READING

VISUAL ARTS
USA)
sta Ss
At the end of the discussion, the students
were able to:

. Identify different types of art based on the

degree of representation or
nonrepresentation a work displays. |
- Describe the elements of visual arts in
different art forms.
- Explain the principles of design and basic
olanning in visual art forms.
 Ol
Types and Forms
of Visual Art
TYPES OF VISUAL ARTS
e Representational
1. Naturalistic
2. Abstraction
3. Idealized
e Non-Representational
REPRESENTATION
« Avisual reference to the experiential
world, we can further characterize the
work of art using terms such as
naturalistic, idealized, or abstract
e It is the use of signs or images which
stand in for or take the place of
something else.
Ploughing the Nevers
- Rosa Bonheur
Oil on Canvas
1849
ABSTRACTION
e Thearts might remind us of what we
see in the phenomenal world by only
reflecting some physical feature(s)
rather than detailing the object, place,
or person itself
 The Residence of
David Twining
Edward Hicks
Oil on Canvas
1785
Composition (The Cow)
Theo van Doesburg
Oil on Canvas
1918
apna
The arts version of
a natural form
rather than truly
reflecting its actual
appearance.
 A
Figure 4.9 | Scultpures of the human form demonstrating anatomical accuracy

Photo A | Marble statue Photo B | The Kroisos Photo C | Kritios Boy PhotoD | Doryphoros
of a kouros Kouros Author: User “fetraktys” from Pompeii
Source: Met Museurn Author: User "Mourtan” Source: Wkirneda Commons Artest. Potykiotios
Lacenee: OASC Source: Wikeeeedia Commons ucense: OC BY-SA 3.0 Aathor,
User “Tetraktys”
License: Pubbc Ooenain Sourte: Waumede Comrnons
Lacenee: CC BY 25
NON-REPRESENTATIONAL OR
_ OBJECTIVE
An artwork which intentionally avoids the
” eteteRy of representation, instead
selecting only novel and original
experience as subject matter.
e Meaning is communicated through
shapes, colors, and textures.
Figure 4.11 | Angel of the Last Judgment Figure 4.12 | Red Spot IT
Artist: Wassily Kandinsky Artist: Wassily Kandinsky
Source: Wikiart Source: Wikimedia Commons
License: Public Domain License: Public Domain
 TWO-DIMENSIONAL ART
To draw an object
is to observe its
appearance and
transfer that
observation to a
set of marks.
 TWO-DIMENSIONAL ART

Leonardo da Vinci
Oil on Wood Panel
1503-1506
Tempera on Canvass
1484-86
THE BIRTH OF
VENUS
METHODS IN SCULPTURE

CARVING MODELLING
METHODS IN SCULPTURE

BTL Te ASSEMBLY
 FOUR-DIMENSIONAL ART
Video art uses the
g-cela NN at ol
technology of
projected moving
images.
 FOUR-DIMENSIONAL ART
Os
art in which the
artist's medium is an
action and
documented by
ehotography
 02
Elements of Design
in Visual Art
ELEMENTS OF VISUAL AR
- Line
» Shape
- Mass/volume
- Texture
« Value and space
-» Size and position
« Color
-» Perspective
- Time and motion
WHATISA
LINE?
LINE
An infinite series of points or connects
two points that are arranged ina
direction ‘
hfe) Z S A
. EWE/G on Gee
It may be straight (unchanging) or > AS pee Ae 1
curved (changing) EN CYS
An outline of a shape ya Vs
Regular and Irregular Hee(C VAs
A regulated line that
are are criso and
clear

Barbara Hepworth,
Drowing for Sculpture
(with color), 1941 Pencil
and gouache on paper
mounted on board
IRREGULAR LIN
WBS
) 4
= Lines to Expres
' Freedom and
, Passion
y

S<K<zE
SS | ee «Jean Dubuffet
bes §6=—- Suite avec 7 Personnages
REGULAR AND IRREGULAR
Mees LOSS SN
oe PNeg, ae es

4 :
ye

: ee oe hi
ie

ae
hi \

4}
Cy
-

|
i
i

j
George Bellows
Woodstock Road, Woodstock, New York, 1924
1924, Black crayon on wove paper, image
\s
 AND Actual lines Implied lines
ACTUAL
IMPLIEDLINES ~—. «°° CC
QO
z i
2 3 45
6

Actual
- continuous marks TITt iy{
Implied - no continuous marks
 Detail of Pentateuch with Prophetical Readings
and the Five Scrolls

= fa y
¢
’
Sys So peeteomae mom: sm ee, eas
Ly fay”
. * ~ otal rane an ens ae tras aoods ewan
geYe ee= aa
‘e. %£
3 % ee Meee “Sh
S Bo yi : *
Lik SSE
Se
cae "ta neenen osu nieces ™
"4

Saves pee om Mang ‘on wer nent ous oes Bye yor’
Pew er
“—

ora
LINES

g x A iain aad )
eR Fee Ly
C Js ER aK
Dh
= Fe BITES
TLE Oe
Caw) atbere
Ie ee
Gi)AEue we ca
4
Se + -~ -——— ——~ ~~
3a I a
ZEROS ONY BE
<P) a
ee ee
On
A
P
git
ee
 It suggested by an
intentional alignment
of shapes.
DIRECTIONAL LINE

Francisco Goya
The Third of May, 1808
1814, Oil on canvas
COMMUNICATIVE LINE Vertical lines - tend to
communicate strength, stability,
authority and energy
Horizontal lines - can suggest
calmness, peace and passivity
Diagonal lines - are associated
with drama, action, motion, and
change

| = 74
if A A
Vincent van Gogh
The Bedroom, 1889
Oil on canvas
 The line where
differing areas meet
and form edges
The line produced by
the movement of the
artists hand, arm, or
body, of a kind of
dance with the
material.
WHATISA
SHAPE?
SHAPE
e Length and Width
e Regular or irregular, simple or
complex
e Hard-edge or soft-edge
e Geometric or Organic
e Ground Relation (foreground
and BASKOFOUNE!
ORGANIC AND GEOMETRIC SHAPE
 \/ Be |
Miriam Schapiro

rd
Baby Blocks, 1983
Collage on paper
IMPLIED SHAPE

yy,

-| =
MASS / VOLUME CFORIM)
e Volume has three dimensions:
length, width, and height. The
amount of space occupied
e« Mass is the quantity of matter,
often meaning its weight or
solidity.
e Close Form and open form
e Positive and negative space
GEOMETRIC AND ORGANIC

Roettgen Pieta (Vesperbild}

Middle Rhine region, c. 1330.
Wood

David Smith
Cubi XIX, 1964
Stainiess steel
IN aes ceoIN ire ROUNE
Inthe round -a
freestanding
sculpted work that
can be viewed from
all sides

Facade - any side of

a building, usually
the front or
entrance

Imperial Procession from the Ara Pacis

Augustae,
13 BCE
Marble altar
IN RELIEF AND IN THE ROU

Aphrodite Crouching at Her Bath

{"Lely’s Venus”)
Marble,
Roman 2nd century CE
OPEN VOLUME AND
NEGATIVE SPACE
TEXTURE
e Texture isan
important
element of
design because
it engages the
sense of touch
as well as vision.

e Actual and
Implied texture
SUBVERSIVE TEXTURE

Méret Oppenheim Object 1936

Fur-covered cup, saucer, and spoon
VALUE AND SPACE
e Lightness and darkness
e Ahighlight marks the
point where the object is
most directly lit.
e Dramatic and beautiful
effects can be achieved
through the use of
chiaroscuro, especially if
it is exaggerated.
CHIAROSCURO

Caravaggio
The Calling of St. Matthew
¢. 1599-1600, Oil on canvas
SIZE AND POSITION

Beda Stjernschantz
Pastoral (Primavera)
1897, Oil on canvas
PERSPECTIVE
e Height, scale, and overlap
e Vanishing point (horizontal
line, orthogonal line) MESON
e Atmospheric, lsometric,
and linear [-— nonizon une
ISOMETRIC Pe ee
PERSPECTIVE Pare oe
qlee a et

ae
Set OS
eee
ee Se
: ae = $F,
LINEAR PERSPECTIVE
| VANISHING POINT AND
ONE-POINT LINEAR
PERSPECTIVE
VANISHING POINT AND
ONE-POINT LINEAR

Trinity, c. 1425-26
Fresco
TWO-POINT LINEAR
PERSPECTIVE
Honzon line

To night vanishing poant

Raphael
The Schoo! of Athens
1510-11, Fresco
MULTIPLE / THREE
POINT PERSPECTIVE
A perspective system
with two vanishing
points on the horizon
and one not on the
horizon
FORESHORTENING

pa

A perspective technique that depicts a form at a very

oblique (often dramatic) angle to the viewer in order to
show depth in space
COLOR Red
Red-violet

Violet

The most prominent

element of design
and is one of the
Blue
most powerful and
yet subjective
elements in art.
Yellow-green

Green

Color Wheel
COLOR Hue - primary,
secondary, and tertiary
colors
* Saturation (Chroma) -
how vivid, rich, or
intense a color is. It is
the degree of purity of a
color
* Value - how light or dark
something is on a scole
of white to black (with
white being the highest
value and black being
the lowest value),
COLOR HUES AND
COMBINATIONS
primary/secondary primary/secondary, and
analogous combinations tertiary complements
COMPLEMENTARY
ae as
a raf a7

= /
LOW AND HIGH SATURATION
--
 ees
Oil on Canvas IMPRESSION
we SUNRISE
 PORTRAIT OF
MADAME MATISSE
(THE GREEN LINE)
Henri Matisse
Oil on Canvas
1905
COLOR VALUE :
COLOR TEMPERATURE
Warm Colors
COLOR TEMPERATURE
Cool Colors
COLOR TEMPERATURE
Neutral Colors
COLOR PSYCHOLOGY
Red: Passion, Love, Anger
Orange: Energy, Happiness, Vitality
Yellow: Happiness, Hope, Deceit
Green: New Beginnings, Abundance, Nature
Blue: Calm, Responsible, Sadness
Purple: Creativity, Royalty, Wealth
Black: Mystery, Elegance, Evil
Gray: Moody, Conservative, Formality
White: Purity, Cleanliness, Virtue
Brown: Nature, Wholesomeness, Dependability
Tan or Beige: Conservative, Piety, Dull
Cream or Ivory: Calm, Elegant, Purity
TIME AND MOTION
- Traditional art inherently
motionless and timeless
- Film and video uses new
technology and media to
capture time and motion
- Actual and imolied
- Illusion in motion (optical art)
- Animation, performance art,
kinetic art
 03
Principles
of Designs
PRINCIPLES OF VISUAL AR
« Contrast
« Unity and variety
« Sale and proportion
« Balance
« Emphasis and movement
« Rhythm and repetition
CONTRAST
When an artist uses two noticeably
different states of an element
Positive and negative are opposites
Ex.: Silhouette, woodcut or figure-
ground reversal
UNITY / VARIETY
Unity is one in which the elements of
the work or relations between the
elements are similar or identical.

Variety is one in which the elements of

the work are varied in size, color,
shape, or some other attribute.

An interval is the space between

elements, figures, or objects in a work
of art.
SCALE / PROPORTION
The design principle
of scale and
proportion is the
issue of size of
elements both
individually and in
relation to other
elements.
SCALE / PROPORTION
Forced perspective is the
arrangement of figure and
ground that distorts the scale
of objects, making small
objects appear large or large
objects appear small by
juxtaposing them with
opposites.
EMPHASIS / MOVEMENT
The intentional
use of directional
forces to move
the viewer's
attention through
a work of art
| EMPHASIS / MOVEMENT
RHYTHM / REPETITION

ye
Oo
~
Oo WY)
~
c ©
Oo oO
+~ & oO
aOo £
QO Y oS
OY
_ Oo
=
42
no
ov
Le aL
— > oe
RAYTHT / REPETITION
It is influenced by the
arrangement of value and
texture
- Light to dark
- Smooth to rough
- Color