Your SlideShare is downloading. ×
Learning to Look 3-D
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Learning to Look 3-D

969

Published on

0 Comments
2 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total Views
969
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
0
Comments
0
Likes
2
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide
  • Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  • Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  • Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  • Learning to look at and write about what you see is a key component to visual literacy. Not only does this allow you to effectively communicate what you see to others, but it also helps you gather more sophisticated observations, developing a greater understanding of a work of art. The result of this is called visual analysis.
  • There are many ways to describe an image. In Western art history, there are 8 key terms that are major components to most visual analyses: Composition, Shape, Form, Space, Line, Light, Color, Texture. These terms are particularly useful in analyses of works that are representational and two dimensional.
  • AleksandarRodic and Gallery 12
  • Transcript

    • 1. Learning to Look: Art in the 3rd Dimension
      Reading:
      Artforms, 19-77
      Terms/Concepts:
      Formal Analysis, Form, Content, Representative, Non-Representative, Elements of Design, Principles of Design, Picture Plane, Picture Frame, Contrast, Spectrum, Color Wheel, Primary Color, Secondary Color, Tertiary Color, Analogous, Complement, Split Complement, Triads, Tetrads, Tint, Shade, Tone, Saturation, Warm, Cool,
      Terms/Concepts:
      Composition, Shape, Line, Mass, Texture, Color, Emphasis/Subordination, Symmetrical Balance, Asymmetrical Balance, Axis, Repetition/Rhythm, Scale/Proportion, Unity/Variety, Geometric, Organic, Linear Perspective, Atmospheric Perspective, Implied Line, Contour Line, Sight Line, Light Source, Value, Achromatic, Chiaroscuro, Visual Weight,
    • 2. Form
      Content
      Auguste Rodin, Burghers of Calais, 1889, Victoria Tower Gardens, London.
    • 3. Form
      Content
      Form is the totality of the physical and visual aspects of a work of art.
    • 4. Form
      Content
      Content is the meaning of a work of art.
    • 5. A Short Guide to
      Formal Analysis
      ^
      3-D
    • 6. What is Formal Analysis?
      Formal Analysis
      =
      Description
      +
      Analysis
      A description relates what you see.
      An analysis gives meaning or insight to that description.
    • 7. Relief Sculpture vs. Sculpture in the Round
    • 8. Representational vs. Non-Representational
      BaccioBandinelli, Laocoon and his Sons, 1520-1525.
      Donald Judd, Untitled, 1967
    • 9. Composition
      Line
      Shape
      Light
      Mass
      Color
      Space
      Texture
      Elements of Design
    • 10. Balance
      Unity/Variety
      Scale/Proportion
      Repetition/Rhythm
      Emphasis/Subordination
      Principles of Design
    • 11. Space
    • 12. Space
    • 13. Space
    • 14. Space
    • 15. Space
    • 16. Space
    • 17.
    • 18. Space
    • 19. Space
    • 20. Useful Questions
      What is the setting of the work? Urban? Natural? Gallery?
      Is the sculpture a relief or in the round? Can you walk around it?
      How large is the statue in relation to you? Do you have to look up? How close can you stand to the work and still survey it in its entirety? Can you see it in its entirety?
      How much space is there between the shapes? Can you walk among the shapes?
      Is the composition held together by a podium, plinth, or foundation?
    • 21. Shape
    • 22. Shape
    • 23. Shape
      Jacques Lipchitz, Figure, 1958-1961
    • 24. Shape
    • 25. Shape
      Voids
      Jose Rivera, Construction, 1958.
    • 26. Useful Questions
      What types of shapes do you see? Organic? Geometric? Both?
      How do those shapes interact? Do they present a unified whole?
      How do these shapes interact with space? How do these shapes change as you move around the sculpture?
      Does the sculpture create shapes from its space? How do those shapes change as you move?
    • 27. Composition
      Shape
      Space
      =
      +
    • 28. Open(atechtonic)
      Closed
      (techtonic)
      Mark di Suvero, Aurora, 1993
      Governor, Late Period, Egypt, c. 664-525 BCE
    • 29. Open(atechtonic)
      Closed
      (techtonic)
    • 30. Balance
      Unity
      Variety
    • 31. Light
    • 32. Natural Light
      Jonathan Borofsky. Dancers. 2003. Sculpture Park of the Denver Performing Arts Complex.
      Lawrence Argent, I See What you Mean, 2005, Colorado Convention Center, Denver.
    • 33. Artificial Light
      Sandy Skoglund, Fox Games, 1990.
    • 34. Artificial Light
      Sandy Skoglund, Fox Games, 1990.
    • 35. Surface and Light
      Constantin Brancusi, The Sleeping Muse, 1909-1911, copper/brass.
      Constantin Brancusi, The Sleeping Muse, 1909-1911, marble.
    • 36. Light as Art
    • 37. Useful Questions
      How is the sculpture lit? Sunlight? Gallery lights? Directly? Indirectly?
      How many light sources are there?
      Are there areas of high contrast? Dark shadows?
      Does the light change as you move around the sculpture?
      Does the surface/material reflect or absorb light?
    • 38. Light
    • 39. Line
    • 40. Line as Form
      Dale Chihuly, Fountain, 2004, Atlanta Botanical Garden.
    • 41. Material and Line
      Wooden Bowl
    • 42. Decoration and Line
      Bruce Gray, Wall Sculpture #32 (Samurai Spaceship), 2004
    • 43. Useful Questions
      Is line a strong element of this sculpture?
      Are there any forms that can be interpreted as lines? What are those lines like?
      Are there any lines caused by the material or manufacturing process? How do they interact with other elements and with the form as a whole?
      Are there lines implied by the sculpture’s detail? What are the qualities of these lines?
      Is the sculpture adorned with any graphic elements, such as paint?
    • 44. Line
    • 45. Mass
    • 46. Mass
      Alberto Giacometti, Man Pointing, 1901-1906 BCE
      Governor, Late Period, Egypt, c. 664-525 BCE
    • 47. Useful Questions
      Does the sculpture take up a lot of space?
      Are the forms mostly open or closed? Are there a lot of voids?
      Is the statue made of a material you know to be heavy?
      Do qualities such as color or line contribute to the sculpture’s ‘visual weight’?
    • 48. Mass
    • 49. Color
    • 50. Materiality and Color
      TilmanRiemenschneider, Madonna and Child, 1460-1531, carved linden wood.
      Luisa Roldan, Virgin and Child, late 17th century
    • 51. Useful Questions
      What colors do you see? Do they fit a color scheme? Are they light? Dark? Intense? Dull?
      What is the source of the sculpture’s color? Its material? Painting or Adornment?
      How does lighting contribute to the sculpture’s color or how that color is perceived?
      What mood does the color evoke? Does it evoke a mood?
    • 52. Color
    • 53. Texture
    • 54. Material and Texture
      Mel Kendrick, Untitled, 1982, oil on wood
      22" x 27" x 26"
      Mel Kendrick, Bronze/ Poplar Burnout, 1984, unique bronze, 16.5" x 7" x 5.5"
    • 55. Material and Texture
      NkisiNkondi Statue, Congo, 20th Century
      Alberto Giacometti, Man Pointing, 1901-1906 BCE
    • 56. Useful Questions
      What are the different textures you see? Rough? Smooth? Soft? Hard? Fragile? Strong?
      Are the textures the result of the nature of the materials used?
      Does the material mimic the texture of another material or surface?
      What is the overall impact of the textures you see?
    • 57. Texture
    • 58. Final Observations
    • 59. Fun with the Elements

    ×