Lessen 3) © Reading Image and Rule of the Third Introduction We begin with the basic premise that there are two interrelated aspects in the study of art. The first is that art has its specificity: that is, its particular language or vocabulary that has to do with the mediums, techniques, and visual elements of art that constitute it as a distinct area of human knowledge and signifying practice. This is not just what is commonly called the formal aspect of art, but it is what constitutes art as a particular human activity different from the others. The other aspect is that art, while it has its specificity, is at the same time historically situated and shaped by social, economic, and political forces. Both these aspects need to be taken into account so as to be able to fully understand and appreciate art. For a study of the formal elements alone will not lead to a full understanding of the work, in the same way that the exclusive study of the social determinants risks collapsing the artistic into the sociological. A visual work as an iconic or pictorial sign has a unique and highly nuanced meaning, and this uniqueness and semantic richness arises from the original use of the elements and resources of art. Needless to say, the meaning, signification, or system of significations of a work is not statemental, nor is the understanding of a work a reductive process which reduces meaning to a summary, statement, or single insight. Meaning in art is a complex of intellectual, emotional, and sensory significations which the work conveys and to which the viewer responds, bringing in the breadth of his or her cultural background, artistic exposure and training, and human experience in a -dialogic relationship with the art work. Reading the Image In the visual arts, one has to read the image presented to the viewers. The viewer does not only stand in front of the picture without knowing what it is. One has to begin with the basic premise that there are two interrelated aspects in the study of art. The first is that art has its specifi that is, its particular language or vocabulary has to do with the mediums, techniques, and visual elements of art that constitute it as a distinct area of human knowledge and signifying practice. This is not just what is commonly called the formal aspect of art, but it is what constitutes art as a particular human activity different from the others. The other aspect is that art, while it has its specificity, is at the same time historically situated and shaped by social, economic, and political forces. Both these aspects need to be taken into account so as to be able to fully understand and appreciate art, To fully appreciate and understand art the following are to be taken into consideration: 1. The basic semiotic plane - According to the acclai i Guillermo, the basic semiotic plane covers “the clemae S er natal technical and physical aspects of the work with their seme vic cncaning= conveying potential).” The term “semiotic” has something to do Manage fo do with signs. 63 ‘Scanned with CamScannerpainting as far as how lines and colors are use: As such, horizontal and vertical Jin Ss accentuate the lines all the more, central and lower parts of the paint 64 gn. Just liker a body which ji ctorial ai : In this cate, the painting ia the sign = a pictorial ‘ents which connote ‘ sod of len 38 comprised of many parts, a sign is compose meaning and significance. on. Namely, these are A painting is governed by principles of organization: S nd dasiinindes balance, contrast, gradation, harmony, alternations te, shape, colcr, Val Als, itis embodied by elements of design such as the Wgalhwe, Giese Facio texture, direction and size, among others. he ements determine the constitute the physical appearance of the work. Thes impact of the work to the one who gazes at ite eae, The Iconic Plane - According to Guillermo, while t me ts concerned with its with the material elements ofthe image, the iconic plane fs COUT A Particular aspects and features. In this plane, the subjects avi ONCE painting and their interrelationship with each other Peanmrenn earn How the subjects are chosen and the figure relates to the the iconic plane. The Contextual Plane ~ For Guillermo, “resituating the wore een will bring out the meaning of the work in terms of its ‘hua jansdipodial implications”. This is where the contextual plane comes in tO Pi ae ais plane brings to fore the socio-political implications of the work. the relationship between the art and society. Further, it makes art in touched with reality. The Assassination of Governor Bustamante (Courtesy of National Museum) by Hidalgo. Let us analyze the painting above. Hidalgo’s La Tragedia is an interesting cd. The scene is set in a stairwo are evident, The windows and banners However, oblique lines dominate the upper ainting as depicted by the bending human figures ‘Scanned with CamScanner~ friars and guards alike - caught in a chaotic situation. Oblique lines are also shown by the thick, diagonally-oriented stair railings and risers illustrated in the right portion of the painting. Tilted lines are also seen through the spears of the guards. Observe the picture and make a reading out of it. The Rule of the Third ' The rule of thirds is a “rule of thumb” or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs fice ond uy 8 igns, painting: photograp! The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections (Peterson, 2003). Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject. The photograph to the left demonstrates the application of the tule of thirds. Divide the picture into nine equal parts as shown above. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point or a crash point. Points of interest in the photo do not have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly ‘on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule. The rule of thirds is applied by aligning a subject with the guide lines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section. The main reason for observing the rule of thirds is to discourage placement of the subject at the center, or prevent a horizon from appearing to divide the picture in half. Michael Ryan and 65 ‘Scanned with CamScannerMelissa Lenos, authors of the book “An Introduction to Film Analysis: Technique and Meaning in Narrative Film” state that the use of rule of thirds is “favored by Gnematographers in their effort to design balanced and unified images” (Krages, - 2005). ‘Scanned with CamScannerName. Date Rating Year/Sec Collect some arts pictures and’bring it to the class. Try reading or inte! os ; ; g it ing or i ne . rpret the image on the picture. What does the artist want to convey in his work? Prepare a mini-exhibit of artists and artisans’ works inside the classroom. You cay make use of any media for your exhibit. As a guest/viewer, appraise the work of the artisan and interpret the image of the artist presented. Discuss your comment with your classmates. 67 ‘Scanned with CamScannerDraw a view of a landscape using a crayon based on the rule of the thirg “rve carefully the rule as pointed out. Let your classmates critique your work Ob: ‘Scanned with CamScanner