Creative Notebook

This Stephanie Miller, Shoe Hibiscus, on paper represents one of my favorite subjects - shoes! The thick black and white stripes, representative of a zebra that form diagonal lines of action around the border of work also appear as a pattern on the shoe itself. Thus this work is able to capture the essence of action through the use of lines - as the shoe and the animal are generally in constant motion. The thinner rhythmic sweeps and curls of lines that surround the shoe assist in accentuating the bright red Hibiscus flower that serves as both a focal point and a dramatic contrast of color.

Activity # 4

In the following easy I will explore the basic design principles found within two works of Paul Gauguin as explored previously in my Online Museum Visit. The variety of “The Bathers”, 1897 Oil on canvas, and “Fatata te Miti” (By the Sea), 1892 Oil on canvas, instantly inclined me to further explore not only his works but also him personally. Although I am unfamiliar with the works of others in areas of tropical and indigenous populations, the ability to be exposed to visual representations of “brown” figures was exciting and somewhat self-affirming.

The painting, “Bathers”, has a visually apparent element of unity within the design as the harmonious tropical scene unfolds to reveal three figures bathing at the sea line. The rhythm of the colors and landscape allows this work to be easily admired. The strong emphasis placed on the three figures as the hues of their sun browned skin tones appear to be an independent color within itself not represented anywhere else within the composition. Subtle contour lines that curve draw them out even further as the images of proportion that generally represent the soft curves of the female sex. In addition the scale of the work is so representative of a tropical paradise that the tree trunks explode from the soil into heights unable to be captured within the bounds of a single canvas. Lastly, a lone tree forming a central vertical line within the work furthermore anchors the symmetrical balance within this design.

In the painting, “Fatata te Miti” (By the Sea), the composition seems to readily embrace the concept of subordination as more than half of the work is composed of dark values which inevitably create hidden spaces and encourage the eyes to venture into the deep vastness of the forest. The asymmetrical balance of this design is also apparent as the figures are weighted very heavily in the front of the work only to lighten as they near the rear as to call attention to the distance between the figures while encouraging viewers to explore every aspect of the composition in hopes of revealing other participants in the unfolding scene. The rear figure creates a central focal point in this design as his proximity to the other figures produces a rhythm of color patterns that complete a triangular area. The emphasis of which the sea of vibrant pinks and purples crash against the shoreline adds the splash of brilliant tropical colors that is needed to anchor and soften this energetic work. The ability of the design to embody both the scale and the balance of the undeveloped land with just the appearance of a unique tree to the left and few flower blossoms throughout the design is wondrous.

Activity #3 (Creative Notebook)


The two main balances that are described within the text are symmetrical balance and asymmetrical balance. The term balance is a measure of visual weight within a composition. In any given work, symmetrical and asymmetrical balance are considered one of the most basic and fundamental aspects within the core principles of design. The former, symmetrical balance or formal balance, offers an apparent or implicit line of vertical symmetry within a work. Thus the work may be considered a mirror image or just appear congruent as in Bergognone "The Assumption of the Virgin" 1936 Oil and gold on wood.




The latter, asymmetrical balance or informal balance, does not contain a true line of symmetry, although it allows feelings of equality and thus satisfies the desire for a balanced work as in Hendrick Avercamp, "Scene with a Tower to the Left" 1620 Pen with brown ink with watercolor and black chalk on laid paper.

Activity #2: Write About It!


Both Warm and cool colors are used to invoke the feelings of island paradise. At the bottom of this Paul Gauguin work titled, Fatata te Miti (By the Sea), 1892, oil on canvas, is an apparent use of monochromatic colors as red ultimately flows into blue- violet – all of which form a shoreline and assist in balancing the affects of light and dark in this wonderous picture plane. After such a smooth progression of color, the once controversial black is introduced and successfully forms the contour lines of the two female figures that are all too eager to descend into the flourishing sea. The diagonal line subsequently created with black, gradually allows another figure to be uncovered in the rear of the scene. The bright red around the waist exposes a more masculine shape as the brown torso fades into a desired darkness. It is apparent that the figure in the background is not accompanying the female figures – but is off to enjoy another type of recreational activity in isolation. The artists’ use of black is able to play on the use of negative shapes and allow ones imagination to thrive - as to question what other wonders may be uncovered.



Activity #2: Write About It!

In the Paul Gauguin work titled, The Bathers, 1897, oil on canvas - I was immediately drawn to the brilliant and vibrant colors within the painting. This open palette work is truly eye catching. This bathing scene of four figures ranging from fully clothed to nude immediately draws ones eyes to the central vertical lines of a tree as it almost immediately divides the picture in a two-panel before and after scene. The intensity of the use of complementary colors also allows the work to fully express the apparent lush landscape and the beauty of its indigenous inhabitants. The use of light also assists in allowing the contour lines of the central figures to be so defined as to relay their feminine shapes and mannerisms. The positive shapes used for the four figures are also able to successfully balance the negative shapes of the vegetation on the backdrop. The diagonal line that makes up the flowing river from the upper left of the picture and pooling in the center with a slight incline, create an atmosphere of tranquil action. The water source is able to embody a central role in maintaining balance between its human, animal and its vegetative patrons.

Week Two - Activity #1: "Online Museum Visit"

Paul Gaugin, The Bathers, 1897, oil on canvas

Paul Gaugin, Fatata te Miti (By the Sea), 1892, oil on canvas