This document defines key elements and principles of 3D design including line, shape, form, space, texture and color. It discusses compositional principles like unity, balance, emphasis and rhythm. It also covers color theory concepts such as complementary colors, color schemes and warm/cool colors. Additionally, it defines vocabulary related to the 3D design process, sculpture, aesthetics and art criticism.
Third graders have begun to study modern artists by creating rooms inspired by the interior designs of Henri Matisse. Finished projects should be as visually balanced as possible.
Third graders have begun to study modern artists by creating rooms inspired by the interior designs of Henri Matisse. Finished projects should be as visually balanced as possible.
All elements of art are important for an artist. You don’t have to use all elements, however, at least one or two elements are used in a certain piece of art.
All elements of art are important for an artist. You don’t have to use all elements, however, at least one or two elements are used in a certain piece of art.
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Museum Paper
FORMAL ANALYSIS
Due 12/2
1. Description = pure description of the object without value judgments,
analysis, or interpretation.
· It answers the question, "What do you see?"
· The various elements that constitute a description include:
a. Form of art whether architecture, sculpture, painting or one of the minor arts
b. Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
c. Size and scale of work (relationship to person and/or frame and/or context)
d. Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
e. Description of axis whether vertical, diagonal, horizontal, etc.
f. Description of line, including contour as soft, planar, jagged, etc.
g. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
h. Relationships between shapes, e.g., large and small, overlapping, etc.
i. Description of color and color scheme = palette
j. Texture of surface or other comments about execution of work
k. Context of object: original location and date
2. Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.
· It answers the question, "How did the artist do it?"
· The various elements that constitute analysis include:
a. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
b. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
c. Analysis of the principles of design or composition, e.g., stable,
repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
d. Discussion of how elements or structural system contribute to appearance of image or function
e. Analysis of use of light and role of color, e.g., contrast, shadowy,
illogical, warm, cool, symbolic, etc.
f. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
g. Portrayal of movement and how it is achieved
h. Effect of particular medium(s) used
i. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
j. Reaction to object or monument
3. Interpretation = establishing the broader context for this type of art.
· It answers the question, "Why did the artist create it and what does it mean”
· The various elements that constitute interpretation include:
a. Main idea, overall meaning of the work.
b. Interpretive Statement: Can I express what I think the artwork is about in one sentence?
c. Evidence: What evidence inside or outside the artwork su.
Art Appreciation: Elements of the Art.pptxJonel Ascutia
The elements of art are the basic building blocks of visual art. They are used by artists to create and communicate meaning. The seven elements of art are line, shape, form, space, color, value, and texture.
Elements of Art Form Line Shape Color Texture Space ValueForm.docxjack60216
Elements of Art: Form Line Shape Color Texture Space Value
Form is an element of art that is three-dimensional and encloses volume. Cubes, spheres, and cylinders are examples of various forms.
Line is an element of art which refers to the continuous mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional (wire) or implied (the edge of a shape or form) often it is a outline, contour or silhouette.
Shape is an enclosed space defined by other elements of art. Shapes may take on the appearance of two-d or three- objects.
Color Is an element of art with three properties:
1) Hue, the name of the color, e.g. red, yellow, etc
2) Intensity or the purity and strength of the color such as brightness or dullness
3) Value, or the lightness or darkness of the color
Texture refers to the surface quality or "feel" of an object, such as roughness, smoothness, or softness. Actual texture can be felt while simulated textures are implied by the way the artist renders areas of the picture.
Space refers to the distance or area between, around, above or within things. It can be a description for both 2 and 3 dimensional portrayals.
Value describes the lightness or darkness of a color. Value is needed to express Volume.
Principles of Art: Emphasis Balance Harmony Variety Movement Rhythm Proportion Unity
Emphasis in a composition refers to developing points of interest to pull the viewer's eye to important parts of the body of the work.
Balance is a sense of stability in the body of work. Balance can be created by repeating same shapes and by creating a feeling of equal weight.
Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to your work.
Variety refers to the differences in the work; you can achieve variety by using difference shapes, textures, colors and values in your work.
Movement adds excitement to the work by showing action and directing the viewers eye throughout the picture plane.
Rhythm is a type of movement in drawing and painting. It is seen in repeating of shapes and colors. Alternating lights and darks also give a sense of rhythm.
Proportion or scale refers to the relationships of the size of objects in a body of work. Proportion gives a sense of size seen as a relationship of objects, such as smallness or largeness.
Unity is seen in a painting or other work when all the parts equal a whole. Your work should not appear disjointed or confusing.
Design Elements & Art Principles Check Sheet
Name
________________________________
Please Check & Describe 2 or More Design Elements Used in the work of art:
_____ Form ____________________________________________________________
_________________________________________________________________
_________________________________________________________________
_____ Line _________________________________________ ...
Art, and especially visual arts, is the topic that requires both background knowledge and imagination. Most teachers are afraid of it, the same as most students are bored with it. However, with the concept maps and cause-and-effect sentences it may become a source of fun in the English classroom. So, to make teaching of art more effective, I suggest a couple of ideas, which will also be the key points for the workshop:
1) Basic history of art - it gives us not just facts but useful vocabulary for describing works of art.
2) Elements of design and what they mean.
3) How to describe a picture or a photograph.
I've adapted this from an original presentation that wasn't mine; adding a few more slides. Serves as an excellent introduction to Art History and its methodology.
AD207a Spring 2017
FORMAL ANALYSIS ASSIGNMENT
Directions:
• Find an artwork in a public place we can both easily visit in person. You must
contact me about which piece you wish to use for this paper before you start writing.
You must visit the artwork in person, more than once if possible, to examine both
formal elements and principles of design used in the composition. Make sure you’re
looking very closely, taking detailed notes, and even drawing sketches. Depending
on where your artwork is located, you should be able to take a NO-FLASH photo for
reference. For help with formal elements of art and principles of design, see the
attached handouts from the J. Paul Getty Museum.
• Beyond just observing, you should begin to cultivate some ideas about the formal
qualities of the artwork and what effect they have. You will develop these ideas into
a thesis and use your observations of the formal qualities of the artwork to support
your argument. For reference, refer to Sylvan Barnet’s example of a “Formal
Analysis,” found in the Formal Analysis module on D2L.
• You will then write a 1000-word (1000 minimum, 1300 maximum) essay carefully
analyzing the formal qualities of the artwork and what effect they have. Along with
your formal analysis essay, you must submit an image of the artwork you have
analyzed.
This assignment is worth 20% of your final grade and will be submitted in two stages.
Stage 1 due: Sunday, March 26, 11:59 pm (100 pts. total)
Part A:
You must visit a writing center somewhere on campus with your rough draft
essay by this time and ask them to email me a copy of your meeting report.
Part B:
Upload your rough draft to D2L. This is the same version you took to the
WATL, uncorrected.
As soon as I verify that you visited the writing center with a rough draft and
uploaded it to D2L, you will be awarded full credit for this portion of the assignment.
Stage 2 due: Sunday, April 23, 11:59pm (100 pts. total)
You must submit a final, revised draft to D2L by this time.
AD207a Spring 2017
Grading Rubric
The following rubric will be used to assess the final draft of your formal analysis:
Format (15%)
Paper must be 1000-1300 words in length, use an easily legible font, and include a title,
illustrations (photos) of artworks discussed.
Description (30%)
The artwork is fully identified and fully described in an organized way. Multiple formal
elements are examined and appropriate vocabulary is used.
Analysis (30%)
The relationship between different formal elements and their affect on the viewer’s
experience is explained. The author addresses what ideas the artist may be trying to
convey and why.
Quality of writing (25%)
Ideas are clearly organized and presented. Sentences are clear. The paper is free of
grammar and spelling errors.
Education
The J. Paul Getty Museum
at the Getty Villa
Education
Th.
Description of the artwork you like the most (artist’s name, size, memersonpearline
Description of the artwork you like the most (artist’s name, size, media, title)
Is it a realistic or abstract work of art? Why did you like this artwork?
Base your observation on careful looking, seeing, interpreting, analyzing, and describing. Think of the artwork’s conceptual idea/meaning, its composition (see description below) as well as the use of the art elements - form, line, value/shade, light, color, texture.
1. write-up
INFORMAL a written report or description, as in a newspaper, magazine, etc.; sometimes, specif., a favorable account, as for a publicity release
2. media
A medium refers to the materials that are used to create a work of art. The plural of medium is media. Some of the most common media are oil paints, acrylic paints, tempera, marble (soft, white stone), and bronze
3. elements of composition
In Western art the Elements of Composition are generally considered to be:
Unity: Do all the parts of the composition feel as if they belong together, or does something feel stuck on, awkwardly out of place?
Balance: Balance is the sense that the painting "feels right" and not heavier on one side. Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical arrangement creates a more dynamic feeling. A painting that is not balanced creates a sense of unease.
Movement: There are many ways to give a sense of movement in a painting, such as the arrangement of objects, the position of figures, the flow of a river. You can use leading lines (a photography term applicable to painting) to direct the viewer's eye into and around the painting. Leading lines can be actual lines, such as the lines of a fence or railroad, or they can be implied lines, such as a row of trees or curve of stones or circles.
Rhythm: In much the same way music does, a piece of art can have a rhythm or underlying beat that leads your eye to view the artwork at a certain pace. Look for the large underlying shapes (squares, triangles, etc.) and repeated color. (See example)
Focus (or Emphasis): The viewer's eye ultimately wants to rest on the "most important" thing or focal point in the painting, otherwise the eye feels lost, wandering around in space.
Contrast: Paintings with high contrast - strong differences between light and dark, for example - have a different feel than paintings with minimal contrast in light and dark, such as in Whistler Nocturne series. In addition to light and dark, contrast can be differences in shape, color, size, texture, type of line, etc.
Pattern: A regular repetition of lines, shapes, colors, or values in a composition.
Proportion: How things fit together and relate to each other in terms of size and scale; whether big or small, nearby or distant.
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Visual arts vocab 2
1. 3D Design V oca bulary
Ele ment s & P rinciple s of De sign
1. Ele ment s of De sign: the visual building materials of an image
2. The Basic Element s: line, color, value, shape, texture, space, form (also point, volume, mass, and time)
3. P rinciple s of De sign: tools for organizing and using the elements of design in a piece of art, “rules” for
guiding composition
4. The Basic Princi ple s: unity/harmony, balance, emphasis, movement, rhythm & repetition, pattern,
contrast and proportion/scale
5. P oint: the simplest and most minimal of the casual elements used in art architecture and design. It is
considered the prime generator of form and can be used to determine and define location in space.
6. Line: the edge or outline of a form; the meeting of points; linear materials include: wire, wood, metal rod,
string or any other materials with a long thin shape.
7. Plane: A flat or level surface, planar materials include foam core, cardboard, sheet metal, plastic sheets,
and ply wood.
8. Sha pe: has length and width (2D)
a. Positive Shape/Negative Shape – see Positive Space/Negative Space (above)
b. Geometric/Organic
i. Geometric shape – perfect shapes, shapes found in geometry (circles, squares, triangles,
octagons, etc.)
ii. Organic shape – shapes found in nature or shapes that “flow” (flowers, blobs, leaves, etc.)
9. Form: has length, width and depth; the 3 dimensional equivalent of a shape (3D)
10. S p a ce: Distance, area, volume; physical space independent of what occupies it; absolute space
a. Positive Space: space in an artwork that is filled with the main subject, in a sculpture, positive space
refers to the space the actual object takes up
b. Negative Space: Empty space in an artwork, a void, a hole, etc.
11. Mas s /V o lume: closed, independent, thee dimensional form, impenetrable, completely surrounded by
space, volumetric materials include blocks of plaster, wood or stone. Sometimes mass refers to a positive
solid and volume refers to a negative, open space surrounded by a material, as in a bowl or other vessel.
Volume is the space inside a form.
12. C o l o r: In 3-D design, the actual color of the materials being used. Color has 3 properties: hue, value and
intensity
a. Hue: the common name of the color
b. Value: the lights and darks in colors or tones; Light and shadows on the surface of forms;
c. Intensi t y : refers to the brightness or saturation of a color produced by the quality of light reflecting
from it; the absence of gray, black, or white from the color; bright colors have high intensity; dull
colors are of low intensity.
13. Te xture: The surface quality of a form, rough and smooth and weathered.
a. Real / ac tual te xture is a surface that has authentic texture inherent in the materials (for ex. wood
grain.
b. Invente d te x ture is created by the artist through carving or modeling; in painting the artist can build
up texture by applying thick layers of paint using an impasto technique.
c. Im plie d / S i mula te d te xture is the illusion of texture created by the artist.
14. C ont ra s t - A large difference between two things; for example, hot and cold, green and red, light and
shadow. Closely related to emphasis, this term refers to a way of combining elements of art to stress the
differences between those elements. Thus, a painting might have bright colors that contrast with dark
colors, or angular shapes which contrast with curvaceous shapes. Used in this way, contrast can excite,
emphasize and direct attention to points of interest. When paired with compare as in "compare and
contrast," "compare" emphasizes similarities while "contrast" emphasizes differences.
15. Rhy thm / Re pe ti t i on: rhythm is the result of repetition; three rhythmic devices include:
a. The duplication of the same form
b. The forms used alternately
c. The sequential change of a form (large to small, for ex.)
16. E m pha si s /F o c al P oint: Something in the work must dominate. A high point or climax occurring in the
work, or the domination of a motif or design element
17. Balance: ordered relationship of parts, whether radial, symmetrical or asymmetrical; equilibrium
a. S y m m e t ri c al b alance: equal visual units right and left/ top to bottom of an imaginary center point.
2. b. As y m m e t ri c al b alance: visual balance achieved by dissimilar visual units for example: two or three
small shapes in the right balancing one larger shape on the left; - when one side of a composition
does not reflect the design of the other. Asymmetrical balance is the kind of balance (one of the
principles of art) in which the parts of a design are organized so that one side differs from the other
without destroying that composition's overall harmony
c. Ra di al b alance: balance based on a circle with its design extending from its center (ex. Wheels with
spokes, daisies, stars)
18. P ro p o rti on/ S c ale: elements complement one another, in terms of their properties of size, quantity and
degree of emphasis
19. C ontinuit y: Organized movement or rhythm (repetition, alteration, and progression)
20. Ha rm ony /Unit y: Resolution of forces in opposition, everything in the art work works together; everything
seems to belong because of one common thing that all of the elements in the work share (ex. lots of
different shapes, but united through similar texture); (one or more elements in an artwork are similar,
uniting the artwork)
21. S cul p ture Pro c e s s
a. Ad d i ti ve – taking a material and adding it to itself or another material
b. Sub t ra c t i ve – carving away, subtracting from a material
c. Mo deling – shaping a material
C o l o r Theo ry
1) Tint: white is added to a color to make it lighter
2) Sha de: black is added to a color to make it darker
3) Tone: gray is added to a color
4) C o l o r S cheme: A set of colors that are used in an artwork; sometimes called a palette. A color scheme is
particularly harmonious if its colors are aesthetically compatible with a root color.
5) C o m p le ment a ry C o l o r S cheme: 1 color and its direct opposite on the color wheel (ex. yellow and
violet)
6) S pli t C o m ple menta ry C ol o r S cheme: 1 color with its opposite color’s 2 side by side colors (ex. red
and yellow-green and blue-green)
7) Mono chro m a t i c C ol o r S cheme: color scheme that is based on one color (ex. light blue, medium blue,
and dark blue)
8) Tria di c C ol o r S cheme: 3 colors which are at equally spaced distances on the color wheel (ex. orange,
green, violet)
9) Anal ogous C ol o r S cheme: colors that contain a common color and are found next to each other on the
color wheel; similar colors (ex. red-orange, red, red-violet)
10) Al te rna te C ol o r S cheme – colors that alternate on the color wheel (ex. red, violet, and blue)
11) P rim a ry C o l o rs: red, yellow, blue
12) S e c ond a ry C o l o rs: orange, green, violet
13) Interme di a te / Te rti ary C ol o r s: red-violet, red-orange, blue-green, blue-violet, yellow-orange, yellow-
green
14) Wa rm c ol o r s: red, yellow, orange
15) C o o l C ol o rs: blue, green, violet
16) Neutral C ol o rs: black, gray, white, brown
Ae s the ti c s & Art C ri tici s m
1) C re di t Line - typed card beside the artwork that says who made the artwork, the title, media, year it was
made. Look for more clues about the art.
2) Medium - The material or technique used by an artist to produce a work of art. The plural form is media.
3) Oil Painting - slow drying paint made when pigments are mixed with oil.
4) Thum bnail S ke t ch - a very small and loose drawing
5) 2 D vs. 3D
a) 2D artwork is flat, 2D=shapes
b) 3D artwork takes up physical space and has length, width and depth; 3D=forms
6) E xa m ple s of 2D - drawing, painting (acrylic or oil), collage, photography
7) E xa m ple s of 3D - installation, sculpture, assemblage, mixed media
8) Mixe d Media - a technique involving the use of two or more artistic media, such as ink and pastel or
painting and collage that are combined in a single work of art.
3. 9) As s e m bl age - a three-dimensional composition made of various materials such as found objects, paper,
wood and textiles
10) Ins t alla ti on - a work that can be walked through (like a room) rather than walked around (like a sculpture)
11) Art w o rk wi th a cultural tra di t i on o r current s o ci al, econo m ic, and / o r p oli ti c al c onte xt -
work of art that describes a culture or talks about a current event (like a war) or political issue (like abortion
or religion or education, etc.)
12) Ae s the ti c s – the study of beauty in art
13) Art C ri tici s m – to look at and judge art work using a 4 step process (can be positive or negative)
14) S te p s in Art Cri ti ci s m – 1) Description; 2) Analysis; 3) Interpretation; 4) Judgment
(1) De s c ri p ti on – What do I see? Describe the work as if you are describing it to a blind
person.
(2) Anal y si s – How is the work organized in terms of the principles of design?
(3) Interp re t a t i on – What is the meaning of the work?
(4) Judgment – Is this a successful work of art?