Introduction to Art: Elements and Principles of Design PDF

INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Cut Piece, Yoko Ono: https://en.wikipedia. org/wiki/File:CutPieceOno.jpeg passively allowed her garments to fall away, the participants and viewers were in control of her transformation from whole to segme...

INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Cut Piece, Yoko Ono: https://en.wikipedia. org/wiki/File:CutPieceOno.jpeg passively allowed her garments to fall away, the participants and viewers were in control of her transformation from whole to segmented. New media art usually refers to interac- tive works such as digital art, computer anima- tion, video games, robotics, and 3D printing, where artists explore the expressive potential - national connectivity of the Internet has ush- ered in a globalization of information exchange which includes the arts. One example of the use of new media in art would be 10,000 Moving Cities this work, a viewer wears a video projection headset in which images from a chosen city are viewer can move within the new space through head motion. Real time social-media images and text from the chosen city are also captured Figure 2.34 | Cathédrale St Jean illuminée Author: User “Gonedelyon” and projected. Source: Wikimedia Commons License: User “Gonedelyon” 2.5 FORM AND COMPOSITION When looking at art, many people today take a holistic or gestalt approach to understanding - the individual parts of an artwork and the relationships those parts have to the whole. When we examine an artwork by taking it apart, we are looking at its design. Design is divided into two elements of design are the physical parts of the artwork, or the form principles of design are the ways in which those parts are arranged or used, or the composition. 2.5.1 Elements of Design A design is a governing plan or approach by which various parts of an artwork are created the unconscious intuition of an artist. Further, looking at the way in which various parts of a work of art are arranged—even an intuitive or accidental work—can reveal clues to the goals and beliefs of the artist, the community in which the artist has worked, and the problems the work of art was meant to address. INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART color. One way to think of these elements of design is to “walk up the ladder” of dimension. Our perceived world has three dimensions of space and one of time. Mathematically, a point has zero dimensions. A line has one dimension, length. A shape has two dimensions, length and height. A form with mass or volume has three dimensions, length, height, and width. In moving from points to volumes, we have “walked up the ladder” of dimension from zero to three. In addition to the three dimensions of physical space, there are two more things artists can incorporate into a given work. They can introduce texture, and they can introduce color. 2.5.1.1 Line line - kinds of objects are linear, or predominantly formed by using lines. Calligraphy - writing has two main functions. of a written symbol denotes its meaning. Second, the manner be seen as expressive in itself. A tughra, or the calligraphic sig- nature of a sultan, and the re- are renowned for their expres- sive beauty, as are many works of Asian script. In many writing Source: Met Museum cultures, the beauty of the script License: OASC is as important as the message One quality of line is gesture. Gesture - https://upload.wikimedia.org/wikipedia/ represent rigidity, which is neither good nor bad, but depends on context. A rigid bridge is a good INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART thing for those who depend on it not to give way. A rigid tree in a windstorm will sometimes be uprooted. Contour and form edges. Human visual perception includes an enhanced ability to detect edges in nature. Contour lines follow the shapes of objects where they stand out from backgrounds. In mapmaking, contour lines indicate the shape of the landscape in regular increments of vertical height. On contour maps, lines that appear close together indicate a rapid change in height. Lines that are far apart http://wiki.openstreetmap.org/w/images/thumb/b/ Crosshatching is the use of uniformly spaced intersecting lines that create the perception of value Figure 2.36 | Nude Male Figure with a Sword Artist: Alexandre Cabanel Source: Met Museum License: OASC - Some lines are not drawn at all. Instead, they are implied or suggested by an inten- square inside the circle is an example of im- beyond the edge of an artwork are another because they imply a distant intersection. A third example of a line that is not actual- ly there is psychic Figure 2.37 | Square inside a circle, demonstration at one another in an artwork create a psychic of implied lines Author: Jeffrey LeMieux line between them. Source: Original Work Line has expressive content. By its License: CC BY-SA 4.0 nature, a line compels the viewer to follow INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART by viewer introspection. Line is not just a two-dimensional design element. For example, wire is a linear medium Acrobats, Alexander Calder: Pablo Picasso drawing in space with light Life magazine in http://www.designboom.com/art/pablo- 2.5.1.2 Shape next element in the walk up the ladder of dimension. Shape has two dimensions, length and width. Shapes can be regular or irregular, simple or complex. Shapes can have hard or soft edges. Hard-edged while soft-edged shapes slowly fade in- categories of shape: geometric and organ- ic. Geometric shapes are regular and ordered shapes using straight lines and curves. Organic shapes are general- ly irregular and often chaotic. Hans Arp his work Untitled, used torn paper and cut Figure 2.38 | Untitled (Collage with Squares shapes to create an abstract composition. Artist: Jean Hans Arp Source: MoMA License: Public Domain torn and irregular edges transform them those shapes roughly approximates a grid structure, but again, their deviation from a regular INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART known as a ground the is the object that appears to be in front of the ground. ground reversal can occur. In , what was seen as the positive shape Escher Woodcut II Strip 3 Escher: 2.5.1.3 Mass/Volume dimensional ladder is volume or mass. Volume has three dimen- sions: length, width, and height. exterior contours, and they may be closed or open in form. Mass is the quantity of matter, often meaning its weight. A closed form is a volume that is not pierced or perforated. One goal of ancient Egyptian sculpture - fore, they used closed sculptural forms, which are more structur- ally robust and more resistant Figure 2.39 | Sphinx of Hatshepsut Source: Met Museum - License: OASC rounds a closed form but does not move through it. Conversely, empty space surrounds but also moves through an open form. Open form sculptures are closer Reclining Figure 1969-70, positive space is the space occupied by a given volume, while negative space is the empty space within that volume. around it as it does on the volume occupied by the bronze. In addition, its mass is lessened by the openness of its form, especially when compared to ancient Egyptian sculpture, an entirely closed form. INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART chiaroscuro Mona Lisa 2.5.1.4 Perspective Perspective - - lap. Objects that are higher on the drawing surface, objects that are smaller in scale, and objects Linear perspective is based on the regular geometric recession of space. Linear perspective vanishing point is the spot where all receding lines seem to converge on the horizon line. horizon line is the set of all possible eye-level vanishing points. Orthogonal lines are the lines that appear to meet at the vanishing point and imply the regular recession of space. Horizon lines and vanishing points can provide clues to Last Figure 2.40 | Height, Scale, and Overlap Supper, for example, the artist has Author: Jeffrey LeMieux located the vanishing point directly Source: Original Work License: CC BY-SA 4.0 - - ment of the vanishing point behind Before linear perspective was formulated as a coherent geometric system, painters used intuitive per- spective to portray receding space. Intuitive perspective acknowl- edges that receding lines converge, Figure 2.41 | Height, Scale, and Overlap but does not recognize that they Author: Jeffrey LeMieux Source: Original Work converge at a single horizon line and License: CC BY-SA 4.0 vanishing point. Nonetheless, even INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART when paintings lack a rigorously coherent geometric system of linear perspective, determining where the horizon would be can inform us about how the artist views the subject. Compare two paintings of the same name, Madonna Enthroned - - shift in European thought that eventually blossomed into the Italian Renaissance. One-point perspective uses a horizon line and one main vanishing point and is normally used when simple views are Figure 2.42 | Santa Trinita Madonna Figure 2.43 | The Ognissanti Madonna Artist: Cimabue Artist: Giotto Author: User “Eugene” Author: User “Shizhao” Source: Wikimedia Commons Source: Wikimedia Commons License: Public Domain License: Public Domain INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Figure 2.44 | Two-Point Perspective Author: Jeffrey LeMieux Source: Original Work License: CC BY-SA 4.0 depicted, such as a railway track disappearing into the distance directly in front of the spectator. Two-point perspective uses a horizon line and two separated vanishing points to present the Three-point perspective incorporates the reces- sion of space in a third, vertical direction above or below the horizon line as well as the two horizontal directions in two-point perspective. As tall buildings recede upward from street level, they also diminish in apparent size in the same way railroad tracks appear to converge in the - ear perspective gives a completely accurate picture of the world. It does not. Linear perspective is a limited tool for - - an excellent tool to represent our experience of space, it has limitations that should be recognized. Atmospheric perspective is the way in which the the use of color and focus. In a landscape that extends into the distance, the haze of the intervening air alters the is from the viewer, the more it approaches the color of air, which is a light blue-gray tone. Dark objects become lighter and more blue as they recede from the viewer. Ad- Figure 2.45 | New York Daily News ditionally, the contrast between light and dark colored Building objects and the perception of detail decrease with in- Artist: Hugh Ferriss Author: Dover Publications - Source: Wikimedia Commons The Rocky License: OASC INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Mountains, Lander’s Peak to give a sense 2.5.1.5 Texture texture describes the sur- important element of design because it engages the sense of touch as well as vi- sion. Objects can be rough or smooth, wet or dry, sticky or slick, hard or soft, brit- Figure 2.46 | The Rocky Mountains, Lander’s Peak to texture are actual texture and implied Artist: Albert Bierstadt or simulated texture. Actual texture Source: Met Museum License: OASC is primarily—though not exclusively— sculptural, while implied texture is primarily used in two-dimensional works of art. - teenth centuries, were very interested in the simulation of a wide variety of textures. One main goal well known for his use of impasto, or very thick application of paint, in order to heighten the sense of reality in many of his paintings some of his self-portraits, as well as his rendering of metal and jew- elry in his painting of Belshazzar’s Feast 2.5.1.6 Color Color is the most prominent element of design and is one of the most powerful and yet subjective el- - tury American transcendentalist Ralph Waldo Emerson noted this subjective quality of color when he - Figure 2.47 | Belshazzar’s Feast Artist: Rembrandt van Rijn 1 Ideas about color Source: Wikiart 1 C. A. Bartol, Ralph Waldo Emerson: A License: Public Domain Discourse in West Church (Boston, Mass: A. Williams & Co., 1882), 14. INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART can be grouped into three broad categories: the histo- ry of color, physics of color, and perception of color. of pigments or coloring agents could be found in the various colors of earth, blacks and grays from ashes and burned wood or charcoal, reds and yellows from minerals, plants, and insects. Paleolithic cave paint- ers used these materials for their murals. In addition to natural pigments, ancient Egyptians formulated synthetic pigments such as powdered glass to cre- ate Egyptian blue, a distinctive hue used on statues, walls, and monuments. In the Roman Empire, a rare form of purple was extracted from a particular kind of snail and, because of its rarity, was used primarily for royal garments. During the Renaissance, a deep blue Figure 2.48 | Prism Author: User “D-Kuru” Source: Wikimedia Commons License: CC BY-SA 3.0 - or of heaven and white is the color of death or mourning. In western culture the opposite is the case. Della pittura On Paint- ing - ors from which more and more other kinds of colors may be thus created. Red is the color true colors but are alterations of other colors.2 From this early framework, others made further discoveries. of light as it interacts with the human eye. Visible light is the small portion of the electromag- netic spectrum that can be seen by humans. When the white light of the sun is passed through a prism, it is refracted into the colors of the rainbow from red through orange, yellow, green, and 2 Leon Battista Alberti, On Painting, trans. John R. Spencer (New Haven, Connecticut: Yale University Press, 1956), 49-50. INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Color as perceived by humans can be bro- ken into three discrete parts: hue, saturation, Hue is the wave- length of a given color. Longer wavelength col- ors appear on the red end of the spectrum, while shorter wavelength colors are on the violet end. green, etc. Color can be either subtractive or ad- ditive. Saturation is the purity of a color and ranges from a neutral gray to the pure color while holding brightness as a constant. Bright- ness is the lightness or darkness of a color and Figure 2.49 | HSV Color Model Author: User “SharkD” Source: Wikimedia Commons License: CC BY-SA 3.0 a relative brightness, for example, pure yellow has a greater brightness than pure blue. Subtractive color viewer. Subtractive color mixing starts with the primary colors of red, yellow, and blue. When these colors are mixed, the secondary colors blue makes green, mixing red and yellow makes orange, and mixing red and blue makes purple. century that white light, when refracted through a prism, could be separated into the visible spectrum. In the nineteenth century, separately published research that concluded that red, yellow, and blue were primary col- ors and that all other colors could be mixed from them. At the beginning of the twentieth the understanding of printing inks and de- with white, as one adds color, the mixture With the advent of television, comput- ers and digital imaging, the additive model Figure 2.50 | Subtractive Color Mixing Author: User “Ntozis” Source: Wikimedia Commons License: CC BY-SA 3.0 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART perception, have become industry standards. Additive color, or transmission color, occurs primary hues of additive color are red, green, is seen. When red and blue lights overlap, ma- genta is seen, and when green and blue lights hues of additive color. When red, green, and - vision screens are actually tiny dots, or pixels, of Figure 2.51 | Additive Color Author: User “SharkD” Source: Wikimedia Commons License: CC BY-SA 3.0 human retina is a sheet of neurons that coats the inside of the eye. Within this sheet of neu- rons, there are specialized neurons called rods and cones. Rods are neurons that are sensitive to Artists sometimes intentionally exploit the physiology of human vision. Because human vision is of this chemical supply within the neuron. In the interim, an after- image occurs. Look at the green, - onds, then look at a blank wall or For a few moments, you will see the complement, or opposite, of - Figure 2.52 | U.S. Flag with Inverted Color fading of this image indicates that Author: User “Mike” Source: Wikimedia Commons the neurotransmitters in the reti- License: Public Domain na have been replenished. INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART - ists during the Impressionist movement Impression Sunrise - more than a moment at the expanse of - sation of blue and creates a complemen- tary afterimage response, which is or- of the rising sun, we see not only the or- ange pigment on the painting itself, we Figure 2.53 | Impression Sunrise Artist: Claude Monet orange paint of the sun looks brighter Author: User “Paris 16” Source: Wikimedia Commons than it would if we saw that color by it- License: Public Domain - reason why Impressionist paintings tend to look so vibrantly colored. In his Homage to the Square Homage to the Square shift when placed on a contrasting background. local color, describes the body color of a given object. Observed color, on the other hand, is how the percep- Figure 2.54 | Gradient Illusion Author: Jeffrey LeMieux Source: Wikimedia Commons License: Public Domain Page | 60 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART tion of that local color changes as light shifts on an object. In - color of the stone of the Cathedral is a medium gray. But at - eth century who used intuitive color as the basis of their expressive power of color than robotically reporting the lo- cal or observed color of their subjects. Consider this portrait chosen by the artist were meant to express something other than simple visual observation. Figure 2.55 | Rouen Cathedral, Facade (Sunset) Another aspect of color used by artists is color tempera- Artist: Claude Monet ture warm end of the Author: User “Rlbberlin” Source: Wikimedia Commons spectrum includes License: Public Domain red, orange, and cool end of the visible spectrum contains green, blue, and pur- - In organizing ideas about color, artists and art theo- rists have evolved a series of color schemes, or ordered monochromat- ic color scheme uses a single color. The Old Guitarist by Picasso is a good example of a monochromatic color Figure 2.56 | Portrait of Madame Matisse of the ragged clothing and hair, and the dominating use (The green line) - Artist: Henri Matisse sponse of weariness and loneliness to the image. Author: User “Sparkit” Source: Wikimedia Commons A complementary color scheme uses colors oppo- License: Public Domain site to each other on the color wheel. As mentioned ear- Page | 61 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Figure 2.57 | The Old Guitarist Figure 2.58 | Starry Night Artist: Pablo Picasso Artist: Vincent van Gogh Author: User “Chimino” Author: User “Dcoetzee” Source: Wikimedia Commons Source: Wikimedia Commons License: Public Domain License: Public Domain - mentary color schemes to heighten the brilliance of their color palettes. While not an Impressionist, in his painting The Starry Night An analogous color scheme uses only one area of the color wheel. If the color green is chosen as the anchor color for the scheme, for example, the artist will use colors that occur between the yellow and blue points on the wheel. Still Life with a Glass and Oysters ) - Figure 2.59 | Still Life with a Glass 2.5.2 Principles of Design and Oysters Artist: Jan Davidszoon de Heem Source: Met Museum License: OASC Page | 62 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Each work of art is unique in its conception, design, and execution. Recent developments in the visual arts have introduced accidental and irrational approaches to artmaking. In these approach- es, the outcome of the work of art is not planned. While these works of art may be said to lack conscious design, sometimes they are successful. It is often possible to attribute the success of irrationally or accidentally produced works of art to one or more operating principles of organi- zation. Becoming aware of the principles of design in a work of art allows the viewer to add depth but is a good place to start. 2.5.2.1 Unity/Variety unity is one in which the elements of the work or relations between the elements are similar or identical. Leon- Mona Lisa unifying the image. A design that shows variety is one in which the elements of the work are varied in size, color, shape, or some other attribute. One concern with the overuse of unity in design is visu- conceptual level as well as a physical one. Elements that are chosen based on a theme can display conceptual unity and yet display a variety of form. A work of compositions by making sure that no two intervals are the same. An inter- val - ures, or objects in a work of art. 2.5.2.2 Scale/Proportion scale and proportion is the issue of size of elements both individually and in relation to other elements. A famous example of the subtle use of scale is - Piet - Figure 2.60 | Pietà Artist: Michelangelo knee, knee to hip, and so on, and then Author: User “Juan M Romero” Source: Wikimedia Commons - License: CC BY-SA 4.0 Page | 63 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART - es of the parts of her body are not in alignment. the mother/child relationship. Another use of scale and proportion is the use of forced perspec- Forced perspective is the the scale of objects, making small objects appear large or large objects appear small by juxtaposing them with opposites. Forced perspective is most convincing when done photographically. 2.5.2.3 Balance balance is the issue shapes can attract our attention in a number of ways. For example, they can be brightly colored, they can be large in relation to other similar shapes, or they can be textured in unusual ways. Figure 2.61 | The Leaning Tower of Pisa: Forced Perspective Compositional balance is achieved when these Author: User “Vin7474” competing visual weights are roughly equivalent. Source: Wikimedia Commons License: Public Domain symmetrical and asymmetrical. that uses the principle of symmetrical balance are usually equally arranged around an axis, or central line. In The Sacrament of the Last Supper notice the balance of like forms to the The Sacrament of the Last Supper, Salvador Dali: https://upload. wikimedia.org/wikipedia/en/f/f1/ Figure 2.62 | The Great Wave off Kanagawa horizontal axes are generally reserved Artist: Katsushika Hokusai for very stable compositions, and this Author: User “Durova” Source: Wikimedia Commons strategy is often used in a religious License: Public Domain context to imply unchanging truth. Page | 64 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART Asymmetrical balance is achieved when visual weights do not correspond to one an- woodblock print The Great Wave off Kanagawa a similar way, the large gray wall Still Life with Apples serves to offset the visually complex flowerpot on work, nearly one-third of the there are no objects in those ar- eas. Within the two-dimensional space of the work, however, we a visual weight that counterbal- ances the forms in the remainder of the compositional space. It is not always necessary for an artwork to be balanced. An obvious Figure 2.63 | Still Life with Apples and a Pot of Primroses Artist: Paul Cézanne of unsteadiness, disorientation Source: Met Museum License: OASC or distress, which can become a useful part of the larger idea Man and Abandoned Landscape, Odd Nerdrum: 2.5.2.4 Emphasis/Movement this implies movement. And, when we see a line in a work of art, we are compelled to follow it. For example, arrows of any shape will signify direction and are widely used in advertising to attract and direct the attention of potential customers. Descent from the Cross - INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART everlasting life is meant to reassure and give hope to the faithful gazing upon this scene of death and grieving. 2.5.2.5 Rhythm/Repetition rhythm is the repetition of visual elements to establish a be used to provide a stage for a special object, or the pattern can be interrupted to direct attention to the change. In his commentary of mass consumer Figure 2.64 | Descent from the Cross (Deposition) Artist: Rogier van der Weyden Author: User “Argento” repetition compels us to notice Source: Wikimedia Commons License: Public Domain apparently identical elements of his installation of paintings, 32 Campbell’s Soup Cans Figure 2.65 | Campbell’s Soup Cans Artist: Andy Warhol Author: User “Gorup de Besanez” Source: Wikimedia Commons License: CC BY-SA 4.0 Page | 66 INTRODUCTION TO ART CHAPTER TWO: THE STRUCTURE OF ART 2.6 BEFORE YOU MOVE ON Key Concepts - - sists of sculpture, including installation, and kinetic art. Four-dimensional or time-based art in- cludes video and performance and depends on the use of technology and the passage of time for - tive art, video games, virtual reality, robotics, and 3D printing. - al art. Line, shape, mass/volume, perspective, texture, and color are the primary elements of de- and variety, scale and proportion, balance, emphasis and movement, and rhythm and repetition. In this chapter we have also outlined many of the materials and processes used in creating and Styles of Art, we will utilize our understanding of materials and processes, and elements and principles of design to describe and explore meaning in art. Test Yourself 1. 2. “____________ 3. 4. 6.