Art Element With Area Defined by a Clearly Recognizable Boundary
Art Appreciation September 16, 2016 Examination #ane Report Guide
What is a ii dimensional area with a recognizable boundary?
Visual Elements
Line: the path of a moving point
• It is the most basic element yet the most complex; information technology builds all other elements • Take for instance the works of Van Gogh
o He had bipolar disorder and was possibly homosexual
o Poor (whatever money he had went toward fine art supplies)
o No artwork sales while he was alive
o Ex. A Fishing Boat at Sea, 1888
His use of line in this painting depicts the setting (windy, water is
What move was henri matisse part of?
choppy, there is rain off in the distance). We can infer that it is not
wise for the boat to leave shore (they're fishermen, storms = fish =
$$$). If we look deeper, we can infer that Van Gogh painted this
subject matter (the events or objects yous are looking at) to portray
his own life struggle at that bespeak in fourth dimension with money and making a
living for himself.
• Line tin have expressive personality, meaning it conveys emotions to those looking at the work of art.
Qualities of Line:
1. Directionality: the direction of the line can convey specific emotions or perceptions
Vertical
Horizontal
Diagonal
Curved
Anxiety
Discomfort
Attending
Getting
Calm
Tranquillity
Relaxing
Not Moving
Movement
(In transition from vert. to hor.)
Unstable
Movement
Based off the
curves of the
man body
Can lines be actual and implied?
Nosotros too discuss several other topics like Is income statement the same equally profit and loss?
One final example of Curved Line:
∙ Guggenheim Museum in NYC, built in 1959, cone shaped
(considers the fluidity of motility), has no stairs…instead a wide
ramp was built and utilized as exhibition space to both combat the
large amounts of visitors and the disabled
2. Hard Line:
a. Defined, more often than not make clean, has a clear beginning and end, usually made
with i single stroke
b. As well known as the "male person" line
c. Ex: Georgia O'Keeffe's Wintertime Road 1963 Don't forget about the age erstwhile question of How do you make up one's mind the atomic structure of an element?
i. Hard, curved, actual line
3. Soft Line
a. Hesitant, varied, broken down
b. Too known as the "female" line
Functions of Line
1. Outline and Contour
a. Outline:
i. Defines the effigy/shape, lineate the figure
ii. Not a lot of detail, small shapes or lines, etc.
iii. ALWAYS composed of bodily lines (whether hard or soft)
1. Bodily lines are used to show characteristics
b. Profile:
i. Shows the edges of the things
two. ALWAYS composed of implied lines
iii. You volition see this in 90% of artwork Don't forget about the age sometime question of How exercise you find something's volume with mass and density?
2. Shading/Modeling
a. Looking for the illusion of three dimensionality seen through shadows and light
b. Parts of the artwork in front end of or backside other objects show depth c. There are two techniques to execute shading/modeling:
i. Hatching
1. Creating semi parallel lines
ii. Lines closer together convey shadow
iii. Lines farther away convey openness 
two. Cross Hatching
1. Crossing of the semi parallel lines
2. Follows same trends as the hatch technique
iii. Lines closer together convey shadow 
4. Lines farther abroad convey openness 
3. Texture
a. Something tangible that you can feel with your hands, tactile
b. Suggested by the line characteristics
i. Lines can imply pare qualities in artwork concerning humans
4. Direction/Motion
a. In nature, look for lines in the mural and foreground
b. Movement is shown by diagonal lines
i. Diagonal lines can also imply instability
c. Management is shown by horizontal lines
Shape:
1. Shape is a two dimensional expanse with identifiable boundaries
two. There are ii categories of shape:
a. Geometric shape
i. Due to its angles and abrupt edges, Clean, Perfectly divers
ii. Circumvolve is an exception…information technology falls somewhere in between the two categories; considering its curve implies movement, it is also considered organic
iii. Supremacism = conventionalities that the supreme shape is the rectangle
b. Organic shape
i. No precipitous angles, curved, devoid of precipitous angles
iii. Henri Matisse (1869-1954)
a. To him, making fine art was a central part of his beingness…even when he was sick and disabled; he tried his best to keep to make art
b. Used the cut-out technique: cut shapes from paper and arranging them four. Implied triangular shape
a. Used during the time of the renaissance to express the religion of Christianity b. The triangle, in Christianity, represents the holy trinity: God, the father, and the holy spirit
c. When a triangle is nowadays, it can prove that God is present
5. Just like line, shape can be both bodily and implied
a. Many of Da Vinci's works include organic shapes (due to the human being body) just the placement of their bodies establishes an implied triangular shape
b. Rafael is more than forward with unsaid triangular shape in his works (more than and so than Da Vinci)
i. Rafael could have surpassed both Da Vinci and Michelangelo if he hadn't died so early on in life
ii. He died of syphilis at age 30
six. Effigy and Ground
a. Effigy-Ground relationship
i. Figure = the shape
two. Ground = whatever is effectually the shape, the expanse where shapes (figures) reside
b. Figure-Ground Reversal
i. When the basis and the effigy interchange places
2. Ex: Faces and Vase artwork
1. When you lot see the faces (figure), the vase is implied (ground)
2. When you run across the vase (effigy), the vases are unsaid (ground)
iii. It is possible to take both reversal and relationship in the same artwork
Mass:
one. Mass – a three dimensional object that exists in space
ii. Form – objects that have mass
a. If it is an illusion of infinite, information technology'southward a shape Not a form (shapes are 2D, forms are 3D) b. Only sculptures, metal piece of work, and things that tin can really have up 3D space tin can have mass and be called form
c. There are two types of forms:
i. Closed forms
1. Solid, meaty, self- sufficient, hard, and take no distractions
2. Ex: Olmec Head
a. Found SE of Mexico
b. ~13ft alpine, made of volcanic stone, weigh 25 tons, doesn't
take any holes in the course
ii. Open Forms
1. Meet through, has distractions, may or may non be self-sufficient,
has to include open up spaces
ii. Could share many characteristics with airtight forms, but if see
through or has open spaces information technology is nonetheless classified as open
Infinite:
ane. Vertical Placement
a. Divides the picture airplane in two
b. Things at the bottom of the work are closer, things on meridian of the work are further abroad
c. There is non a big distance
i. Size of the objects are more or less the same, makes sense when used with overlapping
ii. Linear Perspective
a. It's a way to create a 3D logical space in a 2d surface
b. 2 basic elements
i. Horizon line
ii. Vanishing point
1. Where all parallel lines encounter
two. Exclusively works with geometric shapes
3. If it has a vanishing point, information technology is linear perspective
4. Extremely mathematical (needs to work systematically,
methodically, consistently need to measure everything)
5. Mathematical diminishing size
a. Need to use a ratio
b. Has a vanishing indicate
6. Tin can guide your centre to the focal point
7. Cannot use linear perspective on organic shapes
8. Parallel lines tin can frame scenes
nine. Tin can have more than one vanishing point
3. Atmospheric Perspective
a. Things in front end are very detailed
b. Things in back are blurry and change color
Light/Value:
i. Value – the relative lightness or darkness of a color or neutral
a. Neutral = black, white, grey, dark-brown
b. Translation – using relative value when converting an artwork from color into neutrals
c. The more value there is in a composition, the more 3D it looks (if there is less value, it looks more than flat or 2D)
2. Blackness and White
a. Highlight = the lightest area of the whole composition
b. Graduations of value = the in areas of the limerick in betwixt the highlight and darkest area
c. Darkest value = the darkest surface area of the whole composition
3. Shade – adding black to a color
four. Tone – adding grey to a colour
5. Tint – calculation white to a colour
Pinkish IS NOT A COLOR, Information technology IS A TINT!!!
Color:
Isaac Newton
∙ Established color theory (created for physics, but artists began to use it heavily) o A ray of white calorie-free passes through a prism to create all the colors of the visible spectrum (those colors visible to the naked heart – colors of the rainbow)
o Difference betwixt a law and a theory?
▪ Police = 100% sure it'southward true
▪ Theory = ~ninety% sure it'south true
Colour Theory
one. In the absenteeism of lite, there is no color – rather, color is light, you cannot take one without the other
two. All objects are going to reflect i colour and blot all the others
a. Ex: Blue shirt: all colors except bluish are absorbed and blue is reflected b. Ex: White shirt: all colors are reflected
c. Ex: Black shirt: all colors are captivated
3. Colour affects us both physically and psychologically
a. Ex: "Green with envy" – green strikes an envious feeling considering nosotros associate it with that
b. Blue – sad
c. Orange – energy
d. Red – alert, passion, anger, beloved, violence, etc.
i. Ex: cease signs
two. Ruby-red has one of the larges ranges of feelings associated with the word or color
Color Wheel
∙ Colors of the visible spectrum organized in a circular blueprint
YO
O
RO
R
RV
Y V
YG
Chiliad
BG
B
BV
Main Colors – yellow, red, blue; they but exist; they create the other colors
Secondary Colors – orange, green, violet; mixing of two primary Colors
Tertiary Colors – RO, YO, YG, BG, RV, BV; mixing of a master and secondary color
Pastel – made of pure pigments; take high intensity
*If you mix all three primaries, yous will get a neutral colour (chocolate-brown) even though in theory it should be black
* If you mix the iii primaries with low-cal yous volition get a white low-cal, this is true in theory and practice
1. Color has properties
a. Hue – means "colour"
i. Ex: "cherry hue" is interchangeable with "red color"
ii. Only applies to colors of the visible spectrum, all others outside of the spectrum are not colors/hues
b. Value – relative darkness or lightness of a colour
i. High central values – utilize of light colors in an artwork's majority (RO
through Y through BG)
two. Low primal value – use of dark colors in an artwork'south majority (RO
through V through BG)
3. REMEMBER, ITS DEPENDENT ON WHAT IS USED FOR THE Majority OF THE WORK
c. Saturation/Intensity – purity and brilliance of the color, its vibrancy
ii. Color has temperature
a. Warm colors
i. Yellow, orange, cherry
b. Cool colors
i. Green, blue, violet
c. Base the classification of warm vs. absurd on what colors make upwardly the majority of the work
Palette
∙ A selection of colors for an artwork OR where you physically place the colors that you're using
∙ Ex: Main Palette – utilize of just main colors
∙ Ex: Secondary palette – use of only secondary colors
Color Schemes
∙ Colour combinations, colors that match nicely with each other (mostly used for fashion) ∙ Ex: autumn colors, summer colors
1. Monochromatic
a. Utilise of one single color
b. Can utilize all shades, tints, tones, and values of the color plus any black, white, gray, or dark-brown 
c. "Mono" = ane; "blush" = color
d. Ex: All blue colors (any black and white doesn't count because they are neutrals)
2. Complimentary colors
a. Colors that are across the color wheel from each other
b. Yellow and violet; xanthous green and red violet
c. One colour is not taking away from each other, they complement each other fully and seem to "vibrate" together
d. Ex: sports logos (Lakers = yellow and purple)
east. Ex: holidays (Christmas = greenish and ruddy)
After image
∙ Occurs when the brain gets tired of seeing a colour for too long and so the encephalon makes up the complementary colors
o If you stare at cherry-red, the mind generates the green complementary color
o If you stare at xanthous, the mind generates the violet complementary color o If y'all stare at blue, the mind generates the orangish complementary color
Optical Color Mixture
∙ A mixture of the colors physically does not happen; the artist places two colors side by side to each other
o Shut up, you see the individual colors
o Further away, you run into a blend of the colors because the centre mixes information technology automatically ∙ Pointillism = the use of piddling dots/points of color placed next to each other but the colors alloy when the artwork is viewed from farther away
Texture: a tactile quality, it is palpable
4. Actual texture
a. The one that you are able to touch; the object is able to be touched
i. Ex: tree bark – has a rough texture
b. All 3D objects accept an actual texture
i. Ex: sculptures
c. Juxtaposition
i. Placing two opposites together
ii. Ex: furry cup, plate, and spoon
i. Information technology is soft and pleasurable to the bear upon, but absolutely absurd to put
in your mouth and use
d. There is an exception with second artworks!
i. Impasto technique – a heavy application of paint (ONLY IN Pigment)
ii. The extra paint practical to the canvas creates actual texture in a 2d format three. Van Gogh is a famous painter that uses the impasto technique
east. It is bodily if you can impact it and recall
5. Visual texture
a. Suggests a surface quality, the texture is not actually there
b. It is implied texture, but you Accept TO REFER TO It Equally VISUAL TEXTURE i. Ex: 2d art, paintings, prints
c. Ex: Arnold Feeny portrait
i. Polish to the touch on, but yous are able to discern what blazon of materials the subjects are made of
1. Metallic lamp, dog, carpet, wood floor, fur coat, etc. each have their
own textures made past using various tools
2. Has high quality detail to bear witness the texture without having bodily
texture
Fourth dimension:
1. Ancient calendar depicts cyclical time…fourth dimension merely moves forward never backward o Relates to the life of our culture (circle of life) and aboriginal civilizations (they reach their superlative and and so brainstorm to decline equally fourth dimension passes)
2. Monet
o Paintings of the reflection of light on unlike objects (haystacks and the roman cathedral)
▪ Comes to the aforementioned scene multiple times throughout the year and paints the object as it changes with the change in light (depicts the passage of
fourth dimension with that location and object)
3. Curved lines
o The curve of the line helps to describe movement
o Van Gogh
▪ Utilizes brush strokes to create larger curved lines to help depict
move
4. Matisse
o "The Trip the light fantastic"
▪ Depicts people dancing in a circular move and also draws the people using curved lines
▪ Orange colour depicts warm bodies due to their movement
∙ Helps the viewer to come across how long and intense the people accept
been dancing
▪ Besides the positioning of the falling body on a diagonal line helps the
viewer to terminate time before he falls
5. Implied Time
o Comic strips, graphic novel
o The fourth dimension that passes is decided past the artist
o Ex: vii panel artwork
▪ All panels are the aforementioned except for panels #one "come" and #3 "please"
▪ There are 2 females holding each other but nothing is happening
betwixt the two figures
▪ Piffling movement tin depict a very quick timeframe
o Ex: Skeleton painting with 2 panels
▪ Holding a key = skeleton has a good thought
▪ Skeleton pees on the plant, time passes, and in the second panel, the
plant has grown and flowered; the skeleton is happy
▪ The time passing here might be longer in guild for the plant to really grow
Move:
Kinetic Movement
o Actual motility of the artwork
o Wouldn't expect to see this type of movement in a sculpture
o Alexander Calder
▪ Made sculptures with wires that permit each role of the artwork to
motion, inspired by choreography
▪ The bases are still and heavy, but the tops are light and moveable
▪ His sculptures have the most elegant movement (a work of fine art that
recreates itself at every turn)
▪ His artwork take been found in the Guggenheim museum (mobiles);
the kinetic movement of his works are complemented by the unsaid
movement of the winding ramp found in the museum
Implied Motion
o Tin can attain implied motility through the repetition and amending of shapes o Artists are utilizing new camera engineering to endeavor new means to make art (still shots compiled together in a sequence to imply motility)
▪ These techniques help give style to early on move pictures
o "Nude Descending the Staircase"
▪ Staircase depicted in the lower left manus corner of the work
▪ The trunk of the person is depicted along the height of the right side of the artwork (with the caput in the upper right paw corner)
▪ The chaos in the shapes, is meant to depict the speed of the trunk
moving down the stairs…a sense of urgency; the artwork is not meant
to be clear and for us to be able to come across the body hands (because the
artist wanted to portray that speed)
o Musicians playing
▪ You encounter the bow movements blend together to show that the piece they are playing is very fast-paced
Art movement – consists of several artists following the same principles, ideas, and rules
o Ex: Pointillism, impressionism, etc.
1. Futurism – inspired by motions and the inventions of the 20th century
(camera, vehicles, etc.)
a. depicts the fast moving life
b. praises speed, free energy, dynamism movement
c. Ex: woman running
i. Her head, clothing, shoes, etc. are repeated multiple times
to show forrad movement
d. Ex; excited domestic dog
i. Movement shown in the tail, anxiety, head, and leash
ii. Suggests the dog is very excited
e. "Dynamism of a cyclist"
i. Depicts the cyclist moving forward at a fast footstep
ii. the outline of the head is in the upper right hand corner and
the bike is a blur to evidence the speed
two. Op Art
a. Utilize of restricted palettes
b. Use of geometric shapes and neutrals
c. Demonstrates restricted movement
Time and Motility together
1. Crocodiles fighting sculpture
o Diagonal and curved lines imply movement
o The upwards stretch of the crocodile implies movement also particularly in the form of hunting
o Artist freezes the crocodiles in that position for dramatic suspension before the meal
2. Apollo and Daphne sculptures - Bernidi
o Curves and diagonals imply movement of the figures' bodies
o Fourth dimension is stopped/paused as the adult female is beginning to turn into a tree
▪ Feet = trunk
▪ Legs = bawl
▪ Easily and hair = leaves
o Cupid strikes Apollo, and Daphne tries to become away, prays to god for help, and gets turned into a tree in the procedure
o Apollo is still so in beloved, he devotes his life to taking care of the tree/Daphne 3. Computer generated works
o Optical illusions – contrasting colors (use of complementary colors – vibrating together helps with motility), organic shapes assist with movement from curved lines
Principles of Pattern
Unity and Variety:
Unity
o Wholeness that is achieved through the repetition of shape or form
o Looking for harmony
o Don't confuse this with the repetition of shape for motion (same effigy with slightly different positioning), unity repeats the aforementioned effigy without the divergence in positioning
o Also much unity tin can be considered boring, that is why variety is introduced o Ex: 12 Lions fountain
▪ Fabricated of same cloth, weigh the same, same design, have the same
function (fountain)
▪ Even the fountain itself has the aforementioned motifs where the designs are
repeated
Diversity
o When things are unlike in order to provide interest
o Creates diversity
o Too much variety can create chaos, which is why it is complemented by unity o Ex: Campbell's soup cans
▪ All the cans look the same on the outside (unity) simply upon further
scrutiny, each label is a unlike soup name (variety)
▪ Cheese soup is the artist's favorite considering there is a gold ribbon on
that unmarried can whereas the rest are plain
o Ex: Storefront
▪ Use of the repetition of rectangular shapes for windows, roofs, the sky, etc. (Unity)
▪ Diverseness is found in the plant and the barbershop pole that are singular
differences
o Ex: Dancing Adult female at Dinner Political party
▪ Unity = crimson color scheme
▪ Variety = the small-scale pops of yellow color in a few objects
o Ex: People on the Railroad train
▪ Unity = shape of window, shape of seats, race of the people, colors are the same shade
▪ Variety = man stretched diagonally to attain luggage; girl dressed like a Christmas present
Remainder:
∙ A sense of equilibrium through the distribution of elements
∙ Ex: Two figures on a see-saw, mirror images of each other…if we fill one of the figures in, the work is no longer balanced and the darkened figure looks "heavier" o Visual weight
1. Formal Symmetry
a. Requires that the image has both sides equally mirror images of each other b. Verify past drawing an imaginary line through the center of the piece of work and compare the sides, both sides need to have exactly the same elements
c. "Human being made," not necessarily seen in nature, but seen the most in buildings inside architecture
i. Ex: Taj Mahal, in Bharat, information technology'south fabricated of white marble, king had the building made in order to honor his wife who died in childbirth
ii. Within compages nosotros are looking for society and stability (these are the feelings meant to be convey through buildings)
d. Ex: Human bodies, generally symmetrical however not exactly symmetrical i. However, many cultures raise up the homo body and portray information technology as exactly symmetrical
2. Symmetrical Residual
a. Information technology doesn't match perfectly, but it is very shut
b. The piece of work has the feeling of formal symmetry, but there are petty variations that you lot accept to expect for
c. The smallest difference makes THE deviation
d. Ex: Henri Matisse's work with the flowers and two faces
i. The flower shapes do not lucifer on both sides and neither do the colors of the flowers
e. Ex: Arc de Triumph
f. Ex: Da Vinci's: The Last Supper
g. Ex: Warhol'southward Campbell's Soup artwork
iii. Asymmetrical Balance
a. An overall sense of equilibrium
b. Visual Weight is a concept utilized in this blazon of balance
i. Ex: The old woman sitting in the chair
1. The black dress she's wearing vs. the black drapery in the
background
2. The vertical of the curtain is mixed with the horizontal elderly
woman
c. The two sides will not friction match at all
d. Ex: the grim reaper vs. human bodies (Clint)
i. Shows asymmetrical residuum with the slender body of the reaper and the full, multiple bodies of the people
ii. Balances the concept: life and death (which is heavier?)
Emphasis and Focal Point:
Emphasis
∙ Draws attending to a specific surface area of the composition
∙ Ex: Adult female staring at candle flame
o Emphasis placed on her face, the candle, crucifix, whip, skull in her lap, and books
o The rest of the painting is as well dark to discern
o Book may be the Bible, she is probably very religious
Focal Point
∙ Specific spot or figure that the artist wants the viewer to see
∙ Faces are a natural focal point
∙ Directional forces aid to ID the focal point
o Unsaid lines
o Pointing gestures
o Light
o Sight
∙ Ex: Painting with Jesus and disciples
o The white diagonal of the landscape points toward Jesus
o The face of Jesus is a natural focal signal
o Sight of disciples looking toward Jesus
∙ Ex: tertiary of may painting
o Emphasis placed on the people beingness captured (no faces of the capturers, but shown of the captured)
o Focal betoken = the homo in the white shirt
▪ Lighter expanse effectually him, white shirt, artillery create a diagonal line
leading to him, his face is the most articulate
▪ Directional forces of the capturers' guns pointed at this man
∙ Ex: Footling George Washington
o Portrays the carmine tree story
o Focal bespeak = little George
▪ He is lighter, the tree and other bodies are pointing at him, building is curved toward him, the hat points to him
▪ You lot can meet his face (his confront as a man is placed on the kid's body in order to assist the viewers recognize him)
Calibration and Proportion:
Calibration
∙ Refers to size
∙ The relative size of an object compare with others of its kind
∙ Our expectations of a normal size in relation to its findings
∙ Minor scale vs. large scale
o Small images – have a more intimate feeling, individual, detailed
o Big images – have more than of an impact, shock
▪ Our expectations of normal depend on what is around information technology
▪ Compare objects only of the same kind!
1. Hierarchical Scale
a. Indicates the relative importance of individuals in a composition
b. Ex: Egyptian painting
i. The human is nigh important (largest size), followed past the wife, the
animals, and So the kid (smallest size)
c. Ex: Virgin Mary painting
i. She is near of import, followed by the angels, priest, guys, girls
d. Ex: Virgin Mary with infant Jesus
i. Jesus is the virtually important (because he is the about out of scale for his age portrayal), then Mary, and then the others
2. Proportion
a. The human relationship of the parts to the whole, looking for expectations of normal b. Compare the same object with itself not other objects
c. Cannon of proportions
i. Rules for how the homo beingness should be depicted
two. 2 types: Egyptian and Greek
1. Egyptian = palm of manus is placed under the hairline on the
forehead (considering of crowns and headdresses), eighteen palms = perfect
human proportion in their books
2. Greek = use the whole head (top to mentum) and measure it, repeat
that vii.5 times = perfect Greek proportion
a. Gods/Heroes = viii heads
b. Still in apply today for drawing the human body
iii. 20th century
1. Breaking the rules of proportion, no regard to the cannon of
proportion
two. Ex: Matisse's Woman
a. Short skinny legs, wide hips, smaller waist, long long arms,
small head
iv. The Madonna of the Long Neck
1. Babe has ridiculous proportions
mccallsperchative.blogspot.com
Source: https://studysoup.com/guide/2324729/what-is-a-two-dimensional-area-with-a-recognizable-boundary
0 Response to "Art Element With Area Defined by a Clearly Recognizable Boundary"
Post a Comment