ART Appreciation Midterm Lessons PDF

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Lesson 6 ELEMENTS OF ART AND DESIGN Elements of Design (Definition)  

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The Elements of Design are the language of the visual arts. Works of art can be analysed in a variety of ways. One form of analysis relies on looking at the visual elements of a picture. These creative building blocks are essential and having a grasp on how they work is important both for artists and for lovers of art. By gaining a deeper understanding of the elements of art, it’s easier to analyze, unravel, and create any type of artwork from painting and photography to sculpture and architecture.

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A plan or drawing produced to show the look and function or workings of art. The look of the art piece itself.

Elements of Design 1. Line  The path of a moving point.  Has two specific behaviors: static and dynamic.  Has two specific ‘existence’: actual lines and implied lines. Line – is an important element at the disposal of the artist. Through the lines of a painting or sculpture, the artist can make us know what the work is about Horizontal lines – are lines of repose and serenity; express ideas of calmness and quiescence

Curved lines – suggest grace, movement, flexibility, and joyousness 2. Shape Two-dimensional area that is defined in some way, perhaps with a outline or solid area of color. 3. Form  Objects that have three dimensions: length, width, and depth.  The configuration of an individual component of the overall, geometric shapes.  Applied to the over-all design of a work of art; describes the structure of or shape of an object. 4. Space  The area where the shapes and forms exist.  Refers to distances or areas around, between and within components of a piece.  Refers to how a person sees an art. 5. Texture  The way things feel or how they look and feel if a person touches it.  The surface quality of a material, as perceived by the sense. 6. Color  Appeals directly to the audience’s emotions and stands for ideas and feelings  Categorized based on degrees: primary, secondary, and tertiary colors Color - a property of light 

Dimensions or attributes of color: a. Hue – gives color its name b. Value - refers to the lightness or darkness of a color Tints – are values above the normal

Vertical lines – are lines poised for action; balanced, forceful and dynamic

Shades – are values below the normal

Diagonal lines – suggest action and movement

c. Intensity – refers to the brightness or darkness of color

7. Perspective – deals with the effect of distance upon the appearance of the object.

a. Linear Perspective – the representation of an appearance of distance by means of converging lines b. Aerial Perspective – the representation of relative distances of objects by gradations of tone and color Combined arts is where different art forms interact and create something new and exciting across outdoor arts, carnival, festivals, spectacle, interdisciplinary work, live art and participatory and social art practice. Hybrid arts is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. 

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Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies (such as speech, gesture, face recognition), artificial intelligence, and information visualization. They address the research in many ways such as undertaking new research agendas, visualizing results in new ways, or critiquing the social implications of the research. The worldwide community has developed new kinds of art festivals, information sources, organizations, and university programs to explore these new arts.

Relevance of Combined Arts and Hybrid Arts in the 21st century? 1. Two common examples of Combined Arts are Movies and Video Games. They both require several fields of expertise, skills, and talents to produce a finished product. Developing a video game or producing a Film is very significant to the economy of a

country. Production companies can provide job opportunities for artists to earn income and express their artworks and skills. Films and video games provides entertainment and relaxation for the people.

Lesson 7 EXPRESSIONS OF ART PRODUCTION Art movement - An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years. 1. Realism  Attempts to portray the subject as it is  Describes accurately and honestly as possible what is observed through the senses 2. Abstraction  Used when the artist becomes interested in one phase of a scene or a situation;  Does not show the subject as an objective reality; only the idea or feelings about it 3. Abstraction – Distortion  Manifested when the subject is misshapen or the regular shape is twisted 4. Abstraction – Elongation  Achieved by lengthening, protracting, or extending an aspect or feature of a subject 5. Abstraction – Mangling  Subjects are hacked and cut with repeated blows 6. Abstraction – Cubism  Uses cones, cylinders, or spheres at the expense of other pictorial elements 7. Abstract Expressionism  Characterized by large canvass, deliberate lack of refinement in the application of paint, strong color, heavy impasto, uneven brush strokes and rough textures

8. Symbolism  Subjects represent an idea or concept devoid in the image but rather expressed through the various elements in the piece 9. Fauvism  Originated from les Fauves (French: the wild beasts)  Subjects are typically of comfort, joy, and pleasure 10. Dadaism  Formed in 1916 by a group of artists and poets in Zurich, Switzerland  Rejects logic, reason, and aesthetics of capitalist societies  Born out of disgust over social, political and cultural values of time 11. Futurism  Originated in Italy in the early 20th century  Emphasizes on speed, technology, youth and violence, and objects as cars, airplanes, and industrial cities 12. Surrealism  Founded in Paris in 1924 by French poet Andre Breton  Known for its visual artworks which sought to express the imaginings of the unconscious mind 13. Impressionism  A 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.  Impressionism art is known for its distinctive brush strokes, lighting, colors, and everyday subjects.

14. Pointillism (pɔɪntɪl ɪzəm)  A technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. 15. Pop art  An art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s. The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced cultural objects. 16. Tonal value  It is the light or dark of a color independent of its chromaticity (hue and chroma).  Given all the space devoted to hue in color theory, it is surprising to learn that value is the most important design element of a painting. 17. Tenebrism  From Italian tenebroso ("dark, gloomy, mysterious"), also occasionally called dramatic illumination, is a style of painting using profoundly pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. 18. Mixed Media  An artwork in which more than one medium or material has been employed. Assemblages and collages are two common examples of art using different media that will make use of different materials including cloth. paper, wood and found objects.

19. Still life  A work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.). 20. Caricature  A rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or through other artistic drawings Artistic Tools Watercolor - Pigments mixed with water and applied to fin white paper Gouache - An opaque watercolor Fresco - Painting done on a moist plaster surface with colors ground in water or limewater mixture Tempera - Mineral pigments mixed with egg yolk and ore Pastel - Stick of dried paste made of pigment ground with chalk and compounded with gum and water Oil  

Oil paintings appear glossy and last long Most costly material to use for painters

Mosaic - Small pieces of inlaid colored stones or glass called tesserae to create and image Stained glass - Small pieces of colored glass held together by bands of lead Tapestry - Fabric produced by hand-weavingcolored threads upon a wrap; hung on walls Bistre - Brown pigment extracted from the soot of wood and often used in pen and wash

drawing Lesson 8 - The Principles of Design Principles of design - the principles of design describe the ways that artists use the elements of art in a work of art. 

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The artist can form more beautiful and interesting color harmonies and more beautiful combinations of shapes, texture and lines. Through this, the artist can give the observer new, varied and satisfying experience. The various elements of the visual arts have to be used in such a way that they form combinations which are correct and beautiful. This is the function of organization. Helps figure out the visual appeal and aesthetics employed by the artist Fundamental guidelines to aesthetic design

1. Balance - Balance, one of the key principles of design, refers to the way visual elements are arranged so that their visual weight harmonizes with the other elements in the design, and the composition gives an appearance of properly distributed elements. - The way art elements are arranged to create a feeling of stability in a work; also called as symmetry - Visual balance causes an audience to feel that the elements have been arranged appropriately - It is achieved if all parts are equally distributed around a central point. Formal balance – also called symmetrical balance; achieved by making both sides exactly alike. Informal or asymmetrical balance – also called as occult balance; achieved when

objects of unequal weights or unequal attractions are placed at the correct distances from the center.  Petronas Towers | Cesar Pelli 2. Emphasis - Emphasis is a strategy that aims to draw the viewer's attention to a specific design element. That could be to an area of content, to an image, to a link, or to a button, etc. ... The aim is to create a focal point in the design: an eye-catching part that stands out, distinct from the rest of the design elements. - The way in which the artist combines the art elements to stress the differences between those elements and create more centers of interest in a work - Makes one part of a work dominant over other parts  Afghan Girl | Steve McCury 3. Gradation - Gradation of size and direction produce linear perspective. Gradation of colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape. - Combining art elements by using a series of gradual changes in those elements - Favors step-by-step changes  Festival at La Tirana | John Burton 4. Rhythm - Rhythm is a principle of design that suggests movement or action. Rhythm is usually achieved through repetition of lines, shapes, colors, and more. It creates a visual tempo in artworks and

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provides a path for the viewer's eye to follow. The Parthenon/ Athens, Greece Sydney Opera House Australia

5. Movement - Movement is the principle of good design which gives the artist control over what the viewer sees next. Using this principle, the artist can create the path our eyes will travel as we look at a work of art. - Combining art elements to produce the look of action or to cause the viewer’s eyes to sweep over the work of art in a certain manner 6. Proportion - is the relationship of two or more elements in a design and how they compare with one another. Proportion is said to be harmonious when a correct relationship exists between the elements with respect to size or quantity. Good proportion adds harmony, symmetry, or balance among the parts of a design. - The relationship of art elements to the whole and to each other - Highlights the comparative relationship in size, quantity, and degree of emphasis among the components of the art piece - It is determined by a comparison of the sizes of different parts of an object or of an arrangement.  The Art of Animation | John Brosio 7. Variety - is the principle of art that adds interest to an artwork. Variety works through juxtaposition and contrast. When an

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artist places different visual element next to one another, he/she is using variety. Straight lines next to curvy lines add variety. - Combining art elements and involves ways to achieve intricate and complex relationships - Obtained through the use of diversity and change in increasing the visual interest of the work Sarimanok/Abdulmari Imao

8. Unity (Harmony) - is the principle of design that unifies all other principles within a piece of work, allowing each individual element to coexist with one another to form an aesthetically pleasing design. - The quality of wholeness or oneness of the art piece - Achieved through deliberate or intuitive balancing of harmony and variety  Massive Chair Tower | Tadashai Kawamata

Lesson 9

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The Religious Context/Functions of Asian Art Religious Context of Asian Art 1. Time is cyclical. 2. The universe is created and destroyed in endless cycles. 3. The world is transitory and the appearance of permanence is illusion. 4. All living beings are born and reborn in different lives and bodies. 5. One’s good and bad deeds (karma) accumulate from life to life and determine the form in which one is reborn. Hinduism, Buddhism, and Jainism  

Share a holistic view of life in which all forms of life are integrally connected Incorporated a variety of physical disciplines and magical practices such as yoga, meditation, trance, breath control, and the repetition of mantras (words of power) in religious practices.

Art in India 

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Earlier religious practices include the worship of spirits believed to dwell in trees, rivers, and rocks. Worships the yakshas and yakshis Shown in horned animal figures, phallic sculptures, and many female figurines.

Asian Ideal Human Body in Art 

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Religious roots depict ideal human forms to symbolize their transcendence and divine natures. The ideal human body is portrayed depending upon the beliefs of the culture in which the art is made.

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The Gupta Period (mid-4th to 6th century) had artists create ideals of the human form by using inspirations from nature. Artists identify the ideal human form with deities and spiritual beings.

Lotus  

Indian symbol of par excellence and spiritual perfection Appears in art both as a complete blossom and as stylized petals that form the pedestal upon which beings sit or stand

Wheel 

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Represents the doctrine preached by Buddha in his first sermon after attaining enlightenment – “turning the wheel of the law” Symbolizes time and the cycles of creation and destruction that form successive universes

Halo  

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Signifies transcendent radiance Originated somewhere in Western or Central Asia and spread eastward to India Further signifies a deities spirituality

Multiple Features  

Express the multiple powers and responsibilities of the gods Several hands display the deity’s attributes and to make gestures that symbolize concepts associated with the deity

Expressions Context of Nature in Asian Art

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Ugly and horrific expressions protect people against evil and ignorance May also represent human failings such as greed, hatred, and ignorance

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Formal Elements of Asian Art 

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Resounded by the large amount of historical, architectural, and cultural references Remain the same due to lasting influence of cross-religious influences among neighboring countries

Emphasis on Volume 

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Anatomy of figures does not emphasize the internal structure of muscle and bone Expresses a body purified of these elements and instead filled with spirituality Yamauba Yokai/Hokusaf

Measured Proportions   

Proportionate bodies were used to symbolize the ideal human anatomy Earlier artworks tend to be shorter and stockier than later ones Terracotta Army/Qin Shi

Scale and Placement 

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Used hierarchy of proportion to clarify each figure’s relative spiritual importance Size indicates the relative importance of a deity Inao/Chakrabhand Posaya

Worship  

Majority of temples were meant to be places of worship Sculptures of deities are placed in the interior of temples and shrines

Glorification of the Royals

Kings transmitted divine will through their relationship with a particular god Images of deities were constructed by earlier kings to symbolize the gods’ approval of their divine right to rule

Education 

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Narrative reliefs on temple walls perform an education role by instructing worshippers about religious and historical events Borubudur, Indonesia

Lesson 10 HISTORY OF THE PHILIPPINE ARTS 

The image is part of the Sarimanok series of paintings and sculptures made by Philippine National Artist Abdulmari Imao, who spent his colorful life as an artist and welltravelled scholar of the arts.

Philippine Arts 

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Abdulmari Asia Imao was a Filipino painter and sculptor. Imao was named National Artist of the Philippines for Sculpture in 2006. A Tausūg, Imao is the first Moro to receive the recognition He was the first Asian recipient of the New York Museum of Modern Art grant to study the arts in Europe apart from being a multischolar of various arts grant in prestigious universities in the United States. A native of Sulu, Abdulmari Asia Imao was a sculptor, painter, photographer, ceramist, documentary filmmaker, cultural researcher, writer, and articulator of Philippine Muslim art and culture. Through his works, the indigenous ukkil, sarimanok and naga motifs have been popularized and instilled in the consciousness of the Filipino nation and other peoples as original Filipino creations. His U.P. art education introduced him to Filipino masters like Guillermo Tolentino and Napoleon Abueva, who were among his mentors. With his large-scale sculptures and monuments of Muslim and regional heroes and leaders gracing selected sites from Batanes to Tawi-tawi, Imao has helped develop among cultural groups trust and confidence necessary for the building of a more just and humane society. Industry Brass Mural, Philippine National Bank, San Fernando, La Union Mural Relief on Filmmaking, Manila City Hall

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Industrial Mural, Central Bank of the Philipp...