Lettering

Your Artist Statement: Explaining the Unexplainable

Q: Why do I have to write an artist statement? It's stupid. If I wanted to write to express myself I would have been a writer. The whole idea of my art is to say things visually. Why can't people just look at my art and take away whatever experiences they will? 

A: Artist statements are not stupid; they're more like essential. And you don't have to be a writer to write one. And people already look at your art and take away whatever experiences they will. Your artist statement is about facts, a basic introduction to your art; it's not instructions on what to experience, what to think, how to feel, how to act, or where to stand, and if it is, you'd better do a rewrite. 

On this planet, people communicate with words, and your artist statement introduces and communicates the language component of your art. People who come into contact with your art and want to know more will have questions. When you're there, they ask you and you answer. When you're not there, your artist statement answers for you. Or when you're there, but you don't feel like answering questions, or you're too busy to answer questions, or someone's too embarrassed to ask you questions, or you're too embarrassed to answer questions, then your pal, your artist statement, does the job for you. So let's get busy and write the damn thing...

Just about all artists want as many people as possible to appreciate their art. A good artist statement works towards this end, and the most important ingredient of a good statement is its language. WRITE YOUR STATEMENT IN LANGUAGE THAT ANYONE CAN UNDERSTAND, not language that you understand, not language that you and your friends understand, not language that you learn in art school, but everyday language that you use with everyday people to accomplish everyday things. An effective statement reaches out and welcomes people to your art, no matter how little or how much they know about art to begin with; it never excludes. Rest assured that those who read your statement and want to know more will christen you with ample opportunities to get technical, metaphysical, philosophical, personal, emotional, moralistic, socially relevant, historical, environmentally responsible, political, autobiographical, anecdotal, or twisty with jargon-- LATER, NOT NOW. 

Like an introduction to a book, your statement presents the fundamental underpinnings of your art; write it for people who like what they see and want to know more, not those who already know you and everything your art is about. In three to five paragraphs of three to five sentences each, provide basic information like WHY YOU MAKE YOUR ART, WHAT IT SIGNIFIES, HOW YOU MAKE IT, WHAT IT'S MADE OUT OF, and perhaps briefly, WHAT IT MEANS TO YOU. Don't bog readers down, but rather entice them to want to know more. As with any good first impression, your statement should hook and invite further inquiry, like a really good story is about to unfold. Give too little, not too much. 

People have short attention spans. When you overload readers with details, you risk drowning them in minutia, and discouraging those who might otherwise persevere if you keep it simple. Address and answer commonly asked questions about your art. Save the complicated stuff for those who progress to the next level. Don't worry about having to satisfy your dedicated fans. You won't bore them and you won't lose them; they already love you. And if they have questions, they know how to get them answered. Remember-- your statement is about broadening your audience, not keeping it static. You'll have plenty of time to give your most recent converts the grand tour-- LATER, NOT NOW-- you have to convert them first. 

Plus this... you're statement is about you, so personalize it. Write it in the first person, not like you're talking about yourself in the abstract. Infuse it with your unique perspective. Whenever possible, make it conversational, like you're speaking directly to readers (Note: A good editor can work wonders here). The more complicated, theoretical, arcane, inscrutable, bloated, pompous, elitist, egotistical, bombastic, arrogant or impersonal your statement, the more trouble people will have trying to hack through it and connecting with you and your art on meaningful levels. Few readers want to burn calories trying to decipher complexities; they burn 'em all day long. For now, they just want to see your art, take it easy, have fun and enjoy themselves. 

Additional considerations:

* Artists are artists, not writers, so think seriously about hiring a professional writer or editor, preferably one with an art background, to help you convey what you want your statement to convey in language that ordinary everyday people can understand. 

* Make "I" statements rather than "you" statements. Talk about what your art does for you, not what it's supposed to do for the viewers. This doesn't mean you start every sentence with "I," but rather that you respect people's autonomy and allow them to respond to your art however they wish. 

* At all times, give readers the option to agree or disagree with you. Never pressure them or dictate outcomes. 

* Avoid comparative or evaluative comments that have been made about your art by third parties such as gallery owners, critics, collectors, or curators. These belong in your curriculum vitae. In your statement, they're name-dropping; in your curriculum vitae, they're testimonials. 

* Connect what your art expresses with the medium that you're expressing it in. For example, if your art is about world peace, and it consists of twigs protruding from pieces of clay, explain the connection. Arbitrarily stating that twig/clay protrusions represent world peace leaves people wondering. If of course, the object of your art or your statement is to leave people wondering, then that's OK. In art everything is OK, but in order to succeed as an artist, someone beside yourself generally has to get the point of what you're doing.

* Be specific, not vague. For example, if your art is "inspired by assessments of the fundamentals of the natural world," tell which fundamentals you're assessing and how they inspire you. 

* Avoid obscure references to music, art, literature, history, or anything else that requires detailed explanation or gobs of previous knowledge. If you have to make such a reference, explain it fast so that people know what you're talking about. If you can't do it fast, do it later. 

* Tell the story about what led up to your art ONLY if it's short, compelling, and really really relevant. People are generally not interested in progressions of antecedent events. Something leads up to everything; we all know that. 

* Avoid comparing yourself to other artists. If other artists influence you, fine, but don't say, "Like Picasso, I do this" or "Like Judd, I do that." Instead, say something like "Picasso's Blue and Rose paintings influence how I use yellow." Better yet, leave other artists out of your statement altogether. Let the critics decide who you're like. Plus you don't want to invite comparisons between yourself and the greatest artists who've ever lived. We all know who the victor's gonna be there. 

* Don't instruct people on how to see, feel, behave, respond, or otherwise relate to your art. Nobody likes being told what to do. Instead of saying "You will experience angst when you see my art," say "This art expresses my angst" or "I express my angst through my art." Or see a therapist and work it all out. 

***

Before you go public with your statement, get feedback. Show your art and statement to friends, friends' friends, and maybe even a stranger or two. Make sure they get it, that they understand what you want them to understand. When they don't, or you have to explain yourself, do a rewrite and eliminate the confusion. If you need help, find someone who writes or edits and have them fix the problem. Many times, a little rearranging is all that's necessary to make your statement a clean clear read.

No matter how good your statement is, know up front that most people will read it and move on; only a few will want to know more, fewer yet will want to know everything, and fewer yet will ultimately progress to the point where they actually buy something. That's simply the nature of art and personal taste. Having said that, never underestimate the power of an effective statement to intensify, enhance and advance how people experience your art.

Adding boxes to 2 point perspective grid

This Video you Will find instruction on how to use the two point perspective grid to help in constructing a cube.

Adding a Cube to a One-Point Perspective Grid

This Video you Will find instruction on how to use the one point perspective grid to help in constructing a cube.

Two Point Perspective - Grid

One Point Prespective - Grid

Perspective

Perspective in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is seen by the eye. The two most characteristic features of perspective are that objects are drawn:

• Smaller as their distance from the observer increases.
• Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight.

Linear perspective is a system for drawing objects that use lines and vanishing points to determine how much an object's apparent size changes with space.

BASIC CONCEPTS

The horizon line is a theoretical line that represents the eye level of the observer. The horizon line is the same as the horizon (the edge of the land against the sky) only on a large flat plane like the ocean. Most of the time geographic features (hills) and other objects (trees and buildings) make the horizon above the horizon line.

Indoors the horizon is often not visible but there is still a theoretical horizon line representing the point of view of the observer.

Vanishing points are points (usually) on the horizon line where receding lines (planes) converge. The vanishing point (v.p.) is on the horizon line when an objects has horizontal planes that are parallel to the ground. When the object's planes are inclined the vanishing points can be above or below the horizon line.

There are two basic systems of linear perspective: one-point and two-point named after the number of vanishing points used in each.

All parallel lines follow the same rules. If one goes to a vanishing point then all like lines go to the same vanishing point. In most systems vertical lines are drawn vertical (not in three-point perspective).

The station point represents the eye of the observer. It is the camera in a photograph.

The picture plane is the "window" that is represented by the picture.

The ground line is a line that is parallel to the picture plane at the base of the object being depicted.

Types of perspective

1.      One-point perspective

One vanishing point is typically used for roads, railway tracks, hallways, or buildings viewed so that the front is directly facing the viewer. Any objects that are made up of lines either directly parallel with the viewer's line of sight or directly perpendicular (the railroad slats) can be represented with one-point perspective.

One-point perspective exists when the painting plate (also known as the picture plane) is parallel to two axes of a rectilinear (or Cartesian) scene — a scene which is composed entirely of linear elements that intersect only at right angles. If one axis is parallel with the picture plane, then all elements are either parallel to the painting plate (either horizontally or vertically) or perpendicular to it. All elements that are parallel to the painting plate are drawn as parallel lines. All elements that are perpendicular to the painting plate converge at a single point (a vanishing point) on the horizon.

2.      Two-point perspective

Two-point perspective can be used to draw the same objects as one-point perspective, rotated: looking at the corner of a house, or looking at two forked roads shrink into the distance, for example. One point represents one set of parallel lines; the other point represents the other. Looking at a house from the corner, one wall would recede towards one vanishing point; the other wall would recede towards the opposite vanishing point.

Two-point perspective exists when the painting plate is parallel to a Cartesian scene in one axis (usually the z-axis) but not to the other two axes. If the scene being viewed consists solely of a cylinder sitting on a horizontal plane, no difference exists in the image of the cylinder between a one-point and two-point perspective.

Two-point perspective has one set of lines parallel to the picture plane and two sets oblique to it. Parallel lines oblique to the picture plane converge to a vanishing point, which means that this set-up will require two vanishing points.

Introduction

This group is created to enable communication between Professor, Teacher Assistance and student during the course of INTERIOR DESIGN DRAFTING AND SYSTEM.

The course objective is to develop the skill necessary to present designs that are clear and easily understood. Also develop the critical skills to evaluate the quality of interior design work.

The main purpose of this communication is to spread knowledge, share information and answer any concern that the student may have regarding this field.