Chuck Close: A Systematic Approach to Portraiture

In this collage portrait of Phillip Glass, titled Phillip, by Chuck Close, one can see an overall structure of tonal values, whereby the artist successfully employs a full range in scale of white-to-black. Notice how values are placed according to similarity and proximity, and it is this carefully selected combination that makes it possible to render the portrait. Also, see how significant the grid system is in this piece, with incremental units evenly divided.

In order to create such a rendered composition, one must acutely observe the subtle shifts in light and shadow, form and volume. It is an organized, laborious, and systematic approach to constructing an image, and relies on the artist's ability to maintain extreme focus at every stage of the execution.

This can be seen in another Chuck Close example of a portrait, titled Georgia, which is constructed of handmade paper. Evident, as with so many incredible examples of his work, is his highly methodological, formal analysis of information.




































"The remarkable career of artist Chuck Close extends beyond his completed works of art. More than just a painter, photographer, and printmaker, Close is a builder who, in his words, builds "painting experiences for the viewer." Highly renowned as a painter, Close is also a master printmaker, who has, over the course of more than 30 years, pushed the boundaries of traditional printmaking in remarkable ways.

Almost all of Close’s work is based on the use of a grid as an underlying basis for the representation of an image. This simple but surprisingly versatile structure provides the means for "a creative process that could be interrupted repeatedly without…damaging the final product, in which the segmented structure was never intended to be disguised." It is important to note that none of Close's images are created digitally or photo-mechanically. While it is tempting to read his gridded details as digital integers, all his work is made the old-fashioned way—by hand.

Close’s paintings are labor intensive and time consuming, and his prints are more so. While a painting can occupy Close for many months, it is not unusual for one print to take upward of two years to complete. Close has complete respect for, and trust in, the technical processes—and the collaboration with master printers—essential to the creation of his prints. The creative process is as important to Close as the finished product. "Process and collaboration" are two words that are essential to any conversation about Close’s prints." – via Chuck Close: Process and Collaboration

Links:
Chuck Close Exhibit at the Walker
Chuck Close Exhibit at the MOMA
Chuck Close Portfolio at Pace Prints
Self Portraits: Young Artists Create Oil Pastel Mosaics
Young Students Collaborate to Make a Portrait

One Point Perspective: Adoration of the Magi

Adoration of the Magi, by Leonardo da Vinci. "The preparatory drawing for the “Adoration of the Magi,” the painting commissioned to da Vinci for the main altar of the monastery of San Donato a Scopeto near Florence, reveals the Italian genius’s innovative approach to art. His originality and mastery of perspective are evident in the magnitude of the illusionary space that he created. He drew the ground first, then a plan for the buildings and finally animated the scene with human figures and animals. Using a millimetric ruler, appointed stylus and very fine threads, da Vinci created the perspective grid to transfer the drawing on a larger scale as a painting on a wooden panel." From Share the Perspective of Genius: Leonardo's Study for the Adoration of the Magi, an online exhibition hosted by The Library of Congress.

Leonardo da Vinci's work is really wonderful to look at when learning about drawing, not only how to draw in perspective, but also how to build form with line, to represent volume, to diagram, to explain thoughts, and so on.

With regard to perspective, as it is represented in Adoration of the Magi, see the following observations: Notice vanishing lines lead to a central point, called the central vanishing point. There is only one vanishing point in this drawing, and therefore we call it a one-point perspective drawing. The point at which the central vanishing point sits is called the eye level, or horizon line. For those viewers who are are not familiar with thinking of space depicted in perspective, note how objects that are closer to the viewer are larger, and objects that are more distant appear to be smaller. Imagine standing on a long stretch of flat road. One can see the painted lines of the road converging and eventually merging at a place where the road seems to disappear. It is that point which is called the "vanishing point."

The Museum of Science has an online exhibition, Leonardo da Vinci: Scientist, Inventor, Artist, featuring Leonardo da Vinci. Below is an exerpt from one section, titled Artist:

"Leonardo got his start as an artist around 1469, when his father apprenticed him to the fabled workshop of Verocchio. Verocchio's specialty was perspective, which artists had only recently begun to get the hang of, and Leonardo quickly mastered its challenges. In fact, Leonardo quickly surpassed Verocchio, and by the time he was in his early twenties he was downright famous.

Renaissance Italy was centuries away from our culture of photographs and cinema, but Leonardo nevertheless sought a universal language in painting. With perspective and other realistic elements, Leonardo tried to create faithful renditions of life. In a culture previously dominated by highly figurative and downright strange religious paintings, Leonardo's desire to paint things realistically was bold and fresh. This call to objectivity became the standard for painters who followed in the 16th century.

No slouch when it came to the techniques of the day, Leonardo went beyond his teaching by making a scientific study of light and shadow in nature. It dawned on him that objects were not comprised of outlines, but were actually three-dimensional bodies defined by light and shadow. Known as chiaroscuro, this technique gave his paintings the soft, lifelike quality that made older paintings look cartoony and flat. He also saw that an object's detail and color changed as it receded in the distance. This technique, called sfumato, was originally developed by Flemish and Venetian painters, but of course Super-Genius Leonardo transformed it into a powerful tool for creating atmosphere and depth.

Ever the perfectionist, Leonardo turned to science in the quest to improve his artwork. His study of nature and anatomy emerged in his stunningly realistic paintings, and his dissections of the human body paved the way for remarkably accurate figures. He was the first artist to study the physical proportions of men, women and children and to use these studies to determine the "ideal" human figure. Unlike many of his contemporaries -- Michelangelo for example -- he didn't get carried away and paint ludicrously muscular bodies, which he referred to as "bags of nuts."

All in all, Leonardo believed that the artist must know not just the rules of perspective, but all the laws of nature. The eye, he believed, was the perfect instrument for learning these laws, and the artist the perfect person to illustrate them."

Imaginary City Envisioned in Drawings

In 1984 Gilles Tréhin, dedicated artist and artistic savant, began designing an imaginary city, Dumont d'Urville, using primarily drawings to communicate his vision.

Additional info:
Gilles Trehin.com
Gilles Trehin and the city of Urville

Problem Solving Lab

"The Design Science Lab is a rigorous, hands-on training in the problem solving, planning and design methodology called Design Science, pioneered by Buckminster Fuller and other visionaries. Participants engage in a whole systems and anticipatory approach to develop strategies to solve global and local problems that is based on innovation and thrives on transparency."

The 2007 Design Science Lab Workshop will be held in New York City at the United Nations and United Nations International School from Friday, June 22nd to Friday, June 29th.

Application Deadline: May 20th

Design Brief Strategy

Design is a strategic business resource and the design brief is a strategic design management tool.

What is a design brief? Simply stated, the design brief is a written project description. It is a critical first step in the design process and, as this concise summary will attest, provides a solid foundation for effective design management from start-to-finish, throughout the design process.

“If you are able to state a problem, any problem, it can be solved.” Dr. Edwin Land

Think of the design brief as an opportunity to state a problem, problem components, and factors that affect the problem. An organizational tool used for collecting and outlining the steps that must be taken in order to solve the problem, the design brief is a strategy for problem solving.

How can one best write a design brief? Correct answer: There is no one way to write a design brief, as project scenarios are fairly unique and vary in scope and complexity. The important component of writing a successful design brief is collaboration – that is to say, it is not written by one party for another, rather authored jointly by the designer and client. Shared vision. Shared goals and objectives. Shared understanding.

What information does a design brief contain? Ultimately, this is for the authors to decide, as they will compose a document best suited for the individual project. Not intended to be template, listed below, and not in any particular order, are some content ideas for formulating a design brief:
• Project summary
• Client
• Project goals, objectives, and milestones
• Company/institutional profile, including mission statement, history, key stakeholders, market audience, products, current marketing materials, and any other helpful big picture information
• Project budget and timeline
• Team members, roles and contact information
• Project concerns and issues
• Past and present perspective(s) of the problem
• User attitudes and behaviors that need to be changed
• Project resources (Any relevant information, including but not limited to professional conferences, associations, examples of admired design solutions, books, articles, and the like.)
• Design goals and performance criteria (Examples include, 1. create a new product line, 2. better serve audience/market, 3. increase number of users, 4. update and improve existing products, etc.)

Think of a design brief as a start-to-finish project guide.
• Beginning. It is perhaps the best opportunity to assemble and distribute the important “need to know” information at the beginning of a project. The design brief is a document that can help properly launch a project, setting a tone of trust and understanding between client and designer.
• Middle. It provides an important reference as the project develops and evolves. Use the design brief to make certain the design process has not gone astray from the original goals set forth. If indeed the design has evolved, with good and approved reason, make certain to adjust the design brief in an Addendum.
• End. Ultimately, upon assessing the final design solution, the design brief is used effectively to gain sign-off, or final project approval.

Strategically speaking, it makes good sense to use the design brief to proactively manage project information throughout the design process. Outcomes include more effective design solutions, and that makes for happier clients. Who does not like that?

Comments? What do you think? What are your experiences working with (and perhaps without) a design brief? Do you have additional helpful resources relating to the design brief topic?

Learn more.
Book: Creating the Perfect Design Brief: How to Manage Design for Strategic Advantage, by Peter L. Phillips

Seminar: "Creating the Perfect Design Brief", given by Peter L. Phillips. Dates: June 21, 2007, Boston, USA September 20, 2007, Los Angeles, USA

Book: Why Design? Activites and Projects from The National Building Museum, by Anna Slafer and Kevin Cahill

Article: “How to Write a Design Brief”, by Mary Beth and Paul Trautwein

Article: “How to Write an Effective Design Brief”, from Clear Design

Brainstorming 101: A Basic Introduction

Brainstorming is a rapid, spontaneous idea-generating activity in which one or more people participate. It is a great tool for quickly amassing many possible solutions to a problem or issue.

Anyone can brainstorm. It is fun work.

How to conduct a brainstorming session – Begin with a comfortable space and all necessary tools, including large sheets of paper or flip chart pads (3-M makes a pad of large Post-It Notes pads, which are nice to work with because they don’t damage the wall and they can be moved around easily), a set of colored markers like the thick Sanford Super Sharpie permanent markers, tape, digital camera, small multi-colored Post-It Notes, and open wall surfaces.

When brainstorming in a group setting, assign one person to document the session. Ideally, this person should be able to easily visualize ideas in drawings, diagrams and words. Designers and Graphic Facilitators excell at this activity. It’s an additional luxury to ask a second person to lead the group. Their primary responsibilities include initial introduction and activity launch, keeping the group focused, redirecting the group (if necessary), and keeping time.

Tasks for the solo idea-generator are combined.

Basic ground rules:
1. Begin with a clearly stated problem statement. Create a sentence that defines the problem. For example, “Provide better customer service for families with young children.”
2. Have fun. Be outrageous and silly in the ideas. Reserve critical, analytical and negative thinking for another time. Think expansively. Freely associate. Build upon other ideas.
3. Freely, quickly and clearly document ideas. Use exact descriptors, avoiding general statements or one-word responses.
4. Stay on-topic and focused on the problem.
5. Strive to generate a lot of ideas – 100 ideas is not an unreasonable goal. Rapidly document ALL ideas in words and sketches, displaying them so all participants can see. Number the ideas.
6. During the ideation, think about the problem in different ways, including various viewpoints, scenarios, and conditions.
7. Brainstorm for 30-40 minutes.

Using this concept-generating technique alone or in a group setting is a productive way of loosening-up and amassing large quantities of ideas.

Further explore Brainstorming and creativity references at Amazon.

Want some random inspiration from the masses? Check out the tags brainstorming, innovation and ideas at Technorati.