The Artistic Process

I have a degree in Architecture, and about a year before I graduated, I realized I was not suited to the field. I’m a draftsman and a technical artist, not an Artist. A large part of why I love drawing Heraldry is that it lets me use my skills as a designer, and I can trace any art that I cannot draw on my own.

Drawing Heraldry has helped me become more of a graphic designer and an artist. After five years as an Art Herald, I’m starting to understand how an Artist thinks and Designs.

In college, one of the concepts that confused me was the “Artistic Process.” Teachers kept asking to see my Process, and I’d be confused and explain that I was trying to design spaces that would best fit the needs of whoever was living or working there. As I was designing this prop, a wooden pallet to reflect my status as the new Pallet Herald, I finally wrapped my head around what the Artistic Process is.

Process is how the design changes and adapts as the Art is created.

Palletoverlap

My first step was finding clip art of an artist’s pallet, and printing it on a full sheet of paper. I cut out the shape and played with it before deciding it was too small to display my badge and the paint blobs. So I adjusted the size and shape of the pallet, making sure the grip indent and hole for my thumb remained the same.

This image below shows how I was played with the pallet size. The thin blue line is the size of a list tree shield. I used my flexible curve to increase the size of the pallet by tracing the original print out, and then putting the curve on the outer edge. I did this three times.

I used D-rings to see how much space I would need for each paint blob. D-rings are leatherworking hardware, and I had a bag of them on hand. They were about the right size for my paint blobs, so I used them as a layout tool.
PaintLocations (2)

WherePaint1

Once I had the spacing set, I used a leatherworking O-ring to draw circles for the paint blobs. I also folded the paper design in half, so I could be sure the hammer that’s my Personal Badge would be properly centered on the pallet.

This is an example of how the greatest difference between looking professional and slipshod is planning. Small things like folding a paper in half to find the center, or laying out designs on graph paper literally make the difference between a thing looking professional instead of slipshod. This is the reason I have a tag called graph paper solves everything.

WherePaint2

After I traced the paint blob placement in pencil, I had the challenge of not making them look like perfect circles. Making things look irregular is trickier that it appears. After some fiddling, I decided to just make little circles with my brush until I had blobs of color. After the paint was dry, I took a white eraser and carefully removed my pencil lines.

Each of the colors on my pallet are used in Heraldry: Gules [red], Argent [white], Or [gold], Vert [green], Azure [blue], Purpure [purple], and Sable [black]. Pink, orange, and brown are almost never used in Heraldry. Grey and silver are both considered Argent [white].

WhatAboutWords

After I painted my blobs and my hammer badge, I took a step back and really looked at the pallet. When I had only put the blobs of paint on my pallet, the rest of the wood was bare, and the unused space was not problematic. But after I added my hammer, the edge of the pallet looked bare and out of place.

This is where the Artistic Process comes in. I saw the empty space standing out, so I used my flexible curve to draw some guidelines for adding text. I lettered the pallet in the font I’ve created, which references the Norse Futhark Runes while still being readable Roman characters.

PaintMyself

Frack! Paint is supposed to go on the pallet, not on my hands! This is why painters wear smocks.

As I was putting the letters on my pallet, I realized “Pallet Herald – of the East Kingdom” was passive voice. I changed my pencil lettering to “Pallet Herald – Kingdom of the East.”

After the painting was done, I put a coat of polyurethane over the entire pallet to seal it. Because I am the klutz who has dropped and entire horn of coffee over everything.

Final

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Organizing and Presenting Arts and Sciences Research

Introduction

This class will cover six steps on how to gather, organize, and lay out Arts and Sciences presentations so viewers understand their research, process, and final product. Step one with cover gathering research materials, with suggestions of what to include. Step two will cover how to assemble images and text. Steps three and four focus on how to plan a layout using the Golden Rectangle. The final steps cover how to adjust the layout, and edit finalize the display.

Step 1: Gather Research Materials

Research is not a linear process. A scholar may start with a single article or book, and have their research encompass many volumes before a project is finished. The most important thing to present is the reference images that inspired the work.

When deciding what books or articles to include in the presentation, try the note card approach. Place all of the materials on a table, and write a sentence or reference point on an index card or sticky note for every piece of research that relates to the final product. The books with the most notes should be included.

Be careful with the notes. Having too much research can be overwhelming for viewers. Try to limit your project’s references to no more than three or four sources. Keep a full bibliography page on hand if additional information is requested.

Step 2: Gathering and Assembling Images

“A picture speaks a thousand words” is especially true of research. If the presentation is a piece of clothing, show the inspirational renaissance painting or the ancient garment from a peat bog. Viewers can easily see how close the final product is to the source materials. This is the time to use color print-outs or scans.

Not everything done in the past can be re-created in modern times. Lead was a common element used in paint, make-up, and feast gear in period. Modern science has demonstrated the dangers of lead, and other metals are substituted in its place. Note how safety, availability, and expense affected the final product.

Take pictures of the work-in-progress. If the final product is a painting, show the outline sketches, and how it looked as each layer was added. If the product is a garment, show how it as pinned. These details can help someone else create their own version.

Finally, don’t be afraid to show mistakes. If a thing was incorrectly measured or cut, note that, and show the correction. Document the process.

Step 3: Using the Golden Rectangle

The Golden Rectangle is a mathematical ratio found in nature and the proportions of the human body. This ratio is seen daily in 8.5 x 11” pieces of paper, among other things. 1

Ratios

The ratios of the golden rectangle determine the sizes of photographs, art prints, and most frame sizes available in any store.

Applying the golden ratio to larger or smaller layouts than 8.5 x 11” requires some proportional math. This process is called ‘cross multiply and divide,’ and can be used for finding an unknown length for either the larger or the smaller side.

XmultiplyStep 4: Laying out Your Research

The Golden Rectangle is more of a guideline than an actual rule. A thumbnail sketch showing relative locations is more important. Thumbnail sketches are quick drawings made in seconds. Make four or five thumbnails. The images below show an original design, its thumbnail sketch rearrangement, and the resulting information board.

Thumbnails.jpg

Step 5: Putting it All Together1page

This is an example of a single-sheet thumbnail sketch. The resulting board could be 11x17” or 24x36”. Each piece of information is surrounded by a box drawn with a dashed line to show how much room it needs.

This type of design is similar to a magazine page. It has a title, supporting text, and one or two of the most important points repeated in a larger font. Images are interspersed above and around the text.

The 10-foot rule is the most important part of board layout. Place your text and images on the board, walk about ten feet away, and look at the result. Details you miss when working up close become apparent from farther away.

Spread

A folded display is more versatile, and can be placed on a table instead of relying on a wall for support. Folded displays are more complicated to plan because the thumbnail sketches need to show both halves, but they can incorporate side-by-side comparisons easily.

Double-sided tape or spray adhesive are the best ways to attach printouts to boards. Single sided tape can stick the boards together during transport, and should only be used for single boards.

Step 6: Less is More: Editing

Stephen King’s advice for editing is that each draft should contain 10% fewer words. Write the documentation, have a good night’s sleep, and remove unnecessary words the next day. Focus on making project’s concept easy to understand. Understanding leads to engagement. Engaged viewers look for more information, and will appreciate the full depth of the project.

Conclusion

Organizing Arts and Sciences presentations is a complex, multi-step process. It requires assembling reference and process images and text that tell a story without overwhelming the viewer.

The first step requires gathering research materials, and choosing which sources to include. Next, images and descriptive text are assembled. The third and fourth steps are layout considerations, using the Golden Rectangle as a guideline. The final two steps involve looking at the almost complete project, and choosing how to streamline the information presented.

Suggested Reading

Architecture: Form, Space, and Order (2nd Edition) by Francis D.K. Ching ISBN: 978-0471286165

This book is useful because every page has a stunning visual layout. The second edition is out of date and has a lower price.

1 Images scanned from Architecture: Form, Space, and Order.