Learning to Look Elements of Art.pdf

Transcript

1. Learning  to  Look:     The  Elements  of  Design   Reading:   Ar,orms,  19-­‐57     Terms/Concepts:   Formal  Analysis,  Form,  Content,   Representa8ve,  Non-­‐ Representa8ve,  Elements  of   Design,  Picture  Plane,  Picture   Frame,  Contrast,  Spectrum,  Color   Wheel,  Primary  Color,  Secondary   Color,  Ter8ary  Color,  Analogous,   Complement,  Split  Complement,   Triads,  Tetrads,  Tint,  Shade,  Tone,   Satura8on,  Warm,  Cool,     Terms/Concepts:   Composi8on,  Shape,  Line,  Mass,   Texture,  Color,  Geometric,   Organic,  Linear  Perspec8ve,   Atmospheric  Perspec8ve,  Implied   Line,  Contour  Line,  Light  Source,   Value,  Achroma8c,  Chiaroscuro,  
2. Leonardo  da  Vinci,  The  Last  Supper,  1495-­‐1498   Form   Content  
3. Form  is  the  totality  of  the  physical  and  visual  aspects   of  a  work  of  art.   Form   Content  
4. Content  is  the  meaning  of  a  work  of  art.   Form   Content  
5. What  is  Formal  Analysis?   Formal  Analysis   =   Descrip8on   +   Analysis   An  analysis  gives  meaning  or  insight   to  that  descrip8on.  
6. Physical  Proper8es   Dimensions:  14’5”  x  28’¼”  
7. Physical  Proper8es   Medium:  Experimental  Fresco  Technique  
8. Physical  Proper8es   Loca8on:  Refectory,  Santa  Maria  della  Grazie,  Milan,  Italy  
9. Representa8onal  vs.  Non-­‐Representa8onal   Helen  Frankenthaler,  Nature  Abhors  a  Vacuum,   1973   William  Michael  Harne`,  Aaer  the   Hunt,  1883.  
10. Shape   Mass   Space   Line   Color   Light   Texture   Elements  of  Design   Time  &  Mo8on  
11. The  “What”  
12. Principles  of  Design   Unity/Variety   Balance   Emphasis/Subordina8on   Scale/Propor8on   Repe88on/Rhythm  
13. The  “How”  
14. What  are  we  looking  at?   Picture  Frame  
15. What  are  we  looking  at?   Picture  Plane  
16. Composi8on   Shape   Space  
17. Composi8on   Shape   Space   an  element  of  art  that  creates  an  enclosed  space.   Geometric   Organic  
18. Geometric   Organic  
19. Composi8on   Shape   Space   the  area—implied  or  actual—in  or  around  shapes.   linear  perspec8ve   overlapping   Atmospheric  Perspec:ve  
20. Linear  Perspec8ve   One-­‐Point  Perspec:ve   Two-­‐Point  Perspec:ve   Horizon  Line   Horizon  Line   Vanishing     Point  no.  1   Vanishing  Point   Vanishing     Point  no.  2  
21. Atmospheric  Perspec8ve  
22. Useful  Ques8ons   •  Is  the  image  representa8onal  or  non-­‐ representa8onal?   •  What  types  of  shapes  do  you  see?    How  are   those  shapes  interac8ng?   •  How  is  the  space  used?    Is  there  a  lot  “empty   space”?     •  Is  there  an  a`empt  to  create  depth?    If  so,   what  methods  are  used?  
23. Mass   Line   Color   Light   Texture  
24. Mass   Line   Color   Light   Texture   a  con8nuous  mark  between  two  points.  
25. Mass   Line   Color   Light   Texture   a  line  that  defines  the  outermost  limits  of  a  shape.   contour  line   Contour  Line  
26. Mass   Line   Color   Light   Texture   a  line  that  does  not  actually  exist  but  rather  is  implied  by   the  edges  of  shapes,  gazes,  gestures,  broken  lines,  etc.         Implied  Line  
27. Quali8es  of  Line  
28. Quali8es  of  Line  
29. Useful  Ques8ons   •  Is  line  an  important  aspect  of  this  image?   •  Are  the  lines  contour  or  implied?   •  Where  do  the  lines  in  the  composi8on  direct   your  eyes?   •  What  is  the  quality  of  the  lines  used?    Are  they   thick?    Thin?    Broken?  Straight?  Jagged?   •  What  “mood”  or  “feeling”  do  the  lines  create?     Do  they  create  a  mood?  
30. Mass   Line   Color   Light   Texture  
31. Mass   Line   Color   Light   Texture  
32. Mass   Line   Color   Light   Texture  
33. Mass   Line   Color   Light   Texture  
34. Mass   Line   Color   Light   Texture  
35. Mass   Line   Color   Light   Texture   the  effect  of  light  falling  on  an  on  the  shapes   represented  in  the  pain8ng.  
36. How  Vision  Works  
37. Value  
38. Chiaroscuro    
39. Effects  of  Light  
40. Effects  of  Light  
41. Effects  of  Light  
42. Useful  Ques8ons   •  Does  the  image  have  a  light  source?    If  so  is  the  light   source  on  the  picture  plane  or  beyond  the  picture   frame?   •  Is  the  light  source  conven8onal  (i.e.  a  lamp,  the  sun,   etc.)?   •  Is  the  quality  of  the  light  direct  or  indirect?    Is  the  light   harsh  or  soa?    Is  there  a  high  contrast  between  light   and  dark?   •  Could  the  light  have  some  kind  of  symbolic   component?   •  What  is  the  overall  impact  of  the  light  in  this   composi8on?    
43. Mass   Line   Color   Light   Texture  
44. Mass   Line   Color   Light   Texture   the  illusion  of  3-­‐dimensional  or  physical  weight   on  a  2-­‐dimensional  surface.  
47. Useful  Ques8ons   •  Do  the  shapes  in  this  composi8on  appear  to   have  a  three-­‐dimensional  quality?   •  Do  some  shapes  appear  to  be  “heavier”  than   others?   •  Do  areas  of  the  pain8ng  a`ract  your  a`en8on   more  than  others?  
48. Mass   Line   Color   Light   Texture  
49. Mass   Line   Color   Light   Texture   The  property  possessed  by  an  object  of  producing  different   sensa8ons  on  the  eye  as  a  result  of  the  way  the  object  reflects  or   emits  light  
50. How  Color  Works   Hue  
51. How  Color  Works  
52. How  Color  Works  
53. How  Color  Works  
54. Primary  
55. Secondary  
56. Ter8ary  
57. Color  Schemes:  Complement  
58. Color  Schemes:  Split  Complement  
59. Color  Schemes:  Primary  Triad  
60. Color  Schemes:  Secondary  Triad  
61. Color  Schemes:  Tetrads  
62. Color  Schemes:  Analogous  
63. Color  Schemes:  Monochroma8c  
64. Talking  about  Color:  Warm  vs.  Cool   Warm   Cool  
65. Talking  about  Color:  Neutrals  
66. Talking  about  Color:  Value  
67. Talking  about  Color:  Satura8on  
68. Talking  about  Color:  Hues,  Tints,  Shades  and  Tones   Hue  
69. Useful  Ques8ons   •  What  colors  do  you  see  in  this  image?   •  Do  these  colors  appear  to  fit  it  into  a  specific   color  scheme?   •  Are  the  colors  light  or  dark?    Dull  or  bright?   Warm  or  cool?     •  Does  the  placement  of  color  group  any  figures   together?  Does  it  draw  your  a`en8on  to  any   place  on  the  picture  plane?   •  What  mood  do  the  colors  seem  to  promote?     Does  this  contradict  or  echo  the  mood  promoted   by  other  elements?  
70. Mass   Line   Color   Light   Texture  
71. Mass   Line   Color   Light   Texture   the  presence  of  surface—either  actual  or  simulated.     Actual  Texture   Simulated  Texture  
72. Useful  Ques8ons   •  Does  the  medium  of  this  work  create  a   dis8nc8ve,  tac8lity?    Is  their  actual  texture?   •  Is  there  an  effort  to  create  the  illusion  of  texture?       •  What  textures  to  you  see?    Are  the  rough?   Smooth?  Wet?  Dry?  Soa?  Hard?  Hot?  Cold?   Strong?    Fragile?   •  How  does  texture  interact  with  the  other   elements  in  this  composi8on?   •  What  is  the  overall  impact  of  texture  in  this   image?  
73. Mass   Line   Color   Light   Texture  
74. Time     the  non-­‐spa8al  con8nuum,  the  fourth  dimension,  in   which  events  occur  in  succession.   Mo8on  
75. *Sequen8al  Narra8ve  is  the  grouping  of  key   monoscenic  episodes  to  convey  a  diachronic  narra8ve.     Art  Spiegelman,  “The  War  is  Over!”  Maus,   Volume  1,  1986.    
76. Masaccio,  The  Tribute  Money,  1425.   *  Con8nuous  Narra8ve  uses  the  repe88on  of  figures  to   convey  mul8ple  scenes  of  a  story  in  a  single  composi8on.   Christ  tells  St.  Peter  to  retrieve   the  money  from  a  fish.   1.   St.  Peter  retrieves   the  money.   2.   St.  Peter  pays  the   tribute  collector.   3.  
77. Time     movement  in  3-­‐D  space  that  is  either  actual  or  implied.   Mo8on  
80. Giacomo  Balla,  Abstract  Speed—The  Car  Has  Passed,   1913.  
81. Gino  Severini,  Armored  Train,  1911-­‐1913.  
82. Useful  Ques8ons   •  Does  the  work  represent  a  narra8ve?    Is  it  a   single  moment  or  several  moments?    What   moment(s)  does  the  ar8st  choose?   •  Is  there  actual  or  implied  movement?    Are  figures   or  colors  distorted  to  imply  movement?   •  Does  the  work  require/impel  you  to  move?    How   does  your  eye  move?   •  Overall,  does  the  work  give  the  impression  of   s8llness  or  ac8vity?      
83. Time     Mo8on  
84. Leonardo  da  Vinci,  The  Last  Supper,  1495-­‐1498   Final  Observa8ons