Art Talk textbook488pgs.pdf

perience were
(160% parie rw

ARTIALR

Fourth Edition

Rosalind Ragasy, Ph
rl cope

Glencoe

NewYork, Ne Yo Cola Peer ins ostra Hs, Cao

About the Author

Rosalind Ragans
Rosalind Ragan is the author of Glencoe’ senior high school art text, Arfa,
She served as senior author on the elementary program Ar Conmeatons forthe SRA
division of MeGraw-Hill and was one ofthe authors of Glencoe middle school/junior
high ar series, Introducing Art, Exploring Art, and Understanding Art. She received à
BARA. at Hunter College, CUNY, New York and eamed a M.Ed. in Elementary Educa
tion at Georgia Southern University and a Ph.D, in Art Education atthe University of
Georgia. Dr. Ragans was named National Ar Educator of the Year for 1992.

About Artsource®

BSS ine largest performing ans centr in the western United States, established

Performing Arts Handbook Contributors

Mark Slavkin Arts Discipline Writers:
Vice President for Education Dance
Music Center Education Division Susan Cambigue-Tracey

‘The Music Center of Los Angeles County Diana Cummins
Barbara Leonard
Carole Valleskey
Melinda Willams
Melinda Music
Concept Originator and Project Director Ed Barguiarena
Rosemarie Cook-Glover
Connie Hood
Barbara Leonard
Theatre

Barbara Leonard
Fa Glencoe

Carr © 205 ty GlncooMeGraw Hl dvi ofthe McGraw compares Al igs reserved. Except
parmis under he Unted Sates Capri pr fh publican moy e reproduced or ds
‘ted nay om or by any mens sorda abe or rel yen, ua pro write porn
de paler Gina

Printed nthe United Sans of Amerie,

Michael Solomon.
Managing Director

Susan Cambigue-Tracey
Project Coordinator

Send algues to:
Genco

IS 0078905993 (de Eton)

23456789 où 0000000 4 contents >

Editorial Consultants Studio Pro

Gris E. Guenter, Ed.D. Sonne p y
Special, Portfolio and Acknowledgements: The Sacramento, C
Assessment author wishes to expressher Deborah George
Profesor As gratitude to the following ar Sheldon High Salvo!
"Education/Cureculam Coordinators, teachers, and Sacramento, CA
and Instruction pecas who wrote and field-
California State University, tested the Studio Projects and Carolyn Holmes
chico Diga! Studio Projects win Stator Senor High School
Chico, CA hir student. Houston, TX
Marianne Hudz Jeanne P. Barefoot Cindy Klingberg
Director of Carer Services Northwest Schoo! of the Arts Butler High School
Otis College of An and Design Charlae, NC Matthews, NC
Los Angeles, CA Betsy Bridger Ron Marstall
Holle Humphries, Ph.D. ‘Albany High School Riverwood High School
Editorial Consultant Albany. GA Atlanta, GA
Austin, TX ean Bunyan Morris
Gl Meder Providence High School South Efingham High School
Administrator for Art Charlone, NC Guyton, GA
Spring Branch 180 Connie B. Now
Dorsey Chappell ’onnie B. Novela,
Houston, TX De Michael op Ser Myers Park High School
Faye Scan en Charloe, NC
I Aro Miami, FL Ted Oliver
les Pe Shas Geis à: Goa Campbell High School
Baer A Whitehaven High School Smyma, GA
Memphis TN Nik Pahl
Contributors/Reviewers Susan Cunningham Sheldon High School

Randy Hayward Jolly Chillicothe High School Sacramento, CA
An instructor Chillicothe, OH Lor! Philips
Warren Central High School Dan DeFoor Chattahoochee High School
Vicksburg MS Lithia Springs High School Alphareta, GA.
Joan Maresh Ya Springs. GA Barbara Rosenberg
Digital Art Instructor ‘Crestwood High School
5 Libby Devine i
GW, Carver igh School Rai School Sumter SC
Boston, TE Roswell, GA Jana Stiffel
Jack Schriber seater nestle Stratford Senior High School
super dl Fine A Robert E. Lee High School Houston, TX
Exansille-Vanderburgh ne N
School Corporation abit Shawn P. Sullivan
Evansville, IN Danise Egan Sheldon High School
Sheldon High School Sacramento, CA
Nancy Shake
ey shi Sacramento, CA Rhonda Test
Center Grove Hi Cheryl Evans Central High School
Indianapolis, IN Ross 5. Sterling High School Memphis, TN
Baytown, TX Pam Wittfeld
ae Myers Park High School

Westover High School Charlotte, NC

Albany, GA

«au »

‘Student Contributors

‘The following students contributed exemplary artworks for Studio Projects, Digital Studio
Projects, and the Student Art Portfolio features.

Figure 4.254, Ashley Schom,
Myers Park High School,
Charlotte, NC; Figure 4.264,
Laura Beebe, Butler High
School, Matthews, NC; Figure
4.27, Jonelly Muñoz, South
Effingham High School,
Guyton, GA: Figure 4.28, Kari
Keziah, Butler High School,
Mauhews, NC; Figure 429,
Leslie Canales, Dr. Michael
Krop Senior High, Miami, FL
Figure 4.30, Cristina Ziegler,
Central High School, Memphis,
TN; Figure 431, Ryan
Lawrence, Dr. Michael Krop
Senior High, Miami, FL: Figure
5.354, Travis Trentham,
Stratford Senior High, Houston,
TX: Figure 5.364, Johnny
Lyons, Whitehaven High
School, Memphis, TN: Figure
5.37A, Aysha Shehim, Stratford
Senior High, Houston, TX:
Figure 5.38, Jomarcus Gipson,
Whitehaven High School,
Figure 5.39,
Chris Hibler, Whitehaven
High School, Memphis, TN:
Figure 5.40, Jessica Gibson,
Chattahoochee High School,
Alpharetta, GA; Figure 6.308,
(Christina Parkhurst
Chattahoochee High School,
Alpharetta, GA: Figure 6.31,
‘Yoon Hwa Jang, Westover High
School, Albany, GA; Figure
6.324, Kevin Massoni, Sheldon
High School, Sacramento, CA:
Figure 6.33, Chloe Alexanc
Roswell High School, Fairburn,
GA; Figure 6.34, Wendy Rogers
Sheldon High School,
Sacramento, CA;

School, Memphis, TN; Figure
6.36, Michael Gonzalez, Dr.
Michael Krop Senior High,
Miami, FL: Figure 7.16,
Meredith Curtin, Northwest
School ofthe Arts, Charlone,
NC; Figure 7.174, Elizabeth
Over, Chillicothe High School,
Chillicothe, OH: Fi
Kate Castor, Sheldon High
School, Sacramento, CA; Figure
7.19, Teasha Lockwood, Butler
High School, Matthews, NC;
Figure 7.20, Emily Spence,
Central High School, Memphis,
‘TN; Figure 7.21, Lorenzo,
Lattimore, Northwest School of
the Arıs, Charlotte, NC: Figure
7.22, Ariel Bérubé, Northwest
School of the Ars, Charlotte,
NC; Figure 821A, Haden
Springer, Myers Park High
School, Charlotte, NC; Figure
8.22A, Julie Kim, Riverwood
igh School, Atlanta, GA:
Figure 823A, Eric Hann,
Sheldon High School,
Sacramento, CA; Figure 8.24,
Anna McCatley, Myers Park
igh School, Charlotte, NC:
Figure 8.25, Cynthia Ulysse, Dr.
Michael Krop Senior High
School, Miami, FL: Figure 8.26
Nkemjika Umenyiora, Roswell
High School, Roswell, GA:
Figure 827, Sherrie Willams,
East High School, Memphis, TN;
Figure 9.234, Olivia Yun,
Sheldon High School
Sacramento, CA: Figure 9.244,
Jahaziel Minor, Robert E. Lee
High School, Baytown, TX:
Figure 9.254, Fei A. Cao,
Suratford Senior High School
Houston, TX: Figure 9.26, Brian

BG contents »

Hatem, Myers Park High
School, Charlotte, NC; Figure
9.27, Ashley Noelle Stewart
Sheldon High School,
Sacramento, CA: Figure 9.28,
Javier Rangel, Robert E. Lee
High School, Baytown, TX:
igure 9.29, Andrew Alben
Roswell High School, Roswell,
GA: Figure 10.284, Jesica
Lamkin, Providence High
School, Charlotte, NC; Fi
10.294, Anton Prosyannikov,
Dr. Michael Krop Senior High
School, Miami, FL; Figure
10.304, Myranda DeFoor,
Lithia Springs High School

ithia Springs, GA; Figure
1031, Jeana Raquel MeMath,
Myers Park High School,
Charlotte, NC: Figure 10.32,
Nick Stevens, Providence High
School, Charlotte, NC; Figure
1033, Danielle Hopkins, De
Michael Krop Senior High
School, Miami, FL: Figure
1034, Ashley Crowley,
Crestwood High School,
Sumter, SC; Figure 11.244,
Christie Hartsfield, Albany High
School, Albany, GA: Figure
11.254, Rebecca Brunet
Campbell High School, Smyma,
GA: Figure 11.264, Darrel
Watson, Jr, Sheldon High
School, Sacramento, CA; Figure
11.27, Emily Antosyk, Myers
Park High School, Charlotte,
NC: Figure 11.28, Joshua Walls,
East High School, Memphis, TN:
Figure 11.29, Debbie Lurry, Fast
High School, Memphis, TN:
Figure 11.30, Theresa Wilbanks,
Dr. Michael Krop Senior High
School, Miami, Fi

UNIT
The World of Art

Chapter I
Art in Your World

LESSON 1 What Is An?

LESSON 2 Why Do Artists Create?
Meet the Artist: Grane Wood

LESSON 3 The Language of Art

100 Cans by Andy Warhol

Virtual Are Tours

CHAPTER 1 REVIEW

<

Chapter 2
Art Criticism and
Aesthetic Judgment
LESSON 1 Ant Crim: Learning
from a Work of Art

Meet the Artist: Georg Oeefe

LESSON 2 Aesthetics: Thinking
About à Work of Art

LESSON 3 Ant History: Leaming
About à Work of Art

Heads for Epo Mosquerade
by the Yoruba people

Friendly Art Rivals

CHAPTER 2 REVIEW

L CONTENTS »

24

se

a

»

Chapter 3

The Media and Processes of Art 40

LESSON 1 Two-Dimensional Media
Meet the Artist: Waslow Homer

LESSON 2 Three-Dimensional Media

LESSON 3 Technological Media

Mirored Ron by Lucas Samaras

“The Art of Books

CHAPTER REVIEW

2
4

UNIT 2
The Elements of Art

Chapter 4

Line

LESSON | The Element of Line
Looking Closely: Line Types
andVariaions

LESSON 2 The Expressive

Qualities of Line
Meet the Artist: Jacob Lawrence

> 4.1 Wire Jewelry
> 42 Nature Tpestry
"Sa 43 Dial Image Using Line

Pam Gorden o Komeid by And® Hiroshige

13 What's My Line?
CHAPTER 4 REVIEW

3822

q
+

Chapter 5
Shape, Form, and Space

LESSON I Shapes and Forms

LESSON 2 Space
Meet the Artist: M.C. Escher

LESSON How We
Form, and Space

Perceive Shape,

LESSON 4. How Artists Create

Shapes and Forms in Space
Looking Closely: ldenttying
Perspective Techniques

LESSONS What Dilferent Shapes,
Forms, and Spaces Express

Studio Projects
> 5.1 FreeForm Clay Sculpture
> 52 Contrast Drawing

“S753 Dial Genre Scene

Student Art Portfolio

‘Art Criticism in Action
Woedrow by Deborah Buela

HEMI Archicecurat Forms

CHAPTERS REVIEW

«cua >

Chapter 6
Color

LESSON I Hue, Value, and Intensity
LESSON 2 Color Schemes

LESSON 3. Understanding the
Nature and Uses of Color
Meet the Artist: Elzabeth Murray
Looking Closely: jumps in Color
Value Create Visual Movement

Studio Projects
> 6-1 Color Spectrum Sar Book
> 62 Mood Painting

-S 63 Digi Color Collage
Student Art Portt

‘Art Criticism in Action
Father ond Daughter by Miriam Schapiro

96 ERENT seeing Colors in Art
98 CHAPTER 6 REVIEW

103
105

108

ne

u

2
ra
ns

ne

no
m

Us nommen

m

134
16

150
ist

150
160
162

166
168
19

| ee
The Principles of Art

Chapter 8
Rhythm, Pattern,
and Movement 198
LESSON | Rhythm and Pattern 200
Meet the Artist: Rosa Bonheur m
Looking Closely: Vil Alyhms
Create Vial Movement m

LESON2 ‘Types of Rhythm and Pattern 205

LESSON 3 How Artists Use Rhythm

on to Create Movement au
Studio Projects
Chapter 7 8.1 Found Objects Jewelry 24
Texture 170. à 82 Ahıhm and Movement Painting 216
SW 83 Dig Rendering of Reactors 20
LESSON 1 Texture in Your ile m

Looking Closely Vial Teure Student Art Portfolio m

en 176 Are Crticim in Action
LESSONZ How Arts Use Texture 17 Nes Seo de Scho by ado Arregui 222
‘Moet the Artist: Edgar Degas CT proving re =
Studio Projects CHAPTER 6 REVIEW ns

> 7-1 SeltPortrat Colgraph
> 7-2 Papiertiche Sculpture
7-3 Layered Self-Portrait

Student Art Portfolio

Art Criticism in Action,
Footbol Payer by Duane Hanson

ES Torres sings

CHAPTER 7 REVIEW

«aa >

Chapter 10

Proportion 254
LESSON | The Golden Mean 2
Looking Closely: Ling the Golden
Mean to Organize anActve Painting 258
LESSON 2 Seal 20
LESSON How Arists Use
Proportion and Dist 27
Meet the Artist: zo

> 10.1 The Golden Mean and Mixed Meda 274

> 10.2 Symbole Sell Portal 2
"S103 Dipl Fantasy Creare ve
20
The Gren eii by Mace Chagall m
ons Art and Pol 2m
CHAPTER 10 REVIEW 2
Chapter 9
Balance 26
LESSON 1 Visual Balance ne
Meet the Artist: Diego Rivera 2
LESSON 2 Informal Balance 2
LESSON] The Expressive
Qualities of Balance 2
Looking Closely: Using Formal
Balance to Organize a Composiion 2
D 9.1 Ceramic Mask a
> 9.2 Radial Balance Mandala 24
Ye 9-3 Asymmeria Balance Painting 2
zu roman

Diehl nerir House Post: Gay Bear Beneath Koi

by Arthur Shaughnessy 250
M Tipping the Balance 252
CHAPTER 9 REVIEW a

BG CONTENTS »

Art Through the Ages

‘Chapter 12

Art Traditions from

Around the World 318

LESSON | Art of Earliest Times m

LESSON. Ar of Asia

and the Middle East ns
Meet the Artist: Katka Hoksal 20

LESSON The An of Alrca m

LESSONA Ar ofthe Americas 5

Unite by Jesse Oonark Ms
MNT swing ricas Ar
Chapter 11 CHAPTER 12 REVIEW 3
Variety, Emphasis,
Harmony, and Unity 286
LESSON 1 Variety, Emphasis
and Harmony 2
Looking Closely: Cratnga FoalPont 293
LESSON 2 Unity se
Meet the Aris Alan Howser 29
Studio Projects
> 11 Decorate Found Object en
> 112 Pineda High Rete! Colage PR
SW 113 Animation Move Poster 50
Student Art Portfolio a0

Art Criticism in Action
Singing The Songs rom For My People

by Eleabeth Cate an
IEE istic Roots au
CHAPTER 11 REVIEW as

BG contents »

pagare rw

LESSON I Careers in
‘Two-Dimensional Art 50

LESON2 Careers in
‘Three-Dimensional Art and Education 39
Meet the Artist LM. Pel »

Art Criticism in Action
Book cover for Duke Eigene Pano
Prince ond Hi Orchestre by Brian Pinkney

Lun = Designs Arte:

332

CHAPTER 14 REVIEW

350
LESSON I The Beginnings
ol Western An Traditions 352
LESSON? The Beginnings
fof Modern Art Traditions 356
Meet the Artist
Michelangelo Buonarrti 357
LESSON3 The Nineteenth Century u RR
LESSON 4 Early Twentieth Century a
LESSONS Art After 1945 m
Art Criticism in Action
Poul by Chuck Close 4
I meee Maya Lin 306
CHAPTER 13 REVIEW 387

«au >

Technique Tips Handbook 427

Handbooks RE
Artsource® 1. Making Contour Drawings ns
r 2 aking Gesture Drawing a8
Performing Arés Handbook 412 Er
Chapter I (That) 4. Using Sai Techniques as
Faro Mask Tester 413 | 5. Using Sighting Techniques =
Chapter 2 (Dore) Lang a ing Frame 0
Para Graham 4 7. Using a Ruler 0
Chapter 3 (Dance) 8. king à Gr or Enlarging a
Merce Cumingham Dance Compary 415 9. Mensring Rectangles ar
Chapter 4 Dorcel)
sie Forse oso us| Painting Tips
a 10. Mang Pan to Change io Value of Color 431
eninly Dance Company a7 | Min Natura Er Pigment Pats 2
as 12. Working v Wars a
po alerted a | 2 Ong Pa Brosh 2
Chapter 7 (Muse) Printmaking Tip
PaulWinter 41914 king amp Print ©
Chapter 8 (MusklDonce)
aon Amann Dane see m0 | Sculpting Tips
Chapter 9 (Theatre) 18, Work wth Coy a
ap
16. orne Coy 2
Eh Not Tee a
Pianta tina 17. Making a Pach Pot =
oe ar Using the Col Teeniue 4
ol 19. Ppinttche m
Chapter 1 Mas) mo es =
Chapter 12 (MusclDenc) Other Tips
Karen Cass Mus and ZU. Making Paper os
Dance Company 42422 Ba Embrodery Stitches en
Chapter 13 (DorceTicoe) 23. Mining Techniques 27
Kart oss 22S 24 Making Coed Enter es
Chapter 14 (Mus) 25. Maing Tse Paper Collge wo
John Ramer En
Display Tips
26. Malin a Mat en
27. Mounéng Too Dimension Work 42
28. Working with Gue “a

«au >

i

Safety in the Art Room

Scanners
Digeal Cameras

Graphics Tablets

Pant Sofware

Draw Software

2.0 Graphics Software

Frame Animation Sofware
Mulimedi Presenaion Software
Page Layout Software

Artists and Their Works
Chronology of Areworks
Glossary

Glosario

Index

Photography Credits

Media Handbook 4s

403

#6
or
“8
450
41
452
3
44

ass

#0

46

exe}

FEATURES

TIME ast scene

Virtual Art Tours
Friendly Ar Rivals
The Art of Books
‘What’ My Line?
Architectural Forms
Seeing Colors in Are
“Textured Buildings
Moving Art

Toping the Balance
Are and Politics
Arisie Roots
Saving Ais Art
Meet Maya Lin
Designing Arist

4 Une Types andVarisions 7
5 Idontfying Perspective Techniques m
6. Jumprin Color Value Crest Visa Movement 156
7 Veal Texture Combinations ve
8 Visual Rhys Creste Visual Movement 203
9 Using Formal Balance to Organize a Composiion 29

10 Using the Golden Mean to Organize an Active Painting 258

11 Creating a Focal Point 23

«Gua »

Grant Wood a 8 Rosa Bonheur
Andy Warhol a Alfredo Areguin
Georgia O'Keee 30 9 Diego Rivers

‘The Yoruba People ” ‘Arthur Shaughnessy
Winslow Homer 46 10. Pablo Piatto

ese Samaras a Mare Chagall

Jacob Lawrence a 11 Alan Houser

‘And Hirosbige ” Eizabech Catere

M.C Escher 108 12. Katsushika Hola
Deborah Butterfield BI Jessie Oonark

Eissbeth Murray ist 13. Michelangelo Buonaroti
Miriam Shapiro 167 Chuck Close

Edgar Degas m 14 MPa

Diane Hanson 1 Bean Pnkney

Art Criticism

in Action

100 Cans by Andy Warhol
Headdres for Epa Masquerade by he Yoruba people
‘Mirrored Room by Lucas Samaras

Plum Garden at Kameido by And Hiroshige
‘Woodrow by Deborah Buerfla

Father and Daughter by Miriam Schapiro

Football Player by Duane Hanson

"Nuestra Señora de la Selva by Aledo Arregui

Dle'eh Interior House Post Grizly Bear Beneath Kolus
by Arthur Shaughnessy

The Green Violins by Mare Chagall
Singing Their Songs, rom For My People by Elabech Cavett
{Untitled by Jessie Oonark

Poul by Chuck Close

Book cover for Duke Elington:The Piano Prince and His Orchestra

by Bian sey
« >

201
2
2
251
270
20
2
an
330
7
39
es
399
407

6
a

10
16
12

m

Chapter 1
Learning to Peresve

Keeping a Sketchbook

Create a Symbol

Using Credit Line Information

Chapter 2
Aste Theores

Chapter 3
Experimentig with Watecolor
Malanga Printing Pate
Redesiging a Familiar Building
Traditional and Digial Meda.

Chapter 4
Anar Lines in Artworks
Using Line to Create Value
Using Imagination to Draw
Unes Expresa,
Contour Une Drawings
Creing Gesture Drawings
Caligrpie Lines

Chapter 5
Geometric and Free-Form Shapes
Creating Forms

Experimenting with Space

Using Three Dimensions

Shape and Poin of View

Using Shading

Creating Depth

‘Active and State Shes

Chapter 6
Creating Values
Working with Intensity
Using Color Schemes
poe cokers

Using Color for Eee

Chapter 7
Creating Textures
Creating Contrasting Textures
Imagining Textures

15
16
9

»

n
%

8
a
a
a

100
102
104
107
108
12
us
no

a
13
19
152
157

ma
vs
183

Chapter 8
Anabing Motifs and Patterns
‘Using Random Rehm
‘Alternating Pattern
Progressive Rhythm

Chapter 9
Using Symmetry
‘Creating Radal Balance
Using Informa! Balance
denying Balance

Chapter 10
Experimencing with Sale
Human Proportions
Drawing the Head
Distorung Proportions

Chapter 11
Variety and Contrast
Using Emphasis
‘Creating Unity

Chapter 12
AAnahing Ancien Art
‘Constructing a Mask
‘Sketching an Event

Chapter 13
Avabing Architecture

“The Gothic Style

Analog an Artwork.

Analog a Soie

Describing General Characteristics

Chapter 14
Practicing Logo Design
‘Cricqung Animation
Using Design for Display
‘Arvin Your Lie

BG contents »

a
2
ze
au

261

am

2
302

ns
558
MS

38
355
3
m
381

ar
396
400
405

LISTING OF STUDIO PROJECTS BY MEDIA

chy
Free-Form Chy Sculpture
Coram Mask

Digital Technology
Digital Image Using Line

Digial Genre Scone

Digial Color Coge

Layered SelfPortrat

Digial Rendering of Reflections
Asymmetic Balance Painting
Digial Fantasy Creature
‘Animation Movie Poster

Fibers
Nature Tapestry

Mixed Media
Nature Tapestry

Color Spectrum Star Book
PapierMsché Sculpture

Found Objects Jewelry

“The Golden Mean and Mixed Meda
Decorated Found Object
Multimedia High-Relf Colage

Other
Wire Jewelry
Found Object Jewelry

Paine
Mood Painting

Rhythm and Movement Painting
Asymmericl Balance Painting
Symbole SeltPortrat
Multimedia High-Reif Colage

m
22

ns
162
168
218
246
ve
308

8

86
158
186
zu
zu
20
306

au

160
216
246
y
306

Paper
‘Color Spectrum Star Book 158
Paper Miche Score 196
Pencil, Pen, Charcoal, and Markers
Contrat Drawing na
Radal Balance Mandala 24
Symbolic SelkPorerat ve
Printmaking

SelePortat Collgraph 194

Bf contents 9 2

«aa »

pagare rw

The World
of Art

“Church's content is idyllic and
majestic—you feel he has frozen
time at perfect moments, captured,
and at times orchestrated, Natures
best at the best moment”

—Carter B. Horsley

When

3 word is unfamiliar. you can often use its
context—nearby words and phrases—t0
guess its meaning Using context dues, uy
to determine the meaning of ihc inthe
above quote. Then restate the quote in your
‘own words

«aa >

StudyHub.vip

Art in Your World

he urge to create artis as old as humanity itself. Sin
people have used art to commu:
nicate information, tell stories, and record events, Art is

the dawn of histor

one of the deepest forms of personal expression.

In this chapter, you

© Identify the purposes of art.

© Compare and contrast sources to which artists
1m for inspiration.

© Create visual solu!

1g direct observation

and imagination,

© Compare and contrast the use of the elements of
art in artworks,

to um AEREO Fee oo d

many self portraits
paited by the Mexican artist Frida Kaho (1907-1954) Kahlo’ tragic
personal history was a driving force in her art At the age of 6 she
was stricken with pola crippling seas. Twelve years later. a bus
accident broke nearly every bone in her Body She spent a year ina
fulbbody as and underwent 30 operations. Her self portraits, which
are highly expressive, seem o reflect He of physical pan and emo-
‘ona ificues. She never appears smiling but rather aways wears
‘the expression appearing in Figure LI

Compare and Contrast. Examine the work in Figure 423 on
page 82, i ato a sport fa wenseth-contury ait Li iar
es and ferences in the subject and content between the mo works.

«aa »

LESSON 200% pair oe

Vocabulary What Is Art?

A Peron tea een of ideo erin ceed wt
skill. Visual art is more than paintings hanging on a wall. Visual art
Includes drawing, printmaking. sculpture, architecture, photography, film:
makin video, and

‘rafts, graphic arts, industrial and commercial desir
computer ans.

Art Is Communication

When you talk 10 someone or write a letter, you communicate. You share
your ideas and feelings by using words, You can also communicate through
the arts. Art isa language that artists use to express ideas and feelings that
‘everyday words cannot express, In order to experience art fully, you must do
more than simply look att with your eyes: you must develop the ability to
perceive. To look is to merely notice and label an object with a name such as
“chair or house.” To percelve is fo become del aware through the senses of
the special nature of a visual obje. Perception isthe result of perceiving. To
understand a work of at, you must tain yourself to perceive. Try 10 perceive
‘what Meyer Straus is expressing in his painting, Bayou Tecke (Figure 1.2) I
you concentrate on his image, You can feel the humid atmosphere of the
Louisiana swamps and hear the mosquitoes buzzing. You can understand
how it feels to be enclosed by branches dripping with Spanish moss. You can
almost hear the water lapping atthe boat.

‘A Fioune 1.2 Sens captured the fe ofthe bayou by med eas sch as dhe mers the foreground and
‘Ge poy Sari more hanging em mts of Ive ns! Loo te fires a bou Te tes and
‘emp ori thm What do you thik te we re ang! Woe sop dus de pg ape!

“aa >

$ | CHAPTER I An in Your World

Learning to
Perceive

ting Ideas from Direct
vation. Select an everyday object
uch as one that might be found inthe
«lassroom. Closely observe the object
Allow yourself wo or three minutes 0
perceive the object. Then put ho object
Where you cant see it and make a list of
all he aeributes ofthe object that you
(an think of Look atthe object again and
add at eat three more aeributes oF
characteristics to your ist. Use your
and your observations o ¡lustre
idea for an artwork.

The Purposes of Art

People created art to record ideas and
{clings long before they had writen
words. They used art then as we use
today. The following are some of the
most common functions of art:
Personal functions. Artist create
art to express personal feelings
Edvard Munch had a tragic child
hood. His mother died when he was

very young, and one of his sisters
died when he was 14. His painting,
The Sick Child (Figure 13), shocked
viewers who were used to seeing
happy paintings with bright colors.
“The work was meant to remind view
ers of personal family ra
haps the artist wanted 1 tell them 10
appreciate what they had. Often peo
ple who have suffered a loss remind

dis. Per

D Froune 13, The cid in e png appre
Pie ine ns akg her moe
Step fe moar had Wt e rt

bielas Thats what Munch is say

18 with his striking image
Social function. Artists may produce
art to reinforce and enhance the
shared sense of identity of
family, community, or dv
(Figure 12.17, page 332).7
many families commission or hire an
anist or photographer to produce a
family portrait, An produced for this
purpose also may be used in celebra

tions and displayed on festive occa-
sions. Think of the many forms of
visual art that might be seen in a
parade—costumes, band uniforms,
float, and dances are all forms of
visual art that might be included in
the public celebration of a parade o.
commemorate an important holiday
Spiritual function. Arisis may
create art to express spiritual beliefs

about the destiny of fe controlled by
the force of a higher power. Ar pro-
duced for this purpose may reinforce
the shared beliefs ofan individual or

«aa »

LESSON Mara? | 7

a human community. In Pueblo cd
‘Corn Dancers and Church (Figure LA)
the artists have created a three
dimensional representation ofa rel
lous festival that connects two
cultures and two religions. Works of

art have been created for religious
purposes throughout history. Many
‘experts believe thatthe prehistoric
‘ave paintings of animals had cere-
monial purposes, which means they
‘were more than simple records of
‘events. The Greek Temples were built
to honor the ancient gods. During the
Middle Ages in Europe, almost all art
was created for the Catholic Church.
Physical functions. Artists and
<ratspeople constantly inve

ways to create functional ar. Indus-
tal designers discover new materials

FERMES employ new bulding
material such as stecl-reinforced
to give buildings more inter
esting forms. In Figure 1.5, not
how the anist has combined a vari

‘of precious and semiprecious mater
als to create a unique necklace,
Educational function. In the past.

many people could not read and art
was often created 0 provide visual
instruction. Artists produced art
works, such as symbol painted on
signs, to impart information. Viewers
could learn from their artworks. In
the Middle Ages, artists created
stained-glass windows, sculptures,
paintings, and tapestries to lustrate
stories from the Bible or about rue
of a kingdom,

Ficune 14. The rs nd bung for is scene were made by a ni of artis, Lock se and
seu ac ono Se mate pe e wot amon nd
ego seam 1 be about

mm}

CHAPTER 1 An in Your World

looked.

An can bea part

LESSON Whatican? | 9

StudyHub.vip) ::::.

LESSON Linie,
vabuary Why Do Artists Create?

becomes afraid of making mistakes. Artists exhibit the courage to take
risks, They are able to see their surroundings in new and unusual ways.
They are willing to work intensely for long periods of time to achieve
their goals. Artists who are self-taught and therefore have had litle or no formal
schooling in artiste methods are called folk artists. Most artists Learn skills
‘and techniques from other artists, Eventually artists develop their own,
unique styles.

‘The impulses that drive artists to create vary. Both Leo Twiggs and Roger
Brown created art in response to a devastating natural catastrophe: Hurl
‘ane Hugo. Twiggs, who lives in South Carolina and witnessed the hur
‘ane, used strong lines 10 represent the force of the winds (Figure 17).
Brown, who lives in Chicago, responded to the same tragedy in à dife
way. He illustrated only the aftermath of the hurricane. He turned the event
into a giant postcard in which he depicted the fury of the storm by showi
the tees in neat rows, broken off at exactly the same level (Figure 1.8).

Ficune 17, erly te door ramos
Free te Lok ate rk ape eae
‘he ener le png Hom many
fewer sre sanding in he door Ve
Deacon fre of te rene!

10 | CHAPTER 1 An in Your World

Artists are creative individuals who se
y and kill 0 communicate in

visual form. They use the materials of art
to solve visual problems. Artists look to
many sources for inspiration. Some
look outward to their natural and cul-
tural environment for ideas. Others
look within themselves for creative

Nature
Sometimes artists look to their natural
surroundings and record them. The firs
group of landscape artists inthe United
States was called the Hudson River.
School because most of them lived near
that river in New York, They painted the
world around them, paying meticulous
attention 10 realistic detail, One Hudson.
River School artis, George Inness, lived
in Newbungh, New York. His early work

depicted the vast American landscape in
a romantic manner (Figure 1.9).

ong evo are sat

lo carey. you an se de
m of Son Ra.
aaa dpi re
sane hy oq ae

passing na yr of

>
LESSON 2 Why Do Aries Create? | 11

| MEET TH Grant Wood grew up on S
ARTIST spared. Often he used charcoal from the wood fie sketch on leftover piece

'GRANEWOOD] of own paper, He was only ten when his ater dic, and his mother moved
| the family 10 Cedar Rapids, Lowa, where Wood went 10 schoo. He studied
part-time atthe Sate University of Joa and attended might classes atthe Art
Institute of Chicago. When he was 32, he went to Paris 1 study a he

Académie Julian, In 1927, he traveled to Munich, Germany, where some of

the most accomplished
German and Flemish artworks that influenced him greatly, especially the work
‘of Jan van Eyck, M

that tip, is style changed o ell the reais of those

painters

Do Ficume 1.10. Ti pag hs bon
id nd pure countess tes Beene
Set id dS sl
(ES vos en eter src he
pring and what tay mi me

People and Myths and Legends

Real World Events Some artists borrow ideas from
Another artis, Grant Wood, captured famous works of literature. Romare

the essence of the Midwestern Ameri- Bearden interpreted one part of an

can spi the Great Depression in — ancient Greek legend, The Odysey ln his

his work, American Gothic Figure 1.10). painting Return of Une (Figure 1.11).

The stern, small own citizens posed The Greek legend, written by the poet
before their house. The couple deter- — Homer, describes the adventures that
mination was meant 10 reassure those Deal à hero returning home from war.
shaken by the stock market crash during Bearden used his unique style to portray

4 >

12 | CMAPTERA Ar in Your World

art te try of Uses à
legend Gest hers Br has
Sd pesa ued ons
‘lors bury ams recone
pie ando in the ware
eter te tgs you

Spiritual and
Religious Beliefs

Visual artists in every cultu
their skills to create objects and images.
tobe used to express spiritual belie
Many non-Western cultures do not
‘even have a word for art.” Those who
create objects do the best work they can
because itis important. The mask in
Figure 1.12 was made to be worn dur-
ing ceremonial winter dances by the
Yup'ik people who lived in northwest-
ern Alaska,

Creative Techniques A fun 12, Tied a rt
Many artists founded new art move- "nl sr pant lore nd Au
mens and developed new techniques oer ater eters ad nw 2

create an. Jackson Pollock was a leader
fof the Abstract Expressionist movement
He studied painting in the 1930s with
Thomas Hart Benton as his teacher,

Benton was an American regional action painting, de sedwigue of rip»
‘who painted realistic paintings and ping andsplashing paint onto a canvas
‘murals that celebrated American li stretched on he floor (Figure 1.13 on page
(Figure 13.29, page 376). Pollock’scarli- 14). The idea for this style of painting,
est works were in the realite style of which influenced many who came alter
his teacher. After 1947, he developed him, came from within himself

Ba contents ]

An is not made in a vacuum. Arts
‘ofa particular time period often inlu-
‘ence each other. Arts also learn from
and build on the work of artists who

Pablo Picasso based
1, Las Meninas afer

e 1.14) on Las Meninas
(The Maids of Honor) by Diego Velázquez
(Figure 1.15), which was painted in 1656,
Although Picasso changed the colors
and used his own Cubis sty

recognize son

‘came befor

‘can you find that appear in both works?

‘A Ficune 1.14 Tis pan ss on Diego Winqvet L Mos (Te Mos of Hom
(fe 119 Smar rs ud bjs ar pros In Da ang an al we he
Anche pining the cl whe apps totes bj de armor la pros the dol ad
‘he fue da door Compare so eco wth he ones ete Velas work Whit as
Pano doe to make the werk une ha ow? Oo yu tn he wat SIM sr e amor!

16 | GHAPTER 1 An in Your World

De Ficune 1.15, Te painting was reses by
Prato noter Span ret ee cere er
Vela compis Epi vx gen m
Bang She cary the comer laten. Do
‘ole he ether pape the pain?

Ideas Commissioned by
Employers

Many artists ate hired by individuals
or companies to create works of art
Graphic designers create corporate
logos, brochures, and many other print
materials, They may also design menus
for restaurants. Fine artists, ike sculp-
tors and painters, are often commis

sioned to create artworks for display in
publi spaces and buildings

Ideas for Your Own
Artwork

€ coming chapters, you will

need to come up with ideas of your
‘own for original works of art, Like al
other artists, you may at times find
yourself ata loss for ideas. You can.
Took to the sources listed in this lesson
for inspiration, The work of your peers
an also inspire you. See the Student
[Ant Portfolio features in Chapters

‘of this book for a showcase of student

artworks and visual art journal ideas.
You will find that keeping a visual art
journal or sketchbook can be an enor
mous help. In addition to recording
images, you may jot down ideas that
come to you alter participating in other

art events such as concerts, movies,
and theatre productions, You will also
find that a sketchbook can be used to
practice skills and techniques you learn
in class,

2

Keeping a
Sketchbook

‘Creating Visual Solutions Using
Direct Observation. Artists develop
perception and artistic skills by con-
tamy sketching he world around them.
Begin keeping a sketchbook of your own.
‘Choose a notebook with unined paper.
Practice using rect observation to
raw anything that catches your eye. The
more you draw the better you wil”:
objects. Make written notes about your
sketches such as the quality o light or
the colors you notice.

Check Your
Understanding

Define the word artis
Identify four diferent sources for
artistic ideas.

Why do artists Keep sketchbooks?

«aa

LESSONZ Why Do Arias Create? | 15

vocabuary The Language of Art

mba!
lemons of are cople throughout he world peak many diferent language. Spanish
princes of are srt Japanese Hindi, French English, and Apache at just a fe of
Subject ¿he 3.00 diferent languages ha are spoken Fach language hs town
ms rra system of words and rules of grammar. To learn a new language, you need
bronca 10 learn new words and a new set of rules for putting those words together.
sure y à The language of visual art has its own system. All that you see in a work
Goll ofan ismade up af cen common elements Tey are arrange according

to basic principles. As you learn these basic elements and principles, you
will lear the language of ar. Being able to use the language of visual art
will help you in many ways. I wil increase your ability to understand,
appreciate, and enjoy art. I will increase your ability to express yourscl
clearly when discussing art wi even help you improve your ability to
produce artworks.

The Elements of Art

A symbol is something shat stand for, or represent, something ese. In a spoken

vage, words are symbols. The word chair stands fr apiece of furniture
that has a seat, a back, legs, and sometimes arms. Inthe language of at, we
use visual symbols to communicate ideas.

‘The hasi visual symbols in the language of an are known as the elements of
art. Just as there are basic kinds of words—such as nouns and verbs—there
‘are basic kinds of art elements, These ae line, shape and form, space, colo,
value, and reture, The elements are the visual building blocks that the artist
puts together to create a work of art. No matter how a work is made, it will
contain some or all ofthese elements

When you look an image, itis difficult to separate one element from
another. For example, when you look at Figure 1.16, you see a shiny, round
bos outlined with a thin yellow line filed with bumpy, red raspberies

Create a
Symbol

18 Visual Solutions Using. ‘Computer Option. Design a visual
ces. ln visual art symbols can symbol usinga computer application,
‘concrete representations ofabstract Choose from the tools and menus to

Ideas, such as a heart standing fr love. represent tis idea wich ine, shape, oF
Create visual symbol that represents color Hold down the Shit key when
something important to you, Enborate on making straight lines or restricting

your experiences. such as an activity or shapes o circles or squares. Tide,save,
club you ae involved with, Share your prin. and display your best example
symbol with your classmates. Can they Include short explanation bout
density what represents) your symbol

{coms >

16] CHAPTER 1 An in Your World

However, rather than seein
ments of texture (

color (red), shape (round), and line
{thin and yellow) separately, you see

the bowl of raspberries as a whole. You
visually “read” the elements together.
mes the differences between
sts are not clearcut, A line
may be so wide that it looks like a

shape, or an artist may manipula
and dark values to indicate diferent
surface textures. Look atthe variety of
textures Janet Fish has created in
Raspberries and Goldfih (Figure 1.16)

Tor tk
Se meer a
Sher sic
rires

When you first learned to read, you
did not begin with a full-length novel.
You learned by reading one word at a
time, That is how you will star to read

the language of art: one art element

The Principles of Art

Alter you have learned to recognize

the elements of art, you will eam the
ways in which the elements can be
‘organized for diferent elle. When
you learn a language, you learn the

“aa >

SSON3 TheLanguaeofan | 17

rues of grammar by which words a 200% pala oe

organized into sentences. Without these
rues, people would find it dificult 10
Visual images are also organized

‘The subject ise image viewers cant
cal identify in a work of art. The subject
may be one person or many people. I

according ls Te ‘ua? Bea wun Suh ass boa may be
fated ibe pico ofr ue do ect Gabe Mers pal
peal ie al A ra
earn about are rhythm, movement, pat art that has no recognizable subject matter
and harmony, When the elements and works, the elements of art themselves
Mens of wholeness Ischl

often referred to as the formal qualities in The Composition

artworks, ‘The second property of a work of art
is the composition of the work. The

The Work of Art composition is the way the principles

‘of art are used o organize the elements of
fart, Notice how Münter has used the
reds to separate indoors from outdoors,
yet she ties the woman to the birds by
Using related colors, The woman is

In ar, itis important 10 understand
the three basic properties, or features, of
n artwork. These are subject, composition,

nd content

> Foon 117
‘modern German Aba
ES
PE oh ai
‘own 3 Der Be Re
(be Be Rie) Se
‘wd Wart bo
ro Eset wt
‘Samed Shen the var

A her “sere” paintings.

“aa >

18] CHAPTER I An in Your World

placed with her back toward the
viewer, so that the viewer looks inthe
same direction as the woman, toward
the birds. As you learn more about the
elements and principles of an, you will
discover how to control the composi
tion of your artwork,

The Content

‘The third property of a work of art is
the content. The content is she message
the work communicates. The message may
be an idea or a theme, such as patrio:
tism or family togetherness. I may be
an emotion, such as pride, love, or lone:
liness. Sometimes you know what the
intention of an artist might have been
‘when he or she created the work, there
{ote the meaning of the work may be
clear. However, at other times, you may’
not be certain of what the work mig
mean, and you have to consider all pos-
sibilities. Many artists can paint th

same subject, a woman looking out a
‘window, but each painting may have a
different message. What do you think is
the content of Münter's painting?

The Credit Line

Look at Figure 1.17. The credit line
appears beneath the caption. A credit
Tine is ist of important fas about a work
ef art Every artwork in his book has a
credit ine
‘Most credit lines contain
facts. They are as follows:
= Name of the ats.
= Title of he work. This always
appears in italics.
= Year the work was created. Some-
times, in the case of older works,
appears before the year. This is an
abbreviation for circa, a Latin word

weaning “about” or “around.”

material used fo make art Ii more than

‘one medium is used, the credit ine
may read “mixed media.”

= Size of the work. The frst number is
always the height, the second num
er isthe width, and if the work is

he third number

ree-dimensional,

dicates the dept,

= Location of the work, The location
names the gallery, museum, or collec
tion in whieh the work is housed and
the city state, and country. The
names ofthe donors may also be

rude.

Using Credit Line
Information

Your Skills. Who is the artist
work in Figure 1.9 on page 11?
cis the tie of the painting by Frida
Kahl (Figure 1.1. page 4)? Which work
in this chapter was completed most
recent? Which i the largest work in
‘this chapter? Which works inthis
are not housed inthe United St

Check Your
Understanding
1. List the elements and principles
ofart

2. Compare and contrast the use of the

elements of art in Figure 1.16 on
page 17.

3. How do subject and composition
ter?

4. Name the six facts most credit lines
include,

Ba contents }

LÉSSON 3 Thetanguaseofar | 19

StudyHUbiWip) ==...

Art Criticism
in Action

Critiquing the Artwork

{Am criticism is a four-step process for using your perception
skills 10 get deeply involved in a work of an, You will learn
more about these four steps in Chapter 2

DL DESCRIBE what do you see?

During this step, you will collect information about
the subject ofthis artwork.

© List all the information from the credit ine.

‘What isthe subject of this work?

» 2 ANALYZE How is this work organized?
This step deals withthe works composition or for-
mal qualities. Init, you note the art elements used as
‘well as the at principles that organize chem.

© How are the shapes arranged in this work?

© What colors are used?

© How large is each can? (Note: Refer tothe credit ine
help you determine your answer.)

© Are the cans evenly spaced throughout? Explain,
© In what way is the bottom row of cans different from
the others?

3 INTERPRET What message does this artwork
communicate 10 you?
"This step focuses on the content ofthe work. In
it, you make assumptions and guesses about the
meaning.

© Why do you think the artist made the bottom row
diferent?

© Why do you think the artist spaced the cans as he did?

© Form a conclusion about the meaning of depicting
ordinary soup cans.

DÁ JUDGE What do you think of the work?
In thi step, you wil el whether you think the
artwork i successful or not.

© Do you think this isa successful work of at? Why oF
why not?

«aa >

ARTIST

Andy Warhol

‘Andy Warhol was born in
MeKeosport Pennsylvania, just,
outside of Pisburgh. He began
bis career a commercial artist
in New York City He vas a
painter movie director and
producer and publisher Warhol
as à leader of the Pop art
movement an are style that
‘celebrated images from contem-
Porary culture, such as comic
book characters and everyday
‘objects. helping viewers to see
‘hem in a whole new Hg,
Warhol’ favorite subjects
included celebrities nd product
packaging sin Figure

When asked why he chose soup
‘ans as his subject, he explained.
‘that he had soup for lunch every
ay for 20 yeas.

ar Cri in Aion 21

Virtual Art Tours

magine peeling back the layers of paint on a
‘canvas to discover a “hidden” image undemeath,
‘or hearing the words of one of your favorite ani.
You may not be able to do that on a vst toa museum,
jowever, you may be able to do that on a visitio à
museums Web site! With a click ofthe mouse you
‘an vist the “virtual” Louvre Museum in Paris, oF
‘museums doser to home, Museum officals hope
that Web sites will get more people interested in art.
The interactivity of Internet technology allows
people to explore a in a new, exciting way. They
‘ean get a taste of what the museum experience
‘offers. For example, the Web ste of the Metropolitan
Museum of Art in New York City lets users move
the cursor over the image ofa piece of am. For each,
spot highlighted, users get an explanation of that,
features importance—the symbolism of a specific
‘object in the painting. for example
Visitors to the Web site ofthe Getty Museum
in Los Angeles go behind the scenes 0 learn about
research projets on some of the museum's artworks.
‘The Frick Museum in New York City offers Web
browsers a viral tour ofits exhibits, complete
with audio histories of the paintings and the ani NI
‘Of course, Web sites can't duplicate the experience |j| ¿tacto

‘of seeing artworks in person. But for many people
Its the next-best thing to being there!

He

Yu:
TIME to Connect Sz.

Using a search engine locate an art museum or art
ry Web site tha interests you. Analyze and evaluate
he site. Then write a one-page eral analysis ofthe site.
> Anafe the features ofthe ste. Which appeal to you?
‘Which dont? How easy se to navigate around the site?

| Describe any parts ofthe site you would change or improve.

Evaluate the sites overall design, visual representations, and
larity of language, (oar te fk sc No toc
| Evaluate the credit of information represented on the sie.

Pei rt hows or sts ang
Indepth ABOVE The nara les a sine

CHAPTER

Building Vocabulary

Thinking Critically About Art

(On a separate sheet of paper, write the term
that best matches each definition given below,
1. The visual expression of an idea or experi
ence created with SK
2. To become deeply aware through the
senses ofthe special nature of visual
objec.
3. Self-taught artists who have had litle or
‘no formal schooling in aristic methods.
4. Something that stands for, or represents,
something else.
5. The basic visual symbols inthe language
ofan.
6. The rules that govern how artists organize
the elements of art
7. Amt that has no recognizable subject matter,
8. The way the principles of art are used 10
organize the elements of art
9. A list of important acts about a work
ofan.
10. À material used 10 make art

Reviewing Art Facts

Answer the following questions using com

plete sentences.

AX. Describe the five purposes of ar.

12. Name and describe four sources of inspira
tion for artists

13. Explain th
ments of ar and the principles of ar

14. Select a work of artin this chapter and
identity the subject.

15. Read the credit-line information of an art-
work from any chapter and lst the figure
number, the title, the year the work was.
created, and the medium,

lationship between the el

«aa »

16, Compare and Contrast. Survey the avo
‘ational opportunities in art mentioned on
page 9. Then research art classes and pro:
‘grams in your community. Compare and
‘contrast these avocational opportunities 10
decide which one interests you the most
Consider such factors as time required,
material, training, and personal interes.

17. Compare and Contrast. Study Figures
1.14 on page 14 and 1.15 on page 15 10 list
thei similarities and differences, Ate light
and dark values of colors used in the same

places in each work?

18, Historical/Cultural Heritage. Review
the Meet the Artist feature on page 12.
Compare Grant Wood' American Gothic
in Figure 1.10 10 his self-portrait on the
same page. Can you identify the th
determination in each artwork? What else
do these works have in common? Where
does Grant Wood reveal pan of his cultural
heritage in his seltportait?

Take a Web Museum
Tour ofthe National

ART
Online Gallery of Arcin
Von De.

‘Click on the Inkatart.gleneoe.com,
Explore their online tour of sl lifes to
appreciate why tis art genre is stl popular.

Linking to the

Performing Arts |$ % U
a
Handbook o cone heart
Omas and the many ways
(har form has ben created and worn
throughout te worlds culures.Fasowor
ak Theater presents the message of sks
on pages),

Chapter Review y 28

24) CHAPTER? An

Art Criticism and
Aesthetic Judgment

ave you ever seen—or skipped—a movie based on a
friends recommendation? We all make judgments

about music,

¡elevision, and other forms of
with others what we like and what we don’t like. Making
such aesthetic judgments about artis called art criticism.

ulture, We share

In this chapter, you will:

e Learn the purpose of art criticism.

© Select and analyze artworks using the steps of art
criticism to form precise conclusions.

e Explain the three aesth

e Compare and contrast contem
historical styles, identifying themes and trends.

ic theories of art

jorary and

ET et it
portes
lm ae mentor enn ao
an wea eo mdr at od
told tg nea rom Te ma
Tut rr ser sfc wen op
RS Cam À pra ores ew
tea uc on emp cain hare te
rca caver thes in
Trou ine nina emm
perte

Identity. Compare and contrast he contemporary ses in Figure 21
and Figure 26 on page 32 to dem he general emos ofthe works
[Nowe tht a theme could be reveled i the subject mater oras
concept communicated by the work,

«aa >

as

Art Criticism: Learning
vecbuiary from a Work of Art

aesthetics here are professional eri who appear on television or write reviews
are riiism about new movie, plays, television shows, videos, books, art exhibits,
aesthetic experience and music. These cri describe their responses to various forms of att, and
aes give you their asessment of the merits of the works. You may not always
arabe on agree with their opinions because your criteria, o standards of judgment
Bee may de very diferen (rom thos ofthe profesional ci In ul chapter you

will lam about aestheties (es-thet-iks) he philosophy or study ofthe nature
and value of ar. This will allow you to form your own intelligent opinions.
About works of art. You will also learn about art eritism. Art.

an organized approach for studying a work fan.

Why Study Art Criticism?

word ritcism Do you

What do you think of when you hear
means saying something negative? This is not true, A criticism can be a post
1. For example, when you shop for clothes, you try on many
things. You act as a critic using personal
«riteia to determine which pieces of
clothing look good on you and which
pieces do not suit you. You have devel
‘oped your own criteria for choosing
clothing through personal experience.
When you look at Alma Thomas's
painting, Iris, Tulips, Jonquil, and
Croaues (Figure 2.2), you may experi
cence confusion. You may not have had
enough experience to develop a set
of criteria 1o judge a work that has no
recognizable subject. Ifyou are like
most people who are new to ar, you
may not know what to say:

|

LA Faune 22 A fs res ds panne
ps 1 comi of snp saps and dre
En The ea De work howe shoud he
Roc how urge the png How tig doe at
aie exc f colo Ca you sag te

Pare

CONTENTS. >
2 | CHAPTER2 An cation nd Acne Judge

{At eriticsm is not dificult, In fact, it
an be a lot of fun, At the very least,
can make the study of art less myst
‘ous and more logical. Art criticism isa
sequential approach for looking at and
talking about art

Your own riences may also
help you understand the meaning of
‘each work of art, No one has done or
seen exactly the Same things you have,
so no one will see exactly what you sec
in a work of art. No one can think
cexacly the way you think, You may see
ideas in a work of art that were never
dreamed of by the arts, This do
mean that you are wrong it simply
‘means thatthe work of art is so power-
ful that tas à special meaning for
everybody.

Learning art eriticsm will help you
interpret works of art. It wil give you
the confidence to discuss works of at
without worrying about what other
people might think. e will help you to
‘organize your thoughts, You will
develop the courage to speak your mind
and make sound aesthetic judgments

AS you learn the language of art, you
will be able to “dig deeper” into the
layers of meaning of each art object.
The deeper you dig, the more impor:
tant your feelings for that work of art
will become. This will make your aes
thetic experience, or your personal
interaction with a work of ar, more
‘meaninglal and memorable. The work
will then become a permanent part of
your memory.

The Steps of
Art Criticism

Wen you become involved in the
proces ofr cris you learn fem
the work ofa. Criiguing an artworks
ike playing detective. You must assume
¡he amis hasa secret message hidden

message and solve he mystery
In this chapter you will learn a special

four-step approach that will help you

find the hidden meanings in art. The

four steps, which must be taken in
‘order, ae description, analysis, imterpreta-
tion, and Judgment, By following these
steps you will beable to answer the fo:
lowing questions

What do see? (description)

How isthe work organized?

(analysis

‘What message does this artwork

‘communicate? (interpretation)

Is this a successful work of art?

Gudgment)

As you go through the steps of
description and anabsis, you will collect
facts and clues. When you get 10 inter.
pretation, you will make guesses about
what message you think the artwork
is communicating. Finally during judy
‘ment you will make your own decisions
about the artistic merit ofthe work,

Step One: Description
(What do I see?)

In the first step of art criticism,
description, you carefully make a sta
all he things you ee in the work, These
include the following:
= The size of the work, the medium

used, and the process used,
= The subject, object, and details,

‘= The elements of ar used in the work

During the description step, notice the
size ofthe work and the medium used.
You will ind these facts in the credit ine
This information will help you visualize
the real size and look ofthe work. Notice
that Figure 2.4 on page 29 and Figure 2.6
‘on page 32 are about the same size as
reproduced in this book. Read both credit
lines and notice the difference in the
actual size ofeach work,

<a»

ESSON T

"Ar tim: Leaming foma Workofarı 27

Look atthe painting by José Clem
¡Orozco called Barricade (Figure 2.3).
Notice thatthe work is 55 inches tal,
How does that compare to your own
height? I this artwork were standing on
the flor, would the figures be lager or
smaller than you? What materials were

used to create this work?
During the description step, you
be objective. In describing Orozco's
painting, you can say that you see five
people. You could not say they are all
men, That would be a guess. You can
describe the person crouched on the

ground as wearing a blue shirt and
holding a large knife. You can describe
the tense muscles tha are bulging on
the other four figures, but at this point
in the ertcism process, you should not
ry to guess why they are tens.

Look again at Figure 2.3. Li

color are two of the ar elements that
play an important part in this work. Can
‘you identify the other art elements used?

[contents } a

CHAPTER 2 An Criticism and Aesthetic Judgiient

StudyHub.vip

nonobjeetive work, In nonebjeeiive
works, the art elements become the
subject matt

Step Two: Analysis (How is
the work organized?)

During this step, you are still collect
ing facts about the elements and princi
ples of art that are used in the artwork.
In analysis you disaver how the principles
of art are used 1 organize the ar elements
line, olor, value, shape, form, space and
texture. You will learn how the artist has

used these formal qualities to create the
content ofthe at, whieh is known as
the theme or the message. Look at The
Piper by Hughie Lee-Smith (Figure 2.4).
Notice the horizontal line that passes
behind the boys shoulders. Where are
the darkest colors? Where are the
lightest colors? Is the texture ofthe
bricks on the wall the same asthe tex:
ture ofthe plaster? As you learn more
about the elements and principles, you
will be able to collect more cues that
you can use to interpret each work,

4 Faure 22 Oroxco wat on of eh Mean
esca at withthe powerful colors of European
retin Tas wor spe Be pen
Wg br tan Hol Rain
Be event ts pa dpi

D owns 24 Your
Parrain oh
da
des wo stp ae
(recy een
Det
your ponte
porcs People

Seren wien
re ne
4 mercato ar
Simic cous be
pod

Step Three: Interpretation ‘rumbling wall. He is playing a musical
(What message does this instrument. What isthe meaning of the
artwork communicate to boy and his instrument? What message
you?) does this work communicate to you?

During this step, you will answer the
question, "What message does this a
work communicate to me?” In inter-

Step Four: Judgment (Is this
a successful work of art?)

pretation you will explain orl he In this step you will judge whether or
‘meaning or mood ofthe work. Wis here mote work is successful. In judgment
that you can make guesses about the yor determine the degree of artistic merit
artwork, as long as they appear to be This is the time 10 make your own dec
supported by what you see in the work, sions. There are two levels of judgment
Use your intelligence, imagination, and to be made. The firs is personal. Do you
courage, Don’t be afraid 10 make like the work? No one can ever tell you
Interpretation that is different from what to like or dislike, You must make
someone else's. After all, you are diller- up your own mind. To make a far judg.
cent from other people. Your interpreta- ment, you must be honest with yout
tion will be influenced by what you sell, Only you know why you feel the
have experienced and seen in your lle. — way you do. Otherwise, you may close
Your interpretation can be basedon yourself off from experiencing different
your feelings. but your feelings must be Kinds of art. The second level of judg
backed up by the visual facts and clues ment you must make is also subjective,
vou collected during the fist two steps. but itis somewhat different. At this
‘When you look at Figure 2.4, you see point, you use aesthetics to help you
à crumbling wall with the shadow ofa decide whether the work is successful
really shaped modern building falling A work can be very successful aesthet
‘on it. Then you notice the boy standing call but you might not want to live
between the modern building andthe with

4

Aa »-

MEET THE

ARTIST

From the time she was a

ans. She studied with several teachers. At age 29, she decided 10 focus totally

on nature and she burned he earlier works in order to san fresh, emphasizing
shapes and forms, The lower paintings that made her famous were begun at
{his time, She pointe her lowers big so that they would take viewers by sur
pre. She continued following her on vison throughout her long ie, never
being pulled into any of the many movements that have dominated the Amer

Kelle love 1 sce “connections” in the shapes of ordinary things. Aer

ler that she realized that she had given the mountain the same shape asthe
shell and the shingle. She saw beaut forms everywhere, even inthe most
unusual places, such as the vast desert spaces and parched bones found ncar her

Americo, 188

‘To make ajudgment, you must take
your time, Figure 23 i painting by
Georgia O'Keclfe. To judge this painting
first think about how you would
describe the subject of the painting,

Then consider how the artist has
arranged the ar elements according to
the art principles in order to create the
(composition. Notice how she has used
shading to make the skull look solid and
the drapery look like a hanging banner.
However, she has painted the red bor
ders and the black shape behind the
skull lat. Then, think about the feeling
the painting gives you, By taking time to
look at and describe, analyze, and inter
pret what you think the meaning of the
painting might be, you will be able 10
make an intelligent judgment. Ask your:
sell is this a work of antic meri? st

À Faute 25, Georg OK loved te Wee She SAILS MNS
‘othe the pub nth pangs abject om er si

comer at people mere or ined o stem Jan en

Sa She ped Co Sut Whe, od Bue bean

te arts este sor unguey Armenian Do You dar

e en Understanding

1. What is aesthetics?

2. Name and describe the four steps of
art citcism in order

RITA y
A eae

2 en

Aesthetics: Thinking About
a Work of Art Vocabulary

Ikeral qualities
A stes satan ol pls concer with he nature and formal qualities

value of art, Physical beauty was once the only criterion for judging expressive qualities
the quality ofa. Today, artworks judged by a diferent set ofcteri and Imiatonalam

instead of being called “beautiful, a good work of artis called “successful.”
Some successful works of art may not look prety, but they may be well
‘organized, and/or elicit emotional responses from viewers,

Aesthetic Theories and the Quality of Art

The acst

Emotionalism

tic qualities that are discussed most often by aethetidans
(specialists in aesthetics) are the literal qualities, the formal qualities, and
the expressive qualities. These are directly related to the properties of art dis
used in Chapter 1 on pages 18 and 19: subject, composition, and content
The literal qualities are she realist qualities that appear in the subject ofthe
work. For instance, ifthe artis depicts a realistic figure of a man on a horse,
the literal qualities of the work are the images of à man on a horse. The for-
mal qualities, or the organization ofthe elements of art by the principle ofan are
found when you look atthe composition ofthe work, Does it look balanced?
Is there a rhythmic quality? Is there variety? Has the artist made a unified
work of an? These are the types of questions one must ask 10 determine
how well-organized a work is. The expressive qualities, or ose qualities
‘that convey ideas and moods, are those you notice when you study the content
‘ofa work. Is there something in the work that makes you feel a certain
‘emotion or conveys an idea to you?

‘The three aesthetic theories of ar criti
ormalism, and

mare most commonly referred to

Imitationalism and Literal Qualities
Som

tls think that the most important thing about a work of artis the
realistic presentation of subject matte. I is their opinion that a work is suc
‘cessful fit looks like and reminds the viewer of what he or she sees in the
real world, People with this point of view feel that an artwork should imitate
life, that it should look lifelike, before it can be considered successful. Th
aesthetic theory, called Imitationalism, fcuses on realistic representation

Formalism and Formal Qualities
(Other critics think that composition isthe most important factor in a work

of art. This aesthetic theory, called Formalism, placs emphasis onthe formal

‘qualities, the arrangement of the elements of art using the principles of ar.

«ua»
EEE ti ananenoran | 21

Emotionalism and Expressi

Qualities ‘choose the theory of Formalism to judge
“his theory is concemed wh ihe the work as successful because the artist,
content of the work of art. Some critics has arranged the objects so th
claim that no object can be considered foreground isn shadow and the back-
art ii fails 1o arouse an emotional ground glows brightly with sunshine, A
response in the viewer. The expressive third person may choose the theory of
{qualities are the most important 10 ism because ofthe mysterious
‘them, Their theory called Emotional- mood created by hiding the woman in
fam, requires that a work ofart must arouse the shadow of the tree, or because the
a response ofelngs, moods, or emotions in Painting may arouse in the viewer emo-
the viewer. tional associations with memories of a

Look at Papiamento by Julio Larraz vacation on a Caribbean island,
(Figure 2.6). You may use the theory of You can judge art using just one aes-
Imitationalism to judge this work as thetic theory or more than one, depend
successful because the artist has painted ingon the type of art and your own
everything very accurately. You can rec- purposes. Ifyou limit yourself to using
‘ognize the texture of the freshly only one theory, however, you may
pressed, white cotton dress, the light miss some exciting discoveries in a

Tlickering on the large, tropical leaves, wok, Perhaps the best method isto
the texture ofthe trunk of the palm use all three. Then you will be able to
tree, the palm fronds, the yellow sand of discover as much as possible about a
the beach, and the beautiful blue of the particular piece of art

‘A. Ficune 26 None how te ar as Bonds the woman ino the ping You on ge har nl
ou ook erty What may have Ben the ara run for dong that The ee tt wor pent,
Fes ln poten e oes Wate oud yo net bon a et

Pq contents »
32 | CHAPTER2 An Ci dnd Aesth Dent

10 analyze your own works of

8 Your Skills Select one bre a. The four steps of art ertcism will
arcin this book Show hepic- cl you be as homestand unbiased as
ture to atleast theee people ouside of posible, When you apply al four of the
iss Ask ther whether they Ike the steps of ar erticism to your work, you
Work Then ask them fo el ou why they should find out why your work ether
Me or de he work. Castle needs improvement or isa succes.
answers according o the hee a

‘heories of ae Imtaioalm.

or Emotional. Check Your
Understanding
1. What are the three aesthetic qualities
Judging Functional Objects most often discussed by at eis?
You can use at eii tomake 2. Whatis mitatonalism?
aesthetic judgments about functional 3. Compare and contrast Formalism
‘objects such as cas, shoes, or fine china, and Emotionalism,

The objects in Figure 2.7 are an exam- 4. How does judging functional objects
ple. In erticizng functional objects, you differ rom Judging fine art?

Follow the frst wo steps of am rt

cism—description and analysis—

as described earlier, However, during

the third ste, interpretation, you mt

consider the purpose ofthe object a its
meaning. In the lat step, judgment, you
must consider ifthe object works when
{tis used, That is, does it look Uke i will
function properly? A chair may look
Beautiful, but if is not comfortable 10
sit in, then it does not function propery.
This unsuccessul.

When you study a ceremonial object
froma culture you are not familiar with,
refer 10 the ttle and your observations
during the fist two steps of art criticism.
During interpretation, you must imag.
ine the function ofthe object and then
judge it using one of the three aesthetic
theories. Finally, research the object ‘A Ficone 27 Tate cars are appesing oe but ae ey
using the art history operations in the ‘st as com cs T Id out you wl af a

‘he stp af are ecm Do tay ape tobe be mgt pt or
next lesson and refine your interpreta Sting’ Wud Doy prove mg ba soporte the psig
tion and judgment. eu fr Zamora

«ua»
EEE AA

Art History: Learning
About a Work of Art

inal oe x can develop your appreciation or a work or by tes nforma-
ris ste histor actual contest he work The a tony apor
{orf the ane ie our sao hin epson re the

tions, however, there are different definitions
for the terms and diferent questions to be answered.

in. When, where, and by whom was the work done?

Analysis. What i the style ofthe work and can the work be associated

with an art movement?

= Interpretation. How did ime and place affect the artists style, in terms
of subject matter, composition, and content?

= Judgment. isthe work considered to be significant in the history of art?

Step One:
Description

During this step you will ook for
information about the work of art.
You want to know who did lt, wh
and where it was done. If you were
looking at an original work of ar, you
would look forthe artists signature
and the date on the work itself In
this book, because the works have
been reduced to fit on the page, you
ill probably not be able to see the
ants’ signature or the date on the
‘work, You wil find that information
in the credit line, however. I you
look atthe credit line for Figure 2.8,
‘you will discover that this painting
‘was created by the same artist who

painted Figure 2.9, Ernst Ludwig

ER e ves Tee Kirchner. Figure 2.9 was painted in

A frou 28 The obo he wor re ao pe ee. 1907, Compare that date 1 Figure 28.
‘Wy do you thnk the re ed thse Cle Wht ct he app

CHAPTER 2 An Criticism and Aesthetic Judgiient

Which was painted earlier? To learn
mere about Kirchner, such as where

and when he lived, you would need to.
do some further research,

Step Two: Analysis

During analysis, you examine the
work and look for information about
the artis’ style. Style is like handwrit
ng. No wo people have exactly the
same handwriting and no two artists
have exactly the same style. Individual
style is he artists personal way of using
‘the elements and principles of art 0 expres
{elings and ideas. To analyze the style of
one artist, you will need 10 see several
works by the same artist. When you
Look at Figure 2.8 and Figure 2.9, you

can easily see the unique aspects ofthe À Fine 29, Send. ow momen dings work Wit
artist style: his unusual use of color o ZB ato fy Oe se ase Whee we de andres Se

and hise
expressive effec.

ation of shapes for rence beeen the tn! Can os dw y conn out
Kremer a sal

Step Three:
Interpretation

discover i Kirchner influenced other

order o find the answers for this artists, which would help you judge his
step you will have 10 do some research, importance

You will discover thatthe artist was As you study the information in his
active ina group of young adventurous book and learn more about the language

Sristsin Germany who called them ‘of art, you will begin to acquire informa.
selves Die Brücke (The Bridge) and that tion from works of art. You wil learn
their work was part of a larger move: more about the artists who created the
ment known as German Expressionism, Works. In Chapters 12 and 13, you will
In order 1 interpret his work, you would find a brief overview of art history. Refer
need 1 find out what aiherartistsinflu- tothese chapters to learn more about ant
enced him, details about is ie, and movements and time periods as you
information about his surroundings ‘encounter them throughout the book

Step Four: Judgment
‘Once again you must research to find Check Your

cout the importance ofthis work inthe Herter

history ofan You must dscover what 1, Whatare the art history ope

differen ar historians have vo 2. Describe cach of the steps ofan i

Kirchner and use ther assess tory operations

help you shape your own: You analo 3. What is individual syle?

4 CONTENTS 14
A | 35

Art Criticism

in Action

Critiquing the Artwork

Figure 2.10 is a mask-headdress. When itis om, the
performer's body is covered with fresh palm fronds,

PL DESCRIBE What do you see?
Read the credit line for information about this work.
© List the information from the credit line.

Do you recognize any objects or figures? Describe them,
© Based on its size and the
-avy or light? Explain.

taterials used, do you think

the work ish

D2 ANAUVZE How is tis work organized?
This step deals with the formal qualities. els cue
tollecting step. You wil note the art elements used
Ss wes the art principes that organize ther.

© What shape i repeated on ie horses platform?
© Where do you ind th
+ what proportion of this sculpure se

mask?

>-3 INTERPRET What message does tf
communicate 10 you?
The third step is concerned with content. This is
where you make guesses about the meaning of the
work. Remember that you do not need to know what
the artist meant. Instead, decide what this headdress
communicates to you.

© From the measurements given in the credit line, do

you think the helmet section is a hat ora mask?

is artwork

© Why i this work decorated with painted patterns?

© On what type of occasion would you imagine
headdress is worn? By whom is it worn? Expl

© What do you think it would fee like 10 have your body
covered with palm fronds and the headdress on your
head? How would you want to move?

© What do you think this headdress communicates?
Write a brief story or poem about this mask-headdress.

4 JUDGE What do you think of the work?
Now, you are ready to make an aesthetic judgment.
{© Do you think this is a successful ceremonial work of
art? Use one or more of the three aesthetic theories

Cokie er a

ARTIST
mern

a

4

“The Yoruba people, who
number over 12 milion ve in
southwest Nigeria and southern
Benin They are che most urban of
all African groups Ther founding
y lee was the center of a
successful ciy-state in the
eleventh century The masquer
ade for which headdress lie
this one are designed, à mul
media event involves costumes,
music, dance, drama, and poetry.
The audience participates init.
“This complex headdress is, chs,
‘meant not only t be seen ina
state seting but also to be worn
ina performance. Imagine the
Play of light and shadow as a
performer covered with palm
fonds wears thi headdress and
moves in time with the music and
the storyeling.

a Cri in Ain | 37

ablo Picasso and Henri Matisse, wo leaders of
the twentieth-century art world, were rivals.

ach thought he was the better painter. Each was

jealous ofthe others fame, The two, however,

respected and influenced each others work, Picasso
showed is respect for Matisse in a painting he
created a year after Matisse’ death in 1954. Like
Matisse’ Red Interior Stil Life on a Blue Table, Picasso's
Studio of “La Californie” shows the ari workplace
But unlike Matisses happy, colorful space, Picasso's
and dark, with no bright colors
‘These two pain
the Tate Modern

Picasso and Matisse 10

canvases side by side,

compare similarities
interested in African art. Both w
collage and with the female form. While Matisse
was known for using bold colors and simple, yet
energetic lines, he sometimes painted in the style
ol Cubism, a complex style invented by Picasso.
Sometimes Picasso used bright colors and painted
‘unusually dressed women, These characteristics are

Amical associated with Matisse
Hanging the artis works next to each other
was an idea that would have made sense to Picasso.
He said atthe end of his life, “You've got to be able

to picture side by side everything Matisse and I

were doing atthe time.” Picasso added, "No one
has looked at Matisse paintings more carefully
than E and no one has looked at mine more
carefully than him.”

TIME to Connect

Mas and Paso sometimes ii enh other
thelr evene wat nthe form of competion

Wie à personal narrative describing who spires You to A
Acheve your gone and 0 do our best Be ur onde PAPER CTA
vie character sketch ofthat person supporting your story [PATAS

hp examples of how the person pied ou

CHAPTER

Building Vocabulary

Thinking Critically About Art

(On a separate sheet of paper, write th
that best matches each definition given below.

1. Standards of judgment.

2. An organized approach for studying a work
ofan.

3. The art criticism step in which you make a
list of al the things you see in a work of at.

4. The ar criticism step in which you discover

how the principles of art are used o orga
nize the at elements of line, color, shape,
form, space, and texture.
5. The ar criticism step in which you explain
for tell the meaning or mood of the work.
ha you de

6. The ar eriticism step in wh -
mine the degree of artistic merit of the work
7. The aesthetic theory th
representation,
8. The aesth
the formal qualite.
9. The aesthetic theory that req
work of art must arouse a response of fee:
ings, moods, or emotions in the viewer,

focuses on realistic

ic theory that places emphasis on

res that a

Reviewing Art Facts

Answer the following questions using com

plete sent

10. What wil learning the steps of art eitidsm
help you develop?

11. Define the four steps of art erhicsm.

12. Describe the three aesthetic theories.

13, tf the organization of an artwork is most
important to an art critic, which aesth
theory would he or she hold?

14. When criticizing functional objects, what
must you consider during interpretation
besides beauty?

15. In what ways are the steps of art criticism
different from the steps of art history oper-

16. Apply. Select something from your home
that is used solely for aesthetic purposes.
Critique it using the four steps of art cri
ism. When you are finished, ask yourself
ifthe object seems different than it did
before. Has your opinion of the object
changed?

17. Analyze. Find a movie cris review of a
‘current film in a newspaper or magazine.
Read it carefully. Try o find statements
fi each of the four steps of art eitcism.

18. Historical/Cultural Heritage. Learn
about Georgia O'Keeffe’ exploration of
nature and natural objects in the Meet
Artist feature on page 30. Nature was à
major theme in O'Keetfe work. Cor
and contrast her depiction of nature
artwork on pages 316-317 with Ernst
Kirchners depiction of a similar scene in
Figure 2,8 on page 34.

rares
ART ta scan
a © artcriticism to
select naze and
wer boue arworls for exhbidons Val
Artglencoe.com to compare and contrast
ee potes

Linking to the
Performing Arts |
Dance pioneer Martha
Graham uses the ashes
les ln he development
A her modern dances Se how Graham uses
Real quals dei quals and expres
cuales rough the use ol body movement
on page 414.

Soin wht ays seth GES D

Chaper 2Reiow | 39

The Media and
Processes of Art

AS ‘communicate with viewers through a variety
of materials, tools, and techniques. Some artists

“speak” with paint, others with marble, The artis
sible for the artwork in Figure 3.1 communicates with
handblown glass. What do the see
and patterns of this artwork communicate to you?

through forms, colors,

In this chapter, you will:

e Compare and contrast the media used in
drawing, painting, printmaking, and sculpting.
Describe the media of crafts and architecture.

Demonstrate the effective use of art media and
tools in original works.

A ty. hs
beget
operon end wate ah daran fe occas
a per
Snags con ee

2h mmo wet fe cr ten Poet es
nn a en nanos
puto laden pie elo ne
FR eg ce
dr da Se to
ed peint
a nd

‘Compare and Contrast. Examine Figure 62 on page 16 Lie
Figure 3.1 dese windows were created by an art renowned fr his
Inventive and beaut gs dein. Compare he work of Chihuly and
‘Chaal wo int the general wend or style each work shows

«Gua »>

a

Two-Dimensional Media

mediumimeda
shading -ackson Pollock dripped paint onto canvas in Figure 1.13 on page 14. Leo
printmaking ‘Twiggs used dyes and wax resist on cotton in Figure 1-7 on page 10. Each
print fof these artists created a two-dimensional work of art using different materi
reproduction al. Any material used o create art called a medium, The plural form of
edicion

‘medium is media. A medium can be something as ordinary as a graphite pen:
«il oras exotica gold eat gilding, In two-dimensional works, such as drawing.
and painting, artists use media such as crayons, paints, pastels, and penis

3 Drawing
nbaseal pitcher throws warm-up
pitches before facing a batter Musicians
vols before a performance. Aris
musas prepare before creating a.
ceiving or caetlly noticing. the lines
Shapes and forms ofan objec
Many amiss use sketchbooks 10
record thee surrounding and o pro
dice studies of objets. Arts lso
record ideas for later use. The Renas
sance ars Leonardo da Vine fed
tore than 100 sketchbooks with his
drawings and des. Ms skeichbooks
included everything from perceptions
of people to hi notations on the move
tment of water (Figure 32), 10 his plans
for fying machines
Drawing usual the fist step in
producing anworks. Rough sketches,
done before reat
taint or clay. Fashion desig
their ideas for new styles long before
any labicis cut tage de
graphic designers, and areas must

À Flowe 3, Da Vin cheat of moving vater were confined
ds act int cor un tt mens could phone ese
‘he schon of var: Da Vs fied he notebooks ah brent
sche dots Hi wring wat baka and cod oy De ead

«Gua >

42 | CHAPTERS The Media an Processes of Ar

show presentation drawings for a 0% si
Clients approval. Figure 3.3 isa cos

tume design for a comic ballet, The
Devils Holiday. The designer modeled
the costumes and stage designs based
‘on the eighteenth-century paintings of
Venice by the artist Canalett.

Although drawings are often used as
guides for other artworks, sometimes an
artists drawing i the finished artwork,
(One example of a drawing as a work of
artis Canalewo’s Ascension Day Festival at
Venice (Figure 34).

Drawing Media
Drawing is the process of moving
an instrument over a smooth surface
to leave a mark, called line, tn draw
ing ine is the most important el
of art. The characteristics ofa line are
determined, in par, by he medium
used to draw it The most popular
drawing media are graphite penis,
colored pencils, crayons, colored mark:
fs, pens, pastels and chalk, Pen and À Flume 3.3 How dos dis sete jr you tow the the
ink, pen and brush, and brushes with HA" à cone Wa mas hm ok or!
watercolors ar alo used to make =
drawings É an

Frown 2.4 Look
Shiny ee mese
nan Can you tl wat
fly's epi Ws work
Wattles you dc?

heres
eres

«au

LESSON 1 Tho-Dimenional Media | 42

‘qualities. Chalk and crayon, for exam-

ple, produce rough lines. PQ

trast, make smooth lines. Figure 3.5
shows lines made with different draw-

ing media.

Gwen
Pa
Keep
Ben
Mero seed
Cored ar
rare
mora
Dear

A Faune 35 raving meda.

Shading Techniques

:

ach drawing medium has ts ows 21004 pi

s by cone

Se

Blending

si0

O Zen

SAO

‘Shading isthe nse of light anddark À Frcune 3.6. Sang techniques
values to create te illusion of form. There

four main shading techniques:

= Hatching. This technique consis

ol drawing:

technique.
= Blending. Ar
by changing the color val

lines that run in the
same direcion. Find the forms in
Figure 3.6 that use hatching.
= Crosshatching. Shading created
18 rissrossing lines i called
erosshatching, Look at the forms in
Figure 3.6 that demonstrate this

Look atthe draw

ng in Figure 3.7.
Isabel Bishop used three different draw-
ing media to create a drawing that has
the look of three dimensions. The artist
accomplished this through shading.

Which shading technique was used in
Figure 3.4 on page 432

1s perform blending

lie by Painting

He, Find the forms in Figure 3.6 Painting is the process of applying
that are shaded using blending. color 10 a Surface using tools such as a

= Stippling. Shading that creates brush, a painting knife, a roller, or eve
dark values by means of à dot pat- your fingers. The surface is the material
tern is referred to as stipping. o whieh the paint is applied. Canvas,
Locate the forms in Figure 3.6 that paper, and wood are frequently used as

show stppling.

surface materials

<{cm >

44 | CHAPTERS The Media ant Processes of Ar

All paint have three basic ingredients:
Pigments, Pigments are finely
round colored powders. Pigments
‘come from natural or synthetic mate-
rial, Natural pigments include indigo,
a vegetable, and the cochineal beetle,
an insect, Natural pigments can also
be made from minerals or clay. Syn-
thetic pigments are anúfiilly made
fom chemicals.

Binder. A binder is a material that
holds together the grains of pigment,
‘The binder allows the pigment 10.
stick 10 the painting surface. Egg

yolks mixed with water have long
een used as a strong binder for pro»
fessional artists tempera paints
‘Other binders are linseed oll and wax.
Solvent. A solvent isa liquid that
«controls the thickness or the thinness
‘of the paint. Different painting effects
require different thicknesses of paint.
Using thin watercolor paint gives a
light, washed-out appearance; using
thick watercolor paint produces a
more intense appearance. Solvents
are also used to clean paintbrushes
and other applicators.

«aa

TESSON 1 Two-Dimensional Media

4s

100% plagio
Winslow Hom aa
sof the United States in his works Homer developed an ape

WINSLOW!) cation and love for she outdoors while growing up with his two brothers
HOMER

in Cambridge, Massachusetts By the age often, is interest in art began

and his alent for drawing became obvious. When he was

accepted as an apprentice at a large printing fi in Boston, even though
he halite formal ar taining,

When his apprenticeship was

er Homer worked as a draftsman, spe
ializing in woodblock engraving, Soon he began illustrating magazines.
By the 1860s he was con

an illustrator of events occurring inthe Civil War After the Civil War

ing regularly to Harper's Weekly magazine as

ended, Homer traveled 10 Europe. There, he was influenced by the works
of French artists Edouard Manet and Gustave Courbet

become his trademark the sea, He loved nature and spent hours out

“American, 183 doors, He feta home on the se although he new ls dangers as well

Because he was able to capture the elemental forces ol nature, Homer is

considered à Resi, His unique talent enabled him, as few others have

done before him, to express the realty ofthe United Stats

D Ficunes 38039 One
2 eu ping va so
made ba see and De other

D Faure 34

(CONTENTS
46 | CHAPTER The Media an Processes of Ar

‘The look of a finished painting
depends on the combination of media
tools, and the surface the artist
chooses. In Figures 3.8 and 3.9, you
can see how Winslow Homer has
created two images that are almost
exactly alike. However, he has used
different media, Figure 3.8 is made
with thin, wer, flowing watercolor on
‘white paper. The white inthis paint-
ing is the white of the paper showing
through. Figure 3.9 is painted with
thick, ereamy oil paint on canvas,
The white in this painting is opaque
white paint.

Painting Media
As with drawing media, there
ny different kinds of pa
ing media, each with its own
unique qualities. The artist chooses
the paint based on personal prefer
ence and the purpose of the work.

ilBased Paint. Fist used in the
14005, oil paint remains a popular
medium toda

True 10 its name, oll

Experimenting
with Watercolor

nstrating Effective Use of Art
dia and Tools in Painting. Using

color punt choose one bright color
“aná paint several shapes ona dry sheet of
watercolor paper Then thoroughly brush
‘water on both sides ofa sheet of
watercolor paper and repeat the process.
arable. cr using diferent ypes of
natural and yntheëe watercolor brushes.
Share and compare your resuks with those
of classmates.

Ba CONTENTS ]

| om | 0

solvent I Turpentine,

‘One advantage of ol paint is that it
dies slowly. This allows the artist to
blend colors right on the canvas. The
work in Figure 3.9 is an oil painting
Notice how smoothly the colors blend.
‘Water-Soluble Paint. The most popular
of water-based painting media, water

color takes its name from lis solvent,
water. The binder is gum arabic. Con
pare the watercolor in Figure 3.8 with
the oil painting in Figure 3.9. What dit
ferences do you see?

Tempera is another water-based
paint It dries more quickly than oil
paint, and it has a more opaque finish
than watercolor

‘Acrylic paint, which fest appeared in
the 1950s, uses an acrylic polymer asa
binder. The solvent used for acrylic
paint is also water. However, once pro-
fessional acrylic paint dries it cannot be
dissolved, School acrylcs have been
developed, however, that can be dis:
solved with soapy water after they dry

‘Computer Option. Drawing with color
‘on the computer is ike drawing with
light Ligh asthe computer pigment
‘an vary in opacity from opaque ike
‘tempera paint, to transparent, ike water-
colors Find the menu inthe application
you are using that controls opaciy.
Explore the settings. Remember, these
‘qualities change as you pain on ir
surfaces. avaliable, investigate ru
smooth, or eextured papers.

Printmaking Siow pon

Printmaking isa process in which an brayer a roller with a handle, Fora
artist repeatedly transfers an origina ‘multicolor print, one plate must be
image from one prepared surface o made for each color, The ink creates

printing plate is called a print. A print the inked plate, and the ink is trans:

ferred to the new surface. Sometimes

thisis done by hand. Other times a

printing press is used,

Usually, more than one print is made
from a single plate. Together all he print
‘made from the same plate orset flats
form an edition. Each print in an edition
is signed and numbered by the anist The

fuse the wo. A print is an 0!

‘work of art. A reproduction, such as
the artwork shown in this book, is

copy ofa work of art

The Basic Steps of
Printmaking,

printmaker signs the work in the bottom
While prints may be made using

margin and writes the ttle on each prin

many different media, processes, and fan edition as well asthe number of
surfaces all require three bas steps. each print, The number 10/200 indicates
= Creating the printing plate. A the tenth of 200 prints
printing plate isthe surface on which
the desired image is created. In Printmaking Techniques
producing a printing plate, the artist There are four main techniques artists
makes a mirror image of the final use 10 make prints: ele, intagi, litho:
Print Letters and numbers must be graphy and screen printin

made backward on the plate = Relief printing. In this method, the

art cuts away the sections of sur
face not meant to hold ink. Asa

resul, the image tobe printed is
raised from the background. In Fig-
ture 3.10, Elizabeth Catlett has con:
trolled the light and dark areas of her
linoleum-cut relie print by the
amount she has cut away. Notice that
the white lines are wider in the very
light areas

LA Fon 3:10 Ca hs desta hr are
eer icy con eo en

“ | CHAPTER The Media and Processes of Art

= Intaglio (in-tal-yo or in-tal-ee-0)
“This name comes from the I
word meaning “to cut into.” Intaglio
isa process in which ink is forced into
lines that have been cut or etched on.
à hard surface such as metal or wood
‘Then the plates surface is wiped
clean and the prints are made. You
can actually feel the lines of raised ink
on an inaglio print.

= Lithography. In lithography the
image to be printed is drawn on
stone, ins, or aluminum with a spe-
dial greasy crayon or pencil. Ink is
auracted 10 this m:

should remain blank are etched with
a special solution that repels ink. Then,
‘when the surface i inked, the greasy
area alone holds the ink. Because the
process is complicated, new materials
are being developed to make lthogra~
phy easier. There are kits fr schools
that use paper instead of limestone or
Zinc for the printing plate

= Screen printing. This is the newest

jeihod for making prints. I uses a

stendil and screen asthe printing

plate, The stencil is placed on a fabric

screen stretched across a frame. The

screen is placed flat on the printing

surface. Ink is pressed through the

fabric screen where its not covered

by the stendl Y more than one color

is used, a separate screen is made for

(ach color, Another term for screen
ngs serigraphy

«aa >

make your own relief printing plat.
Begin by cutting a inch square from a

sheet of cardbcard Cut variety of
“male geometrie shapes from the same
sheet Arrange these on che surface of
‘the square. Form an interesting design.
{Glue the shapes in place. Let chem dey
‘overnight. Apply printing nk to the surface
with a brayer Lay a sheet of paper over
your inked plate. Apply pressure even.
“Care peel back the print.
‘Computer Option. Explore the Shape
and Line tools in your application. Change
lin thickness, color menus, gradients. and
‘opacities. Arrange several shapes to make
an interesting desig. Print onto color
transfer paper thats made for your
printer Remember to fi the image
before printing ¡necessary because
stapes and letters may be reversed. Fol
low the instructions onthe printing paper
package o transfer your design onto
paper cloth. or another surface. (An ir
sets some transfer papers while
require more elborate equ

Check Your
Understanding

1. Name four of the most popular
dia used in drawing,

2. What are the three ingredients
found in every type of paint?

3. What are the three basic steps of
printmaking?

4. Compare and contrast the media
used in drawing, painting, and
printmaking.

ON I Two-Dimensional Media

Vocabulary

sculpture
fine are
applied art

cine 211 How o ve
Meet de exeesine ity of

Three-Dimensional Media

rave you ever taken a lump of clay and formed it into a bow! or
an animal? Ifo, you were workl hiree-dimensional medium.
These media make soli forms that have height, width, and depth,

Sculpture

Sculpture is a thre-dimensional work of art. Sculpture is art that is made
10 occupy space. This is one way in which sculpture is diferent from other
kinds of art. Although objects in a drawing or painting can look quite real,
the work is fla, or two-dimensional, Artsis who create sculpture are called
sculptors

The Media of Sculpture
Like other artists, sculptors use a wide varity of media in their work.
Sculpting media include day glass, plastics, wood, stone, and metal. No mat
ter what medium is used, a sculpture will be one of two types: sculpture in
the round or relief sculpture.
‘= Sculpture in the round. This type of sculp
is surrounded om al sides by space. Another
e for sculpture in the round is Feestanding

the round or turn it over in your hands to see
all sides. Sculptures in the round can be realistic
representations of people or objects (Figure
ures have rec
oënizable subjects, however, (See Figure 5.6 on
page 101),
Relief sculpture, This type of sculpture pro-
jects into space from a flat background. Relief
sculptures are designed to be viewed only from
one side. Figure 3.12 shows an example of à

relief seulpture atached to à smooth,
genuly-rounded surface. You cannot see the
back ofthe figure. The figure protrudes out into
space from the smooth surface of the vase.

Sculpting Techniques

In addition to a wide array of media, sculptors

use a variety of processes. The processes include
by

modeling, carving, casting, and assen

<{cm >

50 | CHAPTER The Media an Processes of Ar

À Fu 3.12 À ora sta
cactus Gale o a pry by ng eel
im dat ve oca ten ne pty wal

Hen carver se note raed reel wore

= Modeling. In this process, a sot li
able material is built up and shaped.
Media such as clay, wax, and plaster
are used in modeling. Because the
sculptor gradually adds more material
to build a form, modeling is referred
to as an additive process

= Carving. in carving the sculptor
cuts, chips, or drills from a solid mass
of material to create a sculpture.
Material is removed until the sculp
ture is completed. Carving is there
fore called a subractive process, Wood
‘and stone are the most common carv-
ing media,

= Casting. In casting, molten metal or
another substance is poured ino à
‘mold and allowed to harden. The
arts duplicates a form originally
‘molded with clay, wax, or plaster
{sing a more permanent material
Just as in printmaking, an edition of
sele can be made ms

the mold is destroyed. This prevents.
the mold from being used again and
safeguards the monetary value of the
sculptures that were originally cat

= Assembling. In his process, also
called constructing, a variety of dilfer
nt materials are gathered and joined
together to make a sculpture, One
assembly process involves welding
‘metal, but media can be glued, sewn,
or otherwise ited together. Assen
bling is sometimes used along with
other sculpting processes. A combina:
tion of casting and assembling was.
used to create Zaga (Figure 3.13).

‘A Ficune 113 Graves coc ral abc and co ha in
votes à meta uni She thon nected erin cat ob om
er lacio af bon of jes and seed em 0 make
er Supe

CONTENTS

LESSON 2 ThreeDimensional Media | St

Crafts

Before machines were invented, peo-
ple made everything by hand. Today,
antstsare still creating one-of-a-kind
items. Some: or

practical use, and others are made
purely for decorative purpo

crenced visually is called fine art.

as vieally

pleasing is called applied art. Today the

distinction between fine at and applied

currently creating both
nd decorative craft objects.
are made from

linen, silk, cotton, and m
fibers. Quit are stitched
Fics to be hung on the wall Ik
ings. Baskets are woven from nat
materials such as reeds and wood slats
(Figure 3.14), as well as manufactured
fibers. Pottery is made with clay from

Sab party round ad
De rig se to eae posts
preparo o da ape de

RA contents }

52 | CHAPTER The Media an Processes of Ar

Art made

Toned by forcing
shape globs of melted glass. Jewelry ls
crated using expensive materials such
as precious stones and gold, but it can
also be made using paper. As wonderful
as technology has become, we still
appreciate having an object that is one
‘-a-kind and made by hand,

The Media of Crafts
‘The most commonly used craft media

glass, wood, fiber, and meta

tainers. Fiber is used 10 weave cloth and
10 make baskets. M
utensils and jewele
ach craft contains an almost unlim
umber of choices. An artist using

is used to make

De Faune 215 Tht ss amis un an
ante so! rom Aka bene comporter

etc bers. A woodworker
hogan,

fibers or sy

an choose among oak, ash,
rosewood, ebony, ceda, and pin What
media were used to create Figure 3.157

The Processes of Crafts

‘The techniques and processes a craft,
artist uses depends on the media
selected, Clay, for example, can be mod:
led, carved, and assembled. I can also
be thrown on a poters wheel. Clay is
finished by fring iin a Kn, a furnace
‘that reaches high temperatures

Glass can be mold-made or blown,
Blown glass requires a process in which

the artist, using special tools, blows
into molten glass in order to shape it
‘Wood is worked using techniques such
ascarving and assembling. turning, and
bending, In turning, apiece of wood is
rotated on a machine called a lathe, The

machine may have a fixed too that
or the anit may use a
13 5 another shaping
process. piece of wood is soaked i
water or another liquid 10 make it pliable.
‘Then itis slowly manipulated into place.
Fiber can be woven into cloth or bas.
kets. can be embroidered, sewn, or
quilted, Metal can be shaped in molds or
il can be cut with special shears. liable
metals can be hammered or filed into
shape. Pieces can be assembled by ink-
ing them together or by soldering them
together, Soldering isa process using a
handheld tool called a soldering iron
that melts small areas ofthe metal
When the metal cools the pieces are
joined, Assembling large pieces of
metal, a process called welding, requires
larger, more powerful tool with an
‘open flame

BG contents ]

2 Thne-Dimersional Media | 53

se

Architecture
public The needs ol each group must

fall the arts, architecture has the be considered and met before a building
greatest impact on our daily ives. The can be called a success.

quality of the architecture we use for

shelter, for gatherings, and for worship The Media of Architecture
affects the quality of our lives. Architec= From the earliest times people have
tre i the planning and creation of been creating shelters from materials
buildings. Because a well-designed found in their natural environment

building isa shelter as well asa work of Huts constructed from sticks and bark
ant architecture is considered both an were covered with mud. Nomadic peo:
applied art and a fine art. An artist who ple constructed movable shelters from
‘works inthe field of architecture isan Wood poles and covered them with ani-
architect. To be ceniied, an are n the north, ice was cut and
studies engin Jake shelters. In the tropes,
must be designed to hold its own leaves dud pipes were woven la
weight and withstand the physical Gradually, people developed skills 10
forces placed on it. An architect ako make better use of available materials
for permanent structures that were used
for gathering as well as shelter. People
nd pleasing to the eye, Architects learned 10 make bricks by firing lay to

mal skins,
ing because astructure formed to

Redesigning a
Familiar Building

trating Effective Use ofArt Computer Option. Use a computer
ia and Tools in Design. Architects applicadon to redesign the façade of a.
‘often hired to renovate an oldsruc- builingin your community Choose the
ture. Look fora building in your commu- Grids and Rulers option eo guide your
iy that you would like o see improved. drawing so you can maintain scale and
‘Study ic by making sketches rom different proportion. Consider how you can
points of view Ide and lin your create harmony by repeating the mater
sketchbook the media that were used in al, colors, or architectural features of
the construction of the building you have other buildings in your community Begin
selected Think about the media you have by drawing the front view, Hold down
just studied Lit some that would harmo- the Sit Key to draw straight Ines or
‘ize withthe surrounding buildings and restrict shapes. Use the copy and paste
‘the environment. Using peni draw one functions to make dupletes of features
face ofthe building Include the existing auch as doors and windows. Save and
‘doors and windows. Then redesign the te the ine drawing Then use your
Look ofthat side using the meda that choice of brushes, textures and grad:
ou believe wil improve the lock ofthe lents o simulace natural materials
building Use watercolors to indicate che the Save As option to rete and
colors of the new construction media, Print and display your work.

<{cm >

CHAPTER 3 The Media and Processes of Art

make it hard. They stacked the bricks 10
build walls. Stonecutters develop meth:
‘ds for cutting stone so smoothly that
‘one could be stacked on top ofthe next
without anything to hold them in place
(Figure 3.16). Others learned how to
balance one long stone on top of two
posts and developed the postand-lintel
method of construction. Today this is
called post-and-beam construction
because architects use wood or ste

‘beams instead of stone lintels,
Later, architects learned to form an
arch with stone. The arch carried the
‘weight of walls and roofs without buck
ling, Arches led to vaults, or arched
roofs that connect wall, Vaulted halls,
enabled architects to create more open
space. A dome is a round root as ifan

«

ardl
de. Using more advanced construction
techniques architects developed a
pointed stone arch and supported it
with buttresses, Ths alowed large
‘openings to be made in the walls that
were filled with stained-glass windows,
Wood was always à popular material,
because it was plentiful. Balloon fran
ing allowed builders to use heavy beams
‘of wood to suppor thin walls. The truss
supported a sloped roof, This technique

is still being used today,
Technology has given us steel and
reinforced concrete, Steel frames
enabled us to cover the outside of sky
scrapers with glass, The development of
new materials has not eliminated the
use ofthe older materials. New ways of

one 3.16 me
hier of Tana n
prey Sa re
together so para ont
the bang hve saved
oo aay
paca

LESSON 2 ThrceDimensimal Media Y 55

56

nem are always being develo} Etre
When Louis Sullivan built the Wai: rast with curved and bent utantium
‘wright Building (Figure 3.17), he first panels giving the building the look of a
created a large frame, or cage, made huge abstract sculpture

‘with steel beams. To cover the frame he
used brick, which blended in with the

surrounding buildings.
An architec is concerned with the on

‘environment into which the structure ek.

will be placed as well as the purpose of 1 What are the two main types of
the building. The success of a building is sculpture

the combination of the right media with — 2, What are the four basic sculpting
good design, The Guggenheim Museum methods?

in Bilbao, Spain, by American architect 3. Define rfi Name three categories
Frank Gehry (Figure 14.1, page 388) i ‘of functional eras
made oflimestone, titanium, steel and 4. Define architecture.

D Faune 347 The
Tone she era
dg Svan epraed
te big oe once
Sting evr te
Sear nd deg da

GENE

LUTTE

BA contents »

CHAPTER The Medi cesses of AN

Technological Media Vocabulary

photography
sists try to communicate ideas through their ar, and as they do so, digital system
hey constantly seek out new media. In recent times, technological multimedia programs.

Advances have allowed artists to create new and exciting forms of at. In
this lesson, you will learn about photography, fm, video, and computer at

Photography

Photography ise iigue ofcapmur
ing optical images on light-sensitive surfaces
Photographs are all around us, Newspa-
pers, magazines, and books ae full of

them, Almost everyone has a collection
‘of snapshots
hard to ima

at they've taken. Its
ne that photography
ficult

started out as an expensive,
process only 150 years ago.
Although anyone can point a camera
and click the shutter, photography as art
requires more than simply recording
images. As photographic media and
processes have improved, some photog:
raphers have begun exploring photogra
Phys potential as art. They have gone
beyond simply taking pictures of inter
esting images, Works by Dorothes
Lange (Figure 3.18) and other photog
raphers are carefully composed just asa
composes an artwork. This ats:

pain
tic composition makes photography a

fine ar like painting or sculpting.
In recent years some atts have
combined painting and photography to
create a new kind of visual expresion
Look closely at Figure 3.19 on page 58.
Notice how the artist has modified à A ioune 318, Der Lange di mor Bane à pot of
Diackvand while photograph of an auto tis kn mode far Deco o at age ge D
mobile in front of a house, The finished “alin te dE moment. her potoy ah ree» Pt shoe her
‘work combines familar images rom _‘Whcotone St re cory wi ir bad gas
the real word altered according tot
photographers artistic vision

“aa »

ESSON > Tehmological Media | 57

D Faune 119 Tae work =

fhe aly se ve
tad an aber
She dpe he pote mo à
Sis te ac changed ve
‘The rl steps
lion of coe vg pans
ages o ee on
protests.

‘The Media of Photography youmaynotbeaware of all the work
that went into making it. Flmmaking

isa collaborative process involving

many diferen artistic and technical

‘The idea of capturing an image on
film is very old, Attemprs to do so date
back tothe Renaissance, but the first
permanent photograph was not made
until the nineteenth century. LJ. M.
Daguerre invented a process of creating

professional,

The Media of Film

silvery, mirrorike images on a copper Filmmaking only became possible
plate. This was called à daguerreotype about 100 years ago, after photography
Daguerreotype was a time-consuming Began to catch on with amateur hobby:
and very expensive process Inthe ts and profesional artists. This encour.
1850s, she wet plate method was aged the development of different types
invented, I used glass coated with of film and the invention of the film
chemicals to record the image, which camera. Unlike still cameras, motion pic
twas then wransferred to paper or card~ ture, oF film, cameras have a mechanism
beard: As mul uit ot plo that moves the film through the camera,
tographs, the wet plate photos used The film is stopped very briefly 10 be

Ibfect exposed. Fach frame of film isa stil

negatives, the reverse ima}
photographed. Today, newer and better image. The illusion of image motion is
methods of making film have been created by a rapid succession of these
invented. The process ls simpler and less — ll images or photogeaphs. Early films
expensive. Photographers have many SUlfered from jumpy action, flickering
media and processes available toatfect ight, and other flaws. As cameras, film,
the look ofa finished photograph. film printers, and projectors improved,
so did the visual quality of movies.

Cinematographers—artists who use

Film movie cameras—now have the ability to
A movie, or motion picture, likeany choose from many different film media
work of artis created for others to enjoy. and production processes to create visu

However, when you watch a movie ally exciting artist films

<{cum >

58 | CHAPTER The Media an Processes of Ar

Video

Videotape records and stores images
and sounds as magnetic impulses. Pat
{terns of light beams and wavelengths of
sound are translated into electric waves,
‘which are then imprinted magnetically
Videotape. Video technology

is rapidly evolving. Today,
videotape is being replaced by digital
videotape and other digital systems, A
digital system isa stem tar processes
words and images dires as numbers, or
digits. This is improving not only the
flexibility of video but also the sound
and image quality

The Media of Video

Video is a remarkable development
because, unlike film, lt does not requir
special processing or printing. With a
video

era, a person can record an
vent and immediately view the results.
Video artists record the sights, sounds,
and scenes of nature; or they create

totally new environments with moving
and still mages and sound, This tech
nology allows an artist to create a visual
story or communicate a message, just
like an artist who paints on canvas,
Also, video can be combined with com-
puter software and systems to create
artwork never before possible, Amazing
artistic results can be achieved when.
video images and sounds are edited and
manipulated using computers.

Computers

‘Thanks 10 advances in digital technol
‘gy, today’s computers are becoming
faster, smaller, and more versatile. Tiny
computers, called miroprocesiors, can.

D Faune 220 Ths arts hs nd diga
‘etl combing er ir oa

Ba contents 7

once required a computer tie se of
your classroom! These powerful com-

‘are used by visual artists to create
digital ar

Using Computers to
Create Art

Computer pro
designed to instruct the computer 10
perform various functions. There are
‘numerous progra
(For mote information on software and
hardware used in the art classroom,
refer to the Digital Media Handbook,
pages 445-454.) With paint or draw
programs, artists can draw, paint,

s available for artists

manipulate, and design images. The
artwork in Figure 3.20 was created
With a software program. Other digi
technologies, such as digital cameras
and scanners, can be used with the
‘computer to provide even mor
‘exciting ways to stimulate an artis
Imagination,

‘When you use a computer to create
art, the art images can be stored as
files in the computers memory or on

different kinds of storage devices. Once
saved, they may be opened in a new
file and reworked. The advantage is
that, while the original art saved, you
‘ean try as many variations as you wish,

saving each as a new file. This prevents
you from losing the original work

Tchmolyial Media | 59

Many computer applications exis

make the tasks of the artist more efi pain an
cient, Some of these programs involve lus. Many paint programs today do
desktop publishing, word processing. jobs that were once performed only by
image editing or manipulation, morph- draw programs and vice versa,
ing or transforming images, and 3-D
drawing and animation. To create digital Computer Art Tools
drawings and paintings. there are two In computer art, the physical tools
nain types of programs: paint programs that the artist actually handles ae called
and draw programs. hardware

such as th

adware includes equipment

monitor, keyboard, print

= Paint programs. In paint programs, — and mouse. Along with thes
images are stored as bitmaps or a hardware, other external to
series of tiny dots called pixels. Images he following:
are made by filling inthe dots using a= Digital camera, A digital camera

variety of brush tools that imitate works ikea regular camera except
‘other media and drawing tools. An thatthe images are recorded digitally,
artist also has the ability 10 edit the ‘The camera usually has a viewer that
image pixel by pixel, allows you to see each picture you

= Draw programs. In draw programs, have taken. Most cameras store pic-
ach line or curve drawn is stored as à tures on removable memory cards,
separate object. An advantage of which can be downloaded onto a
draw programs over paint programs. computer. Pictures can then be
are the crisp, sharp edges, which are printed out or they can be manipi
excellent for fonts and straight line lated with special photo-ediing sof

images, Because images are recog: ware. The digital images can be
nized as objects rather than individual altered and enhanced in unlimited
pixels, they can be “resized"—made ways, and each version can be saved
larger or smaller—without distortion, as à separate file,

‘Traditional and
Digital Media

trating Effective Use of Art — Computer Option. Now.repeat the

a and Tools in Drawing. Artists. same activity using a computer pai

computers as sketchbooks, design program Select a Shape tool and draw a
‘ool, andas painting and collage meda, large open rectangle or circle on the page.
because they can store and revive art Explore the Pencil and Brush tools.
work quick Images can be easy com- Consider a mood or fell Arrange a
bined and akered whch allows the artist to variety oflines changing length. thickness,
explore many ideas without wasting time shape,and texture to match thi mood.
or materials Frs, this with raditonal Use the Eraser and Zoom tool. avaiable,
meda and tools such as drawing paper, to eliminate unneeded marks When you
pencibrush and watercolo Draw alarge are satisfied, ile and sve your project.
rectangle or circle on the paper Create Now.choose a simple color scheme,
design based on a mood or feling wing App color with the FI or Brush col.
‘the penciland brush. Change length. chick- Select the Save As command to rede
‘ness, and texture of the Ines to create ‘Add a number behind the origina tle
variety and make a pleasing composition. to Indicate a new version.

Choose a color scheme and add color

CHAPTER 3 The Media an Processes of Art

RE bp te ons

= Stylus and graphics tablet. A
stylus and graphics tablet isthe
electronic equivalent of the pencil
and paper. The stylus responds to.
pressure from the hand 10 make
{hick and thin lines—much like a
real pencil, pen, or brush—and has
‘an eraser on the end. Recent models
are remote and programmable

= Scanner. A scanner isa device that
reads" a printed image, It then
translates the image imo a language
the computer can use to make an
image on the screen or print with a
printing device.

(On-Screen Tools. These tools are located

‘on-screen on a toolbar or pulldown

menu. They mimic handheld tools used

by conventional artists. On screen tools
¡clude pencils, pens, assorted brushes,
and erasers, but they vary from program

Lo program. The table in Figure 3.21

shows some common on-screen tools

and the type of program in which each
is found.

Multimedia Art

Combining technologies on the com:
puter is made easier by the development
of multimedia programs. These are

«aa >
LÀ

computer software programs that help users
design, organize, and combine text, graphics,
video, and sound in one presentation. You
‘an make reports, presentations, and
an portfolios come alive. Multim
‘combines different media o create a
new type of art. For example, an artist
might sean a photograph into the com
puter to enhance it. The artist might
also add sounds that help evoke a feel-
ing. He or she could add text or quota
tions add meaning. The artist might
make the art appear to move (animate)
‘or take different forms (morph) as the
viewer watches, Multimedia art expands
‘the boundaries of art by including more
sensory experiences.

Check Your
Understanding

1. Whatis photography?

2. How are motion picture cameras
diferent from sill cameras?

3. What advantage does video have
over film?

4. Compare and contrast paint and
draw programs.

5. What isthe advantage of a multi-
media program?

ON 3 Teologia Media | 61

Art Criticism
in Action

ARTIST

Lucas Samaras
(b. 1936)

Critiquing the Artwork

DL DESCRIBE War do you see?
‘What do you see when you look a his object This
rs epi
thing. do not goers
+ Lista he information in he rei In

© Study the image carefully, Describe everything you see
Hin: There are four objects in the room that are not
listed inthe credit line. Two are solid, and two are

reflect

» 2 ANALYZE How is this work organized?

‘This step deals with composition or the formal
qualities. In it, you will gather information about
how the work uses the elements and principles of
art Even though you have not studied them yet,
there are some obvious questions you can answer.

© What shapes make up the wall, floor, and ceiling of
this room? How often are these shapes repeated?

Lucas Samaras was born in

© What other shapes can you find in the work?
Kastoria, Greece. In 1948, he
D 3 INTERPRET What message does this artwork ‘moved tothe United States with
communicate 10 you? is amily Samaras atended Rut-
In this step, you tell what feeling or mood the work gers University. His works use
creates. You make guesses about the meaning of ‘Unusual are” materials such as
the work. las, aluminum fo, and alu-
© How do you think it would feel to sit or stand within ‘minum pane Samara mirrored
this room? Write a brie paragraph or a poem that room series, which includes the
expresses how you would feel siting on the mirrored instalation in Figure 3.22, was
chair surrounded by infinite reflections. “und la da 19606 Thee

works, which are mean tobe
DÁ JUDGE what do you think of the work? valle rougher rente

Now, you are ready to make an aesthetic judgment re
epee. mirrors. They reflect the objects
© Do you think this isa successful work of art? Why oF [Eh rer
why not? Use one or more ofthe aesthetic the er
rom Chapter 210 defend your decision. Mi
istorton of visual space as seen
in the Mirored Room. He azo
creates distorted and decorated
chars and manipulated Polaroid
Photographs.

«aa >

an Cri in sion | 68

StudyHub.vip ) «==

TIME ART SCENE anguage Árts

| The Art of Books

he art of bookmaking is becoming an

Increasingly popular craft and hobby
In this age of digital technology. people

are looking back tothe traditional ans of

bookbinding and papermaking. "ABOVE ra acorn wat
‘create their works from ‘Seohed rem

Scratch including writing Dre
designing. and binding. One RE
tok is made wit abr paper ES
and beads and folds out ike sets

rigor. Another one ol kind

hols tale aboot Benjamin

Franklin, aking a cue from his

trademark lasses. Other bookmakers

new lok, They gu. pa and design new

coves for boc bas ae in ri

Some of these new book artists

While bookmaking has been around for centuries,
current homemade works are straddling the ine between
books and art, By using bright colors and unusual designs,

people are creating spines that will stand out on the shell
Part of the enjoyment for many bookmakers is finding unique
materials 10 make their books. This often leads to discoveries at
flea markets, in attics, and at yard sales,

these creative designs spark your interest, you can enrol in
one of the many new workshops offered at cralt stores and

TIME to Connect a
Design a book cover RS IRE EF one of Your

favorite books. Keep these criteria in mind as you plan your design:

What is the book about? How would your format and design

summarize the book theme, plot or message?

| Wat details from the book could you use in your design to

| What materials would you use to create the new version of
the book

CHAPTER

Building Vocabulary

(On a separate sheet of paper, write the term

that best matches each definition given below,
1. Any materials used to create at
2. The use of light and dark values to create
the illusion of form,
3. A process in which an artist repeatedly
transfers an original im

from one pre

pared surface 10 another.

4. The impression created on a surface by a
printing plate.

5. À copy of a work of an

6. All the prints made
set of plates.

7. A three-dimensional work of art

8. The technique of capturing optical images
‘on light-sensitive surfaces

9. A system that processes words and images
directly as numbers or digits

10, Computer software programs that help
users design, organize, and com

rom the same plate or

text graphics, video, and sound in one
presentation,

Reviewing Art Facts

Answer the following questions using com

plete sentences.
11. What isthe difference between two- and
three-dimensional art?
12. Describe the four shading tech
13. Name and define
cents of paint.
14. What ate the three basic steps of print
making?

15. Whatis the difference between sculptu
the round and relie sculpture?

16. Why are cralts called the applied arts?

17. How is videotape technology an improve:
ment over cinematography?

18. What are the similarities and differences

between paint and draw programs?

Thinking Critically About Art

19. Compare and Contrast. Study Figures
3.13 (page 51), 3.14 (page 52) and 3.15
(page 53). List the similarities and differ.
‘ences you find in all three artworks. In
particular, compare and contrast the
‘of form in each work. How would you
describe the form of each work?

20, Historical/Cultural Heritage. Review
the Meet the Anist feature on page 46,
Winslow Homer was influenced by the art
trends of his time, Compare and contrast
Figures 3.8 and 3.9 on page 46 with the
work of another Realist, Édouard Manet in
Figure 13.20 on page 369. Why are both
artists considered Realists?

ART

How would you
describe che difer-
‘ences between two:
and three-dimensional
media if you were blindfolded? Pay this inter
active game with your classmates after aking
the Web Museum Tour of he Walker Art
Center in Minneapolis, Minnesota. Jus click on
the link at art lencoe.com.

2

Linking to the

Performing Arts
Use the Performing Arts
Handbook page 415,10 see
how choreographer Merce
Cunningham uses the computer and
other technology to help him create his
renowned bales

«aa »

Chapter Review | 65

100% pr roe

\ Ez

“My belief is that it is most
important for an artist 10
develop an approach and phi-
losophy about life—if he has
developed this philosophy, he

does not put paint on canvas,
he puts himself on canvas.”
—acob Lawrence (1917

Quick Write

Interpreting Text. Read and interpret
the above quote. What does the artist mean?
Write a brie interpretation of the quote in
your own words. What hav you learned about
Jacob Lawrence from his painting and quote?

“aa >

#

Line

hen you, as a child, first picked up a crayon, a line
it have been the first mark you made. You
lines to write numbers, symbols, and the letters of the
alphabet. The lines on a map help you find the best route
from one place to another. You use lines to draw pictures.
Lines are everywhere.

chapter, you wi

e Compare and contrast the use of line in artworks.
© Identify the different kinds of lines and the ways

lines can vary in appearance.

© Demonstrate how lines are used to change values.

© Analyze the expressive qualities or meanings of
different lin

n works of art.

cam TIED Fs sty
vse 90-1955
src He opm ah roe Oro
Peas pong eh rw on gtr
tne ia e of hr orb lcd
e ee series à
coon tice ono cot pce od

‘Compare and Contrast. This interior scene includes à sie
arrangement on 3 table. Figure 4.13 on page 74, painted SD years later,
also includes a sue setup on abe. How are these works similar?
How are they dierent?

PC je

LESSON

vecabutary The Element of Line

ines are everywhere. You can see lines in the grain ofa piece of wood or
in the cracks on a sidewalk. Li sed to create words, numbers, and
Symbols. They are also used to create art. In drawing, line is an element of art
thats the path ofa moving point through space.

What Is Line?

Ants us

ine to lead your
eyes through a work of ar. This is
because it takes movement to.

make a line. When you see a line,
your eyes usually follow its move
ment. Lines can lead your eyes
into, around, and out of visual
images, asin the painting in
Figure 4.2. Notice how the artist.
uses the line ofthe highway to
pull your eyes into the artwork,

A line has width as well as

th, but usually the width of

a line is very small compared with
its length. In fact, a line is thought
‘of as being one-dimensional. Is
‘one dimension is length, Dimen-
sion means the amount of space an
objet takes up in one direaion, Two-
dimensional objects have height
as well as width. A pa

‘two-dimensional. Three
sional objects have heigh
and depth. A sculpture is thre
dimensional. You will earn more
about dimensions in the next

‘chapter when you study shape,
n, and space.
lists create lines in many

AA aune 42 The arts at ud th ne ofthe hy ko pl your ye into
nd og te arware Compare and contrat the kina ie heat ae

‘adn pig How de they conos eme and ted ways. À line can be drawn on
Spans bee uen an Oo Da 7 — paper witha pencil or scratched

into wet day with a stick. Of

he world i full of lines

[contents »

70 | CHAPTERS Line

that were not drawn with a tool Some
thin, solid objects Look like lines. Exam-
ples are tee trunks, yarn, spiderwebs,
and wires (Figure 4.3). These items
Took lke lines because length is thelr

most important dimension.
Some lines that we think we see in
nature really do not exist, For instance,
‘when you look at the edges of shapes,
you think of lines. Inthe photo of the
{dogwood blossom (Figure 4.4), notice
that there are no black lines around the

outside of each petal. However, in
drawing of that same blossom in Figure
45, lines are used to show the edges of
(each shape. A line that shows or creates the
outer edges ofa shape is an outline.
Implied lines are a series of points har
the viewer's ees automaticaly connect.
Implied lines are suggested rather than
real lines. A series of dots or dashes, a

A Faune 43 ws
feet you se ound ou?

line of machine stitches, ora trail of wet
footprints can create an implied line. A
group of shapes arranged in a row can
also create an implied line. In Figure
4.6 on page 72, Abrasha has created a
Hanukkah menorah that holds nine
cone-shaped candles. The round tops of
the cones create an implied

leads your eyes across the top ofthe
menorah.

A Faune 44 Wha ges do you se! A Ficune 45 Soden merk Howie te eet

BG convents »

ESSON I TheElmenoftine | 7

n

Drewes Tear
‘one forment How
yout ttre taped
Tees scr einen

Kinds of

‘There are five basic Kinds of lines:
curved,

vertical, horizontal, diagonal,
and zigrag.

Vertical lines (Figure 4.7) move
straight up and down—they do not lean
at all. A vertical line drawn on a piece of
paper is perpendicular to the bottom
‘edge of the paper. tis also perpendicular
to the horizon (the line where earth and
sky seem to meet). When you stand up
straight, your body forms a vertical ine

A Faune 47. Verve ne mon
raie pan down

Horizontal lines (Figure 4.8) are
parallel 10 the horizon. They do not
slant. When you lie lat on the foot,
‘your body forms a horizontal

CHAPTER 4 Line

À Faune 48. Horton ne be parle

Diagonal lines (Figure 4.9) slant. Diag-
nal are somewhere between a vertical
and a horizontal lin. Diagonal look as
i they are ether rising or falling. Image
ne you are standing straight up: then,

with your body si, you fall 10 the floor.
At any point during your fall, your body
forms a diagonal lin.

—

N

N

A FicunE49 Digna ines sant

«aa >

lines (Figure 4.10) are made
from a combination of diagonal lines.
The diagonals form angles and change
direction suddenly

A Fou 410 Zanes

Curved lines (Figure 4.11) change
direction gradually. When you draw

‘wiggly lines, you are putting together a
series of curves. Other kinds of curved

lines form spirals and cielos

NS as
VS)
(©):

Ya)

A Fume 411 Cordier change
reci grada

Analyzing Lines
Artworks

1g Your Skills Select and ana-
ofthe following paintings from
chapter: Figure 41,4.12.4.16 4.18,
or 4.19, Diagram the lines ofthe paining
Use green for verticals, bie for horizon
tal, red for diagonals, and violet for
curves. Place your diagram on display.
Can your classmates identify the painting
you represented by looking a the colors?
‘Computer Option. Use the Line too!
to create series of drawings to ilusrate
‘exch ofthe five line types. Vary che wid
and lengths of your lines. You may also
choose to vary patterns and col

‘exch drawing’ line ype.

Coms»

Li 200% pi

Lines vary in appearance in five
major ways

= Length. Lines can be long or short

= width.

nes can be thick or thin

= Texture, Lines can be rough or
smooth,

DCS

= Direction. L
direction, such as vertical, hor
or diagonal

yes can move in any
onal,

= Degree of curve. Lines can curve
sradually or not at all, become wavy,
or form spirals

=

These five variations can be «
in many, many ways. You can make
long, wide line; rough, short lines; and

ined

smooth, curved

SSON 1 The Elementaftine 73

StudyHub.vip

> Fioune 4.12 When Roane wars
Bay ns spretend mata of ed
{Bae Te tik airada bg

brushes,
and scissors.

Artists use
als 10 create different types oline, For
example, a ine drawn with chalk on a
chalkboard looks smoother than a line
drawn with chalk on a sidewalk. Some
arts have discovered very unusual
‘ways of using line, as shown in Figures
4.12 and 4.13. In Figure 4.14, the artist
has used many line types and variations.

A Ficune 413. tough hs pings ced»
{alle evo o hve mame and Sc Th
ne recon and In vario cn o due,
ping Desc em

«aa

74 | CHAPTER Line

LOOKING Line Types and Variations

CLOSED

In this painting, he
artist has sed five dire
ent kinds of ine and
‘many line variations. Can
you find other examples
fine and line variation
combinations?

Line and Value reflects litte I

Value is the element of art that describes i reflects a ot
‘the darkness or lightness of an objec. Value make a pencil mark
depends on how much light a surface paper, you are creating a line with a
fl. Ave hu vale LE Le ae You pes

conten >
Ron 1 he menu 78

she value. Aerie of cosey SEO VID cc

lines can create areas of dark À art pencil OH, 4H) makes an
Jue. The lines may be parallel or they gray line. A crayon stroked over a rough
ay cross one another. Crosshatehing surface makes a broken line. A crayon
is the technique of sin crossed lines for. stroked over smooth paper makes a
shading. solid line.
‘The values that line groups create Look atthe Dürer drawing in Figure
epend on four factors: the number of 4.15. Use a magnifying glass to study
we spaces between the he way Dürer has used line combina-
tions to create dark and light values

Demonstrating Effective Use of Art
Media and Tools in Drawing. Fld
sheet of white drawing paper into nine
Squres.In each square use a diferent
combination of parallel or erosshached
lines to create a diferent value. Try a ari
ry of pen, rom hard 2H to soft 48.
lead Try qui pens, balpoine pens and fet
‘ip pens. Think of some other tools and
materials to use

Computer Option. Use the Line tool to
draw three diagonal Ines (hat are not
parallel) from screen edge to screen edge.
“This will vide your sereen into six or
seven sections. Fil ech section with ines
Vary the spacing ofthe ines by placing
‘them close together in one section and
farther apart in nother Lines can be
crosshatéhed You can choose the Pat
‘terns palette and fil he sections by using
the Fil Bucket rool or create your own
Patterns. Use only black and white. Notice
that he value ofthe area darkens as lines
are placed cose together and lightens
‘when Ines ae father pare

G

1. How is ine defined in drawing?
A Hau 418, Mess ac Bi ri 2, Whar ae he five basic hinds of
a Oo ea tines?
3. Compare and contrast ive ways that
lines vary in appearance in artworks
4. Describe the crosshatchin
technique,

exe}

76 | CHAPTER Line

LESSON A

The Expressive Qua
of Line Vocabulary

contour line
leas orfeelings, gesture
Vertical calligraphy
on wall

epending on its direcion, a line can express diferen

This is why line is an important element in the lan
lines can make certain objects look tall

paper can make low celings seem higher. Clothing designers use vertical
lines to make short people look taller and heavy people look thinner,

Line Movement

Vertical ine

re static, or inactive. They appear to be at rest. For this tea
son, they express stability. Artists use them 10 show dignity pose, stifness,
and formality, as in Figure 4.14 on page 75.

Horizontal lines are also static, They express feelings of peace, est, quit
and stability, as in Figure 4.16. They give a feeling of permanence or solidar
ity. Because we stand on solid h

orizontal ground, horizontal lines make us
feel content, relaxed, and

A. Fico 4.16, Song hormona! ns uch a the and of Back u, the hero and he rs ci

“au »

LESSON 27 The Expresive Quads Lin

n

À Ploune 4.17. Nose se mary ren ins
cor art und create our pe
sro nel ny strat ines Flow them oath
‘rework De ee soy sung Can out of

Lines Expressively

pins Your Skil. Choo owe
‘fom te lowing ie

ming burning praying
rocking flowing jumping
‘marching running grawing
dancing crawling tao,
wagging wine Mine

On separate sheets of paper; lstate
the words you have chosen by using Ine
‘movement only. Do not draw objects

CHAPTER 4 Line

ion, they express activity How much
activiy they express depends on the
type and direcion of the curve. The less
active the curve, the calmer the feeling.
Spiral curves wind around a central
point. They are hypnotic and draw the
eye to their center. Curved lines are
often used in decorative arts 10 suggest
à Feeling of luxury, as in Figure 4.17.
Diagonal lines express instability te

sion, activity, and excitement, as shown
in Figure 4.18. Since they can appear

to be either falling or rising. they some:
times make a viewer feel uncomfort
able. Artists use them to add tension or
to create an exciting mood. However,
‘when two diagonals meet and seem to
support each other, asin the roo! of a
house, they appear more stable
Zigzag ines create confusion. They
are extremely active and may evoke
{cclings of excitement (Figure 4.19,
page 80) and nervousness. The degree
of intensity is indicated by the direction
of the zigzag. Zigrags that move hori
ly, such as those across the top of
fence, ae les active than the
irregular zigzags ofa streak of lightning

Using Imagination to Draw

Choose the medium you think wil work
best When you are fished, write the
words on the back ofeach paper Ask your
assmates to look at the Ines and guess
Which words you have illustrated,
‘Computer Option. Use the Line tool to
make two drawings using line. Let one
drawing illustrate quiet, am plano musi
and let the other ilustre loud rock

«aa >

MEET THE

ARTIST

JACOB
LAWRENCE

American, 1

Jacob Lawrence was bot

Er
The Harlem Renaissance

ans from al over the World, and many sl remained in Harlem during the

1930s. These artists served as Lawrence Inspiration.

eam about ar, He listened to

the 19205 had attracted many

Lawrence sought every opportunity he cou
the Harlem artists as they talked in thelr studio. The 135th Steet Public Library,

‘which he vised often always had pieces of Alan sculpture on display

many tips to the Metropolitan Museum of Art gave him a strong background in
at history.

Lawrence became fascinated with black history and its heroic figures. He took
ashis subjects such important people as Toussaint Ouverture, Harte Tubman
and Frederick Douglass, Lawrence often found he could not expres al he
‘wanted to say in just a singe picture, Therefore, he often made series of paint
ings to tell the whole sory. In ths way, he used is art o convey his ideas about

Ficune 419 Theareithas wed ne o show the movement fhe re. Look hia eg. eet.
Yin fine do os se! How Ps Lawrence ne ina o et eng ol nove a scr

90 | CHAPTERS Line

Contour Drawing ais
A contour line defines the edges and
surface ridges ofan objea. A contour line
also creates a boundary separat
area from another. Learning how to
contour draw will add to your drawing
skills as well as to your ability to observe
and understand objects. See the exam»
ples in Figure 4.20 and Figure 421.
When drawing contours, let your
eyes follow the contour of the object
you are drawing. Move your pencil at
he same speed as your eyes. Do not
lift the penil from the paper. The line
should be continuous, Draw the line
slowly and with care. Concentrate in
‘order to draw accurately. See Technique
Tip 1 on page 428 in the Handbook for
help in making contour drawings.

A Froune 420, Andro hs used cor to to
ees memory otis pt Ha moter mad dt
ren resp o Sindy church services How oes
feelin to emphasize he ein tes

4 Fiore 421 Sud work Note ow
etn tows Brough es hyp ser, Look
Se rence Daun he us ng hr

Contour Line

Drawings
18 Visual Solutions Using ‘Computer Option. Si at your com
‘Observation. Setup a group of Puter turn sideways.and look down. Use
Fee shoes in an interesting overlapping {he Line tool o draw your fetegs and
composition, Arrange them ar different free hand. You may start atthe feet and
anges so you can observe them sde. work your way up toward your por
‘ways. head-on. from the top.and from the vice versa. Use che mouse justas you
back Use a black marker to do a contour _ wOulduse a pencl-Be sure to star your
line drawing ofall he shoes, Use only drawing near the edge of your screen so

Use line to add deal such as aces,

line. Do not color or shade the drawing, You Wil have room for the entre picture,
stitches, patches, and holes. al

Ba contents ]

LESSON 2” The Exrosive Qualities of Line | a

D Faune 422 200% plagio hoe
odres pures

ppal A gesture is ar egresive moment
ea The purpose of drawing gestures 10
ote capture the Feling ol motion, A geture
See 28 ani ses very le del. (See
Ste) po Figures 4.22 and 4.23),

coer Lines showing gestures are dis
== ic. They should be skcchedIrely
RE ve w and loosely—even recklessiy—in order
a {o capture movement. (Se Technique
Er Tip 2 on page 428 in the Handbook)

Unlike contours, they represent
interior of an object. Your gesture draw
Ings may look like eribbles a first, but
this is acceptable. Concentrate on Show
ing position and movement

oun an Creating Gesture
‘aan pare Deere
par 18 Visual Solutions Using
cat ns of + Observation. Make a series of
pacers roving Classmaes should ake
me fares posing for ana anos. Sat with
Eee thie second pores Shorten he tne by
feo fre seconds fo each pore uel th pose
EEE Id for ony en seconds Hive the model

‘wis, urn, bend. and kek tying co avoid
doing che same thing vice.

‘Computer Option. Choose around,
medium size Brush or Peni tool, Sk at
‘the computer station, turn sideways. and
look at other students who are modeling
for gesture drawing They willbe changing
positions every 20 or 30 seconds. Tryo
capture the feeling of motion. not den,
Change color each time che model
changes postions, Some of your
will overap.

«aa »

8 | CHAPTERS Line

Calligraphic Drawing
The word calligraphy means bet
Jal handing. Caligraphy is tien
Associated with Asan writing and ar
In China and Japan, cligaphy is used

to form characters that represent the lan-

uage. However, characters are more
than just a ler of the alphabet. They
are like pictures. They can represent an
dea, an object, ora verbal sound. The
Chinese and Japanese use the same
types of calligraphic lines and brush

strokes in their paintings (Figure 4.24).

In fact, in the Chinese language, the
words writing and painting are repre
sented by the same character

e usually made
at change from
thin to thick in one stroke. To make a
nine, use the tip ofthe brush,
As you press on the brush and more of
At touches the paper, the line becomes
wider. (See Technique Tip 3 on page
428 in the Handbook.)

Calligraphie
Lines

‘thin and thick. Alo, ry bamboo brushes.
Next use a watercolor brush and ink or
‘watercolor pain to make a series of five
¿aligraphic studies of one natural object.
such a leaf ora vegetable
‘Computer Option. Research ether
Egyptian heroglyphics or Southwestern
Pictographs to gain information about
pleure writing” Create your own pe-
ture writing by making up symbols. Use
any computer tools and options availabe,
Remember thatthe Cut and Paste
‘options are helpful when you want

‘A. Ficone 424 The long one eae of he or prin
lec coma of he pare ae made wth one Hong brake.
‘Where do yousee ote ales made mia singe bse?

Check Your
Understanding

1. Select and analyze artworks in this
lesson to form a conclusion about
the meanings of vertical and hori-
zontal lines

2. How are contour drawings and ges:
ture drawings diferent?

3. What type of anwork is often associ
ated with calligraphy?

Ba contents ]

LESSON 27 The Exrasive Qualiesoftine | 83

STUDIO De
41

Iris Sandkühler ia San Francisco-
based artis. The necklace in Figure 4.25
is an example of Sandkúhlers fine
<craftsmanship. Silver wires form an
intricate net around hanging beads of
«colored glass and a rich, green mineral
known as malachite

Sandkühler was born in Bingen, West
Germany, in 1958. Her family immi-
rated to Maine when she was seven
Years old. Asa young adult, she
attended Ohio State University. Alter
‘obtaining a bachelors degree in scul-
ture and glass, she went on to eam a

asters degree in mixed media ravi
and painting. After graduation, she
hhoned her jewelry skills at the Jewelry
Ars Institute in New York City. Her
{unique jewelry has been exhibited in
Berlin, Tokyo, and in galleries through
‘out the United States.

Notice how the loops and lines of
wire in the Viking Net Chain Necklace
create implied lines. These ines lead.
the viewer's eyes across the necklace
‘The hanging glass forms also create

nplied line that moves the eye rhyth:
mically across the strand.

© Asorumen of wire ste copper brat, and
‘oloncoated wire of aioe gees

12 Needlenose jel pers and wre cers

“© Hammer and avi lock

(© Stetchbookand pence

© Jove nine ar wire pi ck, watch cord.
© Jewel He (around needle es)

You will design and create a design for
a practical application wearable piece
“© Brass and copper dearer (option) ‘of wire jewelry such as a pin, pendant,
necklace, ring hair ornament, brace
‘or pair of earings. The wire may be
‘bent, twisted, looped, and so on. How
‘ever, only these “cold connections” are
co solder or glue. You will be

Ba contents ]

© Stel wool andlor emery paper

94 | CHAPTERS Line

working with ine in space. Your design
may be nonobjective or represent an
‘object, person, place, or thing,

Creating

Practice shaping a length of steel wire
with a pair of pliers, What can you do
with the wire? Try spiraling coiling
around a pencil, and flattening (orging)
the wire with a hammer on an anvil
block, An anvil isa flat-topped block of
iron. Experiment with techniques for
connecting wire pieces by twisting.
‘weaving, wrapping, and linking

Aer experimenting, sketch a series
‘of five to ten line drawings of the type
‘of object you wish to create, using the
skills you were able 10 master during
your practice session. Take into consid

ion any findings, or fasteners, that

are necessary

BETTEN Make» practice model in
steel wire of your best design, Planning
isthe key tosucces. Solve all the prob
Jems that present themselves before
beginning with the more expensive
vie. For example, a fastener may need
tobe fashioned as part ofthe design for
à necklace or bracelet.

METE carcinty work wit he
rs. the bras, copper and color
tals are softer

than the steel, Al the scratches made
de construcion will nced to be

removed with steel wool or emery
paper to complete the project. Good
czalismanship, the care with which an

object is completed, is an essential part
of the finished project

MEE complete she project by
Sanding away any stains or scratches,
rounding sharp ends witha file, and
attaching finding such as car wire, pin
tacks, and clasps

> Froune 4250

«Ga »

> DESCRIBE What wi

Evaluating Your Work

-forming techniques
(wrapping, weaving, linking. forging, and so
on) did you use in the creation ofthis object?
fasteners or jewelry findings were nece
sary are they a part of the design? Is your
piece representational or nonobjective? If it
is representational, what object, animal, or
person did you use in your design?

> ANALYZE Compare and contrast the differ

ent kinds of lines you used in your design.
List them, How was working with line in
three dimensions different from making the
drawings in your sketchbook?

> INTERPRET What isthe function of your

wire jewelry? Interpret your artistic deci
sions. What idea feeling, or mood does your
work convey 1 the viewer?

> JUDGE Is your piece of jewelry aesthetically

successful? Which of the three aesthetic the
ories would you use to judge your work? Isit
a practical piece of jewelry? Ist comfortable
{to wear? Isit too heavy? Does any of the
wire scratch skin or snag fabric?

Wire | 85

PROJECT

(extern and 1 on

© Shoes a 6 48° paper

(© Pencizand marker or yon

© Carrá for lomas 147

© Rue cor

© Avareyof bers ars enbredery oss

© Two x ip of board

(© Suche nee with large eye

CHAPTER 4 Line

Nature Tapestry

Historical and Cultural
Context
The wool and cotton tapestry in

Figure 4.26 is by Josep Royo, who was
bom in Spain in 1945, The work is based

‘on—and is a tribute to—a painting by
another Spanish artist and personal
Friend, Joan Miró. Miró was influenced
by many different wentieth-century art
styles. One style rellcted in this work is
Cubism. Cubism was an approach 10 art
in which natural forms were broken
down and reorganized to present a
‘unique perspective, Notice the tle of
the tapestry in Figure 4.26. Can you find
the outline of the woman inthis abstract
work? How many different shapes has
ing this fig
‘ure? How many colors has he used?

the artist used in reassen

What You Will Learn

You will design and weave a sm:

tapestry using a cardboard loom. Your
work will be an abstraction of an object
from nature. You will begin by drawing
the contour of one object. You will then
divide the shape into an assortment of
‘geometric and free-form shapes. You

will create visual movement by using
different colors for the resulting internal

‘objects that have interesting lines and

shapes, such as flowers, shells, feathers,
and so on, Focus on the contour of each
‘object. Choose one to draw

«aa >

Using direct observation,

make a contour drawing of your objec.
Divide the inner space of the object into

Evaluating Your Work

geometric or free-form shapes of differ: > DESCRIBE Tell what object you chose as

tea D dans A a the bass for your tapestry Explain how

peer e you made your loom and prepared for
weaving

Select your best drawing

Transierit using a marker or crayon, © Pe ANALYZE Compare and contrast your use

eee Mn payed chine lines and color. What type of lines did

color scheme that will lead the viewer's you use to divide the shapes? What colors

pe a os did you choose? Did you vary the values of

Should havea inge color. You may colors pace side by side?

repeat a color, but no shape
the same color as its neighboring
shapes

houldhave à INTERPRET Give your tapestry a tite that

sums up what you think it expresses, Be
prepared t justify why you have given i
Make your om. (Se Tech this ie

pages 437-438, Tape your
completed design on the cardboard
Under the warp (vertical) threads,
ing 2% inches atthe bottom. Use a sri
mat board aa header at the bottom
ofthe loom by weaving a tabby pattern —_
{sce page 438) starting over/under.
Weavea second mat board strip, starting
underfover, above the fist one, creating
à straight edge to begin.

Weave Ye inch of plain tabby

upto the design, using a color that will
match the bottom of the design. Begin
‘weaving the tapestry Follow your
design. Keep the outside finished edges
straight by not pulling the weft (hor
zontal threads) tight. Do not stop or
start new threads on the side edges. As
you change yarns, leave 1% inches of
thread. When you are finished, use a
co pull the theead tals
along a warp thread

> JUDGE Were you successful in completing
a tapestry that matched your original design?
Which aesthetic theory would you use
judge your work? Explain,

e tapestry is com
plete, cut the warp threads and tie every
{wo warp threads together securely by Froune 4.260,
using an overhand knot, Pull the knots Salons

together dose Lo the weaving

Ba contents ]

Historical and Cultural
Context

‘The painting in Figure 4.27 is by
‘wentieth-century Unuguayan-born

‚id system is used for arranging
ols into compositions. Examine the
painting, taking note of the vertical and
horizontal lines. What symbols do you
see? Do you think the lines symbolize

o the diagonal and

A Froune427

What You Will Learn

SUPPLIES
sage that emphasizes the expressive
(© Stexhbook and pens qualities of a particular line. You will
© Dig or coment camera begin by taking a photograph in which

single type of lin
may be horizon

ominates, The line

(© arme (orton)

(© Computer equiped wth drancad pat or
proc dung of a the Especias
© Primer ering its color,

(© Photo qui paper (options)

«aa »

8 | CHAPTERS Line

Creating
Review Lesson 2 briely Look around
your environment for examples of lines
that express a specific feeling or emo.
tion, You might select the delica
curves on the petals ofa flower or the
raceful ripples on the surface of a
pond, Make sketches of these and simi-
lar observations. Emphasize the line or
lines that dominate.

BETTEN sever aig

tographs of setings similar to
described above. Ifa digital camera is
not available, use a regular camera,

‘Scan your images into the computer.

port your digital
Select the one

wages.
n which

the ines are most evident and expres
sive, Note Be sure to save or convert this
file in a format that will permit it 10
‘open in your computers paint or photo-
editing application.

BETTEN open te ite. crop any
Unnecessary edge or images that wl
cs being emphasized

Use the Line Properties
men OF tool to experiment with chang
ing the color value, texture and/or
‘width ofthe line or lines, You may alo

select filters such as Emboss, asin the
student artwork shown on this page. Ha
Preview feature exists in the software,
use it to examine and calibrate the
effect. (Usually, his done by means of
a slider indicating percentages.) Other-
‘wise, simply use the Undo command to.
eliminate undesirable effects

When you ar said with

the results, print copy of your work.

coments >>

Evaluating Your Work

> DESCRIBE What subject did you choose for
your photograph? What type of camera did
you use to take the photograph?

> ANALYZE Compare and contrast your use
of fine and emphasis. What type of ne is
{emphasized in your photograph? What
changes to these lines did you make?

> INTERPRET Were the lines in your photo-
graph adequately expressive? What feelings
or emotions do they express? How did you
‘emphasize them? Give your digital image a
tile

> JUDGE Were you successful in creating the
feeling or emotion you wanted to empha-
size? What would you do differently i you
were to redo this assignment? Which of the
three aesthetic theories would be best 10
judge your finished image?

> Ficune 4278

Digital Image Using Line 89

(© Compare and contrast the use of ie. How do the lines lead your eyes
Ingo, around, and out of the vial images?

(© Select and anayze what media were used and how your peers created
lines with these medi.

Activity 428 “This arte has used implicd
in to lead your ees to the central form inthe weaving
What shape le is form! Went the tpi ne

Activity 429 Compre
rar in Be 22 0 Fire 218
Feten
freaks Sin none in bod were

LI
ALE
mint

À cone 428

À Ficune 429

«aa >

90 CHAPTERS Line

Activity 4.30 Line and pattern.
[Criserossed Ines have ben uted
to create à pattern in is artwork
[Compare and contras the uo ol
ie and pater i ts work th
another work on there pages.

Activity 4,31 Interpreting tine.
The arts has cluded orinal
ines of texto ths duration
den other kind of tes. Then
interpret what ea or feng the
ine press

ART a, sue Gece soda hr +

Online => Gary a art.glencoo.com.

Visual Art

For Your Portfolio

Evaluate Personal Artworks. As you add to your
portolio,include artworks that demonstrate use of
the elements of ar Each entry in your portfolio
should be marked clearly for identification Make sure
(ach piece includes your name and the date you com.
pleted the artwork Any notes abou he artistic deci
sions you made ae valuable and shouldbe kept with
our artwork. Make ita point co use the names ofthe
‘ements of art as you write about your arework.

‘A visual journal ean be
used to record your
explorations and obser-
vations. As you study line,
take notes and create
sketches For example,
ou may wish o record
the various kinds of line
ou see as you ride ina
car or on the bus

«a >
3

NT ART PORTFOLIO Line | 9

StudyHub.vip

Art Criticism

in Action

Critiquing the Artwork

D1 DESCRIBE What do you see?
Read the eredi ine
© What media have ben used to create this work of ar?
© List everything you se in this work, o organize your
thoughts start with the objects hat are closest 10 you
and gradually work your way othe background.

D 2 ANALYZE How is this work organized?
Tis sep deals with the composition or formal
Jl cata ork ore
Sear ehe lemons ofa

ec
(rela, hortsomal lagna, carved, and ig) in
fis VIC a let oe hc ech np
sou en

are and contrast the different kinds of lin

© Do you see any line variations—such as length, width,
and texture—in this work? List at least one location for
(ach variation you identify.

© Form a conclusion about which type of line dominates.

DB INTERPRET What message does this artwork
communicate o you?
‘New ou wl comino dra lie ful rs dll
tnd your persona ease form a Create interpreta
tio of the work
+. Whyare the people so small Why do you think the
dre separated rom some ofthe res y a fence?

® Analyze the meaning ofthis work. What does th
work say about the relationship between people and

© Write a brief paragraph or a poem that expresses the
message you believe this print communicates.

D 4 JUDGE what do you think of the work?

Now itis time to decide whether this is a successful
work of art.

© What is your reaction to this work? Did it make you
think?

© Do you think itis successful? Why or why not? Use

one or more of the aesthetic theories of at explained

ee >:

ARTIST

‚Andö Hiroshige
1797-1858

Ando Hiroshige was born in
Edo (present-day Tokyo). When
Hiroshige was orphaned at the
age of 13,he inherited his father’s
position inthe Edo fre brigade,
For many years, he studied paint
ing and held the fireman position.

In 1812,he took his teachers
‘name, Uragava, which vas a sign
of graduation

Hiroshige combined tradi
tional Japanese cechniques with
Western perspective techniques.
to create naturalist landscapes.
His masterful scenes of nature
are inhabited by people in har
‘mony with ther surroundings,
Hiroshige’ poete, ende prints
appealed to everyday people who
ess appreciated his message.

a Cri in Aion | 9%

eee Study HUbVIp) ===>...
| IME ART SCENE

Whats Pe, Line?

Q. How old were you when you realized you
could draw?

A. don't remember doing anything else. cam do
anything else, That's one of my limitations

Why did you move toward drawing rather
than becoming palner or example
À ne oto a IN

actualy, And 1 found that it was VY

impossible to make a living. So 1 N

RE WM
painting?

A. Line.
with i, Lil find it fascinati

discovered line, and I fell

love

‘communicate, I expresses everything that af SS
Iwan pars
How would you describe your work habits? Hill
A. L work seven days a week until around 5:00 pm. ES 5
anis anni re 3
No its hay. Works something you dont
Tike odo.

Ike work to you?

TIME to Connect

‘ABOVE Em Prey

drawing, Writers do the same with words,
personality from the world of muse, TV,
ort, orf. Analyze photos ofthe person.
Draft a descriptive paragraph so that a reader is
able to see” the person you are writing about
+ Edit your writing. Try to improve the wording
and refine your style.

Paragraph enable your class
Picture the personality

TOR Atina

oran tarros 1

CHAPTER

Building Vocabulary

ing Critically About Art

On a separate sheet of paper, write th
that best matches each definition given below
1. An element of an that isthe path of a
moving point through space
2. The amount of space an object takes up in
‘one direction,

3. A line that shows or creates the outer
‘edges ofa shape

44. A series of points thatthe viewer's eyes
automatically connect

5. The element of art that describes the dark-
ness or lightness of an object

6. The tech
shading.

7. A line that defines the edges and surface
ridges of an objec.

8. An expressive moveme

9. A term mes

ue of using crossed lines for

ning beautiful handwrt

Reviewing Art Facts

Answer the following questions using com-

plete sentences.

10. Give an example of an implied line.

11. How does a two-dimensional object differ
froma three-dimensional object?

12, Compare and contrast the five basic kinds
of lines.

13. Name five major ways in which lines

14. What are the four factors that affect the
value of a group of lines?

ame the kind of Kine that conveys insta-

16.

1

Analyze. Study Figure 4.1 (page 68) Fig-
lure 4.14 (page 75), and Figure 4.19 (page
80). What is the common thread that links
the three works?

Compare and Contrast. In what ways
are Figure 4.20 (page 81) and Figure 4.22
{page 82) similar? In what ways are they
diferent? Consider the element of line and
the subject matter in your comparison.
Historical/Cultural Heritage. Review
the Meet the Arts Feature on page 80.
Identify themes from Jacob Lawrence's cul-
tural heritage shown in Figure 4.19.

Most fine artists use
line to create their
artworks Fine artists
range from sculptors
to painers to installation arts. Vit
art.glencoe.com to compare and contrast
this art career with other career opportunities,

Mm

ART
Performing Arts |S % U

Linking to the

Explore the use one in

men cinco [RC

manco oDanza dela Resor. Arreecnu]
by Ballet Folklorico de Mexico in the
Performing Arts Handbook on page 416

(One example ofthe element oline isthe

use of the lariat or aso, during the perfor
mance, Inti other examples

«aa »

Chapters Review | 98

D Ficune 5.1 witout ever
Tooting atte you an
‘erly ds Em ab
cut of de pos ten
ete ier ere
(hi work te anote scare
ty ov sae are on page 261,
Can you draw ay coins
{rom tse eo pees!

E conrenrs YE

CHAPTERS Shope, Form, and Space

Shape, Form,
and Space

Yo live in a world filled with objects. Each has a shape;
some have form—or deptii—and all inhabit space. As art

el
another. Learnin
as well as how to use them effectively in artworks is very
important as an artist

nents, shape, form, and space are closely related to one

to “read” the meaning of these elements

In this chapter, you wi

e Compare and contrast the use of form and space
in artworks.

© Create two- and three-dimensional works of art
using direct observation and imagination.

© Interpret artistic decisions about using shapes,
forms, and space in personal artworks.

CET AYER ro a
fea en)

‘wenteth cencuy, the
meda of sculping were y limited Suptors could choose fom
hard materials (marble, bronze) or softer ones (wood) Then a revo
‘on i ar occurred "Anything goes” became the bare ery of exper
‘mental arts. One such artis Swedish-born American sculptor
‘Cher Oldenburg (6.1929) Oldenburg is a member of the Pop Art
school His art. that of other Pop Artists, used everyday objects
from American culture a theme, Lie Figure 5.1, however the
works are so large thatthe viewer can't help but notice them,

‘Compare and Contrast. Look at gue 2. on page 24. This work
share the theme of contemporary Pop Are Like Figure 5. ths work es
unconventional materi In what way desi go even further in breaking
{he radio “res” of thre-denensonl ar?

«aa >

”

yecabutry Shapes and Forms

shape

geometric shapes A objects are either shapes or forms. Rocks, puddles, flowers, shits,
free-form shapes houses, chair, and paintings are all shapes and forms. The words shape
forms ‘and form are often used interchangeably in everyday language, but in the

language of at, they have very different meanings.

Shape

A shapeis «two-dimensional area that is defined in some way. A shape may
have an outline or a boundary around it, or you may recognize it by its area
For instance if you draw the outline of à square on a sheet of paper, you
have created a shape. You could also create the same shape without an out
line by painting the area of the square red.

You see many two-dimensional shapes every day. They are found in most
designs, which in turn can be seen on many flat surfaces. Look for shapes on
such things as floor coverings, fabrics, and wallpapers. Floors and walls are
twvo-dimensional shapes: so are tabletops, book pages, posters, and billboards
‘The images you create with your computer and the images in the handheld
and computer games you play may have the illusion of depth, but they are
‘also two-dimensional shapes.

Geometri

Shapes
All shapes can be classified as either geometric or fee form. Geometric
shapes are precie shapes tha can be described using mathematica formulas
(Figure 5.2). The basic geometric shapes are the circle, the square, and the
triangle. Al other geometric shapes are either variations or combinations
‘of these basi shapes. Some ofthe variations include the oval, rectangle
parallelogram, trapezoid, pentagon, pentagram, hexagon, and octagon,

oñn10omM
orando

A Fraune 52. Geomest shape

“Gua »

98 | CHAPTER'S Shape, Form, and space

Geometric shapes are used for deco.
ration, uniformity, and organization,
ive quality of the geo:

Notice the deco!
metric shapes in the artwork show
Figure 5.3. How many different simple
and complex geometric shapes can you

find in Biggers painting?
Road signs are examples of unifor

rity. The same kind of sign must always.

have the same shape. Do you know the

shape of a stop sign? Which shape is
used for “Yield”? Which shape is used
for TV screens? Why do you think cel
ing tiles and window panes have geo

metric shapes?

Free-Form Shapes
Free-form shapes are regular and
uneven shapes. Their outlines may be
curved, angular, ora combination of
both. They often occur in nature,
Another word that may be used to.

describe free-form shapes is organic
‘Organic is used when we talk about the
shapes that are silhouettes of living

things such as animals, people, or trees.
Look atthe difference between the dec- À Foun 53 Big ues the momen in di work to represent the
An en E bn D Bog he cose bss

orative patterns of geometric shapes in

Figure 5.3 and the free-form, organic ch Soh er 1 sch cor
shapes painted on the vases in Figure — ma
5.4. Which looks more organized? (or ta Mc dan

4 Favre 54 Noe ne reson, opie ute
aña ngs and ods tat mer panes on tht
thing pe of vases Aou du rms tte ses
SR per mache tw pangs are na ech
Lo ota erences been Oi

DT contents }

TESSON 1 Shapesand Forms | 9

4
Fame treme

é
d
o

irae

[
a

A Ficune 5.5 Wa in fran do you see been the tu dimension stapes

Geometric and

nstrating Effective Use of Art
a in Design. Using the printed

of a newspaper make two cut paper.
designs. Make one design by measuring
and cutting precise geometric shapes
Make the second design by tearing free
form shapes. Arrange che shapes and glue
‘them on a sheet of black construction
paper Use a white crayon to print the
words freeferm and geometric on the
appropriate design. Try to make the let-
‘ers for geomevic look geometric, and the
letters for freeform look free-form.

Free-Form Shapes

‘Computer Option. Use the Shape or
Straight Line tools to draw four diferent
geometric shapes. Do not overlap the
shapes and space them apart 50 they can
esshy be selected and arranged Inte.
Choose a color scheme and make exch
shape a solid color Pek the Selection tool
and then the Copy and Paste menu to
repeat each ofthe shapes several times on
the page. When the page is neary fl,
(choose a Brush or Peni tool to draw
free-form shapes in between he geome
shapes Select the Bucket tool t fill
shapes wich pattern

«Gua >

CHAPTER 5 shape, Form. dnd Space

Forms

Although the words shape and form
are often used interchangeably in every
day language, they have difere
‘meanings inthe language of ar. Forms.
are objects having three dimensions. Like
shapes, they have both length and

width, but forms also have depth. You

are atheee-dimensional form; so isa
twee or a table,

‘Two-dimensional shapes and three
dimensional forms are related (Figure
5.5). The end of a cylinder is cre

One side ofa cube is square. A triangle
‘can “grow” into a cone or a pyramid
Like shapes, forms may be ether
geomeuric (Figure 5.6) or fre-form (Fi
ture 5.7 on page 102). Geometric forms.
are used in construction, for organiza-
tion, and as pars in machines. Look
around you, What forms were used 10
build your school, your church, your
home? Look under the hood ofa cr.
What forms were used to build the

motor? Did you know that common table

A Figure 5.6 The pion or ds work came kom Si su rome cylin forma er
1960: Thee, pan on e nsec trend. base on he mye baa esa ome are Jj
Frans ie Ton of Sis met compen sure ook Mm ee yas tse eta compi The
{Scruton ere tel wer abl on te must! en 172.

DL contents }

LESSON 1 Shapesand Forms | 101

{À Fıcume 57 An hut ar cared is room, cri cpr oa por er from memories
A personal eprlncesobenng ad hung por bars. Compare and conta he for fs
Papua tom nat ear ot loma Try Smits maine scape Fare

vou look at salt through a microscope.

Free-form forms ae irregular and List three geometric shapes.
uneven thre-dimensonaabecssuch 2. What other word fr fe form
as stones, puddles, and clouds, Your shapes?
‘own body and the bodies of animalsand 3. Compare and contrast the use of
plants are free-form forms, {orm in the artworks in this lesson.
Creating
Forms

Your Skills. Make a Me sheet Computer Option. Use the Round
ion paper into a three-dimen- _ Shape tool 0 draw a ice or oval on
paper sculpture by using cutóng {he sreen,Choose the Airbrush to
and scoring techniques. (See Technique ent ad shading around the edges to
Tip 20 on page 435 inthe Handbook) Take the shape appear a sl form.
Give your sculpture a minimum offre Draw free-form shape. Apply staging
diferent surfaces. Do not cu the paper wth the airbrush to represen a form.
co separate pieces Use ony slots and Consider adding a sure for th three
{abs if you wish to join ary parts Experi: dimensional forms t ston and then
ment with scratch paper before you make APP shadows.

your fal paper sculpture.

cum)»

ma | ans sum „RE

Space Vocabulary

space
holograms

pace refers Lo both outer space and inner space. Rockets move theo

outer space 10 explore other planets. People move through the inner
space of rooms and buildings, Space can be flat and two-dimensional, such
asthe space ofa window. Space can also be three-dimensional, such as the

space filed with water in a swimming pool

Space and Its Relationship to Shape
and Form

Shapes and forms exist in space. Space is he element far hat refers the
emptiness or area between, around, above, below, or within objects. All objects take
up space. You, for example, are a living breathing form moving through
space

Shapes and forms are defined by the space around and within them. They
depend on space for their existence. This is why iti important to understand
te relationship of space to shapes and forms,

Positive and Negative Spaces

In both two: and three-dimensional att the shapes or forms are called the
postive space or the figure. The empty spaces between the shapes or forms are
cgatve spaces or ground. Look at Figure 5.8 and read the caption for an
‘example of figure and ground. Ina portrait, the image ofthe person is the
positive space; the negative space isthe arca surrounding the person.

= 4 rou 58 Do you se à
vas er do you se en pre
ca! a us debera
Se agg à vs
opa de de le
vse beeen the poe becomes

«aa »

LESSON2 Space [103

“A Figure 59 ne ste Branca es the ck of
“pce beeen he ono gre to ym the concep the
{openssh vy of coup love. Compare an
‘ure von a ors ae are wh the arora
Figure Son page 01

‘SE Moan Nem Cee ees mp Far ae

Experimenting
with Space

Visual Solutions Using
‘Observation, Selecta group of
o dew from direct observation,
an arrangement witha variety of
negative spaces between the shapes. Oraw
the arrangement lity with pencil or
talk Finish the work by (a) coloring only
the negative spaces with rayons or pint.
ox (6) filling the negative spaces with
closely dra sets of parallel Ins. Leave
the poste spaces empty. What shapes
di the negative spaces take?

‘lec the way you Interpret postive
spaces. Large negative spaces around
positive spaces may express loneliness
or freedom. When the positive spaces
are crowded together, you may feel er
sion or togetherness (Figure 5.9). The
{ull meaning of a work depends on the

meraction between the positive and
negative spaces. I is not always easy to

ell which are the positive spaces and
Which are the negative spaces in two:
dimensional art, Sometimes itis difficult
to identify the negative space. This is
because some artists give equal empha
sis to both the figure and the ground.

Sometimes artists even try to confuse

the viewer. They create positive and
negative spaces that reverse themselves
while you are looking at them, These
visual puzzles fascinate some viewers
(Figure 5.10).

‘Computer Option. Use the Recangle
shape toolto draw a solid rectangle
approximately 3° x d'in the center of the
sereen.Explore the diferent shapes of
Selection tools to select and move parts of
he rectangle away from the origina shape.
Continue selecting and moving untl the
rectangle has been broken into mary
smaller parts with varying spaces in
between. Save and te your work:
you have crented an inerestng
ion by adding space within he

“Gua »

104 | CHAPTER 5 Shape, Form, dnd Space

MEET THE
ARTIST

a

Dutch, 1898-197

D Ficune 5.10 As frst ds
Prin ots normal Wer
fig eo tum à water we
Homer now the water kom
fete of ee rns ap
Ether has creed à ve
empece

ol ol Architecture and Ornamental Design. He concentrated on
¿string his cent

Harlem’ Sd

Innervisions and his fascination wäh the laws of
nature In his ithographs, he explored a variety of visual jokes and trickery
such as opal sions and distorted or impossible perspective

Eschers works achieve thelr visual puzzles through his clever manipulation
‘of postive and negative space They silly switch forms into places where the

er would ogicaly expect space o what appears tobe he outer surface of
an object reverses into an inner space,

Escher ako created designs using postive and negative space to transforme
objet 10 anote. A lock of bird onthe let side ofthe picture becomes a schoo!
“fish onthe right sid. Each time a change takes place, the negative space
becomes dominant and transforms into the new objec.

«aa »

LESSON 2 Space | 105

ruetures that encoe a varciy ot
spaces for people, They create large

Over, under through, behind, and spaces for group activities, such asthe
around are words that describe three- One you see in Figure 5.11, They also
dimensional space. Architecture, sculp- Create small spaces for privacy. Land:
ture, weaving, ceramics, and jewelry are Scape architects and city planners are
hree-dimensional at forms. Theyall also involved in planning spaces for
take up real space. You can walk people Lo use

around, look through, look behind, egative areas in threc-dimensional
peer over, and reach into three an are very real. Most three-dimensional

dimensional a ‘works are meant 10 be reestanding, whieh

means they are surrounded by negative
space (Figure 5.12). The viewer must
move through this negative space 1 see
all ofthe different views ofa three

dimensional work
Relief sculpture is not intended to be
freestanding. It projects out from a flat
surface into negative space, You can find
relic sculpture on ceramic pots and

plaster ceilings. When the positive areas
project slightly from the flat surface, the
work is called bas relief or low relief
(Figure 5.13). When the positive areas
project farther out, the work i called
igh eli.

‘Most jewelry i planned as el

1
sculpture 10 decorate human surfaces
The inside ofa ring or the back of a

pendant is smooth. It is not meant to
be seen: it simply rests on the person s
surface

‘Today many artists are expe
and changing traditional at forms.
Printmakers are creating
Some printmakers.
designs in handmade paper. Pair
adding a third dimension 10 the painted
surface. Some painters are cuting or

aring real negative spaces in two
dimensional surfaces

‘Weaving has aso gon
tions. started as a practical craft, with
‘weavers making two-dimensional fab
rics for clothing. and has evolved into

Ficune 5.11 The rior of hi td vas designed so due de an art form, Today hand weavers are
‘aed nd rcs nod pl ou ee sp oad

in new direc

106 | CHAPTERS: Shape, Form, and space

creating relief hangings and three:
dimensional woven sculptures

Photographers are creating holo-
ram, images in has dimensions cra
witha laser Beam. Sculptors are making

Kine, or moving, sculpture

Applying Your Skills. Make afreestand-
ing. three-dimensional design that pro-
jects into negative space on al sides
Using piece of cardboard tubing and
small boxes, jin the design pieces with
fue and ape Pain the finished work in
one color to emphasize its form.

Set up spotig on one side of your
freestanding seulpture. In your sketch
book draw the contours ofthe sculpture
and the shape ofits shadow Move the
spotight to another ange, Draw the
sculpture and ts shadow, Notice how the
changing light changes the shadows
shape
Computer Option. Draw a solid cube
for rectangular form so the top side and
front are visible Add shading by filing
cach surface with diferent value of à
color texture, or gradient Remove an
area within the form by using the Eraser
or Selection too. Explore adding shadows
and lines to accurately depict the inner

space you see

ne postive space and negative space.
2. What words specifically describe
three-dimensional art?
3. Compare and contras the use of
space in the artworks on this page

Fount 5.12 Te
Ser em
‘cpr Look tay
Pes ou om sc

‘sc dan you would
‘veto wal ona to

ec à citer a tobe ow ello bw oc
‘ul be to rt len aa

LESSON? Space | 107

How We Perceive Shape,
ary Form, and Space

point of view

Voe:

22% 0 tom tis bok 0 an bet arsine oom see you can feel
{the movement of your eye muscles. I you didn't feel anything. try again
“until you become aware that your eyes are working to refocus

You have just taken a trip through visual space. Your brain
amount of space between you and the object and sent a message to your eye
muscles to adjust. The muscles then refocused your eyes so that you could
clearly see the object,

casured the

Perceiving Depth

Your eyes and brain work together to enable you to see in theee dimensions
— height, width, and depth Each eye sees an object from a slightly different
Angle. The brain merges these two separate and slightly different views into
‘one, creating a three-dimensional image.

To see how this works ty the following experim
Point toa specific spot inthe room. Without movi
your right eye and close your eft
eye, twill appear that you have
moved your finger, even though
you know you have not

Close your right eye
your pointing finger, open

Shape and
Point of View

ing Visual Solutions Using
+ Observation. Look through
ines for three or more diferent
views of one type of object. Look for TV
set, sof, spoons toasters. cars, or
shoes. Cut out the objects and mount
‘each one on a sheet of whitepaper
‘Observe and emphasize che changes in
shape by drawing around each outline
with a crayon or marker

Point of View

‘The shapes and forms you see
‘depend on your pont of vieu:
Point of view isthe angle from
whic the viewer ses an oje.
Another viewer at another loca
tion will se the same shape or
form differently. For example, à
person looking down on a circle
¿raven on the sidewalk sees a
round shape. that person lies
‘on the ground beside the circle
and looks a it the crcl will
appear to have an oblong shape
‘A person looking atthe front
‘ofa car wil see a form different
from the one seen by a person
looking atthe side of that same
car, Figure 5.14 shows three
different views ofa

Computer Option. Divide the page ino.
‘three equal sections. Use the Grids and
Rulers menu to guide you if avaiable.
Choose an interesting but simple object
suchas acup.a sere piers. a book.or a
pain container, Observe and draw three
views ofthe same object using the Penci,
small Brush, Crayon,or Marker tool Aer
drawing the contour or outer edges of
‘the objet ad shading to emphasize

id

108] CHAPTERS Shape, Form, And Space

ing expressed by i cere

‘hangs a Your pot of view
‘ange You ma vw te scope
from anger ty inde

Experiments in Point of View
You can Icam abo

Next, look ata rectangular table,
point of view by What shape does the top have when

doing the following experiments. Place you are sitting atthe table? Look at the
your hand fla on the desk and spread ap through a rectangular viewing
your fingers apart. The shape and form frame, Are the edges ofthe table parallel,

you see are the shape and form you Lo he edges of the frame? You know the
‘would probably draw. They ate part of top isa rectangle, but docs it really look
the mental image you have of the object rectangular now? What shape does the
“hand.” Now lift your hand and let your 1op seem to take if you are siting across
fingers relax. Notice how the shape and the room from it? What would the

form of your hand change. Tum your shape look like if you viewed it from the
hand and watch what happens. Your topo a tal ladder? Do you think the
hand is still the same hand. Only its shape you see will change i you lie on
shape and form are different. the floor directly under the table?

(mus »
o Pera Shane rom. andSpue | 10°

‘A Froune 5.15. Grandma Mots 9 protein! name of Ama Mary Roberuon Mones Se began opt rr ses.
fom hr men nee 1970. png dps the many sero ape man map fae Wise polo ak

When you looked at your hand, your Check Your
eyes stayed in the same place, but your Understanding
hand moved. When you studied the

table, it remained in one place, but you
moved. In both cases, what you saw
changed because your relationship to
the object changed. Your point of view
depends on where you are and where
the objects. Look at Figure 5.15.

Where is the artists point of view in
relation 1 the people in that picture?

1. What three dimensions are we able

2. Define point of view

3. Why may people whi
atthe same object see dif
shapes and forms?

joking

«aa »

HO | CHAPTERS Shape, For, and space

How Artists Create Shapes
and Forms in Space oca

chiaroscuro
hapes and forms can be classified as natural or manufactured, Natural highlights
shapes and forms are made by the forces of nature. For instance, animals, perspective

plants, and stones are natural forms. Manulactured forms a

se created
by people, whether mass-produced by the thousands in factories or made
by hand.

Ariss use many materials and techniques to make shapes, They concen-
trate on both outline and arca. Some artists outline shapes in drawings and
paintings. Others may paint shapes by placing brushstrokes together without

using even a beginning outline, Some may cut shapes and print shapes and
some may pour paint to create shapes (Figure 5.16).

Like shapes, three-dimensional forms can be made in many ways. Artists
model clay forms, mold metal forms and carve forms from wood or stone.
They use glass, plastic, bricks, and cement to create forms as well as shapes,

The Illusion of Form

Artists can create the illusion of three dimensional form on a surface that
is two-dimensional. They can give the impression of depth and soliity by
using changes in value. Figure 5.17 is an example of his illusion.

cue 517
me e

Er
on the ige scons

tobe cong tom
Kanye ande

A Froune 5.16 Fatandalr tan con paar
eres ety por ned ere pt

(ua >

tes vd eee
(he objects ze took sli
Tre an ofthe soo Took
‘ound: The recon on the
iw our ie

Using
Shading

The arrangement of light and shadow is
called chiaroscuro (kyah-roh-skoo-
oh). In alla híaro means “bi

and oscuro means “dark.” Chiaroscuro

(Jemen of geometric forms, Use

was introduced by ltaian arts during et, books, ball, and eylndrica con-

the Renalsance,Today.chlaroturols | ener Suey mous rifas che
often called mad sat, ace of he objects Dra the

Look, forintance, aan objec with | regencia caps your
angularsurtacessuchasacobe. You | sete pe ganas tee nes
si sea large jump in vale from one | yun the med andssang ech
Sure tte cubero Me nam. One sar | gu ros ane un de
face maybe very ight in value andthe | age om Bacto hte and employ
next very dark. Now loka an objed | mas ave saps ear

such as asl, The curved suce | Cam purer Option To part jour

shading technique, experiment with the
Penci Brush Line, Gradient and Airbrush
tools. Several programs include a Smudge
or Blending tool, which softens edges.
“The Pencil Line, and small Brush tools
‘can be used with shading techniques you
use when working with pen and ink To
explore these options, draw a small
square shape. Select. copy. and paste
seven more copies of the square in a row
Across the screen. Then choose from a
variety of tools textures, and settings to
reste diferent values from light to

in he squares.

of spheres and cylinders show gradual
changes in value.

The area ofa curved surface that
reflects the most light is, of course, the
lightest in a drawing. Highlights are
small areas of white used 1 show the very
brightest pots. Starting atthe highlights,
the value changes gradually from light
values of gray to dark values of gray. The
darkest values are used to show areas
that receive the least light. An area that
is tured completely away froma light
source is almost black. Look at Figure
5.18 tosee the different ways an artist

has created the illusion of form,

Ra contents ]

M2 | CHAPTERS Shape, Form. and Space

The Illusion of Depth mil

In paintings, arts often create the Gall

for drawing Ss sometimes
he piaure plane, The part of the

ilusion of depth. When you Took at pict hat appears nearest 10
these paintings, you see objects and you isthe foreground. The part that
shapes, some of which seem closer to appears farthest away isthe background.
you than others. You seem to be looking The area in between is called the middle
through a window into a real place round,

(Figure 5.19). This idea—that a pain Perspective isa graphic system that
ing should be like a window to the real. creates the illusion of depth and volume on a
‘world—has dominated traditional West- nuo-dimensional surface. In the following
em arı since the early Renaissa pages you will earn techniques artists

‘There are several terms that will help use 0 give their paintings and drawings
you as you talk about and create depth perspective.

A Frcune 5.19 Pane exe at capturing the ters of famous buns Ne how be west cas your tention
‘on teach athe ed the hal by ung cower lee Age ending at perspective onthe folowing pg y 0
And samples each of these pape cs im dl alg

pA contents.

MER A

part of a second object, the firs seems lo
be closer tothe viewer asin Figure 5.20,

À Faune $20 Oregon

Size. Large objects appear to be closer
to the viewer than small objects, asin
Figure 5.21. The farther an object is
from you, the smaller it appears. Cars
far down the road seem to be much
smaller than the ones close to you. If
vou stand at the end of along hallway
and raise your hand, you can block your
view of a whole crowd of people. You
know that each person is about your
size, but ata distance the crowd appears
10 be smaller than your hand.

A Froune 521 Sic

Placement. Object placed low on the
picture plane seem to be loser to the
viewer than objects placed near eye
level, The mos distant shapes are those
that seem to be exactly at eye leve
(Figure 5.22).

A cone 522. Pacomene

you (Figure 5.23). Objects tha lack
detail and have hazy outlines seem to be
farther away. Look closely at your own.
and. You can see very tiny lines clearly
Now look at someone's hand from
‘across the room, You have trouble see-
ing the lines between the fingers. All the
details seem 10 melt together because of
the distance between you and what you

A Poune 52 Dest

Color Brightly colored objects seem
closer to you, and objects with dull
light colors seem to be farther away
(Figure 5.24). This is called atmospheric
perspective, The air around us is not
empiy. I full of moisture and dust
that create a haze. The more ar there is
between you and an object the more
the object seems to fade. Have you ever
noticed that trees dose to you seem 10
be a much brighter gee

farther down the road?

À ricone 524 Cole

«aa »

CHAPTERS Shope, Form and space

A Faune 525 hes drawing the Ines gay
(m ogg and meet tone pain De
ane Ths one-pot Ines perspective

De Fume 526 si ring th nes come
ander nd mas st to pomo Tas pot
AS

Converging Lines. Linear perspective is ahead of you are actually just as far
‘one way of using lines to show distance — apart as they are in your present
and depth. As parallel lines move away position.

from you, they seem to move closer Sometimes lines appear to meet at a
together toward the horizon line (Fig- point on the horizon line called the va
re 5.25). When you look at the high- ishing pot. In two-point linear perspec
‘way ahead of you, the sides of the road tive, different sets of parallel lines meet
appear to move closer together. You a diferent vanishing points (Figure
don't worry though, because you know „point perspective
this isan illusion. The sides of the road tes more diagonal lines in a paint

Creating
Depth

18 Visual Solutions Using ‘Computer Option. Use the Brush or

gination. Crete three diferent Pencil tool to draw landscape that
gns on three separate sheetsofpaper. includes foreground, middle ground. and
Exch design should contain fve imaginary background. Draw several medium size
shapes. Use the same five shapes in each trees in che middle ground, Draw a least
designs follows: ‘one large tre in the foreground. This
1 Draw allofthe items as close wo the cree should touch two or three edges of
foreground as possible. ‘he paper and overlap the smaller trees,

"= Draw one tem close tothe foreground Ie should display the most decal, Add
and make the thers look if they are other objects and deals chat might
slightly farther back include plants, animals, water and objects

1 Draw one tem close tothe fore- made by hand. Remember the methods
ground, one far inthe background.and for creating the illusion of depth

the other tree in the middle ground. were discussed earlier in the

(ua >
EEE A

used strict mathematical formulas to cal

culate perspective. Most of today’s artists

Jasilied?

id form

rely on visual perception rather than l: How are shapes.
mathematical formulas, Notice the ways 2+ What effec does chiaroscuro create
in which Doris Lee has used perspect in artworks?

to show depth in herbusy kitchen scene 3: Lis and describe three techniques

(igure 5.27). artists use to give their works
perspective

In hie panting about
‘the preparations for an
‘old fashioned Thanksgiving
feast Doris Lee has used
all sx perspective tech.
‘iques The lies in he
<iagram ofthe pining
indicate one example of
‘each technique. Can you
find more examples of the
x techniques in the
painting?

né

What Different Shapes,
Forms, and Spaces Express

hapes, forms, and spaces in art convey certain feelings. This is possible
because you associate them with similar shapes, forms, and spaces in
lie. When you see a certain shape or form in a work of ar, you may
think of an object from rel fe. Any feelings you have about that object
will affect your feelings about the artistic work, Artists use ths relationship
betwen art and the environment to generate these feelings in the viewer.

Outline and Surface

‘The outline of a shape and the surface ofa form carry messages. Artists
‘often use free-form shapes and forms to symbolize living things. When they
want to please and soothe viewers, they use shapes and forms with smooth,
curved outlines and surfaces (Figure 5.28). Forms that remind us of
well-worn river rocks or curled-up kittens tempt us to touch
them, These forms are comfortable They appeal o us
through our memories of pleasant touching experiences

‘Angular shapes with zigzag outlines and forms with
pointed projections remind us of sharp, jagged things

(Figure 5.29). We remember the pain caused by broken
glass and sharp knives. We would never carelessly grab

à pointed, angular form. If we were to touch ita a ee
we would do so very carefully. aa A Re

‘A Ficune 5.29 Ti ser is used onthe ston of à proie Bd How mary
Dir body pares en you ea? Hew do the sharp ports ns tet hen and al mae
You te! tour Vo

Pr CONTENTS >
LESSONS Wha Die Shap, Forms, and pas Enns | 117

Perfection. 11 imposible 10 draw a
perfect crcl freehand, The special

appeal of geometric shapes and forms.
has been fet throughout the ages. Their
lines, contours, and surfaces are clean
and crisp. This appeals 10 peoples sense

of order
As used by modern artists geometric

shapes and forms express les feeling

than other types. They are unemotional:
n fact, they may express a total lack of

feeling, Geometsic forms in arıworks

appeal to viewers’ minds rather than 10

their emotions (Figure 530).

Density

‘The density or mass of an object refers
10 how compact itis. Dense materials
are solid and heavy. Granite and lead,
for example, are very dense, They are so
solid and firm that you cannot make a
dent on thei surfaces when you press
on them. Dense forms seem unyielding.
‘They resist impact. For this reason, you
may associate them with the idea of
protection. In two-dimensional art, you
aan depict dense objects using shading
techniques and hard-edge contours.
Soft fully forms are less dense. Wh
you press on them, you can make a
dent. These forms have air inside them
and they Look more comfortable than.
denser forms, In two-dimensional an,
you can depict soft forms by using shad
ing techniques and curved contours.

A Fioune 530 The are as vato
ete feas tr orm to à date

ÉD AE

cum)»

curras sun USE

Siting should be considered along with the

Closed shapes and forms look solid
nd sell-contained. Windowless build
ings look forbidding. Closed doors keep

people out closed drapes and shades
Keep light out. When you make a tight
fist your hand isa closed form that
ces 10 say, “Keep away“ Folding your
arms tightly to your body elses you a
Icom others. Open arms invite people 10
come closer to you. The plumed deity,
‘or god, in Figure 5.32 isa closed form.
eon Even its fathers are pulled tightly

An open shape or form appears invit- against its body.
ing. scems to say, “Come in. You can
see into or through it, An armchair is
Open form hat invites you to sit (Fig
lure 531). An open door invites you to

An empty cup invites you to fil
‘Transparent objets, such asa glass wall,
invite you to look inside, When you
extend your hand to invite someone to
join you, the form of your outstretched
Hands an open form.

‘Open spaces in sculpture invite your
eyes to wander through the work.
‘Weavers leave openings in fabrics and
hangings to lt you se through them, If
vou remove an oak table rom a room
nd replace I with a glass able, the
oom will scem less crowded. Architects
tse glass walls 10 open small spaces
Windows open upa building and bring
in the où

À none 3 nears rs nt
ES RESTES
Soy Season

4 CONTENTS >
LESSONS Wha ieee Shapes, or, and pas Expres

Activity and Stabilit Sow pr me

You have already learned about =

active and static lines. Shapes and AP

in Design. Make a simple design

uh geometric shapes. Light draw it
with pencil on a sheet of watercolor
paper: Repeat the same design on another
sheet of watercolor paper ofthe same
size. Next,paint the fist design precisely.
Use pointed brush to make sure hat all
‘of the edges are clearly defined. Wet the
second sheet of paper by sponging it with
water Using exact the same colors
paint the second design while the paper is.
‘wet so that the edges of the shapes run
nd look soft. Mount the two designs, side
by side, on a sheet of black paper Label
the fist"hard-edged” and the second
yoteedged”

forms, also, can look asf they are
about to move oras if they ae fixed
in one place.

Active shapes and forms seem to defy
avity They slant diagonally as i the
are falling or running, In Figure 5.33
notice how the back of the wave and all

the horse forms are arranged in diago-
ral active positions.

Static shapes and forms are motion
less, or stable. Their direction is usually
horizontal (Figure 5.34). However, if
wo diagonal shapes or forms are bal:
anced against each other, a static shape

esulls For instance, if an equilateral
triangle rests on a horizontal base, the
vo diagonal edges balance each other.

Because static shapes and forms are
firmly fixed in positon, they evoke
quiet and calm feelings. For instance, in
landscape paintings the land forms are
horizontal and the trees are vertical
They look very peaceful. This is proba
bly why so many landscape paintings
are chosen for peoples homes.

> Frcune 5.33 The agonal push of
a DC de war crete an ns,
Sve fecing The ware cs
roman bre wl ape,

«Gua >

120 | CHAPTERS Shape, Form, And Space

Choose the Shape 160% paar rw
and Line oo! 0 make a design ac crets LT Understanding
à state feeling The Line tool on most

applications can be constrained o draw 1. What do angular shapes suggest?
Straight horizontal verdeal.or diagonal 2. What do geomeuic shapes suggest?
lines by holding down the shift key while 3. Define density

drawing with the mouse. Title and save the 4. List One example each of an open
black line stati design. elect a color shape or form and a closed shape or
scheme, Pek the Bucket too! to fil the form.

spaces wth solid colors Use the Save As
command to reile the work by adding
number or letter after the original e.
Open the original line design. Apply he
same color scheme but explore the tools
and menus. which create active owing
(ges. Use the Save As command to

the active composition,

i wee - u

‘A Ficune 5:34 The strong horonal sae of be orange whet at he so of he work eet cam sable eect

contents 5
u ER de roms est | 11

PROJECT Free-Form

Clay Sculpture

Historical and Cultural
Context

“The twentieth-century British seul
tor Henry Moore created works in
stone, bronze, and marble. Most of
these creations were abstractions of the

human fig
Moore did not design outdoor sculp
tures for specific sites. The original
bronze casting shown in Figure 5.35
consisted of three separate pieces. The
present grouping was suggested by LM.
Pei, a Chinese-born American architect
‘who was commissioned to build a new
city hall for Dallas. Pei liked this work
but asked Moore to arrange the sculp-
ture so that people could walk through
it. Moore designed the pyramidal
arrangement you see. Notice the careful
balance between solid mass and an
almost airy visual flow, Does your eye
‘move in and around the smooth planes
of the sculpture without interruption?

.
. What You Learn
(© Cta rola pin. dowel ery spoon
Using your imagination, you will ere-

© Trmabie ate a nonobjectve, free-form sculpture
© Assorted oy tote in clay, You will use the subtractive

Soto method of carving to demonstrate the
. elective use of media and tools in sculp-
© Wiereior ture, Your work should have smooth

planes with well-defined edges, The goal
{sto create visual flow, as in Figure 5.35.
Decorate some small areas of emphasis

your work by carving smal forms or
creating textures, The completed sculp-
ture must be freestanding and pleasing
{rom all angles.

«aa »

12 | CHAPTERS Shape, For, and space

Creating

I you have not worked in clay
before, take time 10 explore the proper-
ties of the medium. Clay must be
vwedged—or thumped on a surface—

before use, Doing this removes any air
bubbles. Keep the clay moist by cover:
ing it witha slightly damp cloth. Seal it
in a plastic bag when not in use.

Wedge se

pounds of clay

Bea and shape the day
2 tworinch dowel ora large heavy
Spon, Keep te form vera ater
than horizontal so you will have a
Standing sculpture

ac the resulting frm on

tube, Study it rom all directions.

Let the existing frm of the clay guide

you. Look fr inear edges ha ow

Trough he form. Avoid looking fora
nahe objet

Weight

Stop a LE
visualize, using large wire sculpture
tools. Use smaller clay tools o refine the

n tocarve the form you

planes, Carve contrasting small areas of
emphasis. One possiblity 10 consider is
adding texture witha fork

15 an outer shell no more t
an inch thick. If possible, hollow the

wot

sculpture from the bottom, Otherwise,
carefully cut open the sculpture with a
thin wire and remove the inside lay

METE tow tne sculpture o dry at

room temperature until bone dry
your work in a kiln

Using a soft cloth, apply
stain by using a watercolor. Beg
applying stain with a very ight layer
land end with a darker layer.

Evaluating Your Work

> DESCRIBE Did you use the media and tools
‘effectively? Did you use only the subtractive
method of sculpting? Did you hollow out the
‘enter so that your work dried properly?
Describe the process you used to apply the
finish. Is your sculpture vertical and
freestanding?

> ANALYZE Did you create smooth planes
th well-defined edges to develop a visual
flow? Compare and contrast your own use of
negative and positive space. Is your finished
work nonobjective? Compare and contrast
the areas of emphasis you carved or textures
you created

> INTERPRET What does your work
express? Interpret your artistic decisions,
Give your sculpture a ttle that reflects its
form and mood.

> JUDGE Do you think this work is success-
ful? Use one or more ofthe three aesthet
theories explained in Chapter 2.

A Fount 5354

Ba contents ]

À Fico 5.6

© Charo colored pacts gay tone and Ba,
or sk (48) and meu (8) penis

Tensor amp or other strong ght source
Camera with blccandmbie fm
Stexhbook and penal

We deawing paper

Ser paper

pagare rw

Rembrandt van Rijn is one of the
best-known artists ofall times and is
considered the greatest Dutch artist of
the 1600s, He completed numerous por:
rats, including more than 100 self
portraits, in addition to landscapes and
religious an. Rembrandt often used
chiaroscuro for dramatic elfect. The
technique creates a high level of con
trast between the subject and back
Jure 5.36,
A almost appears as though the subject
were illuminated by a spotlight, Notice

ground, Sometimes, a in Fi

how the light emphasizes the connec
tion between the human figure—the
philosopher Aristnle—and the bust of
Homer, a great storyteller of the ancient
world. Study Aristotle’ face and body
language, What do they ell you about
his felings toward his great author?

You will create a black-and-white
drawing, using direct observation and a
choice of drawing media: charcoal, gray
10 black colored pencils, or 4B and 28
graphite pencils. In your artwork, you
will use chiaroscuro to create a sense of
dramatic contras and to emphasize
some aspect of the subject.

BG contents »

124 | GHAPTERS Shape, Foo

‘and space

Creating

‘Work in pairs in a darkened room,
such asa dose, with a strong light
source. Partners will take turns tole
playing “model” and “artis.” The model
{sto pose fora portrait, The anit should
experiment with angling the light
source on the subject to create dramatic
contrast The artist should take several
black-and-white photographs. The artist
and model should then switch roles

BESTEN sec: one photo that iter

sis You most, and in your sketchbook,
create a study for the work. A study isa
preparatory sketch or painting. Your
study can be either a contour or gesture
drawing (see page 428), Make sure tha
you indicate areas of light and dark.

‘Transfer your study onto a
sheet of drawing paper. Do not worry if
you are unable to capture your subjects
exact likeness, Your hie goals 10
make a dramatic statement through
contrast, Decide which aspect ofthe
Subjectyou will emphasize through
tse of ight and dark

Apply shading techniques,

using pressure, the edge of your
medium, or both. (For more on shading

elfecs, see page 429.) Start with the
darkest areas and work toward the

lightest areas. As you complete areas of
the work, cover these with clean crap.
paper to prevent smudging,

As you work, stop period

cally o assess your progress, Check 10
see that there is interplay between light
and shadow, as in Figure 5.36

ME ose an art zum eraser io

remove any stray marks or smu
‘Mount your finished artwork. Give it
title that best describes the mood of
the work.

Evaluating Your Work

DESCRIBE What isthe subject of your
drawing? What drawing medium did you
‘use? What shading techniques did you

oy 10 create the light and dark areas in
your drawing?

ANALYZE Explain how you have used
chiaroscuro in this particular drawing. Com-
pare and contrast your use of light and dark
values. Are there places where light gradually
blends into darkness? Did you use the princi-
ple of emphasis?

INTERPRET Can the viewer identify the
mood that you have captured without glancı
ing tthe tile? Does your work’ tile express
the mood you feel the drawing conveys?

JUDGE Do you consider your drawing
successful? Evaluate your artistic decisions.
Which aesthetic theory would you use 10
judge your artwork?

A Faune 5368

(es >

DIO Digital Genre

PROJECT
ray Scene

Historical and Cultural
Context

The painting in Figure 5.37 by
twentieth-century Mexican artist
Antonio Ruiz. You don't need to look
athe title ofthe work to know thar iti
a depiction ofa bieyele race. What is

€ about Ruiz’ painting is the per
€ of the event he shows us, We,
the viewers, stand directly in the path
(of the leading cyeliss as they bear down
on the finish line!
Notice that Ruiz creates the ilusion of
cep space by using all six perspective
‘niques: overlapping of objects, sb
placement, detail, color, and converging
lines. Note also that, despite the crowds

Aramısar people in the painting, Rz ls his
placing mos ofthe people at he sides of
the rosa,

SUPPLIES

© Drac orsamer What You Will Learn
© camper this projec you wll create adi

tal genre scene that creates th

Imge-cdtungor pie program
of deep space. A genre seme is an artwork
+ prin paper depicting an event from everyday life—
© Siechtook and pen this case, from your own. Asin
cin aig ca eh Lure 5.37, you will use as many of 1

erspective es as you can.
Using a digital or traditional camera,
you will capture an ordinary, everyday
scene or event. Then you will import or
scan the images into editing or
paint application to experiment with
perspective techniques.

«aa »

126 | CHAPTERS Shape, For, and space

creating] A
Think fora moment about everyday
experiences o places tha have a spedal
meaning for you. List them, Make notes

and sketches in yur sketchbook. Plan
how you will draw from your expe
ences to create the sual solutions for
your scene, Wil there be one or more
People in your scene? WI you place
yourefin the scene? Apply perspective
techniques to help you cre

of depth. Pace large, more vividly
Colored and detailed shapes inthe fore:
ground. Overlap some abject. Make the
Scene unique. Consider photographing
the genre scene from a unique angle 10
{ake advantage of converging lines

BETTEN Lis every person or object

you will need to stage your scene
When everything is set up, take several
images of your subject in its space from
diferent angles.

Download your digital
Images or scan your photos into the
computer, and select your best compos
tion, Get opinions from your dassmates
and teacher 0 help you select your

strongest image.

e your best image, Be
e format compatible
€ image-editing program you
1d resolution to match the
printers output

Using the tools available in
oor imape-edking program, begin wo
Paint, layer dior change hing

Andlor ad text to your image. Exper

Study the final choice care
fully, and make changes to your digital
image, i necessary. When saisted save

and print your work

Evaluating Your Work

DESCRIBE What experience did you draw
from for your genre scene? Do people appear
in the setting? Did you add extra objects?
What were they? What kind of à camera did
you use? How did you download the image
into the computer? What software tools did
you use to modify your digital image?

ANALYZE Did you achieve the illusion
‘of deep space in your image? Compare and
‘contrast the perspective techniques you used
10 create deep space,

INTERPRET Were you successful in
‘expressing your feelings about the place or
‘event? Give the image atte that sums up
the feelings or mood you were trying to
express

JUDGE Were you successful in staging your
genre scene to achieve the illusion of depth?
Use one or more ofthe three aesthetic theo
ries to justify your judgment ofthis work

A Frcune $378

«Ga »

DIGITAL STUDIO PROJECT Digital Genre eme 127

STUDENT
ART Shape, Form,

PORTFOLIO
and Space

The elements of shape, form, and space are closely
related. Each is defined by the others. A square stretched
to a third dimension becomes a cube. A pyramid squashed
flat becomes a triangle. The area around and between these
shapes and forms is space. As you examine the student
works on this page:

© Compare and contrast the elements of shape, form, and space.

(© Analyze the use of these formal quals in areworks forming
precise conclusions about ther relationships to one another

Activity 5.38 Geometrie form. What Activity 5.39 Positive and negative
[somete form ts ured to crete the hat in Space. Compare the aras us of poste
fh portrait deny soci art techniques and negativo space. Which objects in the
that ware used to ge depth to this and work are gre and which are ground!
other forms, Wat mood à suggested by de traction

between the poste and negative space!

A Fun 530

<em>

128 | CHAPTERS Shape, Form, and space

Activity 5.40 Identifing shape.
What he shape of is ar objec?
Is he shape geometric or freeform?

ART a Rxormerenercarovors
vis the Glencoe Student Are
Online Gatery ac art.glencoe.com

Visual Art

Your Portfolio

Select and Analyze Portfolios. As you begin o build
your portfolio of artworks,i can be useful to evaluate
‘the work of your peers and others. Work with your
teacher to comple a collection of porddlios Selec and
analyze these portíols by peers and other artists to
form precise conclusions about formal qualities (che
elements and principles of at), historical and cultural
contexts, intents, and meanings. tore your evaluations
in your porto.

Shapes and forms are
‘everywhere. They make
up the environment. As
you walk or ride through
your community. keep an
‘eye open for shapes and
forms, Notice te space
around them and how
forms extend into thre
dimensional space. Draw.
and label these shapes,
forms, and spaces in your

coments YA
SER A

Art Criticism
in Action

ARTIST

Deborah Butterfield
(b. 1949)

EN

Critiquing the Artwork

D1 DESCRIBE What do you see?
List al the information found in the credit line.
© When was this work completed? Whois the ars?

© What object is depicted in this sculpture?

© What is unusual about the medium listed in the

> 2 ANALYZE How is this work organized?

‘This isa clue-collecting step about the elements.
of art,

© Is the work 1wo- oF three-dimensional? Geometric
or free-form?

© Is this form open or closed? Active or static?

© Compare and contrast the use of form and space in
this sculpture.

D3 INTERPRET What message does this sculpture

communicate 10 you? Deborah Butereld was born
‘Combine the clues you have collected to form a in San Diego. She developed a
Creative Interpretation of ha work. tora for horses ta ary age
© How do you think it would fee to walk around this ing these animals are the
sculpture? Would the horse appear the same from Subject of most of her scuptures.
very viewpoint? Explain She as acute horses in near
5 ss ery medion bando These
cas bromas, Form conclusion about er ine range rom found mater co
Why did't she simply use wood in the fist place? meso wood nthe 1980
© What feeling about horses does the work communicate her medium of choice became
to you? Why? bron. The seupture in Figure
SAT, creed during this period,
D 4 JUDGE What do you think of the work? ‘began as sticks, tree branches, and
acido i this a successal work of ar. tari Each pice was cas ep
© Do you think the artist constructed Woodrow with ‘rately In bronze and then welded.

appropriate materials? Why?
© Do you think this a successful work of ar? Why
or why not? Use one or more of the aesthetic theories
vou have learned to defend your decision.

«aa >

a Cri in Aion | 131

ARCHITECTURAL FORMS

‘ke all architects, Frank Gehry deals with shape,
form, and space when he designs buildings. But
instead of creating buildings with pure box-like forms,

Sels buildings curve, swoop, and il
Frank Gehry was bom in 1929 in Toronto, Canada.
ABOVE Te peca ee Prog net. Mn 1947, head his aly moved 10 Los Angeles
shops À Gay buldegin Page. where he studied architecture. Gehry liked
Cech Rape tare two ower st emi ome Where he studied arch Geta ea Il
e ner Fred Ate and Ginger Reg Contemporary, nontraditional building styles he saw
there, He was also introduced to the shapes and forms

of sculpture. These sculptural forms influenced his
sign. An office complex he designed
sch Republic has two towers that
lean into one another, To some people,
th 10 be dancing together. Gehrys

Guggenheim Museum in Bilbao, Span,
li csembles spaceship that has Landed in an

town Figure 14.1, page 38)
of Gehry’ best-known works isthe
M Experience Must Projet In Seale
Il Washington. The Ines of his rock-and-roll
museum tv and cuve o lok Mie pons of
Jan smashed guar The walls are made of
Li thousands of titanium and saines steel pants
M each panel cuina dilre shape. Gey
used special designed computer software help
i) fi the pieces together. Like most of Gehry work,
this bling dis!

TIME to Connect

When Frank Gehry was a boy, he made models of
buildings from scraps of wood. Architects male small
model of buildings based on drawings: Models give them
an idea of how the project will lok when tis ished.
‘The models are made o scale For example,in a model,
an inch may represent 10 feet ofthe actual building size.
* Design a evo story office building. Sketch the
front view
* Draw the front to scale on graph paper: Each box on
the graph paper should represent a certain number
ofen.

Art Talk textbook488pgs.pdf

About This Presentation

Slide Content

Tags

Categories

Download

Quick Actions

Statistics

Related Slideshows

Art Talk textbook488pgs.pdf

About This Presentation

Slide Content

Slide 1

Slide 2

Slide 3

Slide 4

Slide 5

Slide 6

Slide 7

Slide 8

Slide 9

Slide 10

Slide 11

Slide 12

Slide 13

Slide 14

Slide 15

Slide 16

Slide 17

Slide 18

Slide 19

Slide 20

Slide 21

Slide 22

Slide 23

Slide 24

Slide 25

Slide 26

Slide 27

Slide 28

Slide 29

Slide 30

Slide 31

Slide 32

Slide 33

Slide 34

Slide 35

Slide 36

Slide 37

Slide 38

Slide 39

Slide 40

Slide 41

Slide 42

Slide 43

Slide 44

Slide 45

Slide 46

Slide 47

Slide 48

Slide 49

Slide 50

Slide 51

Slide 52

Slide 53

Slide 54

Slide 55

Slide 56

Slide 58

Slide 59

Slide 60

Slide 61

Slide 62

Slide 63

Slide 64

Slide 65

Slide 66

Slide 67

Slide 68

Slide 69

Slide 70

Slide 71

Slide 72

Slide 73

Slide 74

Slide 75

Slide 76

Slide 77

Slide 78