chaptures 3 and 4

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

Active or static
Aggressive or passive
Sensual or mechanical
Can define boundaries or imply volumes/mass
Can be grouped to depict light, shadow, patterns and textures

curvy and suggest slow rhythmic motion

Angular lines express swift and violent motion

Takes lines into the third dimension Short lines in varying degrees of density

More organized array and Suggest elegant open rectangles

Etched lines on metal plate One line for each of cat’s hairs, Eyes, foot pads slightly shaded All of these are done with lines

It is a line in a composition that is not actually drawn; it may be a sight line of a figure in a composition, or a line along which two shapes align with each other. Suggest visual connections and can serve as an underlying organization structure.

Figures in lower foreground from a triangle with the figures above from a another triangle

the arena within the outline of a object or figure

appears flat, having only height and width

has mass or volume with height, width and depth

They are precise and regular be it circles, triangles and squares. They are often made with the help of tools such as rulers or compasses.

Most common shapes in the human made world are geometric

hey are irregular and are often curving or rounded, they seem more relaxed and informal than geometric shapes.

most of them are organic with the biomorphic also suggest shapes based on natural forms.

a shape in a work of art that resembles a living organism or an organic shape

a flat picture surface

figures or positive shapes

shapes in the background

it allow us to sort out and interpret what we see

Simple means to create a game of positive and negative shapes

three dimensional, it is the physical bulk of a solid body of material that has height width and depth

mass is a major element in sculpture and architecture

Fernado Botero, The Horse: Example of closed form
Alber Giacometti, Man Pointing: Conveys a sense of fleeting presence with it represents open form

Paula Modersohn-Becker, Mother and Child: though it is 2d it implied mass by how filled the picture plane is, it’s shading suggest bulging/curving flesh and used both composition and shading to imply mass

it is indefinable but is the general receptacle of all things with how artists organized the space being one of their most important creative considerations.

Space is most difficult to convey in words and pictures with to experience 3d spaces we must be in it. Architects are especially concerned with the qualities of space.

Cesar Pelli, North Terminal at Ronald Reagan Washington National Airport: it takes passenger’s experience of space into account with it divided the huge interior space into smaller modules
Doug Wheeler, SA MI 75 DZ NY 12: it creates a feeling of infinite space

having the dimensions of height and width only. Through drawings and paintings we see the space of the surface all at once

Pool in the Garden: Early Egyptian paintings showed little depth with the objects portrayed from most easily identifiable angels. The Pool is show from above with the trees, fish and birds being show from the side

Almost any markon a picture plane begins to give the illusion of depth. The viewer may be conscious of a picture being actually flare but the illusion of depth made it appear to have depth. Artists can emphasize either the reality or the illusion or they can strike a balance between them.

Paul Cezanne, Still Life with Apples: it suggested depth in various ways, the horizon line of the tabletop, the gap in the middle, pictorial depth by overlapping and vertical placement of the fruit, flattened overall space with the patches of parallel brushstrokes, and the space behind the tabletop being unclear.

any means of representing 3d objects in space on a 2d space

a system of perspective in which parallel lines appear to converge as they recede into the distance, meeting at a vanishing point on the horizon; it was perfected during the fifteenth century in Italy with it based on the way we see.

Raphael, The School of Athens:used perspective for emphasis

a type of perspective in which the illusion of depth is created by changing color, value, and detail

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

a long, narrow mark, usually made by drawing with a tool or brush; it is our primary visual means for recording and symbolizing ideas, observations and feelings. Mood between two works differs widely Depends entirely on artists’ use of line

everything we see is made visible by light and can be directed, reflected, refracted, diffracted or diffused. With the source, color, intensity and direction of the light can greatly affect the way things appear.

The way light falls influence how we see the subject

Daniel Chester French, sculpture of Abraham Lincoln: is a example of how the light falls influence how we see the subject with the sunlight makes Lincoln seem like a frightened man

relative lightness and darkness of surfaces

Value perceived is like a relationship rather than an isolated form

is an example of implied light with the gray bar being the same gray but it appears to change from one end to the other as the value of the background changes.

the room is dark with there being only one source of light it is a example of Chiaroscuro

the gradations of light and dark values in two-dimensional images

Paul Chan, The 7 Lights: the shadows made from the light make the objects seem to be tumbling by installing a projector at various angles so that it sent an irregular window of light onto the floor or wall of the gallery space

Keith Sonnier, Motordom: intense colors provided by light when he placed an array of neon tubes in the outdoor lobby of a new government building in Los Angeles to represent the car culture that southern Californians live with by making it look like cards passing by.

Keith Sonnier Turning Light into Art: drawing from his experience growing up with electric fences he uses light to have the viewer become a participant in the art because of the emitted light being part of the work. It creates the sense of psychological and physical space, along with the transformers and wiring are often visible for this.

A component of light, color affects us directly by modifying our thoughts, moods, actions, and even our health with us expressing ourselves through it based on established costumes in our cultures.

Objects that appear to have color are merely reflecting the colors that are present in the light that illuminates them with there being different wavelengths for each color with red being the longest causing it to travel more rapidly than blue.

the color of an object as we experience it, without shadows or reflections, it is determined by the wavelengths of light being reflected or absorbed
If all wavelengths absorbed, the object appears black
If all wavelengths reflected the object appears white

having no color or hue (black, white and gray)

Hue
Value
Intensity/saturation

that property of a color identifying a specific, named wavelength of light such as green, red, blue, and so on

the relative lightness and darkness of the surfaces with adding black produces a shade and adding white produced tint

he relative purity or saturation of a hue (color), on a scale from bright (pure) to dull

mixture of colored pigments in the forms of paints, inks, pastels, and so on. The become duller and darker as absorptive qualities are combine

red-orange, green, and blue-violet

the mixture of colored light

concept first developed in the 17th cen by Isacc Newton it is base on the 12 pure hues

red-orange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet; each hue is located between the primary and the secondary hue of which it is composed

are seen in any combination of hues with blue green side being seen as cool and red orange side being seen as warm

color groupings that provide distinct color harmonies

a color scheme limited to variations of one hue.
Mary Corse, untitled:it can represents a certain mood

olors that are adjacent to each other on the color wheel, such as blue, blue-green, and green

Jennifer Bartlett, Path: the two panel work includes colors that harmonize with each other with it mostly being blue and green

two hues directly opposite one another on a color wheel, such as red and green, that, when mixed together in proper proportions, produce a neutral gray

Meret Oppenheim's Object: a example of rude tactile experiences with the pleasant texture of fur being contrast with the idea of putting the cup to one’s mouth

It is typically found in many traditional Native American cultures with varied textures of Man’s bodice make experiencing it multisensory

is the choosing of which visual elements to used and organizing them to convey the artist’s intentions

organization of visual elements in 2d art

the appearance or condition of oneness with very few artworks being absolutely unified with having to much of it can make the piece boring

the opposite of unity; diverse elements in the composition of a work of art

Balances unity and variety through different means with the action being enclosed within one room, it is not overly crowded. With it liberal use of squares and rectangles it provide variety and structure that promotes unity

an arrangement of parts achieving a state of equilibrium between opposing forces or influences. It is the acting influences held in check by opposing forces with it being the desire for visual balance.

it is easier to comprehend than asymmetry.
EX:
James Hoban, Design for the President’s House

a design (or composition) with nearly identical form on opposite sides of a dividing line or central axis

the various elements of a work are balanced but not symmetrical it is often around a felt or implied center of gravity

Lavinia Fontana, Noli Me Tangere: in it dramatic imbalances are held in check with strong weight in the center of the piece by having Christ be in the foreground to balance the tomb.

Titan, Noli Me Tangere: a more subtle approach than Fontana with it be closer to being symmetrical but it still effortlessly have the qualities of good asymmetrical balance

Degas, Jockeys before the race: is an extreme case of dynamic balancing with the center of gravity being on the right. The solitary circle on the left leads the viwer’s eyes through warm colors.

Mark di Suvero, Declaration: it is an example of a statute requiring balance in order to keep it up right with it being engineer to balance the long V shaped wings through even earthquakes and tsunamis.

a method an artist uses to draw attention to a focal point; may be done with central placement, large size, bright color, or high contrast.

the principal area of emphasis in a work of art; the place to which the artist directs the most attention through composition

Position:
Contrast (the juxtaposition of strongly dissimilar elements)
Color intensity
Size

technique by which an artist ranks certain areas of a work as of lesser importance; areas are generally subordinated through placement, color, or size. It keeps the viewer from being distracted by other elements in the art.

Titian's Noli Me Tangere and Degas’ Jockey Before the Race

pathways that the artist embeds in a work for the viewer’s eye to follow. It gives paths for the eye to follow by ever actual or implied lines

Standing still (|)
Being at rest ( _ )
Being in motion (/)

Francisio Goya’s Bullfight: it produced drama through its large, isolated, and dark focal shapes with the suspense of the spectators in the corner. This is also an example of directional forces with the pole being standing still and with the fighter and the bull creating a / for being in motion.

the recurrence of visual elements, it leads to unity, continuity, flow and emphasis

all-over design created by the repetitive ordering of design elements it is a common design strategy in textile art

the regular or ordered repetition of dominant and subordinate elements or units within a design with related variations. It is a often used as an organizational and expressive device that is done in the simplest way through repetition.

Wallace Berman untitled collage: it is a reproduced shaped exactly with a varied from of exposure each time but the composition is anchored with the rhythm of the hands

Ogata Korin, Cranes: it has both repetition and rhythm with the simplified repetition of birds with the direction of where the birds are looking, leading the eyes to the left and balances the shape on the right.

the size relation of one thing to another

the size relationship of parts to a whole and to one another with changes in this can make a difference in the way the viewer experience a subject

Michelangelo’s: has a problem of human proportions with showing Christ being in Mary’s lap causing Mary’s body to be overlooked due to the proportions

Roettgen: both figures is the same size but Christ is more boney and emaciated allowing the viewer to better see Mary

Cildo Meireles, Cruzeiro do Sul (Southern Cross): this is less than an half of inch across with the piece being a commentary on the Southern Hemisphere countries and their exports with the small work can be overlooked just like the news from South America with the material representing lumber production.

Claes Oldenburg and Coosje van Bruggen, Shuttlecocks: 4 huge (18ft tall and over 5k lb) and outlandish shuttlecocks it was used to gently mock the solemnity of the museum they surround

Oldenburg wanted to demystify art by mixing it with real life in news ways so they often distorted the scale of objects to enlarge them to help the viewers see them as fresh. He recently married van Bruggen and became collaborators until Oldenbrug’s death.

the shape or proportions of a picture plane it strongly influences the total composition of a work

8-½ by 11 rectangle

may result from multiple changes and decisions

a set of 24 photographs over four months with the first one (State 1) looking most natural and follow traditional rules of picture construction but as the set gose on it changes with State IX having the figure be enlarge and the weight being on the right arm with the addition of parallel stripes to the background and State XII the figure’s head is larger and more upright with simplified curves for the torso and a net like motifs of squares can be see on the couch and wall. Lastly the Final state in the left arm extends to align with the picture frame and the figure’s head is smaller/ New functions to the shapes and lines of the chair back and flowers with the pattern on the back wall intensified. With the Expressiveness of the work being not reliant on facial expressions/ gestures of the figure