This is an edited copy of a ppt originally written and uploaded by another Art teacher., Please go here for the original version
http://www.uek12.org/MrRodriguesSite.aspx
This is an edited copy of a ppt originally written and uploaded by another Art teacher., Please go here for the original version
http://www.uek12.org/MrRodriguesSite.aspx
TEAM GALLERY CRITICAL REVIEW INSTRUCTIONS &CRITICAL THINKNG SKIL.docxerlindaw
TEAM GALLERY CRITICAL REVIEW INSTRUCTIONS &
CRITICAL THINKNG SKILLS AND TEAMWORK VALUE RUBRIC
meets Student Learning Outcomes required by the ACGM 2015 on Critical Thinking and Teamwork
The class will be randomly assigned a team of 3 or more students. Within a team, each team member will select 1 work of art from an approved professional art gallery. The team will be creating a PowerPoint with images of each of these art objects.
The team will attempt to contact one another via eCampus. You
do not
all have to all visit the same gallery website.
The assignment can be completed by merging the individual team members’ PowerPoints together through the TEAM GALLERY CRITICAL REVIEW GROUPS tab. Under this tab and your selected group, you will see GROUP TOOLS including:
· SEND EMAIL (allows you all to communicate with your group only through eCampus)
· FILE EXCHANGE (allows you to upload your partial PowerPoint for others to add to)
· GROUP TASKS (allows each of you to set tasks and deadlines for the group).
Each student will need to complete the following three levels of discussion for their selected piece: Description, Analysis and Interpretation.
As part of the Interpretation, each student will need to write a brief comparison/contrast between their selected artwork and at least one other team member’s selected artwork.
See rubric below and PowerPoint template on eCampus for more details.
Rubric:
Description
30 % of points earned________
Write the title of the artwork being discussed, the artist’s name, year created, name of gallery, estimated size of the piece, and a description of the piece. In the description, create a visual image with words.
Analysis
40 % of
points earned________
Based on the description provided in the introduction,
analyze
the artist’s intent or message within the work of art. Provide notated research if needed
(the gallery may have more info online, and/or the artist may have a personal website.)
to further
interpret
the background of the artist and the era in which it was created. The
innovation
and
expression of ideas
of the artist should be better understood through this research. Discuss the Visual Elements and Principles of Design. Which Visual Elements and Principles of Design are present in this work of art? Provide specific explanation.
Interpretation
30% earned ________
Discuss the content of the piece. Why was it created? Does it have a narrative or discuss social issues? What emotional feeling is present? Summarize your reaction to this art object.
Compare and contrast this work of art with at least one other team member’s chosen artwork.
ATTACH A PHOTO OF THE ARTWORK YOU SELECTED ON EACH OF YOUR SLIDES. (SEE TEMPLATE CREATED FOR YOU TO USE.)
Look for these VISUAL ELEMENTS:
visual tools an artist uses to make a work of art
1. Line: Lines can show outline, imply a third dimension, show direction or movement
2. Shape, Volume, & Mass: Shape refer.
ART 1301, Art Appreciation I 1 Course Learning Outcom.docxaryan532920
ART 1301, Art Appreciation I 1
Course Learning Outcomes for Unit I
Upon completion of this unit, students should be able to:
1. Justify visual arts in relation to history and culture.
1.1 Explain public art’s functions.
1.2 Examine human creativity as an inherent trait that inspires the production of art.
3. Interpret artworks using the elements of design.
3.1 Define art as means of visual expression using different media and forms.
3.2 Contrast the ritual, social, and public functions of art.
3.3 Distinguish form and meaning in visual analysis.
5. Recognize an artwork or artist by style and time period.
5.1 Recall the type of art used in individual works.
Reading Assignment
Chapter 1:
The Nature of Art and Creativity
Chapter 2:
The Purposes and Functions of Art
Click here to access the Unit I Video.
Click here to access the transcript of the Unit I Video.
The below link contains an interactive audio that will explain the purpose of art:
Pearson (n.d.). The effects of good government [Audiovisual webpage]. Retrieved from
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
Click here to access the Closer Look video titled “The Effects of Good Government.”
Click here to access the video transcript.
Unit Lesson
Chapter 1: The Nature of Art and Creativity
What is art? Art is all around us. You might have a favorite painting hanging on a wall or even a favorite cup
that you use. The cup may seem like a bit of a stretch, but it is a form of art. It may be mass-produced, but
someone designed that cup. Everyday objects are designed with usability in mind; paintings on the wall are
meant to be visually appealing, and sometimes art is created just to make you think.
UNIT I STUDY GUIDE
What is Art, and How
Does it Function?
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_Video_CSU.MP4
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_VideoScript_CSU.pdf
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
https://online.columbiasouthern.edu/CSU_Content/courses/General_Studies/ART/ART1301/14B/UnitI_TheEffectsofGoodGovernmentTranscript.pdf
ART 1301, Art Appreciation I 2
UNIT x STUDY GUIDE
Title
For example, Janet Echelman’s Her Secret Is Patience (page 3 of your course textbook and in the above
image) is a mixed media work of art created from fiber, steel, and light. Commissioned for the city of Phoenix,
Arizona, this public work evokes the color and light of the surrounding desert landscape. Can you imagine the
planning, safety trials, paperwork, and handiwork that went into making this piece? Hearing the public
responses to the work reveals multiple interpretations depending on the viewer’s experience. How do you
view this work?
Individual likes and dislikes of art are similar to preferences and choices in everyday life such as those for
...
Impact of Climate and Environment Changes on the Sustainability of the Coasta...Galala University
Impact of Climate and Environment Changes on the Sustainability of the Coastal Areas: The Case of Ain Sukhna, Red Sea, Egypt
This paper investigates the impact of climate and environmental changes on the sustainability of the coastal area of Ain Sukhna, Red Sea, Egypt. Ain Sukhna sea shores and Galala mountain region have witnessed rapid change and modifications during the past 50 years. Climate changes are expected to impact this area through the increase in the amount and intensity of rainfall and the rise of seawater tides. Modifications applied to the topography of the mountains through grading and levelling are spreading excavation debris on the sides of the mountains creating a new hazard if swept away by the rainwater. The paper analyzes the design and construction of the coastal and mountain developments and assesses their capacity to withstand these changes. The negative impact of these changes is not only ecological but also physical and socioeconomic. Climate change impacts are becoming more instantaneous and intensified. Place-based strategies for reducing the negative impact of climate change are required to reduce the physical and ecological vulnerabilities and manage the impacts of climate change.
Climate change, Environment Change, Sustainability, Coastal Areas, Ain Sukhna, Red Sea, Egypt
Sustainability of Tourism Development in the city of Ain-Sukhna, EgyptGalala University
Sustainability of Tourism Development in the city of Ain-Sukhna, Egypt
Tourism is a major economic source for Egypt, due to its significant natural and cultural attractions. Yet, rapid development and construction of touristic facilities have a negative impact on the fragile natural and cultural heritage. This paper studies the recent touristic developments of the coastal stretch of Ain-Sukhna on the Red Sea coastal region of Galala Mountain, and their impact on the surrounding natural and cultural attractions. Coral reefs and rich marine life have made this stretch among the prime fishing and scuba diving destinations in the world. The area is also famous for its year-round sunny beaches and the spectacular coastal scenic drive where Galala Mountain reaches the Red Sea. Recently, development has started on the mountains following the construction of Galala Mountain Road. Galala City started with Galala University and several residential, touristic, and commercial facilities. This paper studies the pattern of development in the area during the past 40 years and assesses its impact on natural and cultural resources.
Sustainability of Tourism Development in Al Ain Al Sukhna, Egypt Yasser Mahgo...Galala University
Sustainability of Tourism Development in Al Ain Al Sukhna, Egypt
Due to its significant natural and cultural attractions, tourism is a major economic source for Egypt. Yet, rapid development and construction of touristic facilities has negative impact on the fragile natural and cultural heritage. This paper studies the recent touristic developments of the coastal stretch of Al Ain Al Sukhna – the hot spring in Arabic - on the Red Sea coastal region of Galala mountain, and their impact on the surrounding natural and cultural attractions. Coral reefs and rich marine life have made this stretch among the prime fishing and scuba diving destinations in the world. The area is also famous of its all-year-round sunny beaches, spectacular coastline scenic drive where mountains reach the costal road. Recently, development has started on the mountains following the construction of Galala Mountainous road. Galala City started operating hosting Galal University and several other residential, touristic and commercial facilities. The paper studies the pattern of development in the area during the past 50 years and assesses its impact on the natural and cultural resources.
Typologies of Urban Development in Sukhna-Zaafarana Area.pdfGalala University
Development of Sukhna-Zaafarana stretch went several forms and intensities during different periods of time. It is currently witnessing another wave of rapid development resulting in more stress on the natural and urban environment. This paper analyses the typologies of its urban development and their resilience to potential risks of climate change using urban design techniques to analyze the area in terms of character, continuity and quality of the public realm, ease of movement, legibility, adaptability and diversity. In addition, the research analyzes the different natural sites, such as the shoreline, the floodplains, the Galala mountains, and the valleys. Methods used in this study included: survey and analysis of the built and natural environments based on maps and site visits; and SWOT analysis to identify the potential risks and challenges in the area. Maps and tables of typologies based on the date of construction, environmental characteristics, neighborhood planning, architectural design elements, urban design features, landscape design, greenery, and water features are produced. The results of the study indicate the absence of visual connectivity, architectural identity, public services and facilities, and overlapping vehicular and pedestrian circulation. Moreover, the built environment is vulnerable to climate change risks, since most structures on the coast are built either close to the shoreline or on floodplains, hence threatened by sea-level rise and extreme flush floods respectively. The study concludes by suggesting a set of urban design guidelines based on the three principles of sustainability; environmental, economic and equity to achieve a more sustainable and resilient environment.
AI-Human Dialogue for Architectural Design Concept Generation presentation 26...Galala University
AI-Human Dialogue for Architectural Design Concept Generation presentation
Architectural design concept generation is the process of coming up with the initial ideas for a new building or structure.
It is an essential part of the architectural design process, as it provides the foundation for the rest of the design.
AI-human dialogue for architectural design concept generation is a process where an architect and an AI system collaborate to generate architectural design concepts.
The AI system can be used to:
Generate ideas: The AI system can be used to generate a wide range of design ideas
Evaluate ideas: The AI system can also be used to evaluate design ideas. This can be done by considering factors such as functionality, aesthetics, and sustainability. This can help the architect to make informed decisions about the design.
Collaborate with the architect: The AI system can also be used to collaborate with the architect. This can be done by providing feedback on the architect's ideas or by generating new ideas based on the architect's input.
AI-human dialogue for architectural design concept generation is a process where an architect and an AI system collaborate to generate architectural design concepts.
The AI system can be used to:
Generate ideas: The AI system can be used to generate a wide range of design ideas
Evaluate ideas: The AI system can also be used to evaluate design ideas. This can be done by considering factors such as functionality, aesthetics, and sustainability. This can help the architect to make informed decisions about the design.
Collaborate with the architect: The AI system can also be used to collaborate with the architect. This can be done by providing feedback on the architect's ideas or by generating new ideas based on the architect's input. AI-human dialogue for architectural design concept generation is a process where an architect and an AI system collaborate to generate architectural design concepts.
The AI system can be used to:
Generate ideas: The AI system can be used to generate a wide range of design ideas
Evaluate ideas: The AI system can also be used to evaluate design ideas. This can be done by considering factors such as functionality, aesthetics, and sustainability. This can help the architect to make informed decisions about the design.
Collaborate with the architect: The AI system can also be used to collaborate with the architect. This can be done by providing feedback on the architect's ideas or by generating new ideas based on the architect's input.
AI-human dialogue for architectural design concept generation is a process where an architect and an AI system collaborate to generate architectural design concepts.
As AI systems continue to develop, they are likely to play an increasingly important role in the design process.
AI is not an end …It is only another beginning.
Thank you.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
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EASY TUTORIAL OF HOW TO USE CAPCUT BY: FEBLESS HERNANEFebless Hernane
CapCut is an easy-to-use video editing app perfect for beginners. To start, download and open CapCut on your phone. Tap "New Project" and select the videos or photos you want to edit. You can trim clips by dragging the edges, add text by tapping "Text," and include music by selecting "Audio." Enhance your video with filters and effects from the "Effects" menu. When you're happy with your video, tap the export button to save and share it. CapCut makes video editing simple and fun for everyone!
White wonder, Work developed by Eva TschoppMansi Shah
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A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
PDF SubmissionDigital Marketing Institute in NoidaPoojaSaini954651
https://www.safalta.com/online-digital-marketing/advance-digital-marketing-training-in-noidaTop Digital Marketing Institute in Noida: Boost Your Career Fast
[3:29 am, 30/05/2024] +91 83818 43552: Safalta Digital Marketing Institute in Noida also provides advanced classes for individuals seeking to develop their expertise and skills in this field. These classes, led by industry experts with vast experience, focus on specific aspects of digital marketing such as advanced SEO strategies, sophisticated content creation techniques, and data-driven analytics.
2. ART Many interpretations
FUNDAMENTALS The basic fabric of art
The Need and Search for Art
3. What is your definition of
ART?
What “IS” art and what is
“NOT” art?
The Need and Search for Art
Discussion
4. The formal expression of a conceived image in
terms of a given medium. (Cheney)
The making of a form produced by cooperation
of all the faculties of the mind (Longman)
Significant form (Bell)
The Need and Search for Art
Some Definitions of ART:
5. A unified manifold which is pleasure-
giving (Mather)
A diagram or paradigm with a meaning
that gives pleasure (Lostowel)
Objectified pleasure (Santayana)
The Need and Search for Art
Definitions of ART:
6. The formal expression of a conceived image in
terms of a given medium. (Cheney)
The making of a form produced by cooperation
of all the faculties of the mind (Longman)
Significant form (Bell)
The Need and Search for Art
Definitions of ART:
7. A unified manifold which is pleasure-giving
(Mather)
A diagram or paradigm with a meaning that
gives pleasure (Lostowel)
Objectified pleasure (Santayana)
The Need and Search for Art
Definitions of ART:
8.
9. PLEASURE a component of art.
It is a different thing to different people.
Art can be a relaxant or stimulant.
For the artist, it can also produce
frustration and a sense of achievement.
The Need and Search for Art
PLEASURE
10. AESTEHTICS the appreciation of the
“beautiful”.
Definitions of BEAUTY
Historical cultures have
had their own concepts
of beauty, many of which
would not correspond to
contemporary tastes.
The Need and Search for Art
AESTEHTICS
11. What does the public
often like and expect in
art?
THREE THINGS:
The familiar subject
The recognizable subject
The sentimental or
“pleasant” subject.
The Need and Search for Art
The PUBLIC
12. Poorly executed
Expertly executed
Not all people, even with
similar backgrounds, would
agree on the “beauty” of a
given subject, much less its
interpretation.
The Need and Search for Art
The PUBLIC
13. More concerned with the
“how” (the technique used to create
the work), than the “what” (the
final product)
Art has always been
produced because an artist
has wanted to say something
and has chosen a particular
way of saying it.
The Need and Search for Art
The ARTISTS
Vincent Van Gogh
14. Many people want
to be actively
engaged in art but
find that much of
what they see is not
meaningful to them.
The Need and Search for Art
15. In order to gain
some appreciation
for the many forms
of art to which we
have access today,
we must understand
the basics from
which they have
grown.
The Need and Search for Art
16. Understanding by
examining the
nature of the many
factors involved in
producing artworks,
including the
principles that
govern those
factors.
The Need and Search for Art
17. Poorly executed
Expertly executed
Not all people, even with similar
backgrounds, would agree on
the “beauty” of a given subject,
much less its interpretation.
The Need and Search for Art
The PUBLIC
18.
19.
20.
21.
22.
23.
24.
25. Subject - Form - Content
The Ingredients of Art
Subject
ContentForm
In Art, we have
the motivation (subject),
the substantiation (form),
and
communication (content.)
27. Traditionally Person,
object, theme
Today abstract age
particular configuration of
the art elements,
a record of the energy and
movement of the artist
The Three Basic Components of a Work of Art:
Subject
28. The work’s appearance or organization
The Three Basic Components of a Work of Art:
Form
29. Traditionally
The work’s total message
as developed by artist
and interpreted by the
viewer.
Today Derived from
the artist’s experience.
The Three Basic Components of a Work of Art:
Content
30. Principles of organization:
Harmony, variety, balance,
movement, proportion,
dominance, and economy.
Elements of organization:
Line, Shape, Value, Texture,
and Color.
The Three Basic Components of a Work of Art:
31. A person, a thing, or an idea.
In abstract or semiabstract works,
the subject may be somewhat
perceivable.
In nonobjective works, the subject
is the idea behind the form of the
work, and it communicates with
those who can read the language
of form.
The Three Basic Components of a Work of Art:
Subject
32. The subject is important only
to the degree that the artist is
motivated by it.
The subject is just a starting
point.
The way it is presented or
formed to give it expression
is the important
consideration.
The Three Basic Components of a Work of Art:
Subject
33. Art parallels music in
presenting a
“nonrecognizable” subject.
The subject is an idea rather
than a thing.
All of the arts have subjects
that obviously should not be
judged alone, but by what is
done with them.
The Three Basic Components of a Work of Art:
Subject
34. A result of the use of
the ELEMENTS of
line, texture, color,
shape, and value and
their relationship to the
PRINCIPLES of
harmony and variety.
The Three Basic Components of a Work of Art:
Form
35. In Art, we have
the motivation (subject),
the substantiation (form), and
communication (content.)
The Three Basic Components of a Work of Art:
36. Formal organization involves all the visual
devices available to the artist in the
material of his or her choice.
Arrange Intuitively vs Logically
Formal order
The Three Basic Components of a Work of Art:
Form
37. The emotional or
intellectual message of
an artwork.
A statement,
expression, or mood
read into the work by
its observer, ideally
synchronized with the
artist’s intention.
The Three Basic Components of a Work of Art:
Content
38. The symbols of death:
blacks and somber
grays, reduced
awareness of texture,
and emphasis of low
diagonals.
The Three Basic Components of a Work of Art:
Content
39. For many people, content is
confined to familiar
associations, usually by
feeling aroused by known
objects or ideas.
More meaningfully, content
is not utterly reliant on the
image but reinforced by the
form created by the artist.
This content is found in an
abstract as well as more
realistic works.
The Three Basic Components of a Work of Art:
Content
40.
41. Art objects
Sculpture total organization or
composition
A result of the use of the
ELEMENTS of line, texture, color,
shape, and value and their
relationship to the PRINCIPLES of
harmony and variety.
The Three Basic Components of a Work of Art:
Form
42. Abstraction: All visual artworks require some
degree of abstraction.
A greater degree of abstraction is often more difficult
to understand and appreciate.
The Three Basic Components of a Work of Art:
Content
43. Abstraction: A process that imposes itself on the
artist in reaching the desired effect in a work.
Involves reordering and emphasis, stripping-down to
expressive and communicative essentials.
The Three Basic Components of a Work of Art:
Content
44.
45. Simplification vs Making
the deeper meaning
more accessible.
Abstract is more often a
VERB than a NOUN. (a
process not a product)
The Three Basic Components of a Work of Art:
Content
46. The artist manipulates
the artistic elements line,
shape, etc. (the “what”) to
create the kind of form
(the “how”) that will result
in the desired content
(the “why”)
The Three Basic Components of a Work of Art:
Content
47.
48. Organic Unity: containing nothing that is
unnecessary or distracting, with relationships that
seem inevitable.
Wholeness is difficult to detect in the works of
some contemporary artists who challenge
tradition.
The distinction between subject, form, and
content are blurred.
The Three Basic Components of a Work of Art:
Content
49. Conceptual Art: the concept
is foremost, the product is
considered negligible, and
the concept and subject
seem to be one.
Process Art: the act of
producing is the only
significant aspect of the
artwork
The Three Basic Components of a Work of Art:
Organic Unity
50. Perceptual Artist:
Records only what is
perceived.
Conceptual Artist
(idea-oriented):
concerned with
responses that with
commonplace
perceptions.
The Three Basic Components of a Work of Art:
Organic Unity
51.
52. Creativity emanates from ideas.
An idea is born in the mind.
The Three Basic Components of a Work of Art:
Creativity
53. A Concept:
an all-encompassing plan,
a unique or particularly suitable
set of relationships,
an attitude that could be
conveyed
a way of conveying an attitude
a solution to a visual problem
The Three Basic Components of a Work of Art:
Concept
54. In the artist’s mind, the idea occurs as
mental imagery, an inspiration, or the end
product of much thoughtful searching
(notes, sketches, …)
Creative enterprises are occasionally
plagued by mental blocks.
In Art, an idea is of value only when
converted into visual reality.
The Three Basic Components of a Work of Art:
Concept
55. Creativity emanates from ideas.
An idea is born in the mind.
A Concept:
an all-encompassing plan,
a unique or particularly suitable set of
relationships,
an attitude that could be conveyed
a way of conveying an attitude
a solution to a visual problem
The Three Basic Components of a Work of Art:
Content
56. All art is illusory to
some extent.
Some artworks are
more successful than
others at drawing us
out of our standard
existence into a more
meaningful state.
Savoring the Ingredients
57. In seeing and hearing the
arts, we are not in the
everyday world, but
rather a hyper-sensitized
world of “greater” values.
Savoring the Ingredients
ART ENLARGES OUR AWARENESS.
58. Being Subjective: the artist reaches
below surface appearances and uses
unfamiliar ways to find unexpected truths.
The results can often be
distressing for many observers.
We all have the capacity to
appreciate the beautiful or
expressive.
We must enlarge our sensitivity
and taste, making them more
inclusive.
Savoring the Ingredients
59. See the uniqueness in
things.
Every rose has a different
character, even with
identical breeding and
grooming.
Every object is ultimately
unique.
The artist should have the
ability to see the subtle
difference in things.
Savoring the Ingredients
60. One way to extend our responses to art is
by attempting to see the uniqueness in
things.
Every rose has a different character, even
with identical breeding and grooming.
Every object is ultimately unique.
The artist should have the ability to see the
subtle difference in things.
Savoring the Ingredients
62. Perception is the
key.
Optical Perception:
When an artist views
an object and is
inspired to try to
reproduce the
original as seen.
Savoring the Ingredients
63. Conceptual Perception:
When another artist seeing
the same object, the
imagination triggers the
creative vision and additional
images are suggested.
Many people judge a work
of art by how closely it can
be made to look like
something.
Savoring the Ingredients
64. The Camera!
Photographers
become artists
when they are not
satisfied with
obvious
appearances.
Savoring the Ingredients
65. People tend to
associate visual
art with literature,
hoping that it will
tell a story in a
descriptive
manner.
Savoring the Ingredients
66. In adapting ourselves to
the rules peculiar to art, we
must also place our own
taste on trial.
Accepting the possibility
that what is unfamiliar or
disliked may not
necessarily be badly
executed or devoid of
meaning.
Savoring the Ingredients
67. Artists expand our frames
of references, revealing
new ways of seeing and
responding to our
surroundings.
When we view artworks
knowledgeably, we can be
on the same wavelength
with the artist’s finely
tuned emotions.
Savoring the Ingredients
68. Elements of Art are:
Line
Shape
Value
Texture
Color
The Ingredients Assembled
69. The VISION
Giving shape by the way the elements are
brought together.
Two-Dimensional Effect (circle, triangle,
or square)
Elements lie flat on the picture plane.
Three-Dimensional Effect (sphere,
pyramid, or cube)
Elements penetrate the plane.
The Ingredients Assembled
70. Decorative
Ornamentation
Line is decorative if it
does not leap toward or
away from the viewer.
The Ingredients Assembled
The VISION
71. Plastic When the elements make us
feel that we could dive into the picture
and weave our way around and behind
the art elements.
The Ingredients Assembled
The VISION
72. Sculpture We must move
about the piece.
Mass and Volume indicate the
presence of three-dimensional
art.
An empty living room has
volume in its dimensions, but
no mass.
A brick has mass within its
volume.
The Ingredients Assembled
The VISION
73. Graphic Arts drawings, paintings,
printmaking, photography, and so on.
Generally exists on a flat surface and
rely on the illusion of the third
dimension.
The Ingredients Assembled
Plastic vs Graphic Art
74. Plastic Arts
sculpture, ceramics,
architecture, and so on.
Tangible an palpable
(physical), occupying
and encompassed by
their own space.
The Ingredients Assembled
Plastic vs Graphic Art
75. An artist must begin with an idea, or a
germ, that will eventually develop into
the concept of the finished artwork.
A thought that has suddenly struck the
artist, or a notion that has been growing
in his or her mind for a long time.
The IDEA must be developed in a
medium selected by the artist (clay, oil,
pint, water color, etc.)
The Ingredients Assembled
The Idea
76. The artist Controls and is Controlled by
the medium.
The Ingredients Assembled The
Medium
77. The COMPOSITION the formal
structure --- the most interesting and
communicative presentation of an idea.
During this process ABSTRACTION will
inevitably occur; elements will be
simplified, changed, added, eliminated,
or generally edited.
The Ingredients Assembled
The COMPOSITION
78. The Creative Process should lead to
Organic Unity:
The culmination of everything that is being
sought in the work, that every part not only
fits, but that each one contributes to the
overall content, or meaning.
The Ingredients Assembled The
Organic Unity
79. Media are the materials
used in making an artwork,
and techniques control
their application.
The artist’s interaction with
the media.
Successful Process.
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Two-Dimensional Media and Techniques
80. Painters smell and feel of fresh plaster – oil and
watercolors
Draftsmen heavy pressure or light touch – textural
quality of paper
Printmaking watching the physical surface change
Photography innovations – experiments
New Media Digital generated imagery, acrylics, pre-
liquified watercolors, drawing pens, welding, plastics,
aluminum, video, virtual reality, performances (dance,
drama, sound, light, audience), ..
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Two-Dimensional Media and Techniques
81. A flat surface the
picture plane
The need to
somehow establish a
relationship between
the actual
environment and the
reduced size.
Spatial illusions
The Two-Dimensional Picture Plane
82.
83. The artist may
manipulate forms or
elements so that they
seem flat on the
picture plane, or
extend them so that
they appear to exist
in front of or behind
the picture plane.
The Two-Dimensional Picture Plane
85. In three-dimensional art, the artist
begins with the material – metal, clay,
stone, glass, and so on – and works it
as a total form against the surrounding
space, with no limitations except for the
outermost contours.
The Two-Dimensional Picture Plane
86. Once its shape and proportions are defined,
all of the art elements and their employment
will be influenced by it.
Within the picture frame on the picture plane.
The Picture Frame
87. Many artists select the
outside proportions of
their pictures on the
basis of geometric ratios.
Most artists rely on their
instincts rater on a
mechanical formula.
The direction and
movement of the
elements of art should be
in harmonious relation to
this shape.
The Picture Frame
88. UNITY All of the surface
areas in a picture.
Positive areas areas
that represent the artist’s
initial selection of
elements
Negative areas
Unoccupied areas
Positive and Negative Areas
89. Traditionally
Positive figure and/or
foreground
Negative background
Recently
Field positive
Ground negative
Positive and Negative Areas
90. Inexperienced artists usually direct their
attention to positive forms and neglect the
surrounding areas.
Positive and Negative Areas
91. The art elements:
Line
Shape
Value
Texture
Color
The Art Elements