SlideShare uma empresa Scribd logo
1 de 80
Learning to Look: Art in the 2nd Dimension,[object Object],Reading:,[object Object],Artforms, 19-77,[object Object],Terms/Concepts:,[object Object],Formal Analysis, Form, Content, Representative, Non-Representative, Elements of Design, Principles of Design, Picture Plane, Picture Frame, Contrast, Spectrum, Color Wheel, Primary Color, Secondary Color, Tertiary Color, Analogous, Complement, Split Complement, Triads, Tetrads, Tint, Shade, Tone, Saturation, Warm, Cool, ,[object Object],Terms/Concepts:,[object Object],Composition, Shape, Line, Mass, Texture, Color, Emphasis/Subordination, Symmetrical Balance, Asymmetrical Balance, Axis, Repetition/Rhythm, Scale/Proportion, Unity/Variety, Geometric, Organic, Linear Perspective, Atmospheric Perspective, Implied Line, Contour Line, Sight Line, Light Source, Value, Achromatic, Chiaroscuro, Visual Weight, ,[object Object]
Form,[object Object],Content,[object Object],Leonardo da Vinci, The Last Supper, 1495-1498,[object Object]
Form,[object Object],Content,[object Object],Form is the totality of the physical and visual aspects of a work of art.,[object Object]
Form,[object Object],Content,[object Object],Content is the meaning of a work of art.,[object Object]
A Short Guide to,[object Object],Formal Analysis,[object Object]
What is Formal Analysis?,[object Object],Formal Analysis,[object Object],=,[object Object],Description,[object Object],+,[object Object],Analysis,[object Object],A description relates what you see.,[object Object],An analysis gives meaning or insight to that description.,[object Object]
Physical Properties,[object Object],Dimensions: 14’5” x 28’¼”,[object Object]
Physical Properties,[object Object],Medium: Experimental Fresco Technique,[object Object]
Physical Properties,[object Object],Location: Refectory, Santa Maria della Grazie, Milan, Italy,[object Object]
Representational vs. Non-Representational,[object Object],Helen Frankenthaler, Nature Abhors a Vacuum, 1973,[object Object],William Michael Harnett, After the Hunt, 1883.,[object Object]
Composition,[object Object],Line,[object Object],Shape,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object],Space,[object Object],Texture,[object Object],Elements of Design,[object Object]
Balance,[object Object],Unity/Variety,[object Object],Scale/Proportion,[object Object],Repetition/Rhythm,[object Object],Emphasis/Subordination,[object Object],Principles of Design,[object Object]
What are we looking at?,[object Object],Picture Frame,[object Object]
What are we looking at?,[object Object],Picture Plane,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],Geometric,[object Object],Organic,[object Object],an element of art that creates an enclosed space.,[object Object]
Geometric,[object Object],Organic,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],linear perspective,[object Object],Atmospheric Perspective,[object Object],overlapping,[object Object],the area—implied or actual—in or around shapes.,[object Object]
Linear Perspective,[object Object],One-Point Perspective,[object Object],Vanishing Point,[object Object],Horizon Line,[object Object],Vanishing ,[object Object],Point no. 2,[object Object],Vanishing ,[object Object],Point no. 1,[object Object],Horizon Line,[object Object],Two-Point Perspective,[object Object]
Atmospheric Perspective,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],=,[object Object],+,[object Object],horizontal axis,[object Object],how shapes are arranged in space.,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],=,[object Object],+,[object Object],Symmetrical Balance,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],=,[object Object],+,[object Object],Asymmetrical Balance,[object Object]
Composition,[object Object],Shape,[object Object],Space,[object Object],=,[object Object],+,[object Object],focal point,[object Object]
Useful Questions,[object Object],Is the image representational or non-representational?,[object Object],Where does your eye travel first when you look at the painting?  Is there a focal point?  How is that focal point indicated?,[object Object],How is the space used?  Is there a lot “empty space”? ,[object Object],What types of shapes do you see?  How are those shapes interacting?,[object Object],Is the composition balanced?  If so, how is it balanced? Symmetrically?  Asymmetrically?,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object],a continuous mark between two points.,[object Object]
Line,[object Object],Texture,[object Object],Mass,[object Object],Color,[object Object],Light,[object Object],contour line,[object Object],Contour Line,[object Object],a line that defines the outermost limits of a shape.,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object],Implied Line,[object Object],a line that does not actually exist but rather is implied by the edges of shapes, gazes, gestures, broken lines, etc.   ,[object Object]
Qualities of Line,[object Object]
Qualities of Line,[object Object]
Useful Questions,[object Object],Is line an important aspect of this composition?,[object Object],Are the lines contour or implied?,[object Object],Where do the lines in the composition direct your eyes?,[object Object],What is the quality of the lines used?  Are they thick?  Thin?  Broken? Straight? Jagged?,[object Object],What “mood” or “feeling” do the lines create?  Do they create a mood?,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object]
Line,[object Object],Texture,[object Object],Light,[object Object],Mass,[object Object],Color,[object Object]
Mass,[object Object],Color,[object Object],Line,[object Object],Texture,[object Object],Light,[object Object],the effect of light falling on an on the shapes represented in the painting.,[object Object]
How Vision Works,[object Object]
Value,[object Object]
Chiaroscuro ,[object Object]
Effects of Light,[object Object]
Effects of Light,[object Object]
Effects of Light,[object Object]
Useful Questions,[object Object],Does the image have a light source?  If so is the light source on the picture plane or beyond the picture frame?,[object Object],Is the light source conventional (i.e. a lamp, the sun, etc.)?,[object Object],Is the quality of the light direct or indirect?  Is the light harsh or soft?  Is there a high contrast between light and dark?,[object Object],Could the light have some kind of symbolic component?,[object Object],What is the overall impact of the light in this composition?,[object Object]
Mass,[object Object],Color,[object Object],Line,[object Object],Texture,[object Object],Light,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object],the illusion of 3-dimensional or physical weight on a 2-demensional surface.,[object Object]
Learning to look 2 d
Learning to look 2 d
Visual Weight,[object Object]
Useful Questions,[object Object],Do the shapes in this composition appear to have a three-dimensional quality?,[object Object],Do some shapes appear to be “heavier” than others?,[object Object],Do areas of the painting attract your attention more than others?,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object],The property possessed by an object of producing different sensations on the eye as a result of the way the object reflects or emits light,[object Object]
How Color Works,[object Object],Hue,[object Object]
How Color Works,[object Object]
How Color Works,[object Object]
How Color Works,[object Object]
Primary,[object Object]
Secondary,[object Object]
Tertiary,[object Object]
Color Schemes: Complement,[object Object]
Color Schemes: Split Complement,[object Object]
Color Schemes: Primary Triad,[object Object]
Color Schemes: Secondary Triad,[object Object]
Color Schemes: Tetrads,[object Object]
Color Schemes: Analogous,[object Object]
Color Schemes: Monochromatic,[object Object]
Talking about Color: Warm vs. Cool,[object Object],Warm,[object Object],Cool,[object Object]
Talking about Color: Neutrals,[object Object]
Talking about Color: Value,[object Object]
Talking about Color: Saturation,[object Object]
Talking about Color: Hues, Tints, Shades and Tones,[object Object],Hue,[object Object]
Useful Questions,[object Object],What colors do you see in this image?,[object Object],Do these colors appear to fit it into a specific color scheme?,[object Object],Are the colors light or dark?  Dull or bright? Warm or cool? ,[object Object],Does the placement of color group any figures together? Does it draw your attention to any place on the picture plane?,[object Object],What mood do the colors seem to promote?  Does this contradict or echo the mood promoted by other elements?,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object],Actual Texture,[object Object],Simulated Texture,[object Object],the presence of surface—either actual or simulated. ,[object Object]
Useful Adjectives,[object Object],Does the medium of this work create a distinctive, tactility?  Is their actual texture?,[object Object],Is there an effort to create the illusion of texture?  ,[object Object],What textures to you see?  Are the rough? Smooth? Wet? Dry? Soft? Hard? Hot? Cold? Strong?  Fragile?,[object Object],How does texture interact with the other elements in this composition?,[object Object],What is the overall impact of texture in this image?,[object Object]
Mass,[object Object],Line,[object Object],Texture,[object Object],Color,[object Object],Light,[object Object]
Final Observations,[object Object],Leonardo da Vinci, The Last Supper, 1495-1498,[object Object]
Fun with the Elements,[object Object]
In the Flower Garage, at the corner of Delgany and 14th Streets, across from MCA Denver,[object Object],MOVEMENTS: CAM @ MCA Denver,[object Object],6:00 – 8:00 PM on Tuesday, August 30,[object Object],5¢ for students and artists. 10¢ for everyone else.,[object Object]

Mais conteúdo relacionado

Mais procurados

Mais procurados (20)

Elementsprinciplesofartdesign
ElementsprinciplesofartdesignElementsprinciplesofartdesign
Elementsprinciplesofartdesign
 
Understanding Abstract Art
Understanding Abstract ArtUnderstanding Abstract Art
Understanding Abstract Art
 
Interior design
Interior designInterior design
Interior design
 
Visual elements
Visual elementsVisual elements
Visual elements
 
Elements of Art: Foundations
Elements of Art: FoundationsElements of Art: Foundations
Elements of Art: Foundations
 
Arts pre lesson 1
Arts pre lesson 1Arts pre lesson 1
Arts pre lesson 1
 
The Elements Of Art
The  Elements Of  ArtThe  Elements Of  Art
The Elements Of Art
 
The Elements of Art
The Elements of ArtThe Elements of Art
The Elements of Art
 
Elements Of Art
Elements Of ArtElements Of Art
Elements Of Art
 
Visual Arts Curriculum
Visual Arts CurriculumVisual Arts Curriculum
Visual Arts Curriculum
 
ART ELEMENTS
 ART ELEMENTS ART ELEMENTS
ART ELEMENTS
 
The Elements of Art
The Elements of ArtThe Elements of Art
The Elements of Art
 
Elements of arts
Elements of artsElements of arts
Elements of arts
 
Elements of Design
Elements of DesignElements of Design
Elements of Design
 
Elements of design
Elements of designElements of design
Elements of design
 
Elements and principles of art
Elements and principles of artElements and principles of art
Elements and principles of art
 
Arodelementsofart 101009211334-phpapp01
Arodelementsofart 101009211334-phpapp01Arodelementsofart 101009211334-phpapp01
Arodelementsofart 101009211334-phpapp01
 
Technical aspects
Technical aspectsTechnical aspects
Technical aspects
 
Elements Packet Presentation
Elements Packet PresentationElements Packet Presentation
Elements Packet Presentation
 
Elements & principles
Elements & principles Elements & principles
Elements & principles
 

Semelhante a Learning to look 2 d

Formal analysis tutorial 2 d
Formal analysis tutorial 2 dFormal analysis tutorial 2 d
Formal analysis tutorial 2 dnichsara
 
Elements of design power point
Elements of design power pointElements of design power point
Elements of design power pointKristin Beeler
 
1) Perform a detailed formal analysis of a single work of art .docx
1) Perform a detailed formal analysis of a single work of art .docx1) Perform a detailed formal analysis of a single work of art .docx
1) Perform a detailed formal analysis of a single work of art .docxcroftsshanon
 
Humanities1 100926034344-phpapp02
Humanities1 100926034344-phpapp02Humanities1 100926034344-phpapp02
Humanities1 100926034344-phpapp02ryzelmeadacz
 
The Visual Elements
The Visual ElementsThe Visual Elements
The Visual ElementsGary Freeman
 
Elements Of Design Powerpoint 2006
Elements Of Design Powerpoint  2006Elements Of Design Powerpoint  2006
Elements Of Design Powerpoint 2006tonye
 
Elements of Art and Principles of Design
Elements of Art and Principles of DesignElements of Art and Principles of Design
Elements of Art and Principles of Designdamaba78
 
Elements of design (1)
Elements of design (1)Elements of design (1)
Elements of design (1)mille12s
 
art 6 2--elements of art, description and examples.pptx
art 6 2--elements of art, description and examples.pptxart 6 2--elements of art, description and examples.pptx
art 6 2--elements of art, description and examples.pptxERWINSALITA
 
Design principles and elements
Design principles and elementsDesign principles and elements
Design principles and elementsSimphiwe Dumengane
 
Art Appreciation, Elements & Organization.pptx
Art Appreciation, Elements & Organization.pptxArt Appreciation, Elements & Organization.pptx
Art Appreciation, Elements & Organization.pptxJIAOAlphaVyletA
 
Elements of art
Elements of artElements of art
Elements of artwalleriusz
 
colors, composition, images
colors, composition, imagescolors, composition, images
colors, composition, imagesindyrra
 
color, composition, images
color, composition, imagescolor, composition, images
color, composition, imagesindyrra
 
The principles and elements of art
The principles and elements of artThe principles and elements of art
The principles and elements of artAmber Crosby Boerma
 
UNIT 1 - Elements of visual language (Book unit 4)
UNIT 1 - Elements of visual language (Book unit 4)UNIT 1 - Elements of visual language (Book unit 4)
UNIT 1 - Elements of visual language (Book unit 4)Tania Rico
 
Elements & Principles of Design
Elements & Principles of DesignElements & Principles of Design
Elements & Principles of DesignZ M
 

Semelhante a Learning to look 2 d (20)

Formal analysis tutorial 2 d
Formal analysis tutorial 2 dFormal analysis tutorial 2 d
Formal analysis tutorial 2 d
 
Elements
ElementsElements
Elements
 
Elements of design power point
Elements of design power pointElements of design power point
Elements of design power point
 
1) Perform a detailed formal analysis of a single work of art .docx
1) Perform a detailed formal analysis of a single work of art .docx1) Perform a detailed formal analysis of a single work of art .docx
1) Perform a detailed formal analysis of a single work of art .docx
 
Humanities 1
Humanities 1Humanities 1
Humanities 1
 
Humanities1 100926034344-phpapp02
Humanities1 100926034344-phpapp02Humanities1 100926034344-phpapp02
Humanities1 100926034344-phpapp02
 
The Visual Elements
The Visual ElementsThe Visual Elements
The Visual Elements
 
Elements Of Design Powerpoint 2006
Elements Of Design Powerpoint  2006Elements Of Design Powerpoint  2006
Elements Of Design Powerpoint 2006
 
Elements of Art and Principles of Design
Elements of Art and Principles of DesignElements of Art and Principles of Design
Elements of Art and Principles of Design
 
Elements of design (1)
Elements of design (1)Elements of design (1)
Elements of design (1)
 
art 6 2--elements of art, description and examples.pptx
art 6 2--elements of art, description and examples.pptxart 6 2--elements of art, description and examples.pptx
art 6 2--elements of art, description and examples.pptx
 
Design principles and elements
Design principles and elementsDesign principles and elements
Design principles and elements
 
Art Appreciation, Elements & Organization.pptx
Art Appreciation, Elements & Organization.pptxArt Appreciation, Elements & Organization.pptx
Art Appreciation, Elements & Organization.pptx
 
Elements principles
Elements principlesElements principles
Elements principles
 
Elements of art
Elements of artElements of art
Elements of art
 
colors, composition, images
colors, composition, imagescolors, composition, images
colors, composition, images
 
color, composition, images
color, composition, imagescolor, composition, images
color, composition, images
 
The principles and elements of art
The principles and elements of artThe principles and elements of art
The principles and elements of art
 
UNIT 1 - Elements of visual language (Book unit 4)
UNIT 1 - Elements of visual language (Book unit 4)UNIT 1 - Elements of visual language (Book unit 4)
UNIT 1 - Elements of visual language (Book unit 4)
 
Elements & Principles of Design
Elements & Principles of DesignElements & Principles of Design
Elements & Principles of Design
 

Mais de nichsara

Art as a Commodity Headlines
Art as a Commodity HeadlinesArt as a Commodity Headlines
Art as a Commodity Headlinesnichsara
 
AWC Activities
AWC ActivitiesAWC Activities
AWC Activitiesnichsara
 
Abstract Artist in Popular Magazines
Abstract Artist in Popular MagazinesAbstract Artist in Popular Magazines
Abstract Artist in Popular Magazinesnichsara
 
Postwar Britain
Postwar BritainPostwar Britain
Postwar Britainnichsara
 
Crossing the Divide
Crossing the DivideCrossing the Divide
Crossing the Dividenichsara
 
Lee Miller
Lee MillerLee Miller
Lee Millernichsara
 
Ghosts of War by Jo Teeuwisse
Ghosts of War by Jo TeeuwisseGhosts of War by Jo Teeuwisse
Ghosts of War by Jo Teeuwissenichsara
 
Salon Entries
Salon EntriesSalon Entries
Salon Entriesnichsara
 
World War I trauma
World War I traumaWorld War I trauma
World War I traumanichsara
 
18th-Century Pamphlets
18th-Century Pamphlets18th-Century Pamphlets
18th-Century Pamphletsnichsara
 
Modernism 1
Modernism 1Modernism 1
Modernism 1nichsara
 
Modernism 2
Modernism 2Modernism 2
Modernism 2nichsara
 
Monasticism
MonasticismMonasticism
Monasticismnichsara
 
Art as concept
Art as conceptArt as concept
Art as conceptnichsara
 
Pilgrimage and crusades
Pilgrimage and crusadesPilgrimage and crusades
Pilgrimage and crusadesnichsara
 
Carolingian and ottonian art upload
Carolingian and ottonian art uploadCarolingian and ottonian art upload
Carolingian and ottonian art uploadnichsara
 
Early medieval art upload
Early medieval art uploadEarly medieval art upload
Early medieval art uploadnichsara
 
The real and the ideal upload
The real and the ideal uploadThe real and the ideal upload
The real and the ideal uploadnichsara
 
Abstraction upload
Abstraction uploadAbstraction upload
Abstraction uploadnichsara
 
Barbarian art upload
Barbarian art uploadBarbarian art upload
Barbarian art uploadnichsara
 

Mais de nichsara (20)

Art as a Commodity Headlines
Art as a Commodity HeadlinesArt as a Commodity Headlines
Art as a Commodity Headlines
 
AWC Activities
AWC ActivitiesAWC Activities
AWC Activities
 
Abstract Artist in Popular Magazines
Abstract Artist in Popular MagazinesAbstract Artist in Popular Magazines
Abstract Artist in Popular Magazines
 
Postwar Britain
Postwar BritainPostwar Britain
Postwar Britain
 
Crossing the Divide
Crossing the DivideCrossing the Divide
Crossing the Divide
 
Lee Miller
Lee MillerLee Miller
Lee Miller
 
Ghosts of War by Jo Teeuwisse
Ghosts of War by Jo TeeuwisseGhosts of War by Jo Teeuwisse
Ghosts of War by Jo Teeuwisse
 
Salon Entries
Salon EntriesSalon Entries
Salon Entries
 
World War I trauma
World War I traumaWorld War I trauma
World War I trauma
 
18th-Century Pamphlets
18th-Century Pamphlets18th-Century Pamphlets
18th-Century Pamphlets
 
Modernism 1
Modernism 1Modernism 1
Modernism 1
 
Modernism 2
Modernism 2Modernism 2
Modernism 2
 
Monasticism
MonasticismMonasticism
Monasticism
 
Art as concept
Art as conceptArt as concept
Art as concept
 
Pilgrimage and crusades
Pilgrimage and crusadesPilgrimage and crusades
Pilgrimage and crusades
 
Carolingian and ottonian art upload
Carolingian and ottonian art uploadCarolingian and ottonian art upload
Carolingian and ottonian art upload
 
Early medieval art upload
Early medieval art uploadEarly medieval art upload
Early medieval art upload
 
The real and the ideal upload
The real and the ideal uploadThe real and the ideal upload
The real and the ideal upload
 
Abstraction upload
Abstraction uploadAbstraction upload
Abstraction upload
 
Barbarian art upload
Barbarian art uploadBarbarian art upload
Barbarian art upload
 

Último

AUDIENCE THEORY -- FANDOM -- JENKINS.pptx
AUDIENCE THEORY -- FANDOM -- JENKINS.pptxAUDIENCE THEORY -- FANDOM -- JENKINS.pptx
AUDIENCE THEORY -- FANDOM -- JENKINS.pptxiammrhaywood
 
How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17Celine George
 
How to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesHow to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesCeline George
 
How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17Celine George
 
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRA
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRADUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRA
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRATanmoy Mishra
 
UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17Celine George
 
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptxSandy Millin
 
Quality Assurance_GOOD LABORATORY PRACTICE
Quality Assurance_GOOD LABORATORY PRACTICEQuality Assurance_GOOD LABORATORY PRACTICE
Quality Assurance_GOOD LABORATORY PRACTICESayali Powar
 
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfP4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfYu Kanazawa / Osaka University
 
M-2- General Reactions of amino acids.pptx
M-2- General Reactions of amino acids.pptxM-2- General Reactions of amino acids.pptx
M-2- General Reactions of amino acids.pptxDr. Santhosh Kumar. N
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxDr. Asif Anas
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17Celine George
 
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...Nguyen Thanh Tu Collection
 
How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17Celine George
 
The Singapore Teaching Practice document
The Singapore Teaching Practice documentThe Singapore Teaching Practice document
The Singapore Teaching Practice documentXsasf Sfdfasd
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and stepobaje godwin sunday
 
3.21.24 The Origins of Black Power.pptx
3.21.24  The Origins of Black Power.pptx3.21.24  The Origins of Black Power.pptx
3.21.24 The Origins of Black Power.pptxmary850239
 
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptx
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptxPractical Research 1: Lesson 8 Writing the Thesis Statement.pptx
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptxKatherine Villaluna
 

Último (20)

AUDIENCE THEORY -- FANDOM -- JENKINS.pptx
AUDIENCE THEORY -- FANDOM -- JENKINS.pptxAUDIENCE THEORY -- FANDOM -- JENKINS.pptx
AUDIENCE THEORY -- FANDOM -- JENKINS.pptx
 
Prelims of Kant get Marx 2.0: a general politics quiz
Prelims of Kant get Marx 2.0: a general politics quizPrelims of Kant get Marx 2.0: a general politics quiz
Prelims of Kant get Marx 2.0: a general politics quiz
 
How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17
 
How to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 SalesHow to Manage Cross-Selling in Odoo 17 Sales
How to Manage Cross-Selling in Odoo 17 Sales
 
How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17How to Make a Field read-only in Odoo 17
How to Make a Field read-only in Odoo 17
 
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRA
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRADUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRA
DUST OF SNOW_BY ROBERT FROST_EDITED BY_ TANMOY MISHRA
 
UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024UKCGE Parental Leave Discussion March 2024
UKCGE Parental Leave Discussion March 2024
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17
 
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
 
Quality Assurance_GOOD LABORATORY PRACTICE
Quality Assurance_GOOD LABORATORY PRACTICEQuality Assurance_GOOD LABORATORY PRACTICE
Quality Assurance_GOOD LABORATORY PRACTICE
 
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdfP4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
P4C x ELT = P4ELT: Its Theoretical Background (Kanazawa, 2024 March).pdf
 
M-2- General Reactions of amino acids.pptx
M-2- General Reactions of amino acids.pptxM-2- General Reactions of amino acids.pptx
M-2- General Reactions of amino acids.pptx
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptx
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17
 
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...
CHUYÊN ĐỀ DẠY THÊM TIẾNG ANH LỚP 11 - GLOBAL SUCCESS - NĂM HỌC 2023-2024 - HK...
 
How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17How to Add a many2many Relational Field in Odoo 17
How to Add a many2many Relational Field in Odoo 17
 
The Singapore Teaching Practice document
The Singapore Teaching Practice documentThe Singapore Teaching Practice document
The Singapore Teaching Practice document
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and step
 
3.21.24 The Origins of Black Power.pptx
3.21.24  The Origins of Black Power.pptx3.21.24  The Origins of Black Power.pptx
3.21.24 The Origins of Black Power.pptx
 
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptx
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptxPractical Research 1: Lesson 8 Writing the Thesis Statement.pptx
Practical Research 1: Lesson 8 Writing the Thesis Statement.pptx
 

Learning to look 2 d

  • 1.
  • 2.
  • 3.
  • 4.
  • 5.
  • 6.
  • 7.
  • 8.
  • 9.
  • 10.
  • 11.
  • 12.
  • 13.
  • 14.
  • 15.
  • 16.
  • 17.
  • 18.
  • 19.
  • 20.
  • 21.
  • 22.
  • 23.
  • 24.
  • 25.
  • 26.
  • 27.
  • 28.
  • 29.
  • 30.
  • 31.
  • 32.
  • 33.
  • 34.
  • 35.
  • 36.
  • 37.
  • 38.
  • 39.
  • 40.
  • 41.
  • 42.
  • 43.
  • 44.
  • 45.
  • 46.
  • 47.
  • 50.
  • 51.
  • 52.
  • 53.
  • 54.
  • 55.
  • 56.
  • 57.
  • 58.
  • 59.
  • 60.
  • 61.
  • 62.
  • 63.
  • 64.
  • 65.
  • 66.
  • 67.
  • 68.
  • 69.
  • 70.
  • 71.
  • 72.
  • 73.
  • 74.
  • 75.
  • 76.
  • 77.
  • 78.
  • 79.
  • 80.

Notas do Editor

  1. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  2. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  3. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  4. Learning to look at and write about what you see is a key component to visual literacy. Not only does this allow you to effectively communicate what you see to others, but it also helps you gather more sophisticated observations, developing a greater understanding of a work of art. The result of this is called visual analysis.
  5. There are many ways to describe an image. In Western art history, there are 8 key terms that are major components to most visual analyses: Composition, Shape, Form, Space, Line, Light, Color, Texture. These terms are particularly useful in analyses of works that are representational and two dimensional.
  6. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  7. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  8. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
  9. Shape is defined as an element of art that creates an enclosed space. Most shapes can be considered either geometric—like this window—or organic—like Christ and his disciples.
  10. Space can be referred to as the area—implied or actual—around shapes. Because this is a two-dimensional work, the space is considered implied. In this painting, notice how there is a lot of space around the figures of Christ and his disciples. Related to space is the notion of depth. A lot of space usually means there is greater depth. Here depth is largely implied by the use of linear perspective and the overlapping of figures.
  11. Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
  12. Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
  13. Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
  14. Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
  15. Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
  16. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  17. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  18. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  19. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  20. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  21. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  22. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  23. Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
  24. Light is a term that is almost exclusive to representative art. It is the effect of light falling on the shapes represented in the painting. The source of the light can represented in the painting via lamps or windows, but often light comes from a source outside of the picture plane. Light can come from a single source, or it can come from multiple location. In this painting, you can see light coming from at least two locations on and off the picture plane. First, light seems to be coming from the left hitting the right wall. The second major source of light appears to be emanating from either the window behind Christ or from Christ himself. DaVinci’s Last Supper shows us how light can be used in both a practical and symbolic ways. In one sense, the use of light can be naturalistic providing a means of creating highlights, shadows, and varying degrees of contrast among shapes. Symbolically, the light coming from Christ can be seen as a manifestation of his holy nature, underscoring his position as the focal point of this composition.
  25. Light is a term that is almost exclusive to representative art. It is the effect of light falling on the shapes represented in the painting. The source of the light can represented in the painting via lamps or windows, but often light comes from a source outside of the picture plane. Light can come from a single source, or it can come from multiple location. In this painting, you can see light coming from at least two locations on and off the picture plane. First, light seems to be coming from the left hitting the right wall. The second major source of light appears to be emanating from either the window behind Christ or from Christ himself. DaVinci’s Last Supper shows us how light can be used in both a practical and symbolic ways. In one sense, the use of light can be naturalistic providing a means of creating highlights, shadows, and varying degrees of contrast among shapes. Symbolically, the light coming from Christ can be seen as a manifestation of his holy nature, underscoring his position as the focal point of this composition.
  26. Also called form or visual weight
  27. Also called form or visual weight
  28. Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
  29. Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
  30. Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
  31. Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
  32. Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
  33. Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
  34. Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
  35. Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
  36. Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.