Ch 4-5 Slides

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Know definitions and visual examples for each element and principle of design.

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Ch 4-5 Slides

  1. 1. Art Appreciation<br />Chapters 4 & 5<br />
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  7. 7. LINE<br />A path traced by a moving point or a mark with the point being the smallest of all visual elements.<br />Movement, direction and emphasis implied by lines convey different characteristics and psychological effects.<br />Types of lines: <br />actual, implied, incised, raised, contour, variation, cross-hatched, lines formed by edges<br />Linear forms are interpreted as lines<br />
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  23. 23. SHAPE<br />a 2-dimensional form that occupies an area with identifiable boundaries.<br />----------------------------------------------------------------<br />a 3-dimensional form that occupies a volume of space.<br />MASS<br />
  24. 24. The Madonna of the Meadows, Raphael, 1505, oil on panel<br />
  25. 25. The Raven and the First Men, Bill Reid, 1983, Laminated yellow cedar<br />
  26. 26. SPACE<br />In 3-dimensions, an area in which anything with mass exists. <br />In 2-dimensions, it only has height and width, but no depth.<br />It is a limited or unlimited area appearing to advance, recede, or extend in all directions.<br />
  27. 27. The Nose,Alberto Giacometti, 1947<br />
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  31. 31. VALUE<br />The relative lightness or darkness of a color in relation to another, as well as the relationship of light to dark.<br />Hue – the name used to distinguish one color from another. The word “hue” is used interchangeably with the term “color.”<br />Tint – a color lighter than the hue’s normal value. Adding white usually produces a tint.<br />Shade – a color darker than the hue’s normal value. Adding black usually produces a shade.<br />
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  37. 37. COLOR<br />A function of light where the physiological activity of the human eye and the science of electromagnetic wavelengths are the process necessary for it function.<br />Color are the components of light revealed when refracted through a prism.<br />When arranged on a color wheel, colors are labeled: primary, secondary and tertiary<br />
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  45. 45. LIGHT<br />A type of radiant energy that reveals the world of forms and spatial relationships.<br />Actual light – Natural light. Light produced by electricity. In art, this type of light is used in architecture and some sculpture.<br />The illusion of light – Light which is created in an artwork by the use of paint or another medium. The artist most often creates this illusion with value changes.<br />
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  60. 60. 1978-79<br />
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  64. 64. 1986-87<br />
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  73. 73. The Scream, 1893,Edvard MunchStolen in 1994 & 2004there are 5+ versions,http://www.telegraph.co.uk/news/worldnews/1584138/The-Screams-value-unstained-by-theft-damage.htmlhttp://www.youtube.com/watch?v=QPJubZlcYxU&feature=related<br />
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  75. 75. TEXTURE<br />A quality experienced through touch or through touch visualization.<br />
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  78. 78. PATTERN<br />A decorative repeating motif or design.<br />
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  81. 81. PERSPECTIVE<br />Any system for depicting the illusion of 3-dimensional space on a 2-dimensional surface.<br />LINEAR perspective (also called scientific)<br />one-point -- two-point<br />Isometric perspective<br />Aerial perspective<br />Ground perspective<br />
  82. 82. One-point Linear Perspective<br />
  83. 83. Two-point Linear Perspective<br />
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  97. 97. TIME<br />A progression or sequence that creates an actual or implied sense of life/time passing.<br />Time is the element in which we live. It is sometimes referred to as the forth dimension.<br />
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  103. 103. MOTION<br />An actual (kinetic) or implied sense of movement.<br />
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  108. 108. Calder, flamingo<br />
  109. 109. Danube bicycle<br />http://www.youtube.com/watch?v=LeBiqVJrJ08&feature=PlayList&p=BA532D06AA211E8E&index=17<br />
  110. 110. Arthur Ganson, “Machine with concrete”<br />http://www.boingboing.net/2009/09/15/motor-attached-to-se.html<br />
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  112. 112. End of chapter 4<br />The Visual Elements<br />------<br />Begin chapter 5<br />Principles of Design<br />
  113. 113. UNITY<br />A sense of oneness, of things belonging together and making a coherent whole.<br />
  114. 114. VARIETY<br />The difference between objects using any of the visual elements.<br />
  115. 115. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster<br />
  116. 116. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster<br />
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  118. 118. Joseph Cornell, Habitat Group for a Shooting Gallery, 1943<br />
  119. 119. Joseph Cornell, Untitled (The Hotel Eden), c. 1945<br />
  120. 120. Joseph Cornell, Untitled (Paul and Virginia), c. 1946-48<br />
  121. 121. Joseph Cornell, Untitled (Pharmacy), 1943<br />
  122. 122. Jackson Pollock, Shimmering Substance, 1946<br />
  123. 123. BALANCE<br />In either 2-D or 3-D, the visual “heaviness” or “lightness” of forms arranged in a composition.<br />Symmetrical Balance<br />Asymmetrical Balance<br />Approximate Symmetry<br />
  124. 124. L. Brent Kington, <br />
  125. 125. Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936<br />
  126. 126. Frida Kahlo, The Two Fridas, 1939<br />
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  133. 133. Gustav Klimt, Death and Life, before 1911<br />
  134. 134. Sakai Hoitsu, Summer Rain, late 18th century<br />
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  137. 137. EdouardManet, A Bar at the Folies-Bergere, 1881-82<br />
  138. 138. Rose Window, Notre Dame, Paris<br />
  139. 139. SUBORDINATION<br />Certain areas of a composition purposely made less visually interesting.<br />
  140. 140. EMPHASIS<br />A certain part of the composition that has the viewer’s attention, especially small, clearly defined areas such as the focal point.<br />
  141. 141. Henry Ossawa Tanner, The Banjo Lesson, 1893<br />
  142. 142. Paul Cezanne, Still Life with Compotier, Pitcher, and Fruit, 1892-94<br />
  143. 143. Executions of the Third of May, 1808, Francisco de Goya, 1814-15<br />http://eeweems.com/goya/3rd_of_may.html<br />
  144. 144. SCALE<br />Size in relation to a standard or “normal” size.<br /> -------------------------------------------------------------<br />The size relationships between parts of a whole or between two or more items perceived as a unit.<br />PROPORTION<br />
  145. 145. Oldenburg and van Bruggen, Plantoir, 2001<br />
  146. 146. Rene Magritte, Delusions of Grandeur II, 1948<br />
  147. 147. Leonardo da Vinci, Vitruvian Man, 1485-90<br />
  148. 148. RHYTHM<br />Can be based on repetition of any of the visual elements.<br />
  149. 149. Piet Mondrian, Broadway Boogie-Woogie, 1942-43<br />
  150. 150. Grading Criteria - Presentations<br />Proper length = 5 minutes<br />Full bio/history<br />Pic of artist<br />Where did they go to school<br />Influences/legacy<br />Anecdotal info<br />Plenty of images<br />Presenters interest in the subject<br />Seems informed/able to answer questions<br />Proper sources cited<br />

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