The document provides an overview of chapters 1 and 2 from a book on the history of art and design. Chapter 1 discusses how appearance influences perception and how art represents ideas and feelings. It also examines talent, observation skills, technical skills, and viewing art as a language. Chapter 2 looks at how standards of quality have changed over time and place. It then defines the basic elements of design such as line, shape, form, space, and color, exploring types of lines, functions of lines, and color theory including primary/secondary colors and use of value.

1. HISTORY
OF
ART AND DESIGN
By
Assoc. Prof.
Hj. Mohamed Ali Abdul Rahman
&
Erry Arham Azmi
•F A C U L T Y O F A R T A N D D E S I G N , U N I S E L , S E S S I O N 2 0 1 1 / 2 0 1 2
CHAPTER 1 & 2

2. CHAPTER 1
INTRODUCTION
1.1 The Power of Images
•External appearance gives an indication of the
character of an image or a person.
•An individual’s thoughts and his social
activities also determine his outward
appearance.
•As human beings, art too represents our
ideas, feelings and aspirations.
•The picture on the right shows the dichotomy
between Nazi politics and pageantry in pre-
second World War in Germany.

3. 1.2 Choice of Clothing
•We are self-conscious about how we
appear to others. Fashion magazines
such as Vogue provides us with
potpourri of clothing advertisements.
•Choice of clothing is one of the ways
in which people attempt to project a
specific kind of character to the world
at large. It is a choice that is both
conscious and manipulative.
•Fashion can become a projection not
only of character traits but also of
economic status.
Popular fashion house such as Calvin
Klein successfully promote clothing
intended to reveal the wearer’s self-
image: - a chosen persona.
•However, ‘What one sees is not always what
one gets.’ There are always dichotomies.
Maybe there are some intrinsic links between
the idea of appearance and the unnoticed
foundations.
•There are always problems of determining
what is something to be attractive or popular;
and how that in turn is based on other issues
of historical and social interest.

4. 1.3 Talent, Observation
And Technical Skills
•Above drawings are from a book entitled
‘Drawing on the Right Side of the Brain’ by
Betty Edwards.
•It shows a technical way; on how to measure
the distances and the positioning of an eye,
an ear and a chin at their right places.
•Talent is gifted, however it can be upkept
through observations, patience, exercises
and hard works. Through exercises and
technical training a “better” artist can
promote his ability / technical skill.
•Art is supposed to look like something or
in an abstract painting it may represent
some ideas.
•A study of art provides a looking-glass
into the history of mankind, characters,
ideas and his environments.

5. 1.4 Viewing Art As language
• A Visual Image is one of The Basic
Forms Of Communication.
• Although ‘words’ and ‘visual images’
are two different ‘languages’, both of
them share the same and common
functions of communication.
• Roman Jakobson, a linguist
introduces a comprehensive analysis
of the structure of communicative act in
Literature.
• Semiotics: The Study Of Sign Systems can
also be applied to other arts, especially
the visual art.
• The same set of operations is also applied
every time when an individual looks at a
work of art.
• The semiotics concept has six
components that specific to human
interaction:-
(1) Addressor says “hello” to the
(2) Addressee. (3) A message passes,
“hello”.(4) A shared code that makes
the message intelligible. (5) The
medium is in English. (6) The context
of the conversation - An introductory
greeting.

6. 1.5 Six Components Of Semiotics
Concept
These are the aspects of communication which are
already altered into the Semiotics concept of visual art:
1. ADDRESSOR.
The artist or the designer;
Biographical criticism,
artist’s life and writings.
2. ADDRESSEE.
The viewer criticism,
How The audiences
Perceive work of art
and their evaluations.
The appreciation of
artwork.
3. MESSAGE.
The expressionistic
elements and cultural
variances. (The study of
symbols, contents,
subject matter of
iconography or in other
word the interpretation
of messages).
4. CODE
Pictorial or formal criticism.
The elements of design and
the principles of design (The
study of conventions or
formalistic aspects such as
lines, colour, space, shape,
form, pattern and texture).
5. MEDIUM.
Materials used. (The
study of materials and
conservation).
6. CONTEXT.
Cultural and historical
interpretations of the work
of art. (The study of social
and political interpretations
of a storyline or a symbol).

7. • Addressor: Mona Lisa is Leonardo da Vinci’s
world-famous portrait. He was a famous Italian
artist during the High Renaissance era in 16th
century.
• Addressee: We are intrigued by the mysterious
mood evoked by the faint smile and the strange
landscape behind her. The smile may be read as a
timeless and symbolic expression (Archaic smile).
• Message: The Mona Lisa embodies a quality of
maternal tenderness which was to Leornardo the
essence of womanhood.
• Codes: Leonardo had invented subtle value
gradations which is called; ‘sfumato’
• Medium: It was painted in oil on wood panel
between 1503 – 1506. Its size is 30 1/4 X 21 in.
• Context: The artist has brought two opposites;
individuality and ideal type, into harmonious
balance. It is now displayed in The Louvre, Paris.
Leornardo da Vinci
Mona Lisa
1503–1519
Oil on poplar
77 cm × 53 cm (30 in × 21 in)
Musée du Louvre, Paris

8. • Addressor: L.H.O.O.Q. (1919) is a ‘corrected’
ready-made object by Marcel Duchamp.
• Addressee: He added a moustache, a
goatee and a new title in French –
L.H.O.O.Q. which is translated as ‘She has a
hot tail’.
• Message: An attempt to shake people out
of a pattern of automatic acceptance of any
cultural value that is totally unknown to
them. Also as a protest to the war.
• The Codes: This reproduction of the Mona
Lisa was a ready-made object; just like any
other objects which were kept in the store.
• Medium: A ‘corrected’ ready-made object.
• The context: As a protest to mass killing in
1st World War, he launched a movement
called Dadaism. A private collection. On
loan to the Philadelphia Museum of Art.
Marcel Duchamp
L.H.O.O.Q.
1919
post card reproduction with
added moustache, goatee and
title in pencil
19.7 x 12.4 cm

9. • Addressor: The artist; Mary Cassatt is an
American Artist
• Addressee: The viewers, mostly the
younger generation of American art-lovers
definitely recalled the love and tenderness
of their mothers who had attended them
before going to school.
• Message: The tenderness of the
relationship between mother and
daughter, the innocence of the child, the
nurturing character of a woman.
• Code: 19th c. Western art style with
shallow space, modeling to produce
volume with Japanese influence.
• Medium: Oil painting, size 100.2 cm x 66
cm. ( 39 1/2 in. x 26 in. )
• Context: 1891 painting by a woman artist,
it is displayed now in late 20th cen.
Museum of Art, The Art Institute of
Chicago, contribution from Robert A.
Waller Fund.
Mary Cassatt
The Bath
Oil on canvas,
1891-92
100.3 x 66.1 cm (39 1/2 x 26 in)
Art Institute of Chicago

10. CHAPTER 2 ART AND ITS CODES
2.1 The Changing Face Of Quality
• What makes something valuable or
attractive to a society, or even a generation
of people?
• The Vermeer - Eizan comparison is a useful
starting-point - neither culture would have
assigned much merit to each other’s art.
• The most basic standards for assessing
quality in art are very much dependent on
time and place.
• In other words, what is art today was not
necessarily art yesterday, and may not be art
tomorrow; - The most important aspect is
the idea that presents in the very visual code
itself.
• Where the codes originate?
• They develop and evolve within the culture.
Johannes Vermeer (1632–1675
Woman Holding a Balance
c. 1665(1665)
Oil on canvas
42 × 35,5 cm
National Gallery of Art, Washington,

11. • Codes or formalistic aspects are
those important pictorial or visual
elements that represent the images
or symbols in concrete forms.
• The elements of design are:
1. Line and its functions.
2. Pattern and Texture.
3. Light, Value and Colours.
4. Shape, Form and Mass.
5. Space, Time and Motion.

12. 2.2(a ) Definitions, Types And
Characteristics Of Lines
• Four definitions of lines
• A path made by a moving point.
• To communicate idea and to transmit
emotion.
• A purposeful mark – handwriting is
a series of marks / lines which
suggest a message.
• A building block for the expression of
a visual idea.
Three types of lines
• 1. Actual lines.
• 2. Implied lines.
• 3. Lines formed by edges.
– Two characteristics of lines:
Direction:
Horizontal, vertical and diagonal.
Linear quality:
thickness and sizes of lines.

13. 2.2 ( b ) Functions of Line
• OUTLINE AND FORM.
• Outline drawing shows 2-D simple object without
detail, shading or background
• Line can also create 3-D form by overlapping objects
drawn.
• MOVEMENT AND EMPHASIS.
• Line implies movement. Viewer’s eyes will follow
wherever a line goes.
• A diagonal line creates a triangle to focus or emphasize
the main figure or theme in a painting.
• PATTERN AND TEXTURE.
Pattern is any decorative or repetitive motif that
appears in an artwork.
Visual texture in painting helps to enliven a work of
art. It also creates illusions such as vibration,
movement and energy.
SHADING AND MODELING.
Three basic techniques of shading:
1. Hatching - using parallel lines.
2. Cross-hatching - intersected lines.
3. Stippling - using density of dots.
The goal of shading is to model or to create the illusion
of roundness.
Shading is also to create three-dimensionality on a flat
surface.

14. 2.2 ( c ) Line Variations
14

15. 2.3 (a) Elements of Design:
Light, Value and Colour
These three elements are connected closely:
• Value, being a measure of lightness and darkness, plays a role in our perception of
light and colour.
• Techniques of sfumato and chiaroscuro are created by value contrasts and effects
of light and shadow.
Two types of light:-
• Actual light or natural light.
• The illusion of light. Colour is a function of light and directly dependent on its
presence.
• The colour system is based on twelve pure hues and can be divided into three
groups:
• Primary colours consist of red, yellow and blue.
• Secondary colours consist of orange, green and violet.
• Intermediates which are called warm colours are: red-orange, yellow-orange and
yellow-green;
• and the cool colours are: blue-green, blue-violet and red-violet.

16. 2.3 (b) Colour Wheel
16

17. 2.3 (c) Colour Intensity And Value
• Colour has three
defining properties:
• Hue is the name of
colour wheel colours
• Value is colour’s
relative lightness or
darkness.
• Intensity is a colour’s
purity.
• Colour intensity is also
called as saturation or
chroma.
» 17

18. 2.3 (d) Harmonies and Discords
• There is a variety of harmonies and
discord available;-
– Monochromatic:
– There is a predominance of a
single colour in composition.
– Complementary:
– Van Gogh (as in ‘Night Café’
painted in 1888), uses red-green
to counterbalance and neutralize
the visual weight of each other.
– Analogous harmony:
– A section of colour wheel is
emphasized.
– Discords:
– An attempt to disturb a visual
equilibrium by using disharmonies
colours. It creates a sense of
tension or vibration (as in
Matisse’s Study of the Joy of Life
painted in 1905)

19. 2.4 Principles of Design
• There are no absolute rules for good
design. There are only principles or
general guidelines for effective visual
communication.
• These are the seven set of key terms
used to identify major principles of
design:
1. Unity and variety.
2. Balance.
3. Emphasis and subordination.
4. Directional forces.
5. Contrast.
6. Repetition and rhythm.
7. Scale and proportion

20. 2.4 (a) Principles of Design
• Unity and Variety
• Unity is a sense of oneness, of things belonging
together and making up a coherent whole.
• Variety is difference, which provides interest.
• Unity and variety exist on a spectrum, with total
blandness at one end, total disorder at the
other.
• A work of art must have a sufficient visual unity
enlivened by sufficient variety.
• Balance
• The concept of visual weight refers to the
apparent ‘heaviness’ or ‘lightness’ of forms
arranged in a composition.
• There are three types of balance:
– Symmetrical Balance means that forms in
two halves of a composition – correspond
to one another in size, shape and
placement.
– Asymmetrical Balance means that
difference forms and shape create two
halves of a composition.
– Radial Balance means that elements in the
composition radiate outward from a
central point.. Commonly used in
architecture and the crafts.
• Scale and Proportion
• Both elements have to do with size.
• Scale means size in relation to some constant or
‘normal’ size of something to be.
• Proportion, on the hand, refers to size
relationship between parts of a whole, or
between two or more items perceived as a unit.
• Proportion can also means the size relationship
between object and its surroundings.
• Repetition and Rhythm
• Visual rhythm depends upon the repetition of
accented elements, usually shapes.
• There are different kinds of rhythm in the visual
arts:
– Simple repetition of regular beats.
– Alternating rhythm has stronger beats
alternating with weaker ones.
– A circular rhythm.
– A combined circular and up-and-down
rhythm.
– Rhythm in progression. Progression means
that the visual beats gradually increase or
decrease according to a definite pattern.

21. Semiotic Concept
 Select two of the world's greatest photographers
 Select one of the best works of each photographer is
Use six components of semiotic concepts that have been
introduced by Roman Jakobson namely addressor, addresse,
message, code, medium and context to understand the results
of the artwork.
This assignment must be made on A4 paper and must be type
with font Times New Roman, Size 12, Spacing 1.5 .

22. For any inquiries
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arhamazmi@yahoo.com
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