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Learning to Look: The Elements of Art

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
January 29, 2013

Learning to Look: The Elements of Art

3700411ae81a5ba151f9946dcb59c386?s=128

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,  
  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   =  

    DescripAon   +   Analysis   A  descripAon  relates  what  you  see.   An  analysis  gives  meaning  or  insight   to  that  descripAon.  
  6. Physical  ProperAes   Dimensions:  14’5”  x  28’¼”  

  7. Physical  ProperAes   Medium:  Experimental  Fresco  Technique  

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

     Italy  
  9. RepresentaAonal  vs.  Non-­‐RepresentaAonal   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  &  MoAon  
  11. The  “What”  

  12. Principles  of  Design   Unity/Variety   Balance   Emphasis/SubordinaAon  

    Scale/ProporAon   RepeAAon/Rhythm  
  13. The  “How”  

  14. What  are  we  looking  at?   Picture  Frame  

  15. What  are  we  looking  at?   Picture  Plane  

  16. Shape   Space  

  17. Shape   Space   an  element  of  art  that  creates

     an  enclosed  space.   Geometric   Organic  
  18. Geometric   Organic  

  19. Shape   Space   the  area—implied  or  actual—in  or  around

     shapes.   linear  perspecAve   overlapping   Atmospheric  Perspec6ve  
  20. Linear  PerspecAve   One-­‐Point  Perspec6ve   Two-­‐Point  Perspec6ve   Horizon

     Line   Horizon  Line   Vanishing     Point  no.  1   Vanishing  Point   Vanishing     Point  no.  2  
  21. Atmospheric  PerspecAve  

  22. Space  in  the  3rd  Dimension  

  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?  
  24. Mass   Line   Color   Light   Texture  

  25. Mass   Line   Color   Light   Texture  

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

    a  line  that  defines  the  outermost  limits  of  a  shape.   contour  line   Contour  Line  
  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  
  28. QualiAes  of  Line  

  29. QualiAes  of  Line  

  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?  
  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  

  36. Mass   Line   Color   Light   Texture  

    the  effect  of  light  falling  on  an  on  the  shapes   represented  in  the  painAng.  
  37. How  Vision  Works  

  38. Value  

  39. Chiaroscuro    

  40. Effects  of  Light  

  41. Effects  of  Light  

  42. Effects  of  Light  

  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?    
  44. Mass   Line   Color   Light   Texture  

  45. Mass   Line   Color   Light   Texture  

    the  illusion  of  3-­‐dimensional  or  physical  weight   on  a  2-­‐dimensional  surface.  
  46. Elizabeth  Catle`,   Bread,  1962.  

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

  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?  
  49. Mass   Line   Color   Light   Texture  

  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  
  51. How  Color  Works   Hue  

  52. How  Color  Works  

  53. How  Color  Works  

  54. How  Color  Works  

  55. Primary  

  56. Secondary  

  57. TerAary  

  58. Color  Schemes:  Complement  

  59. Color  Schemes:  Split  Complement  

  60. Color  Schemes:  Primary  Triad  

  61. Color  Schemes:  Secondary  Triad  

  62. Color  Schemes:  Tetrads  

  63. Color  Schemes:  Analogous  

  64. Color  Schemes:  MonochromaAc  

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

     
  66. Talking  about  Color:  Neutrals  

  67. Talking  about  Color:  Value  

  68. Talking  about  Color:  SaturaAon  

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

     
  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?  
  71. Mass   Line   Color   Light   Texture  

  72. Mass   Line   Color   Light   Texture  

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

  75. Time     the  non-­‐spaAal  conAnuum,  the  fourth  dimension,  in

      which  events  occur  in  succession.   MoAon  
  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.    
  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.  
  78. Time     movement  in  3-­‐D  space  that  is  either

     actual  or  implied.   MoAon  
  79. None
  80. None
  81. Giacomo  Balla,  Abstract  Speed—The  Car  Has  Passed,   1913.  

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

  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?      
  84. Time     MoAon  

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

     
  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.  
  87. Fun  with  the  Elements