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Learning to Look: The Elements of Art

nichsara
January 29, 2013

Learning to Look: The Elements of Art

nichsara

January 29, 2013
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  1. Learning  to  Look:    
    The  Elements  of  Design  
    Reading:  
    Ar,orms,  19-­‐57  
     
    Terms/Concepts:  
    Formal  Analysis,  Form,  Content,  
    RepresentaAve,  Non-­‐
    RepresentaAve,  Elements  of  
    Design,  Picture  Plane,  Picture  
    Frame,  Contrast,  Spectrum,  Color  
    Wheel,  Primary  Color,  Secondary  
    Color,  TerAary  Color,  Analogous,  
    Complement,  Split  Complement,  
    Triads,  Tetrads,  Tint,  Shade,  Tone,  
    SaturaAon,  Warm,  Cool,    
    Terms/Concepts:  
    ComposiAon,  Shape,  Line,  Mass,  
    Texture,  Color,  Geometric,  
    Organic,  Linear  PerspecAve,  
    Atmospheric  PerspecAve,  Implied  
    Line,  Contour  Line,  Light  Source,  
    Value,  AchromaAc,  Chiaroscuro,  

    View Slide

  2. Leonardo  da  Vinci,  The  Last  Supper,  1495-­‐1498  
    Form   Content  

    View Slide

  3. Form  is  the  totality  of  the  physical  and  visual  aspects  
    of  a  work  of  art.  
    Form   Content  

    View Slide

  4. Content  is  the  meaning  of  a  work  of  art.  
    Form   Content  

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  5. What  is  Formal  Analysis?  
    Formal  Analysis  
    =  
    DescripAon  
    +  
    Analysis  
    A  descripAon  relates  what  you  see.  
    An  analysis  gives  meaning  or  insight  
    to  that  descripAon.  

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  6. Physical  ProperAes  
    Dimensions:  14’5”  x  28’¼”  

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  7. Physical  ProperAes  
    Medium:  Experimental  Fresco  Technique  

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  8. Physical  ProperAes  
    LocaAon:  Refectory,  Santa  Maria  della  Grazie,  Milan,  Italy  

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  9. RepresentaAonal  vs.  Non-­‐RepresentaAonal  
    Helen  Frankenthaler,  Nature  Abhors  a  Vacuum,  
    1973  
    William  Michael  Harne`,  Aaer  the  
    Hunt,  1883.  

    View Slide

  10. Shape  
    Mass  
    Space  
    Line  
    Color  
    Light  
    Texture  
    Elements  of  Design  
    Time  &  MoAon  

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  11. The  “What”  

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  12. Principles  of  Design  
    Unity/Variety  
    Balance  
    Emphasis/SubordinaAon  
    Scale/ProporAon  
    RepeAAon/Rhythm  

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  13. The  “How”  

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  14. What  are  we  looking  at?  
    Picture  Frame  

    View Slide

  15. What  are  we  looking  at?  
    Picture  Plane  

    View Slide

  16. Shape   Space  

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  17. Shape   Space  
    an  element  of  art  that  creates  an  enclosed  space.  
    Geometric  
    Organic  

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  18. Geometric  
    Organic  

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  19. Shape   Space  
    the  area—implied  or  actual—in  or  around  shapes.  
    linear  perspecAve  
    overlapping  
    Atmospheric  Perspec6ve  

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  20. Linear  PerspecAve  
    One-­‐Point  Perspec6ve  
    Two-­‐Point  Perspec6ve  
    Horizon  Line  
    Horizon  Line  
    Vanishing    
    Point  no.  1  
    Vanishing  Point  
    Vanishing    
    Point  no.  2  

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  21. Atmospheric  PerspecAve  

    View Slide

  22. Space  in  the  3rd  Dimension  

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  23. Useful  QuesAons  
    •  Is  the  image  representaAonal  or  non-­‐
    representaAonal?  
    •  What  types  of  shapes  do  you  see?    How  are  
    those  shapes  interacAng?  
    •  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?  

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  24. Mass  
    Line   Color  
    Light   Texture  

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  25. Mass  
    Line   Color  
    Light   Texture  
    a  conAnuous  mark  between  two  points.  

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  26. Mass  
    Line   Color  
    Light   Texture  
    a  line  that  defines  the  outermost  limits  of  a  shape.  
    contour  line  
    Contour  Line  

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  27. 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  

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  28. QualiAes  of  Line  

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  29. QualiAes  of  Line  

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  30. Useful  QuesAons  
    •  Is  line  an  important  aspect  of  this  image?  
    •  Are  the  lines  contour  or  implied?  
    •  Where  do  the  lines  in  the  composiAon  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?  

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  31. Mass  
    Line   Color  
    Light   Texture  

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  32. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  33. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  34. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  35. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  36. Mass  
    Line   Color  
    Light   Texture  
    the  effect  of  light  falling  on  an  on  the  shapes  
    represented  in  the  painAng.  

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  37. How  Vision  Works  

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  38. Value  

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  39. Chiaroscuro    

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  40. Effects  of  Light  

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  41. Effects  of  Light  

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  42. Effects  of  Light  

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  43. Useful  QuesAons  
    •  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  convenAonal  (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  
    composiAon?  
     

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  44. Mass  
    Line   Color  
    Light   Texture  

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  45. Mass  
    Line   Color  
    Light   Texture  
    the  illusion  of  3-­‐dimensional  or  physical  weight  
    on  a  2-­‐dimensional  surface.  

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  46. Elizabeth  Catle`,  
    Bread,  1962.  

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  47. Johannes  Vermeer,  Girl  with  a  Pearl  Earring,  1665.  

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  48. Useful  QuesAons  
    •  Do  the  shapes  in  this  composiAon  appear  to  
    have  a  three-­‐dimensional  quality?  
    •  Do  some  shapes  appear  to  be  “heavier”  than  
    others?  
    •  Do  areas  of  the  painAng  a`ract  your  a`enAon  
    more  than  others?  

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  49. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  50. Mass  
    Line   Color  
    Light   Texture  
    The  property  possessed  by  an  object  of  producing  different  
    sensaAons  on  the  eye  as  a  result  of  the  way  the  object  reflects  or  
    emits  light  

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  51. How  Color  Works  
    Hue  

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  52. How  Color  Works  

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  53. How  Color  Works  

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  54. How  Color  Works  

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  55. Primary  

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  56. Secondary  

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  57. TerAary  

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  58. Color  Schemes:  Complement  

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  59. Color  Schemes:  Split  Complement  

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  60. Color  Schemes:  Primary  Triad  

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  61. Color  Schemes:  Secondary  Triad  

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  62. Color  Schemes:  Tetrads  

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  63. Color  Schemes:  Analogous  

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  64. Color  Schemes:  MonochromaAc  

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  65. Talking  about  Color:  Warm  vs.  Cool  
    Warm  
    Cool  

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  66. Talking  about  Color:  Neutrals  

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  67. Talking  about  Color:  Value  

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  68. Talking  about  Color:  SaturaAon  

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  69. Talking  about  Color:  Hues,  Tints,  Shades  and  Tones  
    Hue  

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  70. Useful  QuesAons  
    •  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`enAon  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?  

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  71. Mass  
    Line   Color  
    Light   Texture  

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  72. Mass  
    Line   Color  
    Light   Texture  
    the  presence  of  surface—either  actual  or  simulated.    
    Actual  Texture  
    Simulated  Texture  

    View Slide

  73. Useful  QuesAons  
    •  Does  the  medium  of  this  work  create  a  
    disAncAve,  tacAlity?    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  composiAon?  
    •  What  is  the  overall  impact  of  texture  in  this  
    image?  

    View Slide

  74. Mass  
    Line   Color  
    Light   Texture  

    View Slide

  75. Time    
    the  non-­‐spaAal  conAnuum,  the  fourth  dimension,  in  
    which  events  occur  in  succession.  
    MoAon  

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  76. *SequenAal  NarraAve  is  the  grouping  of  key  
    monoscenic  episodes  to  convey  a  diachronic  narraAve.    
    Art  Spiegelman,  “The  War  is  Over!”  Maus,  
    Volume  1,  1986.    

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  77. Masaccio,  The  Tribute  Money,  1425.  
    *  ConAnuous  NarraAve  uses  the  repeAAon  of  figures  to  
    convey  mulAple  scenes  of  a  story  in  a  single  composiAon.  
    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.  

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  78. Time    
    movement  in  3-­‐D  space  that  is  either  actual  or  implied.  
    MoAon  

    View Slide

  79. View Slide

  80. View Slide

  81. Giacomo  Balla,  Abstract  Speed—The  Car  Has  Passed,  
    1913.  

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  82. Gino  Severini,  Armored  Train,  1911-­‐1913.  

    View Slide

  83. Useful  QuesAons  
    •  Does  the  work  represent  a  narraAve?    Is  it  a  
    single  moment  or  several  moments?    What  
    moment(s)  does  the  arAst  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  
    sAllness  or  acAvity?      

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  84. Time     MoAon  

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  85. Leonardo  da  Vinci,  The  Last  Supper,  1495-­‐1498  
    Final  ObservaAons  

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  86. Reminders!  
    •  Your  first  quiz  is  due  Tuesday  Feb.  5th  
    before  midnight  on  Blackboard.  
    •  Learning  to  Look  is  due  Thursday  Feb.  7th  
    in  class  or  on  Blackboard.  

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  87. Fun  with  the  Elements  

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