For my sources I chose seven things that give me anxiety and I had planned on zooming into the chosen pictures and showing off more of their detail.

WHY DO I HAVE ANXIETY?

Why this question?

• This is a very strong topic to think and talk about such as how is affects others lives. 
• Many people with anxiety don’t know how to deal with it and express it through art.
• Anxiety is something a lot of people can relate to and may know a lot about.

How is it used in art?

• Using art can be one of the only ways to help keep them calm
• Others use art to speak out about awareness for anxiety

Art works

Chapter 5: Problem Seeking and Problem Solving 

• The Design Process
• What do we want?
• What existing designs are similar to the design we want?
• What are the differences between the existing designs and our new designs?
• How can we combine the best ideas from past inventions with our new ideas?

• Study Nature 
• Visit a Museum
• Transform a common project
• Characteristics of a good problem – Regardless or its source, the problem at hand most fully engage either the artist or the designer.
• Significant – Identifying and prioritizing your major goals can help you determine a tasks significance 
• Socially Responsible – Consider each projects environmental and economic implications
• Comprehensible – Ask questions if the assignment is unclear
• Open to Experimentation
• Make it authentic
• Using Convergent Thinking – Involves the pursuit of a predetermined goal, usually in a linear progression and through a highly focused problem-solving technique. 
• Define the problem
• Do research
• Determine your objective
• Devise a strategy
• Executethe strategy
• Evaluatethe results 
• Brainstorming
• Explore Connections 
• Visual Research – thumbnail sketches, model making 
• Keep an open mind 

Chapter 6: Cultivating Creativity 

• Curiosity – researching unfamiliar topics and exploring unusual systems
• Wide range of interests
• Attentiveness – Realizing that every experience is valuable, creative people pay more attention to minor details
• Connection seeking 
• Conviction – creative people embrace change and actively peruse an alternative path.  
• Complexity – Use intuition
• Set Goals (Positive loop)
• Goal setting
• Goal achievement
• Satisfaction and pride
• Increased self-confidence 
• Time management – Working smarted with your time is usually more effective 
• Set the Stage – choose when and where to work to significantly increase your output. 
• Prioritize – note which tasks are the most urgent and which tasks are most important
• See the big picture – Use a monthly calendar to record major projects and obligations 
• Work Sequentially – Tackle activities in a specific sequence 
• Use parts to create the whole – the whole project is overwhelming, don’t look at it as a whole, look at it in parts 
• Make the most of class time
• When in doubt, crank it out 
• Work together 
• Habits of mind – Flexibility, analytical thinking, capacity for synthesis, responsible risk taking, 
• Habits of work – Self-reliance, organized persistence, daily practice, appropriate speed, incremental excellence, direct engagement 

Chapter 7: Developing Critical Thinking

• Form, Subject, Content 

      – Form – the physical manifestation of an idea or emotion

       –  Subject – most apparent when it clearly represents a person, object, event, or a setting. 

       – Content – Underlying theme

– Objective and subjective critiques

– Objective criticism – to access how well a work of art or design uses the elements and principals or design 

– Subjective Criticism – to describe the personal impact of an image, the natural implications of an idea, or the cultural ramifications of an action.  

– Critique Strategies

            – Description – Descriptive critique – can help see details and heighten our understanding of the design. 

            – Cause and effect – Cause and effect critique (formal analysis) 

            – Compare and contrast – identify similarities and differences between two images

– Developing a lot term project

            – Week One – determine essential concept, explore polarities, move from general to specific, move from personal to universal

            – week Two – Develop Alternatives, edit out nonessentials, amplify essentials 

– Turn up the heat – push your projects potential 

– Transformation – size of relationship between artist and viewer, work three dimensionally, change materials 

– Reorganize 

– Develop a self-assignment 

Chapter 8: Constructing Meaning  

• Shared Language – basis on which we build communication 
• Iconography – the study of such symbolic visual systems 
• Audience – targeted and rated for specific audiences, so many forms of visual communication are designed for specific viewers
• Immediacy – when the bridge between the image and the audience is explicit, communication can occur almost instantaneously 
• Stereotypes – a fixed generalization based on a preconception
• Cliché – on overused expression or a predictable treatment of an idea. 
• Surprise – a shift in a stereotype or cliché upsets or expectations and challenges our assumptions
• Purpose and intent – any number of approaches to visual communication can be effective. We choose style, iconography, and composition best suited our purpose
• Degrees of Representation 
  • Nonobjective (or) nonrepresentational shapes, such as circles, rectangles, and squares are pure forms
  • Pure forms – shapes that we create without direct reference to reality
  • Representational shapes – specific matter that is strongly based on direct observation 
  • Abstract shapes – derived from visual reality but are distilled and transformed, reducing their resemblance to the original source
• Degrees of Definition
  • Definition – degree to which we distinguish one visual component from another
  • High definition – creates strong contrast between shapes and tends to increase clarity and immediacy of communication
  • Low definition – shapes, including soft edged shapes, gradations, and transparencies.
• Context and connections 
  • Analogy – creates a general connection between unrelated objects or idea
  • Simile – creates the connection using the word “like” or “as” 
  • Metaphor
• Aesthetics – cultural values 
  • Anesthetic – used to include insensitivity or unconsciousness
• Modern and postmodern 
  • Postmodernism – art movement from 1975 – 2005 
  • Modernism – encompasses a wide range of individual movements 

Chapter 1: Basic Elements

• Two-dimensional designs – point, line, shape, texture, value, and color

Point – Basic mark, such as a dot, pixel or brushstroke 

• Focal Point: Primary point of intersect in a composition
• Array: Collection of points 
• Points can be used as logo designs 
• Each point type can be used to make a full image

Line – One of the simplest and most versatile elements of design

• Point in motion, Series of adjacent points, connection between points, implied connection between points
• Orientation: the line’s horizontal
• Calligraphic Lines – Similar to handwriting 
• Organizational Lines – Often used to create the loose linear skeleton 
• Implied Lines – line that is suggested by the positions of shapes and objects in a design
• Actual Line – Lines that are physically present in a design
• Continuity – Degree of connection or flow among compositional parts
• Contour Lines – Define the edges of a from and suggest three-dimensionality
• Gesture Drawing – Captures essential action rather than describing every detail
• Volume Summary – It communicates information using basic volumes
• Hatching – straight parallel lines
• Cross Hatching– multiple lines (horizontally and vertically)

Shape 

• Positive – Dominant or Foreground shape
• Negative – Defined area around a positive shape 
• Curvilinear – A shape whose contour is dominated by curves and flowing lines
• Organic – Visually suggests nature or natural forces 
• Representational – Derived from specific subjects’ matter and strongly based on direct observation
• Abstract – Derived from visual reality but are transformed, therefore, reducing their resemblance to the original source
• Rectilinear – composed from straight lines and angular corners 
• Nonobjective – created without reference to specific visual subject matter

Definition 

• High – Sharply Focused visual information that is easily readable, creates a strong contrast and usually increases clarity and immediacy of communication
• Low – Blurred visual information shapes including soft edge shapes, gradations, and transparaties can increase the complexity of the design and encourage multiple interpretations 

Chapter 2: The Element of Color

Color

• Color Theory – The art and science of color interaction and effects
• Color and Light – When white light passes through a prism, it is refracted or bent
• Subtractive – Created when white light is reflected off a pigmented/dry surface
• Additive – Created using projected beams of chromatic Light
• Process – Used in four color process printing, the subtractive primaries
• Color Interaction– The way colors influence one another 
• Simultaneous Contrast – The way a color changes when paired with another 
• Bezold Effect – Change in one color that substantially alters our perception of the entire composition 
• Analogous – Adjacent colors on the color wheel 
• Intensity – Saturation refer to the purity of a color primary colors are the most saturated
• Tone – Addition of gray
• Shade – Addition of black
• Tint – Addition of White
• Hue – A color determined by its wavelength 
• Monochromatic Color Schemes – where variations on a single hue are used

Chroma– The purity, intensity, or saturation of a color

• Chroma Gray – Gray made from a mixture of various hues instead of black and white
• Split Complementary Color Schemes – Two colors on either side of one of the complements. 

Chapter 3: Principles of Two-Dimensional Design 

• Unity can be defined as similarity, oneness, togetherness, or cohesion
• Variety can be defined as difference
• Composition – Combination of multiple parts into a unified whole-point, line, shape, texture, value, and color that work together
• Unity – Similarity, oneness, togetherness, cohesion 
• Gestalt Theory – Understanding visual information holistically before examining it separately 
• Containment – Unifying force created by the outer edge of a composition, or by a boundary within a composition, 
• Static Composition – Lines are vertical or horizontal, soothing
• Dynamic Composition – Diagonal lines, excitement, unsettling
• Proportion and Scale – Create two types of size relationship. Both Strongly affect compositional balance and emotional impact. 
• Grouping – Generally group visual units by location , orientation, shape, and color
• Rhythm – a sense of movement that is created by the repetition of multiple units in a deliberate pattern

Be yourself; Everyone else is already taken.

— Oscar Wilde.

This is the first post on my new blog. I’m just getting this new blog going, so stay tuned for more. Subscribe below to get notified when I post new updates.

This is an example post, originally published as part of Blogging University. Enroll in one of our ten programs, and start your blog right.

You’re going to publish a post today. Don’t worry about how your blog looks. Don’t worry if you haven’t given it a name yet, or you’re feeling overwhelmed. Just click the “New Post” button, and tell us why you’re here.

Why do this?

• Because it gives new readers context. What are you about? Why should they read your blog?
• Because it will help you focus you own ideas about your blog and what you’d like to do with it.

The post can be short or long, a personal intro to your life or a bloggy mission statement, a manifesto for the future or a simple outline of your the types of things you hope to publish.

To help you get started, here are a few questions:

• Why are you blogging publicly, rather than keeping a personal journal?
• What topics do you think you’ll write about?
• Who would you love to connect with via your blog?
• If you blog successfully throughout the next year, what would you hope to have accomplished?

You’re not locked into any of this; one of the wonderful things about blogs is how they constantly evolve as we learn, grow, and interact with one another — but it’s good to know where and why you started, and articulating your goals may just give you a few other post ideas.

Can’t think how to get started? Just write the first thing that pops into your head. Anne Lamott, author of a book on writing we love, says that you need to give yourself permission to write a “crappy first draft”. Anne makes a great point — just start writing, and worry about editing it later.

When you’re ready to publish, give your post three to five tags that describe your blog’s focus — writing, photography, fiction, parenting, food, cars, movies, sports, whatever. These tags will help others who care about your topics find you in the Reader. Make sure one of the tags is “zerotohero,” so other new bloggers can find you, too.