Chapter 1.6 Unity PDF

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Summary

Unity, variety and balance, Scale and proportion, Emphasis and focal point, pattern and rhythm, Content and analysis...

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Chapter 1.6 Unity, variety and balance

Unity refers to the imposition of order and harmony on a design  

Variety - visual diversity that brings many different ideas, media, and elements together in one composition Balance - distribution of elements, whether unified or varied, within a work

Unity  

Provides an artwork with its cohesiveness to communicate its visual idea Artists are concerned with three kinds of unity: compositional, conceptual, and gestalt

Compositional Unity   

created by organizing all the visual aspects of a work Too much similarity of shape, color, line, or any single principle of art can be monotonous Too much variety can lead to a lack of structure and absence of a central idea

Conceptual Unity   

Conceptual unity - cohesive expression of ideas within a work of art The expression of ideas may not look organized, but an artist can still communicate them effectively by selecting images that conjure up a single notion Artists bring their own intentions, experiences, and reactions to their work. These ideas —conscious and unconscious—can also contribute to the conceptual unity of a work

Variety    

Variety - collection of ideas, elements, or materials that are fused together into one design Variety is about uniqueness and diversity Artists use a multiplicity of values, textures, colors, and so on to intensify the impact of a work Variety can invigorate a design

Balance  

Just as real objects have physical weight, parts of a work of art can have visual weight, or impact If the amount of visual weight does not have a reasonable counterweight on the opposite side, the work may appear to be unsuccessful or unfinished

Symmetrical Balance 

If a work can be cut in half and each side looks exactly (or nearly exactly) the same, then it is symmetrically balanced

Asymmetrical Balance  

When artists organize a composition they often use different visual “weights” on each side of it This applies when the elements on the left and right sides are not the same, but the combination of elements counters each other

Radial Balance   

Radial balance is achieved when all elements in a work are equidistant from a central point and repeat in a symmetrical way from side to side and top to bottom circular and repeating elements Sometimes used in religious symbols and architecture where repetition plays an important role in the design

Chapter 1.7 Scale and proportion      

We perceive scale in relation to our own size Art objects created on a monumental scale appear larger than they would be in normal life Art objects created on a human scale correspond to the size of things as they actually exist Small-scale objects appear smaller than our usual experience of them in the real world Usually, an artist ensures that all the parts of an object are in proportion to one another But discordant proportions can express specific Meanings

Scale     

Artists and designers make conscious choices about the scale of their work when they consider the message they want to put across A small-scale work implies intimacy Large-scale works can be experienced by groups of viewers and usually communicate big ideas directed at a large audience Practical considerations can affect an artist’s decision about scale too Cost, time it will take to execute the piece, and demands that a specific location may place on the work are all factors

Scale and Meaning  

Usually a monumental scale indicates heroism or other epic virtues War monuments, for example, often feature figures much larger than life-size in order to convey the bravery of the warriors

Hierarchical Scale  

Hierarchical scale - the deliberate use of relative size in a work of art, in order to communicate differences in importance Almost always, larger means more important, and smaller means less important

Proportion  

The relationships between the sizes of different parts of a work make up its proportions By controlling these size relationships, an artist can enhance the expressive and descriptive characteristics of the work

The Golden Section   

The Golden Section - a proportional ratio of 1:1.618, which occurs in many natural objects Real human bodies do not have exactly these proportions, but when the ratio 1:1.618 is applied to making statues, it gives naturalistic results The proportions of Ancient Greek sculptures are often very close to the Golden Section

Proportional Ratios  

“Golden Rectangles” - technique based on nesting inside each other a succession of rectangles based on the 1:1.618 proportions of the Golden Section The shorter side of the outer rectangle becomes the longer side of the smaller rectangle inside it, and so on

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The result is an elegant spiral shape

Chapter 1.8 Emphasis and focal point    

Emphasis is the principle by which an artist draws attention to particular content in a work of art or design A focal point is a specific place of visual emphasis An artist can emphasize focal points through the use of line, implied line, value, color— any of the elements of art Emphasis and focal point usually accentuate concepts, themes, or ideas the artist wants to express

Emphasis and Subordination   

When an artist emphasizes different elements in a work of art, he or she creates visual relationships and connections between them The opposite of emphasis is subordination Subordination draws our attention away from certain area of a work

Focal Point 

A focal point - specific part of an area of emphasis to which the artist draws our eye

Emphasis and Focal Point in Action 

Artists can use direction, dramatic contrasts, and placement relationships to organize the elements in a work and draw our attention to areas of emphasis and focal points

Contrast  

Artists look to create effects of contrast by positioning elements next to one another that are very different For example, areas of different value, color, or size

Placement 

The placement of elements within a composition controls rhythm and creates multiple focal points

chapter 1.9 pattern and rhythm

     

Artists use pattern and rhythm to bring order to space and to create a dynamic experience of time When events recur, this creates a pattern Patterns are created by the recurrence of an art element In a work of art, the repetition of such patterns gives a sense of unity Rhythm arises through the repetition of pattern The rhythm of a series of linked elements guides the movement of our eyes across and through a design

Pattern     

The use of repetition in a work of art usually results in the creation of a pattern Artists often create unity in works of art by repeatedly using a similar shape, value, or color An artist can use repetition of a pattern to impose order on a work Sometimes artists use alternating patterns to make a work more lively The area covered by pattern is called the field

Motif   

A design repeated as a unit in a pattern is called a motif Motifs can represent ideas, images, and themes that can be brought together through the use of pattern An artist can create a strong unified design by repeating a motif

Randomness   

The introduction of chance symbolizes anti-order Artists who introduce randomness to a work try to avoid predictable repetition Works made in this way purposely contradict widely used traditional methods

Rhythm   

Rhythm gives structure to the experience of looking, just as it guides our eyes from one point to another in a work of art There is rhythm when there are at least two points of reference in an artwork The intervals between elements provide points of reference for more complex rhythms

Simple Repetitive Rhythm

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A repeating “pulse” of similar elements sets up a visual rhythm that a viewer can anticipate Such regularity communicates reassurance The design of buildings is often intended to reassure us about the stability and durability of the structure For this reason, architectural designs often incorporate simple repetition

Chapter 1.10 Content and analysis      

The artist uses a visual language to communicate ideas, beliefs, emotions, and opinions Content: Subject Analysis: Finding meaning Imitation and individual style Learning from the masters Developing a unique style

Content  

Content refers to the meaning and the subject of a work of art Identifying the subject of an artwork: o Representational (one can identify the subject) o Non-objective (unrecognizable subject matter) o Abstraction

Iconographic Analysis  

Interprets signs and symbols within an artwork Historical and religious references

Biographical Analysis  

Relates artist’s life and experiences to artwork Considers gender, race, nationality, and class

Feminist Analysis 

Role of women as: o Artists o Subjects o Viewers

Contextual Analysis  

Interprets artwork based on time and place in which it was made Considers historical, religious, political, economic, and social factors

Psychological Analysis 

Considers the mental state of the artist when the artwork was being made and uses this to help interpret the work

Formal Analysis   

Considers the elements and principles used by the artist Elements of art: line, shape, form, mass, volume, color, texture, space, time and motion, and value Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale

Imitation and Individual Style   

Artists often train themselves by studying and copying earlier masterpieces By referring to earlier masterpieces in new artworks, artists associate themselves with other artists who preceded them By studying other artworks, artists may learn how to differentiate themselves...