of scissors in various open and closed various open and closed positions to suggest positions to suggest "cutting.""cutting."

Progressive Image BreakdownProgressive Image Breakdown Subjecting an image to Subjecting an image to

treatment that tends to treatment that tends to deteriorate, obscure, or deteriorate, obscure, or progressively break down progressively break down to simple shapes or to simple shapes or patterns; using translucent patterns; using translucent collage overlays to collage overlays to obscure images, obscure images, sequential photocopying to sequential photocopying to break down detail; gridding break down detail; gridding and transforming; and transforming; computer serialization, etc.computer serialization, etc.

Positive-Negative ReversalPositive-Negative Reversal : : Using the Using the

photographic negative photographic negative rather tprint (or rather tprint (or both) both) in in a composition; using a composition; using female molds or female molds or concave concave shapes shapes abstract figurative abstract figurative sculpture (as in the sculpture (as in the work of Alexander work of Alexander Archipenko '- Cubist Archipenko '- Cubist sculptors).sculptors).

Project-Project- We all have issuesWe all have issuesPart 1- ISSUES-Pick an issue that you are concerned about. It can be social, political, environmental, personal, etc.. Write a short paragraph explaining the issue and why you are concerned about it. This issue has to be in keeping with the school’s policies of no pro-violence, pro-drugs, hate literature etc. Collect pictures from magazines, newspapers, and text from the computer or print sources. I prefer colour images so you learn how colour prints in tonal values ( let’s say at least 50% must be colour).

Part 2- COLLAGE (1-3 class periods)- A collage is an effective tool to get you started. The collage allows you to manipulate your images using the PRINCIPLES and ELEMENTS of design while paying attention to the concept of light and dark contrast.

Also think of the Transformation Techniques we just learned and try to incorporate at least one technique in your collage- if you are unable to incorporate one of these techniques in your collage you can do so in the next drawing step of the assignment.

As you are assembling your collage you must be sensitive to how the various colour values translate into a monochromatic scheme- namely, tones of black and white. I will be looking for a lot of tonal variety in your final work.

Keep in mind the following criteria:•A minimum of 3 elements and/or principles (& transformations)•Glued on to copy paper in-between 8 ½” x 11” to 11” x 17” (you may want to have it the same proportions as the final Mayfair Paper)•Images which support your issue•Text may be incorporated•Images should demonstrate a relationship to one another•Images should at least touch or extend beyond two of the edges (they’ll be trimmed)

Part 3- Light and Dark Textural Drawing (10 class periods)The collages are the RESOURCE MATERIAL for your drawing. Before you start your drawing you must see me with your collage. They will guide you but are no means a rigid template. Think ahead about how you may want to manipulate these images, using the transformation techniques explained in class, to get your message across. Make an effort to change something which you feel might enhance the final version.

The following are some suggestions:Using the outline/contour of an element, create a pattern insteadChanging the size of the elementChanging the location of an element, or part of the elementDrawing a section in a stylized fashionDarken or lighten some values

You may choose other techniques. What is important is that you extend the collage in some manner to strengthen the composition. Use your art criticism skills to improve your collage. You are to transfer the collage to your Mayfair by using the grid method, make sure your grid lines are very ligh (2H pencil) to the Mayfair paper by using a grid pattern.

Steps:• Photocopy collage• Consider and execute any necessary changes• Superimpose a grid over top of your collage in order to help you

transpose it onto your paper’• Draw- medium –drawing pencils ie. HB, 3B, 5B, 6B, black and white

prismacolours, charcoal; support- 26” x 20” Mayfair paper.