Art Fundamentals Ch04
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The document discusses the use and definition of shapes in art. It defines shape as an area distinguished by boundaries or differences in value, color or texture. Shapes can be actual, implied or amorphous. Artists use shapes to suggest forms, create illusions of mass and volume, and guide viewer attention. Shapes are two-dimensional planes or three-dimensional masses and volumes. Principles of design like balance, direction, dominance and harmony can be achieved through purposeful manipulation of shapes.
Art Fundamentals Ch04
- 1. Art Fundamentals Chapter 4 Shape
- 2. Art Fundamentals Chapter 4 Shape The Vocabulary of Shape The Vocabulary of Shape Introduction to Shape The Definition of Shape The Use of Shapes Shape Dimensions The illusions of two-dimensional shapes The illusions of three-dimensional shapes Shape and Principles of Design Balance Direction Duration and relative dominance Harmony and variety Shapes and the space concept Shape and Content
- 3. THE VOCABULARY OF INTRODUCTORY TERMS Shape An area that stands out from the space next to or around it because of a defined or implied boundary or because of differences of value , color , or texture .
- 4. THE VOCABULARY OF INTRODUCTORY TERMS actual shape Clearly defined or positive areas (as opposed to an implied shape).
- 5. THE VOCABULARY OF INTRODUCTORY TERMS amorphous shape A shape without clarity or definition: formless, indistinct, and of uncertain dimension.
- 6. THE VOCABULARY OF INTRODUCTORY TERMS biomorphic shape Irregular shape that resembles the freely developed curves found in live organisms.
- 7. THE VOCABULARY OF INTRODUCTORY TERMS Cubism The name given to the painting style invented by Pablo Picasso and Georges Braque between 1907 and 1912, which used multiple views of objects to create the effect of their three-dimensionality while acknowledging the two-dimensional surface of the picture plane.
- 8. THE VOCABULARY OF INTRODUCTORY TERMS Cubism Signaling the beginning of abstract art , it is a semiabstract style that continued the strong trend away from representational art initiated by Cezanne in the late 1800s.
- 9. Artist: Pablo Picasso Artist's Lifespan: 1881-1973 Title: Three Musicians Date: 1921
- 10. THE VOCABULARY OF INTRODUCTORY TERMS curvilinear Stressing the use of curved lines, as opposed to rectilinear, which stresses straight lines.
- 11. THE VOCABULARY OF INTRODUCTORY TERMS decorative (shape) Ornamenting or enriching but, more importantly in art, stressing the two-dimensional nature of an artwork or any of its elements. Decorative art emphasizes the essential flatness of a surface.
- 12. THE VOCABULARY OF INTRODUCTORY TERMS equivocal space A condition, usually intentional on the artist's part, in which the viewer may, at different times, see more than one set of relationships between art elements or depicted objects . This may be compared to the familiar "optical illusion."
- 13. THE VOCABULARY OF INTRODUCTORY TERMS geometric shape A shape that appears related to geometry; usually simple, such as a triangle, rectangle, or circle.
- 14. THE VOCABULARY OF INTRODUCTORY TERMS implied shape A shape suggested or created by the psychological connection of dots, lines, areas, or their edges, creating the visual appearance of a shape that does not physically exist. (See Gestalt.)
- 15. THE VOCABULARY OF INTRODUCTORY TERMS Kinetic art From the Greek word kinesis, meaning "motion," art that involves an element of random or mechanical movement.
- 17. Kinetic Art
- 18. Kinetic Art
- 19. Cube, Ann Arbor, Michigan Cube, Ann Arbor, Michigan
- 20. Cube, Ann Arbor, Michigan Cube, Ann Arbor, Michigan
- 21. Cube, Ann Arbor, Michigan
- 22. Activity 4 A Kinetic Art Sculpture for Al Shidadiyah New Campus. Design and Model Assignment Assignment: Develop a kinetic art work to be placed in one of the New University Campus in Shidadiyah students’ areas. Make a model of your design scale 1:10 You can use any material; wood, steel, cardboard, etc.
- 23. Activity 4 The evaluation of your work will be based on the application of "The Three Basic Components of a Work of Art" that produce Organic Unity , the accuracy of your work implementation, and the “ Idea or Concept”. Write a one page analysis of your work discussing its Idea or Concept and the 3 components of Subject, Form and Content. Submission date is Sunday 18-12-2005.
- 26. THE VOCABULARY OF INTRODUCTORY TERMS mass I. In graphic art , a shape that appears to stand out three-dimensionally from the space surrounding it or that appears to create the illusion of a solid body of material . 2. In the plastic arts , the physical bulk of a solid body of material. (See plastic, three-dimensional, and volume.)
- 27. THE VOCABULARY OF INTRODUCTORY TERMS nonrepresentational art Defines work encompassing nonrecognizable imagery. This ranges from pure abstraction (nonrecognizable but derived from a recognizable object) to nonobjective art (not a product of the abstraction process, but derived from the artist's mind).
- 28. THE VOCABULARY OF INTRODUCTORY TERMS objective (shape) A type of shape that is based, as nearly as possible, on physical actuality or optical perception . Such art tends to appear natural or real.
- 29. THE VOCABULARY OF INTRODUCTORY TERMS perspective Any graphic system used to create the illusion of three-dimensional images and/or spatial relationships on a two-dimensional surface. There are several types of perspective: See atmospheric, linear, and projection systems in Chapter 8.
- 30. THE VOCABULARY OF INTRODUCTORY TERMS planar (shape) Having to do with planes.
- 31. THE VOCABULARY OF INTRODUCTORY TERMS plane I. An area that is essentially two- dimensional, having height and width. 2. flat or level surface. 3. A two-dimension surface having a positive extension and spatial direction or position.
- 32. THE VOCABULARY OF INTRODUCTORY TERMS plastic (shape) I. The use of the elements of shape to create the illusion of the third dimension on a two-dimensional surface. 2. Three- dimensional art forms, such as architecture , sculpture , and ceramics .
- 33. THE VOCABULARY OF INTRODUCTORY TERMS rectilinear shape A shape whose boundaries usually consist entirely of straight lines.
- 34. THE VOCABULARY OF INTRODUCTORY TERMS subjective (shape) That which is derived from the mind, reflecting a personal viewpoint, bias, or emotion.
- 35. THE VOCABULARY OF INTRODUCTORY TERMS Surrealism A style of artistic expression, influence by Freudian psychology, that emphasize; fantasy and whose subjects are usually experiences revealed by the subconscious mind through the use of automatic techniques.
- 36. THE VOCABULARY OF INTRODUCTORY TERMS Surrealism Originally literary movement and an outgrowth of Dadaism, Surrealism was established by literary manifesto written in 1924.
- 37. THE VOCABULARY OF INTRODUCTORY TERMS three-dimensional (shape) Possessing, or creating the illusion of possessing, the dimension of depth, as well as the dimensions of height and width.
- 38. THE VOCABULARY OF INTRODUCTORY TERMS two-dimensional (shape) Possessing the dimensions of height and width , especially when considering the flat surface or picture plane.
- 39. THE VOCABULARY OF INTRODUCTORY TERMS volume A measurable area of defined or occupied space. (See mass, plastic, and three- dimensional.)
- 41. Art Fundamentals Chapter 4 Shape The Vocabulary of Shape END
- 42. Art Fundamentals Chapter 4 Shape Part 1 The Vocabulary of Shape Introduction to Shape The Definition of Shape The Use of Shapes Shape Dimensions The illusions of two-dimensional shapes The illusions of three-dimensional shapes Shape and Principles of Design Balance Direction Duration and relative dominance Harmony and variety Shapes and the space concept Shape and Content
- 43. Introduction to Shape Artists start with preliminary VISION. A SKETCH Lines Shapes Shapes = Voids Shapes are the building block of art structure.
- 44. Introduction to Shape An art work is never the real thing. The shapes producing the image are never real animals, buildings, people.
- 45. Introduction to Shape SEMIFANTASY. PUREFANTASY. Capable artists are able to convince us that the fantasy is a possible reality .
- 46. The Definition of Shape Line enclosing an area Outline or Contour Even when we have few elements our minds adjust to read a visible effect of shape.
- 47. The Definition of Shape We have an instinctive need for order that enables our minds to fill in the parts that have been left out. Closure is not always an absolutely necessary condition for forming a shape.
- 48. The Definition of Shape Gestalt Psychology Our minds tend to “see” organized wholes, or forms, as a totality, before they perceive the individual parts applied to human visual perception.
- 49. The Definition of Shape Gestalt Psychology Our minds also tend to insist on creating shapes from approximately related elements.
- 53. The Definition of Shape Any visually perceived area of value, texture, color, line , or any combination of these elements.
- 54. The Definition of Shape Pictorial forms of art Shapes are flat or 2-dimensional 3-dimensional forms of art sculpture, architecture, environmental design, etc. solids or masses. 3-D 2-D
- 55. The Definition of Shape Actual shapes Implied shapes Amorphous shapes vague or delicate that their edges cannot be determined with any degree of exactitude.
- 56. The Definition of Shape Plastic arts are more defined. Edges Outer contours
- 57. The Definition of Shape Objective vs Subjective forms
- 58. The Definition of Shape Geometric to Biomorphic
- 59. The Definition of Shape Implied to Amorphous
- 60. The Definition of Shape Size Position Balance Color Value Texture
- 61. The Definition of Shape Static Stable Active Lively Contract Expand
- 62. The Definition of Shape Nonrepresentational or Nonobjective Natural objects generally seem rounded. Organic shapes Biomorphic Irregular rounded shapes that suggest life.
- 64. The Definition of Shape Surrealism Freudian psychology Exploration of subconscious revelations; dreams
- 66. The Definition of Shape Rectilinear Strait-lined shapes geometric Standardized shapes used in mathematics Cubism Reformulation of the natural world
- 67. The Definition of Shape However shapes are classified, each shape or combination of shapes can display a particular personality according to its physical employment and our responses to it.
- 68. The Use of Shapes Artists use shapes for two fundamental purposes: Suggest a physical form they have seen or imagined. Give certain visual qualities or content to a work of art.
- 69. The Use of Shapes Shapes in art can be used for the following purposes: To achieve order, harmony, and variety To create the illusion of mass, volume, and space on the surface of the picture plane. To extend observer attention or interest span.
- 70. The Use of Shapes Visual arts Usually chronologically fixed Music, theater, and dance Evolve in time TIME Kinetic forms Form of sculpture in motion
- 71. Shape Dimension - Two-Dimensional PLANE The picture plane Planar shape to represent the overall image.
- 72. Shape Dimension - Two-Dimensional Decorative appearance Occupy space Depth Size, color, value, texture.
- 73. Shape Dimension - Two-Dimensional Curvilinear Shallow effect Movement into space Depth
- 74. Shape Dimension - Three-Dimensional MASS The appearance of solid bodies. Volume Void, occupies a certain amount of measurable space.
- 75. Shape Dimension - Three-Dimensional Rocks and mountains are masses.
- 76. Shape Dimension - Three-Dimensional Holes and valleys are volumes.
- 77. Shape Dimension - Three-Dimensional The illusion of masses or volumes on the picture plane is produced by arranging two or more flat or curvilinear planes in relation to one another.
- 78. Shape Dimension - Three-Dimensional
- 79. Shape Dimension - Three-Dimensional There is no limit to the number of shapes that can be shown in three dimensions. Spheres Pyramids Hexagonal Ovoidal
- 80. Shape Dimension - Three-Dimensional Depth Illusion Appear to recede away from the spectator. Perspective
- 81. Shape Dimension - Three-Dimensional Equivocal space Now you see it and now you don’t Now you see it and now you see it another way Front Back
- 82. Shape Dimension - Three-Dimensional
- 83. Art Fundamentals Chapter 4 Shape Part 1 END
- 84. Art Fundamentals Chapter 4 Shape Part 2 The Vocabulary of Shape Introduction to Shape The Definition of Shape The Use of Shapes Shape Dimensions The illusions of two-dimensional shapes The illusions of three-dimensional shapes Shape and Principles of Design Balance Direction Duration and relative dominance Harmony and variety Shapes and the space concept Shape and Content
- 85. The Use of Shapes Artists use shapes for two fundamental purposes : Suggest a physical form they have seen or imagined. Give certain visual qualities or content to a work of art.
- 86. The Use of Shapes Shapes in art can be used for the following purposes: To achieve order, harmony, and variety To create the illusion of mass, volume, and space on the surface of the picture plane. To extend observer attention or interest span .
- 87. The Use of Shapes Visual Arts Usually chronologically fixed Music, theater, and dance Evolve in time TIME Kinetic forms Form of sculpture in motion
- 88. Shape Dimension - Two-Dimensional PLANE The picture plane Planar shape to represent the overall image.
- 89. Shape Dimension - Two-Dimensional Decorative appearance Occupy space Depth Size, color, value, texture.
- 90. Shape Dimension - Two-Dimensional Curvilinear Shallow effect Movement into space Depth
- 91. Shape Dimension - Three-Dimensional MASS The appearance of solid bodies. Volume Void, occupies a certain amount of measurable space.
- 92. Shape Dimension - Three-Dimensional Rocks and mountains are masses.
- 93. Shape Dimension - Three-Dimensional Holes and valleys are volumes.
- 94. Shape Dimension - Three-Dimensional The illusion of masses or volumes on the picture plane is produced by arranging two or more flat or curvilinear planes in relation to one another.
- 95. Shape Dimension - Three-Dimensional
- 96. Shape Dimension - Three-Dimensional There is no limit to the number of shapes that can be shown in three dimensions. Spheres Pyramids Hexagonal Ovoidal
- 97. Shape Dimension - Three-Dimensional Depth Illusion Appear to recede away from the spectator. Perspective
- 98. Shape Dimension - Three-Dimensional Equivocal space Now you see it and now you don’t Now you see it and now you see it another way Front Back
- 99. Shape Dimension - Three-Dimensional
- 100. To create order or unity To increase the viewers’ attention spans To alter shapes from their natural appearance Shapes are building block or art structure. Shape and Principles of Design
- 101. Artists modify shapes until: The desired degree and type of balance is achieved. The observer’s attention is controlled both in terms of direction and duration. The appropriate ratio of harmony and variety results. The space concept achieves consistency throughout. Shape and Principles of Design
- 102. Shapes have different visual weights depending on how they are used. Placing shapes of different sizes at varying distances from the fulcrum can be controlled to create a sense of balance or imbalance. Shape and Principles of Design 1- Balance
- 103. Dark value adds weight to a shape Shape and Principles of Design 1- Balance
- 104. Narrow line around reduces the shape’s apparent weight Shape and Principles of Design 1- Balance
- 105. Factors controlling directional and tensional force are: Placement Size Accents or emphasis General shape character Shape and Principles of Design 1- Balance
- 106. Generate visual forces that direct our eyes Shapes pointing in specific directions Aim edges to imply linkage with other edges Use of intuitive space Shape and Principles of Design 2- Direction
- 108. The direction of the eyes along these paths should be rhythmic. The control of direction helps us to see things in the proper sequence and according to the degree of importance planned for them. Shape and Principles of Design 2- Direction
- 110. Pauses Equal duration Monotonous Organize pauses so that their lengths are related to the importance of the sights to be seen on the eye journey. Shape and Principles of Design 3- Duration and Dominance
- 111. The effect of shape’s size can be further modified by manipulation of value, location, color, or any combination of these elements. Shape and Principles of Design 3- Duration and Dominance
- 112. The degree of dominance is usually in direct proportion to the amount of visual contrast. Shape and Principles of Design 3- Duration and Dominance
- 114. Harmony all things seem to belong together Repetition Likeness Share certain characteristics: Value Texture Color Shape and Principles of Design 4- Harmony and Variety
- 115. Variety Enough difference must exist to make for challenging viewing. Mostly flowing shapes and an angular shape Some difference is essential Excessive differences may be out of tune Repetitive shapes for harmony Contrasting shapes for variety Shape and Principles of Design 4- Harmony and Variety
- 116. Flat working surface A “WINDOW” where things appear to be advancing or retreating. Shape and Principles of Design 5- Shapes and Space Concept
- 117. Shapes are often seen as planes. Shapes are seen in perspective Shape and Principles of Design 5- Shapes and Space Concept
- 118. The artist must be consistent with space Balancing the spatial forces 2-D art weights of the elements 3-D art thrusting and recession Size and position Values and colors Shape and Principles of Design 5- Shapes and Space Concept
- 119. Representational vs Nonrepresentational use of shapes. 1900s Abstraction 1970’s and 1980’s Conceptual Conception and Imagination Shape and Content
- 120. Shape and Content Artists go beyond literal copying and transform object shapes into their personal style or language of form.
- 121. Examples Configuration changes a shape’s content or expressive meaning.
- 122. Shape and Content
- 123. Shape and Content
- 125. Art Fundamentals Chapter 4 Shape End