ncc art100 ch.2
DESCRIPTION
TRANSCRIPT
![Page 1: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/1.jpg)
Exploring Art: A Global, Thematic Approach
Chapter 2The Language of Art and
Architecture
![Page 2: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/2.jpg)
Formal elements• Just as words are the basic elements of
oral/written languages• Formal elements are the basic units of
visual arts– Line– Light and value– Color– Texture and pattern– Shape and volume– Space– Time and motion
![Page 3: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/3.jpg)
Line…a moving point having length/width.
In art, a line usually has length and width, but length is more important.
• Actual line—they physically exist and can be broad, thin, straight, jagged
• Implied lines—do not physically exist, yet they seem quite real to viewers—dotted line, unconnected parts
![Page 4: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/4.jpg)
![Page 5: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/5.jpg)
![Page 6: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/6.jpg)
The Creation of Adam (Detail)
![Page 7: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/7.jpg)
Note the line quality:Thick strokes—bottom of hemWispy lines—beardCrisp lines—sword blade
Utagawa Kunishada, Shoki the Demon Queller, c. 1849-1853. Woodblock print
![Page 8: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/8.jpg)
Line quality can express a range of emotions.
Contrast the thick, angular lines of Shoki with the thin,
playful lines of Klee.
Also the arrangement of lines can seem organized or disorderly. Klee’s lines
seem arranged whimsically.
Paul Klee. They’re Biting, 1920. Drawing and oil on paper
![Page 9: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/9.jpg)
![Page 10: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/10.jpg)
Line that depict three-dimensional objects:
• Outline—follows the outer edges of the silhouette of a three-dimensional for with uniform line thickness. Outlines flatten a three-dimensional form into a two-dimensional shape.
• Contour lines—mark the outer edges of a three-dimensional object—with varying line thickness and some internal detail.
• Cross-contours—repeated lines that go around an object and express its three-dimensionality
• Hatching—lines that product tones or values (different areas of gray)
• Cross-hatching—parallel Lines in superimposed layers
![Page 11: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/11.jpg)
Durer, Artist drawing a model in foreshortening through a frame using a grid system, woodcut (crosshatching)
Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight
![Page 12: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/12.jpg)
Light and value
• In art and architecture, light might be an actual element. In buildings, the control of light is an essential design element.
![Page 13: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/13.jpg)
Bruce Nauman. (American, born 1941). Human/Need/Desire. 1983. Neon tubing and wire with glass tubing suspension frames,
7' 10 3/8" x 70 1/2" x 25 3/4"
Nauman believes that language is "a very powerful tool"; he was inspired to use neon tubing because of the convincing messages and hypnotic aura of neon advertisements. Ironicly, he uses this flashing commercial medium—with all its wires exposed—to address fundamental elements of human experience.
![Page 14: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/14.jpg)
Light and Value
• Most art does not emit or manipulate light but relects ambient light (the light all around us)
• In two-dimensional art artist use value to represent the various levels of light that reflect off of objects.
![Page 15: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/15.jpg)
• Value (or tone) is one step on a gradation from light and dark
• Achromatic value scale—the extremes are white and black (grey in between)
• Chromatic value scale—different values of color
• Shading (modeling) manipulate gradations in values to create the appearance of natural light on objects
• Chiaroscuro—light-dark gradation that can depict objects in space
![Page 16: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/16.jpg)
Achromatic value scale, showing only black, white, and gray tones. Chromatic value scale, showing various values of red. Values can create the illusion of volume.
Light and Value
![Page 17: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/17.jpg)
Rosso Fiorentino, Recumbent Female Nude Figure Asleep, 1530
Chiaroscuro—use of various tones (black, white, grays) to create the illusion of volume
![Page 18: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/18.jpg)
A range of values can express emotion.
Kunishada’s print carries a strong emotional charge.
While Fiorentino’s nude may lull the viewer.
Utagawa Kunishada, Shoki the Demon Queller, c. 1849-1853. Woodblock print
![Page 19: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/19.jpg)
Louise Nevelson, Mirror-Shadow VII, 1985, wood painted black, 9' 9" x 11' 7" x 1' 9"
Sculpture and architecture have value difference because of the many angles at which light hits and refects off their three-dimensional surfaces.Nevelson’s sculpture is painted black, but the light bouncing off of various surfaces appears as gray or as black.
![Page 20: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/20.jpg)
Examining Color
• Consider the various concepts and properties of color—hue, value and intensity
![Page 21: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/21.jpg)
• Hue it the pure state of color in the spectrum an is that color’s name, such as red, blue, yellow, green violet and orange.
![Page 22: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/22.jpg)
Hue: This is what we usually mean when we ask "what color is that?" The property of color that we are actually asking about is "hue". For example, when we talk about colors that are red, yellow, green, and blue, we are talking about hue. Different hues are caused by different wavelengths of light. Therefore, this aspect of color is usually easy to recognize.
Hue Contrast - strikingly different hues
Hue Constancy - different colors, same hue (blue)Value in color is the lightness and darkness within a hue
![Page 23: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/23.jpg)
Value: When we describe a color as "light" or "dark", we are discussing its value or "brightness". This property of color tells us how light or dark a color is based on how close it is to white. For instance, canary yellow would be considered lighter than navy blue which in turn is lighter than black. Therefore, the value of canary yellow is higher than navy blue and black.
Low value—same brightness level
Contrast of value—grayscale, no chroma
Contrast of value—stark differences in brightness
![Page 24: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/24.jpg)
Tints, Tones and Shades:
• These terms are often used inappropriately but they describe fairly simple color concepts. The important thing to remember is how the color varies from its original hue. If white is added to a color, the lighter version is called a "tint". If the color is made darker by adding black, the result is called a "shade". And if gray is added, each gradation gives you a different "tone."
![Page 25: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/25.jpg)
• Tints (adding white to a pure hue)
• Shades (adding black to a pure hue)
• Tones (adding gray to a pure hue)
![Page 26: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/26.jpg)
• Intensity/Saturation—tells us how a color looks under certain lighting conditions. For instance, a room painted a solid color will appear different at night than in daylight. Over the course of the day, although the color is the same, the saturation changes.
• Be careful not to think about SATURATION in terms of light and dark but rather in terms of pale or weak and pure or strong.
![Page 27: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/27.jpg)
Gainsborough, M/M Andrews
Most saturated color—blue satin dress, modified with tints and shades
Warm—foreground greens
Cool—distant blue-grey greens
Local colors—the colors we normally find in the objects around us.
![Page 28: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/28.jpg)
RED, YELLOW, BLUE:Thought of as the “original” colors since they are the starting point for all other colors and cannot be recreated by the mixing of any others. They are thought to be exuberant, decorative and decisive.
For light-emitting media, the primary colors are red, blue, green
Primary Colors (R/Y/B): For paints and pigments, the primary colors are red, yellow and blue
![Page 29: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/29.jpg)
It is from the blending of the primary colors that secondary colors are born.There are three secondary colors.
Red + yellow = orangeBlue + yellow = greenBlue + red = purple
SECONDARY COLORS
![Page 30: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/30.jpg)
TERTIARY COLORS
Tertiary colors come to life when primary and secondary combine.
There are six:Red-orangeYellow-orangeYellow-greenBlue-greenBlue-violetViolet-red
![Page 31: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/31.jpg)
If we are working on a computer, the colors we see on the screen are created with light using the additive color method.
Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to white
ADDITIVE COLOR SYSTEM—applies to light-emitting media, the primary colors are red, blue, green
![Page 32: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/32.jpg)
When we mix colors using paint we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker.
![Page 33: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/33.jpg)
Complementary colors are opposites of each other and, when mixed, give a dull result. Red and green are complementary colors.
![Page 34: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/34.jpg)
COMPLEMENTARY VERSUS ANALOGOUS COLORS
• complementary colors are opposite each other on the color wheel and dramatically different in wavelength
• Analogous colors are next to each other on the color wheel and similar in appearance
•
![Page 35: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/35.jpg)
A good example of the use of color complements is in this 15th Century painting. The rich reds and greens of the bed canopy and Cenami’s dress contrast with the dark robes of Arnolfini.
Light, entering from a side window provides brightness which contrasts with areas left in shadow.
Colors are subtly blended, creating great depth.
The work is well balanced, with the two figures framing the mirror Contrast is given on each side, with the dark clothed Arnolfini standing next to the bright clear light of the window, and green robed Cenami set against red.
"The Arnolfini Wedding" by Jan Van Eyck
![Page 36: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/36.jpg)
primary colors (red, yellow, and blue) are those that cannot be produced by mixing two other
colors together
secondary colors (violet, orange, and green) are those that are produced when two primaries
are mixed
analogous colors are those that are next to each other on the color wheel and share similar
wavelenghts
![Page 37: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/37.jpg)
LOCAL VERSUS OPTICAL COLOR
• local color is the color that an object has in normal light
• optical color is color produced through our visual perception
![Page 38: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/38.jpg)
Haystack at Sunset Near GivernyClause Monet. oil on canvas, 1891 (Impressionism)
a great example of optical color
![Page 39: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/39.jpg)
The Night Cafeby Vincent Van Gogh,
oil on canvas1888 (Post
Impressionism)
• Expressive use of color (non-realistic)• Harsh palette (a place where one can ruin oneself)• Red (walls) green (ceiling) clash• Billiard table and floor (contain red and green) marry the two• Lamp light—agitated swirls of local color—psychological
brillance/agitation.
![Page 40: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/40.jpg)
Sensory overload—installation immerses viewer in cool and highly saturated BLUENESSLED—points, lines, and grids—used as a medium for sensory stimulation.
Erwin Redl. Installation view of Matrix IV 30/5/01 at Creative Time’s “Massless Medium: Exploration in Sensory Immersion.” Brooklyn Bridge Anchorage, Bklyn. NY
![Page 41: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/41.jpg)
Color Properties in Various Media
Paint Light-Emitting Media
Commercial Printing or Computer Printer
Color System subtractive additive subtractive
Effects of Environmental Light Levels
more room light, the brighter the colors
less room light, the brighter the colors
more room light, the brighter the colors
Primary Colors blue, red, yellow red, green, blue CMYK
Secondary Colors
purple, green, orange
yellow, cyan, magenta
red, blue, green
Complementaries
blue – orangered – greenyellow – purple
red – cyangreen – magentablue – yellow
cyan – redmagenta – greenyellow – blue
Mixture of all Primaries
gray or dull neutral
white black
![Page 42: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/42.jpg)
The Relativity of Color Perception
![Page 43: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/43.jpg)
![Page 44: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/44.jpg)
Explore Texture and Pattern
• Texture refers to the surface characteristics, and may be tactile or visual.
• Pattern is the regular repetition of a visual form.
• Describe both the texture and pattern displayed in the 6th century mosaic below.
![Page 45: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/45.jpg)
Texture
• ACTUAL TEXTURE is tactile it is more than visual information
• VISUAL TEXTURE is the illusion of texture – trompe l'oeil is a method of art that is
intended to create a realistic illusion of texture and depth in a work of art. The term means "fool the eye" in French.
![Page 46: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/46.jpg)
Tactile texture
• Lion Capital from Asoka pillar
• Sarnath, India• ca. 250 BCE• Culture:
Buddhist/Indian
![Page 47: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/47.jpg)
Detail of Deesis Mosaic in Hagia Sophia. Believed to be
1185-1204. Mosaic tile.
Each mosaic piece reflects ambient light in a slightly
different direction.
Visual texture is illusionary.
![Page 48: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/48.jpg)
James RosenquistGift Wrapped Doll IV
1992VISUAL TEXTURE
• Simulates texture of cellophane• Transparent wrap reflect light, tearing across the
innocent face like white-hot rods• Doll—haunting and sinister• Commentary—ideal of beauty—blue eyed blonde
![Page 49: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/49.jpg)
SUBVERSIVE TEXTURE contradicts our past visual experience by using texture in ways that are unexpected.
Birth of Venus, by Ralph Larmann—good examples of this.
![Page 50: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/50.jpg)
Considering Shape and Volume
• Shape refers to two-dimensional art, and volume refers to three-dimensional works.
• Shape and volume may have simulated reality, may be abstracted or invented.
![Page 51: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/51.jpg)
Examining Space• Space refers to the actual space in which
a work of art exists, or an illusion of space created.
• An illusion of space (depth) may be created by shading, overlapping, and atmospheric or linear perspective.
• Artists may also use isometric, oblique, and mid-point perspective.
• Compare the different illusions of space between Piranesi’s Prisons and the detail of a Muromachi period screen.
![Page 52: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/52.jpg)
One-point perspective
![Page 53: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/53.jpg)
Two-point perspective
![Page 54: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/54.jpg)
Three-point perspective
![Page 55: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/55.jpg)
![Page 56: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/56.jpg)
• 1. Turn your paper horizontal ("landscape" orientation)
•
1. Turn your paper horizontal ("landscape" orientation)
![Page 57: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/57.jpg)
• 2. Line the end of your ruler up with the side of your page.
• Be sure the ruler is straight and flush with the edge of the page or everything will be crooked!
![Page 58: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/58.jpg)
• 3. Draw a horizontal line one or two inches down from top of the page. This is your horizon line.
•
![Page 59: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/59.jpg)
• 4. Draw a dot in the middle of your horizon line. This is your vanishing point.
![Page 60: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/60.jpg)
• 5. Now draw a square or rectangle in the right or left bottom area of your page.
![Page 61: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/61.jpg)
• 6. Now connect three corners of your rectangle or square to the vanishing point. These are orthogonals.
![Page 62: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/62.jpg)
• 7. Draw a horizontal line between the top two orthogonals where you want your form to end.
![Page 63: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/63.jpg)
• 8. Draw a vertical line down from the horizontal line to complete the side.
![Page 64: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/64.jpg)
• 9. Erase the remaining orthogonals.
![Page 65: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/65.jpg)
10. Add details and experiment!
![Page 66: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/66.jpg)
![Page 67: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/67.jpg)
Albrecht Durer, The Adoration of the Magi (1511) woodcut
• Follow converging parallel lines to vanishing point
• This woodcut is an exercise in one-point perspective
![Page 68: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/68.jpg)
linear perspective is a mathematical
system for organizing space in a convincing way.
It is used in Piranesi's
Drawbridge drawing
![Page 69: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/69.jpg)
• ATMOSPHERIC (AERIAL) PERSPECTIVE
• is a convention of art that was invented by Leonardo da Vinci for creating an illusion of depth by incorporating the natural effects of atmosphere.
![Page 70: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/70.jpg)
Multipoint perspective
![Page 71: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/71.jpg)
Time and Motion
• ACTUAL MOTION is live movement. A work of kinetic art like Alexander Calder's Untitled mobile in the East Wing of the National Gallery of Art in Washington D.C. displays actual motion when we see it in person.
![Page 72: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/72.jpg)
THE ILLUSION OF MOTION
• is what we experience when we see a movie or series of shapes that note a passage of time. A movie is a series of still frames that do not contain actual motion, but when shown in a time sequence, create an illusion of motion.
![Page 73: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/73.jpg)
Apollo and Daphne. Gianlorenzo Bernini, marble sculpture, 1622-24 (Baroque)
IMPLIED MOTION AND TIME is a non-moving image that shows movement through the attributes present in the image. Good examples of this are found in Bernini's Apollo and Daphne
![Page 74: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/74.jpg)
Examining Time and Motion
• Consider how time and motion may be incorporated in visual art, usually understood as static, by examining issues of Marcel Duchamp’s Nude Descending a Staircase.
![Page 75: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/75.jpg)
Marcel Duchamp. Nude Descending a Staircase (No. 2), 1912. Oil on canvas, 57 7/8” X 35 1/8”. Philadelphia Museum of Art, Philadelphia.
![Page 76: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/76.jpg)
Boccioni, Umberto. Dynamism of a Cyclist. 1913
![Page 77: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/77.jpg)
Chance/Improvisation/Spontaneity
• Strongly affects visual organization of an artwork
• Opportunity for uniqueness• Uncontrolled outcomes
![Page 78: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/78.jpg)
Cai Guo-Qiang. Black Rainbow: Explosion Project for Valencia, Spain. 2005.
Omens for international unease—frightening—but also attract with their power and beauty.
![Page 79: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/79.jpg)
Principles of Composition
• Balance• Rhythm• Proportion and scale• Empasis• Unity and variety
![Page 80: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/80.jpg)
POLYKLEITOSDoryphoros (Spearbearer)
ca. 450-40 B.C.[actual balance]
![Page 81: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/81.jpg)
Leonardo da Vinci , Vitruvian Man, c.1490 [symmetrical balance]
![Page 82: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/82.jpg)
Lindisfarne Gospels, Carpet Page
[bilateral symmetry]
![Page 83: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/83.jpg)
The U.S. Capital Building[Symmetrical balance—bilateral symmetry]
![Page 84: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/84.jpg)
Arnold Newman, Georgia O’Keeffe,
Ghost Ranch, NM (1968)[approximate symmetry]
![Page 85: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/85.jpg)
Asymmetrical Balance
Your eyes tell you the elements are skewed
Your brain registers balance
![Page 86: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/86.jpg)
Miro, Birth of the World (1925) MoMA
[asymmetrical and balanced]
![Page 87: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/87.jpg)
Helen M. Turner (1858-1958), Morning News, 1915[well-placed touches of color …overall visual balance]
![Page 88: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/88.jpg)
Horizontal, Vertical,
and Radial Balance
![Page 89: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/89.jpg)
Gertrude KasebierBlessed Art Thou Among Women[horizontal balance…elements on left and ritght seem to be equal in number or visual emphasis]
![Page 90: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/90.jpg)
[vertical balance…top and bottom are in
balance]
![Page 91: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/91.jpg)
[radial balance...design elements radiate from a center point]
![Page 92: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/92.jpg)
Barbara Morgan, Martha Graham (GSP)
![Page 93: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/93.jpg)
Angkor Wat. Central Temple Complex. C. 1113-1150 CE. Cambodia.
The temple is laid out in a modified radial plan.
![Page 94: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/94.jpg)
IMBALANCE
Balance…comfort/aesthetically pleasingImbalance…discomfort/shock
![Page 95: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/95.jpg)
Robert Capa. Death of a Loyalist Soldier (9/5/1936)
imbalance..intensified drama
![Page 96: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/96.jpg)
Niki de Saint-Phalle. Black Venus,1967 [precarious balance suggest weightlessness]
![Page 97: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/97.jpg)
Proportion and Scale
• Proportion refers to size of one part in relaton to another within a work of art.
• Scale is the size of something in reation to what we assume to be normal
![Page 98: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/98.jpg)
![Page 99: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/99.jpg)
![Page 100: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/100.jpg)
Count of Montizon. Obaysch, London Zoo's first hippopotamus, 1852 The hippopatamus named Obaysch arrived at the London Zoo in May
1850
![Page 101: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/101.jpg)
René Magritte, Personal Values. 1952
![Page 102: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/102.jpg)
The AnnunciationFrom the Lectionary of Henry
II1002 - 1014, approximately
17" x 13”
Hieratic scaling
![Page 103: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/103.jpg)
Pannini. Interior of the Pantheon, Rome (c.1734)
![Page 104: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/104.jpg)
Jan Van Eyck. Madonna in the Church
c. 1425Oil on wood, 32 x 14 cm
![Page 105: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/105.jpg)
![Page 106: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/106.jpg)
Marisol. Baby Girl. 1963
![Page 107: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/107.jpg)
Claes Oldenburg, Coosje van Bruggen, and Frank O. Gehry. The Binocular Entrance to the Chiat Building, Venice, California.
![Page 108: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/108.jpg)
Claes Oldenburg. Clothespin (1976) Corten steel with stainless steel base. 45’ H
![Page 109: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/109.jpg)
Emphasis, Unity and Variety
• Emphasis is the creation of focal points.• Unity is the quality of overall cohesion
within a work of art.• Variety is the element of difference in a
work of art. • Examine how the principles of emphasis,
unity and variety are used in works of art.
![Page 110: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/110.jpg)
Claes Oldenburg, Coosje van Bruggen, and Frank O. Gehry. The Binocular Entrance to the Chiat Building, Venice, California.
The Binocular Entrance is the focal point!
![Page 111: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/111.jpg)
PROPORTION
Everything is relative
![Page 112: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/112.jpg)
POLYKLEITOSDoryphoros (Spearbearer)
ca. 450-40 B.C.“The Canon of Proportions…
ideal beauty”
![Page 113: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/113.jpg)
Alice Neel. The Family (John Gruen,
Jane Wilson, and Julia). 1970
• What is not idealized?
![Page 114: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/114.jpg)
Structural Systems in Architecture
• Traditional building methods– Load-bearing construction– Post and lintel construction– Wood frame construction– Arches, Vaulting, Domes
• Recent Methods and Materials– Steel Frame construction– Reinforced concrete– Suspension and tensile
construction
![Page 115: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/115.jpg)
Compare load-bearing with post and lintel construction:
El Castillo, Chichen Itza, Mexico. See the elevated view in the textbook.
Mnesicles. The Temple of Athena Nike and the Proplylaea. 437-432 BCE. Athens.
![Page 116: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/116.jpg)
Post and lintel construction at Stonehenge.
![Page 117: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/117.jpg)
arcade: A series of arches supported by columns or piers.
![Page 118: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/118.jpg)
colonnade: A row of columns which support horizontal members, called an architrave, rather than arches
![Page 119: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/119.jpg)
Diagram of the Greek and Roman Orders
![Page 120: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/120.jpg)
Parthenon
![Page 121: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/121.jpg)
Temple of Athena
![Page 122: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/122.jpg)
Vault systems
![Page 123: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/123.jpg)
![Page 124: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/124.jpg)
Barrel vault
![Page 125: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/125.jpg)
Groin vault
![Page 126: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/126.jpg)
to suggest direction and movement:
• horizontal lines tend to communicate suggest stability and calm, vertical lines suggest strength and authority (architecture), and diagonal lines tend to represent movement. These characteristics can all be seen in Botticelli's Birth of Venus.
![Page 127: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/127.jpg)
![Page 128: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/128.jpg)
Lines—firm carve out figures (from rigid horizontal and vertical trees)Lines—zephyrs—straight breath—curved drapery (imply movement)
Lines—implied—compositional (overall triangle)
![Page 129: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/129.jpg)
Jacob Lawrence, Harriet Tubman Series. 1939–40 . Panel #4On a hot summer day about 1820, a group of slave children were
tumbling in the sandy soil in the state of Maryland - and among them was one, Harriet Tubman
![Page 130: Ncc art100 ch.2](https://reader037.vdocuments.us/reader037/viewer/2022102700/54c805d94a79593e098b45b8/html5/thumbnails/130.jpg)
• Lines—horizontal (like horizon) suggest stability• Lines—vertical (skyscrapers) defy gravity, suggest
assertiveness• Lines—diagonal—movement/directionality (i.e. zephyr)