TRANSFORMATIONS The world of reality has its limits; the world of imagination is boundless. Not being able to enlarge the one, let us contract the other. Jean Jacques Rousseau Jean Jacques Rousseau

Creativity Creative Imagination is a interplay of several key functions:  Synthesis- the mind’s ability to form uniform patterns out of chaotic input  Simplification- ability to reduce complexities to basic elements  Detachment- disassociation of left brain thinking (logical) that allows insights to emerge from the right brain thinking ( intuitive)  Energizing- activating the mind towards making new connections, reassociations, and modifications.

Creative Process  Preparation- Inquiry, Research  Incubation- Time to think  Illumination- Application and Communication of Ideas  Verification- Reflection

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

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

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

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

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

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

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

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

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

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

Salvador Dali - Metamorphosis Of Narcissus

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

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

Soft Focus  Changing focus of all or parts of an image; blurred edges or con- tour lines; photographic images blurred by movement or panning. Monet- Houses of Parliament, Sunset

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

Unexpected combinations

Juxtaposition  juxtaposition, juxtapose - The state or position of being placed close together or side by side, so as to permit comparison or contrast.  Robert Minor produced this drawing as an editorial cartoon, commenting on a 1916 steel workers' strike. He emphasized the thrust of the soldier's bayonet by drawing its direction as the counterpoint to that of the worker's body. The grace of this juxtaposition results in our feeling all the more shock at the sight of the pointed blade.

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

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

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

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

Project- We all have issues Part 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 instead Changing the size of the element Changing the location of an element, or part of the element Drawing a section in a stylized fashion Darken 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.