1. Promptbook Project Concept Paper

2. Concept Paper Overview There are 4 parts to this paper: author’s intent or theme, visual imagery, point of view, and style and form. Please cross out section 4: Execution on your promptbook assignment sheet. Minimum of 1 paragraph per section. To do this well some research about your play may be required. 12 point font, Calibri or Times New Roman, Typed and Double Spaced I prefer GoogleDocs, so you, and I, have easy access to it because you can share it with me: bbyron@grantbulldogs.org PROOFREAD! BE CREATIVE! Don’t forget about Given Circumstances: Remember all decisions should stem directly from the play Due: 3/7 – along with the rest of your promptbook

3. Instructions Author’s Intent or Theme: Include a statement of the philosophy or universal truth about life (theme of your play). It may not be stated out right in the play, but it may be revealed through observations made by various characters throughout the play. This is a one paragraph minimum which explains the theme or central idea of the play.

4. Before you begin paragraph 2… You need to learn (or review) the Elements and Principles of Design You need to learn (or review) the Elements and Principles of Design Elements: Color, Value, Form, Shape, Line, Space, and Texture Elements: Color, Value, Form, Shape, Line, Space, and Texture Principles: Balance, Emphasis, Rhythm/Movement, Contrast, Pattern, Proportion, and Unity Principles: Balance, Emphasis, Rhythm/Movement, Contrast, Pattern, Proportion, and Unity

5. The Elements and Principles of Art

6. The Elements of Art The building blocks or ingredients of art.

7. LINE A mark with length and direction. A continuous mark made on a surface by a moving point. Ansel AdamsGustave Caillebotte

8. Pablo Picasso

9. COLORCOLORCOLORCOLOR Consists of Hue (another word for color), Intensity (brightness) and Value (lightness or darkness). Henri Matisse Alexander Calder

10. VALUEVALUEVALUEVALUE The lightness or darkness of a color. MC Escher Pablo Picasso

11. SHAPE An enclosed area defined and determined by other art elements; 2- dimensional. Joan Miro

12. Gustave Caillebotte

13. FORMFORM A 3-dimensional object; or something in a 2-dimensional artwork that appears to be 3-dimensional. For example, a triangle, which is 2-dimensional, is a shape, but a pyramid, which is 3-dimensional, is a form. Jean Arp Lucien Freud

14. Robert Mapplethorpe Claude Monet S P A C E The distance or area between, around, above, below, or within things. Positive (filled with something) and Negative (empty areas). Foreground, Middleground and Background (creates DEPTH)

15. TEXTURE The surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be actual or implied.

16. Cecil Buller

17. The Principles of Art What we use to organize the Elements of Art, or the tools to make art.

18. BALANCEBALANCEBALANCEBALANCE The way the elements are arranged to create a feeling of stability in a work. Alexander Calder

19. Symmetrical Balance The parts of an image are organized so that one side mirrors the other. Leonardo DaVinci

20. Asymmetrical Balance When one side of a composition does not reflect the design of the other. James Whistler

21. EMPH A SIS The focal point of an image, or when one area or thing stand out the most. Jim DineGustav Klimt

22. CONTRAST A large difference between two things to create interest and tension. Ansel Adams Salvador Dali

23. RHYTHM RHYTHM RHYTHM RHYTHM RHYTHM RHYTHM and MOVEMENT A regular repetition of elements to produce the look and feel of movement. Marcel Duchamp

24. Vincent VanGogh

25. PATTERN and Repetition Repetition of a design. Gustav Klimt

26. VARIETYVARIETYVARIETYVARIETY The use of differences and change to increase the visual interest of the work. Marc Chagall

27. PROPORTIONPROPORTIONPROPORTIONPROPORTION The comparative relationship of one part to another with respect to size, quantity, or degree; SCALE. Gustave Caillebotte

28. UNITY When all the elements and principles work together to create a pleasing image. Johannes Vermeer

29. Instructions Visual Imagery: As you read the play try to see the play being performed. Look for images that communicate emotions or support the theme. Many designers and directors call this the “visual metaphor” for the play. Others prefer to describe motifs for the design. These images usually connect to key moments in the action of the play. They will create atmosphere and enhance mood. They will have a relationship with lighting and movement or the lack of movement. This is a one paragraph minimum which describes the images or visual effects.

30. Instructions Point of View: This paragraph becomes your justification for your artistic choices. It is an explanation of your reasons for selecting the images and the theme. It is the “why” behind your design choices. It tells how your design reinforces the theme or how it relates to the author’s intent. In other words, it should answer the question: “How do the choices you made support the Given Circumstances?”

31. Instructions Style and Form: This paragraph discusses the preferred style of the design. It answers the question, “Whose eyes” is the audience seeing the world of the play through? It establishes the degree of reality in the visual images as well as communicates time, place, characterization, action, etc. This is where you actually discuss the concept you have: realism, period, abstract, minimalistic, etc.

32. Note This will require research as you “search” for your concept. The search begins with reading the play several times. The search should be influenced by your personal taste, background, experience, etc. Be willing to explore many art forms and mediums. Visit/research art galleries, libraries, historic buildings, and architecturally interesting buildings as well as theatrical events and concerts in a variety of venues. Find ways to soak up atmosphere, mood, etc. as you observe the Elements and Principles of Design. You can do a lot of this research online!! You can also look at lots of set and light designers’ portfolios online.