Chapter 5 Opening Case - DecisiPossible Technology SolutionsTechn

Chapter 5 Opening Case - DecisiPossible Technology
Solution
s:Technological Requirement 1: Database to track Medicaid
patients' ER visitsTechnological Requirement 2: Manage
emergency care and nonemergency care
treatmentsTechnological Requirement 3: Database meets federal
health privacy lawsTechnological Requirement 4: Facilitate
collaboration between hospital, attending physican, staff, and
patientTechnological Requirement 5: Patient ER
reportsTechnological Requirement 6: Database
storageTechnological Requirement 7: Manage hospital after-
care for patientsOverall benefits of this technology to the
companyBig data and knowledge managementYesYesYesAbility
to integrate information from multiple sources to drive decision
making related to patient care: appointments, pain management,
reducing prescription of narcotics, pain management, reducing
ER visits, reducing Medicaid costs, and so on.Wireless, mobile
computing, and mobile commerceYesYesYesYesYesAbility to
track patient ER visits from any location using wireless
communication that complies with federal privacy laws.
Hospitals and physicians and staff are able to use their mobile

technology to collaborate using wireless technology.Social
computingCloud computingYesYesYesYesYesYesYesCloud
computing uses the internet. The medical staff can remotely
access a network, a computer, and software without being in the
same physical location as the equipment. The medical staff does
not require additional computer hardware or employees to
manage the technology. Cloud technology increases
collaboration internally and externally. Hospitals can easily
share information with attending physicians without being in
the same location. Cloud computing also provides access to
technology at a lower cost.Business analytics and business
intelligence solutionsYesYesYesYesAbilty to manage, analyze,
and visualize data on patient care, Medicaid KPIs, and other
data from multiple data sources using reports, charts, and
dashboards.Intelligent SystemsYesYesYesYesYesYesAbility to
track patient care, ability to automate the creation of reports,
ability to set up alerts and reminders, ability to analyze patient
behavior, and ability to make healthcare recommendations.
Chapter 1.1
Line, Shape, and the
Principle of Contrast

PART 1
FUNDAMENTALS
Copyright © 2015 Thames & Hudson
Art is a form of visual language
Artists use a visual vocabulary (the elements of art) and rules
similar to grammar (the principles of design)
An artwork can be analyzed using the elements of art and
principles of design
Introduction
Elements of art
The basic vocabulary of art
Principles of art
How the elements of art are organized (the “grammar”)
Two-dimensional art
Has height and width, but not depth
Chapter 1.1 Line, Shape, and the Principle of Contrast
PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Third Edition,
Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Line and shape are basic elements of any kind of artwork
Two dimensional arts include: drawing, painting, printmaking,
graphic design, and photography
Elements of art: line, form, shape, volume, mass, color, texture,
space, time and motion, and value (lightness/darkness)
Principles of art: contrast, balance, unity, variety, rhythm,
emphasis, pattern, scale, proportion, and focal point
Line
Lines are the most fundamental element artists use
Lines organize the visible world
PART 1
FUNDAMENTALS
Artwork: Spider
1.1.1 Spider,
c. 500 bce–500 ce. Width 150'. Nazca, Peru

Spider
The artwork is 150 feet long
Created by scraping off dark gravel, revealing white gypsum
underneath
The lines define the outline of
the shape
PART 1
FUNDAMENTALS
Known as the Nazca Lines
Located on the high desert plains of Peru
Can be seen only from the sky (the Nazca lines were first
discovered by commercial aircraft)
Designs resemble symbolic decorations found on local pottery
made at least 1,300 years ago
Possibly made using string attached to posts as guidelines

Definition of Line
A line connects two points
Defines the boundaries between planes
Defines shapes
Directs the viewer’s eye
Conveys a sense of movement
and energy
PART 1
FUNDAMENTALS
Definition of Line
Interactive Exercise
PART 1
FUNDAMENTALS

Artwork: Giovanni Antonio Dosio, Church of Santo Spirito at
Florence
1.1.2a Giovanni Antonio Dosio, Church of Santo Spirito at
Florence, (n. 6746 Ar), c. 1576–90. Pen and watercolor on
yellowish paper, traces of black chalk, 14⅜ × 18". Department
of Prints and Drawings, Uffizi Gallery, Florence, Italy
Giovanni Antonio Dosio, Church of Santo Spirito at Florence
Dosio uses line to define where the ceiling ends and the walls
begin
Creates an illusion of three dimensions
Converging lines help viewer visualize the architectural space
PART 1

FUNDAMENTALS
The drawing and the church are both the work of Italian artist
and architect Giovanni Antonio
Line is a tool for describing, in two dimensions, the boundaries
and edges of three-dimensional surfaces
Accentuates the patterned surface of the ceiling using lines
Artwork: Filippo Brunelleschi, Santo Spirito
1.1.2b Filippo Brunelleschi, Santo Spirito, 1436–82, inside view
toward the apse. Florence, Italy
Filippo Brunelleschi, Santo Spirito
We see the division between ceiling and walls because of the
changes in lightness, darkness, and texture

PART 1
FUNDAMENTALS
If you compare the drawing with the photo, you can see how
accurately the artist was able to conceive and communicate,
with line, how the building actually looks.
Portal Artwork: Leonardo da Vinci, Drawing for a wing
of a flying machine
2.1.1 Leonardo da Vinci, ,Drawing for a wing of a flying
machine, from the Codice Atlantico, fol. 858r. Pen and ink.
Biblioteca Ambrosiana, Milan, Italy

Leonardo da Vinci’s Drawing for a wing of a flying machine is
an example of lines that organize and illustrate an idea.
12
Types and Functions of Line
Contour Line as a Type of Line
A contour is an edge or profile of an object, but is not
necessarily the complete outline of a shape
Contour lines can suggest a volume in space by providing clues
about the changing character of a surface
PART 1
FUNDAMENTALS
This type of drawing helps to develop eye–hand coordination
and reveal subtle changes in a subject.
13
Contour Line

PART 1
FUNDAMENTALS
Artwork: Henri Matisse, Woman Seated in an Armchair
1.1.3 Henri Matisse, Themes and Variations, series P, Woman
Seated in an Armchair, pl. 2, 1942. Pen and ink, 19¾ × 15¾".
Musée des Beaux-Arts, Lyons, France
Henri Matisse, Woman Seated in an Armchair
The drawing was created by almost entirely using contour lines
Solid continuous lines represent complex three-dimensional
shapes and surfaces

PART 1
FUNDAMENTALS
Henri Matisse,
Red Studio
To learn about another artwork by Henri Matisse, listen to a
MoMA lecturer talk about Red Studio:
MoMA Video
PART 1
FUNDAMENTALS
MoMA Video
Artwork: Pablo Picasso, Blonde Woman in Profile
1.1.4 Pablo Picasso, Blonde Woman in Profile, plate, folio 16
from the illustrated book Vingt poëmes, 1947. Lift ground

aquatint, 11⅞ × 6½". MoMA,
New York
Pablo Picasso, Blonde Woman in Profile
A profile is created by using
a continuous line that follows
the contours of the subject
PART 1
FUNDAMENTALS
Picasso was famous for his ability to describe the shapes and
planes that make up an object
He is often associated with the Cubist style, a way of
representing all aspects of a three-dimensional object on a flat,
two-dimensional surface
19

Implied Line
Line that can be implied by
a series of marks
An illusion that gives the impression of line where there
is no continuous mark
PART 1
FUNDAMENTALS
Diagram of Actual
and Implied Lines
1.1.5 Actual and implied lines
PART 1
FUNDAMENTALS

Actual lines can be clearly seen as a continuous, uninterrupted
line
Implied lines are not actually drawn but suggested by elements
in the work
Artwork: Pentateuch with Prophetical Readings […]
1.1.6a Franco-German hand, Pentateuch with Prophetical
Readings and the Five Scrolls, 13th–14th century. Illustrated
manuscript. British Library, London, England
Detail of Pentateuch with Prophetical Readings […]
1.1.6b Detail of Pentateuch with Prophetical Readings and the
Five Scrolls
Pentateuch with Prophetical Readings and the Five Scrolls
This illustrated manuscript shows how line is important in the

Jewish art of micrography
Text border appears to be an ornate line drawing
It is in fact an implied line created from tiny Hebrew letters and
words
PART 1
FUNDAMENTALS
The Jewish art of micrography involves the creation of designs
using very small writing
The “microscopic” text has been added as a guide (called a
masorah) that provides advice about pronunciation and
intonation
Artwork: Sauerkids, The Devil Made Me Do It
1.1.7 Sauerkids, The Devil Made Me Do It, 2006. Digital image,
16½ × 8¼"

Sauerkids,
The Devil Made Me Do It
The use of dashes and grids of dots imply horizontal and
vertical lines
Title of work is spelled out using implied lines
PART 1
FUNDAMENTALS
Implied line influences the visual rhythms and adds to the
excitement of the design
Sauerkids is the name used by a pair of Dutch designers: Mark
Moget (b. 1970) and Taco Sipma (b. 1966)
Directional Line

Artists can use line to direct a viewer’s attention to a particular
part of a work
PART 1
FUNDAMENTALS
Artwork: James Allen,
The Connectors
1.1.8 James Allen, The Connectors, 1934. Etching, 12⅞ × 9⅞".
British Museum, London, England
James Allen,
The Connectors
The viewer’s attention is directed downward
The lines of the girders narrow toward the bottom of the image,
accentuating great height
Background buildings reinforce the same effect

PART 1
FUNDAMENTALS
This is an etching by American artist James Allen (1894–1964)
Depicts Depression-era construction workers building the
Empire State Building
Tallest building in the world when completed
Artwork: CLAMP, Tsubasa RESERVoir CHRoNiCLE
1.1.9 CLAMP, page from the Tsubasa RESERVoir CHRoNiCLE,
volume 21, page 47, 2007
CLAMP, Tsubasa RESERVoir CHRoNiCLE
Line can communicate direction and movement

Directional lines focus our attention on different sections
PART 1
FUNDAMENTALS
CLAMP is a mangaka (group of manga artists)
Directional lines converge in the upper section of the image
Then our attention is directed to the figure at the left who is
being blasted by an explosion
Artwork: Frida Kahlo,
The Two Fridas
1.1.11 Frida Kahlo, The Two Fridas, 1939. Oil on canvas, 5'8" x
5'8". Museo de Arte Moderno, Mexico City, Mexico

32
Frida Kahlo: Using Line to Connect and Direct a Viewer’s
Attention
A line is created by the vein that connects the two images of
Frida
European and Spanish-Native Mexican identities connected by
vein
Red line becomes the main element in expressing the story of
Frida’s life
PART 1
FUNDAMENTALS
Gateway to Art:
The artist’s connections to her family lineage, to her husband,

and to her history of physical suffering are all encapsulated in
this work
Other lines that contribute to the overall composition are the
strong crisp outlines of the figures and the soft irregular lines of
the clouds
Communicative Line
Vertical lines tend to communicate strength and energy
Horizontal lines can suggest calmness and passivity
Diagonal lines are associated with action, motion, and change
PART 1
FUNDAMENTALS
The Communicative
Qualities of Line
1.1.10 Communicative qualities of line
PART 1

FUNDAMENTALS
Graphic designers use the communicative qualities of
directional line when creating logos
To convey the strength of government or the stability of a
financial institution, they may choose verticals
Logos for vacation resorts often have horizontal lines to
communicate peaceful repose
Artwork: Carolyn Davidson,
Nike Company logo
1.1.12 Carolyn Davidson, Nike Company logo, 1971
Carolyn Davidson,
Nike Company logo
Diagonal lines express the excitement of athletic activity
This stylized, diagonal line conveys action

PART 1
FUNDAMENTALS
Artwork: Vincent van Gogh, The Bedroom
1.1.13 Vincent van Gogh, The Bedroom, 1889. Oil on canvas,
28¾ × 36¼". Art Institute of Chicago, Illinois
Vincent van Gogh,
The Bedroom
Van Gogh's use of line gives an unsettling energy
Most lines are strong verticals, suggesting it was not a calm
place of rest
Unease is also communicated through the emphatic diagonals

and changes in color and value
PART 1
FUNDAMENTALS
Dutch artist Vincent van Gogh (1853–1890)
The painting may communicate the anxiety the artist felt in the
months leading up to his suicide the following year (1890)
He may also have been trying to ground himself by painting the
simple room in which he slept
Communicative Line
PART 1
FUNDAMENTALS

Vincent van Gogh in His Own Words
Video
PART 1
FUNDAMENTALS
Vincent van Gogh, Starry Night
To learn about another artwork by Vincent van Gogh, listen to a
MoMA lecturer talk about Starry Night:
MoMA Video
PART 1

FUNDAMENTALS
MoMA Video
Lines to Regulate and Control
Regular lines express control and planning
PART 1
FUNDAMENTALS
Artwork: Mel Bochner, Vertigo
1.1.14 Mel Bochner, Vertigo, 1982. Charcoal, Conté crayon,
and pastel on canvas, 9' × 6'2". Albright-Knox Art Gallery,
Buffalo, New York

Mel Bochner, Vertigo
Bochner uses regular, ruled lines drawn with a straightedge
The repetition and overlapping impart a feeling of disarray
PART 1
FUNDAMENTALS
American Mel Bochner (b. 1940) is a conceptual artist.
Artwork: Barbara Hepworth, Drawing for Sculpture
1.1.15 Barbara Hepworth, Drawing for Sculpture (with color),
1941.
Pencil and gouache on paper mounted on board, 14 × 16".
Private collection

Barbara Hepworth,
Drawing for Sculpture
Hepworth created four views of
a planned sculpture
The lines are crisp and clear
They combine to translate Hepworth's feelings and sensations
into drawings and sculptures
PART 1
FUNDAMENTALS
Barbara Hepworth (1903–1975) was a British sculptor
Hepworth said, “I rarely draw what I see. I draw what I feel in
my body.”
Lines to Express Freedom and Passion
Lines can be irregular
Such lines—free and unrestrained—seem passionate and full of

feelings that are otherwise hard
to express
PART 1
FUNDAMENTALS
Artwork: André Masson, Automatic Drawing
1.1.16 André Masson, Automatic Drawing, 1925–26. Ink on
paper, 12 × 9½". Musée National d’Art Moderne, Centre
Georges Pompidou, Paris, France
André Masson,
Automatic Drawing
Masson wanted to express the depths of his subconscious
Automatic drawings look spontaneous and free
PART 1

FUNDAMENTALS
French artist Masson (1899–1987) would go for days without
food or sleep
He believed this would allow him to explore deep-rooted
sources of creativity and truth
Artwork: Georgiana Houghton, Glory be to God
1.1.17 Georgiana Houghton, Glory be to God, 1864. Pencil,
watercolor, and ink on paper, 9⅜ × 12⅞". Victorian Spiritualists
Union, Melbourne
Georgiana Houghton, Glory be to God
Houghton uses an uninhibited style
Lines are irregular and loose

Overall composition is systematically organized by spiritual
forces
PART 1
FUNDAMENTALS
British nineteenth-century artist and spiritualist Georgiana
Houghton (1814–1884)
Houghton was one of the first artists to derive her ideas and
images from non-visual sources and depict them in a non-
representational way
Regular and Irregular Lines
Most artworks use both regular and irregular lines
PART 1
FUNDAMENTALS

Artwork: George Bellows, Woodstock Road
1.1.18 George Bellows, Woodstock Road, Woodstock, New
York, 1924, 1924. Black crayon on wove paper, image 6⅛ ×
8⅞", sheet 9¼ × 12⅜". National Gallery of Art, Washington,
D.C.
George Bellows,
Woodstock Road
Bellows contrasts the organic lines
of the landscape and sky with
the regular lines of the man-made architectural features
PART 1
FUNDAMENTALS

American artist George Bellows (1882–1925) created this as a
preliminary sketch for another work
The center bottom inscription reads: “all lights as high as
possible / get color out of shadows”
Shape
A shape is a two-dimensional area the boundaries of which are
defined by lines or suggested
by changes in color or value
1.1.19 Two-dimensional circular shapes
PART 1
FUNDAMENTALS
Two-dimensional figures have height and width, but no depth
They can be seen as simple shapes (circles, squares, triangles)
A three-dimensional object, such as a sphere, is drawn using a
circle shape, then shading is applied to suggest depth

Geometric and Organic Shapes
Shapes can be classified into
two types:
Organic shapes are made up
of unpredictable, irregular lines
Geometric shapes are mathematically regular and precise
1.1.20 Geometric and organic shapes
PART 1
FUNDAMENTALS
Organic shapes may seem unrestrained and chaotic, reflecting
the never-ending change characteristic of living things
The simple shapes we know—circle, square, triangle—are all
examples of geometric shapes
Artists often use tools, such as rulers or computer graphics
applications, to create the clean, controlled line of geometric
shapes

Portal Artwork: Gerrit Rietveld, Schröder House
3.9.31 Gerrit Rietveld, Schröder House, 1924–25. Utrecht,
Netherlands
This is an example of how geometric shapes can be found in
architecture
Gerrit Rietveld’s Schröder House is made up of rectangles
58
Definition of Shape
PART 1
FUNDAMENTALS

Geometric and Organic Shapes
PART 1
FUNDAMENTALS
Artwork: Miriam Schapiro, Baby Blocks
1.1.21 Miriam Schapiro, Baby Blocks, 1983. Collage on paper,
29⅞ × 30". University
of South Florida
Collection, Tampa
Miriam Schapiro,
Baby Blocks

The organic shapes of the flowers are clearly distinct from the
hard geometric shapes of the “blocks” and red frame
Schapiro calls these works “femmages” (homages to the artistry
of traditional “women’s work”)
PART 1
FUNDAMENTALS
This work is a collage by Canadian-born feminist artist Miriam
Schapiro
She incorporates doll clothes, home decorations, and sewing
materials
The title comes from a popular quilting pattern
The geometric regularity of the diamond-shaped pattern acts as
a foil to the stylized organic floral shapes
Implied Shape
Implied shapes are shapes we
can see where no continuous boundary exists

1.1.22 Implied shapes
PART 1
FUNDAMENTALS
Just as line can be implied, so too can shape.
Artwork: Saul Bass,
AT&T Logo
1.1.23 Saul Bass, Bass & Yager, AT&T logo, 1984
Saul Bass, AT&T logo
Bass uses twelve horizontal lines to imply a sphere or globe
A simple, recognizable symbol for a global company
PART 1

FUNDAMENTALS
The AT&T logo was created in the 1980s by the American
graphic designer Saul Bass
By constricting the width of nine of these lines, a highlight
appears
Contrast
When an artist uses two noticeably different states of an
element, he or she is applying the principle of contrast
Examples include:
Regular and irregular lines
Geometric and organic shapes
PART 1
FUNDAMENTALS

Artwork: Carrie Mae Weems, “Untitled (Woman and Daughter
with Makeup)”
1.1.24 Carrie Mae Weems, “Untitled (Woman and Daughter
with Makeup)” from Kitchen Table Series, 1989–90. Inkjet
print, 41¼ × 41¼ × 2¼" (framed)
67
Carrie Mae Weems:
The Principle of Contrast and Dramatic Effect
Weems exploits contrast in the image by balancing opposite
shapes and values
The monochromatic palette, along with the spotlight above the
table, adds a level of drama
PART 1
FUNDAMENTALS

Gateway to Art:
African American artist Carrie Mae Weems (b. 1953)
concentrates on personal, cultural, and racial identity in her
work
In her photograph series Kitchen Table, Weems poses an
invented family in real life situations that highlight
interpersonal relationships
Positive and Negative Shapes
A positive shape is defined by
its surrounding empty space
(the negative space)
In visual form, positive and negative are often represented
by black and white, but any color combination can work
PART 1
FUNDAMENTALS

An example would be the words on this screen
The words are the positive shapes that we can see on the
negative space of the background
Sometimes the lighter color becomes the positive shape
Positive and Negative Shapes
PART 1
FUNDAMENTALS
Artwork: Shepard Fairey, Obey
1.1.25a Shepard Fairey, Obey, 1996. Campaign poster

Artwork: Shepard Fairey, Obey (installation)
1.1.25b Shepard Fairey, Obey, 1996. View of the posters as they
were installed in public
Shepard Fairey,
Obey
Fairey's use of interlocking positive and negative shapes creates
a strong visual impact
As a street artist, he needs to catch his audience’s attention
quickly as they pass by
Image is based on Andre the Giant, a professional wrestler
PART 1
FUNDAMENTALS

The black features and blank white space contrast and
complement each other
Andre the Giant was also Fessick in the movie The Princess
Bride
Captioned with the word “Obey”
Without seeking prior permission, Fairey posted these images in
public spaces as an act of street theater and guerrilla marketing
Artwork: Georgia O’Keeffe, Music—Pink and Blue II
1.1.26 Georgia O’Keeffe, Music—Pink and Blue II, 1919. Oil
on canvas, 35 × 29⅛". Whitney Museum of American Art, New
York
Georgia O’Keeffe,
Music—Pink and Blue II
O’Keeffe’s abstract shapes
derive from a close observation

of organic objects
Emphasis on the negative
blue shape in the bottom right
of the picture
Positive shape is the pink arc above
PART 1
FUNDAMENTALS
American artist Georgia O’Keeffe (1887–1986) often used
organic shapes found in natural landscapes and flora.
Artwork: Noma Bar, Gun Crime
1.1.27 Noma Bar, Gun Crime, 2009. Digital, dimensions
variable

Noma Bar, Gun Crime
The silhouette of the handgun is the positive shape; the tan
background is the negative space
Area around trigger becomes a simple image of a head with
blood running from its mouth
Communicates gun crime
PART 1
FUNDAMENTALS
The Israel-born illustrator and designer Noma Bar (b. 1973)
cleverly combined complementary symbols to superimpose two
connected ideas.
Artwork: M. C. Escher,
Sky and Water I
1.1.28 M. C. Escher, Sky and Water I, 1938. Woodcut, 17⅛ ×
17⅜".
The M. C. Escher Company, The Netherlands

M. C. Escher,
Sky and Water I
The negative shape changes from white in the upper part of the
picture to black in the lower
Strong geometric patterns change into organic shapes of animals
Uses figure–ground reversal technique
PART 1
FUNDAMENTALS
M.C. Escher (1898–1972) was a Dutch artist
The refined version of each animal becomes more vague until it
transforms into the negative ground of the other
Figure–ground reversal is the reversal of the relationship
between one shape (the figure) and its background (the ground)

The figure becomes background and the ground becomes the
figure
Kazimir Malevich,
Suprematist Composition:
Airplane Flying
To learn more about another artist, Kazimir Malevich, whose
work uses line, shape, and contrast, watch this video of MoMA
lecturers talking about artworks from the MoMA collection:
MoMA Video
MoMA Video:
PART 1
FUNDAMENTALS
Chapter 1.1 Copyright Information
This concludes the PowerPoint slide set for Chapter 1.1

Gateways to Art: Understanding the Visual Arts
Third Edition
By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn
Shields
PART 1
FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Picture Credits for Chapter 1.1
1.1.1 Photo Jarno Gonzalez Zarraonandia/iStockphoto.com
1.1.2a Photo Scala, Florence - courtesy the Ministero Beni e
Att. Culturali
1.1.2b Photo Scala, Florence/Fondo Edifici di Culto - Min.
dell’Interno
1.1.3 Musée des Beaux-Arts de Lyon. © Succession H.
Matisse/DACS 2018
1.1.4 The Museum of Modern Art, New York, The Louis E.

Stern Collection, 988.1964.6. Digital image, The Museum of
Modern Art, New York/Scala, Florence. © Succession
Picasso/DACS, London 2018
1.1.5 Ralph Larmann
1.1.6aBritish Library, London
1.1.6bBritish Library, London
1.1.7 © Sauerkids
1.1.8 British Museum, London
1.1.9 © CLAMP/Kodansha Ltd
1.1.10 Ralph Larmann
1.1.11 Museo de Arte Moderno, Mexico City. © Banco de
México Diego Rivera Frida Kahlo Museums Trust, Mexico,
D.F./DACS 2018
1.1.12 © Nike
1.1.13 Art Institute of Chicago, Illinois/Helen Birch Bartlett
Memorial Collection/Bridgeman Images
1.1.14 Image courtesy Peter Freeman, Inc., New York
1.1.15 © Bowness, Hepworth Estate
1.1.16 © ADAGP, Paris and DACS, London 2018
1.1.17 Courtesy the Victorian Spiritualists’ Union, Melbourne
1.1.18 National Gallery of Art, Washington, D.C., Collection of
Mr. and Mrs. Paul Mellon, 1983.1.81
1.1.19Ralph Larmann
1.1.20Ralph Larmann
1.1.21 Courtesy Flomenhaft Gallery, New York

PART 1
FUNDAMENTALS
Picture Credits for Chapter 1.1 (contd.)
1.1.23 Courtesy AT&T Archives and History Center
1.1.24 © Carrie Mae Weems. Courtesy the artist and Jack
Shainman Gallery, New York
1.1.25a © 1996 Shepard Fairey/ObeyGiant.com
1.1.25b Photo © Elizabeth Daniels/www.
elizabethdanielsphotography.com. © 1996 Shepard
Fairey/ObeyGiant.com
1.1.26 © Georgia O’Keeffe Museum/DACS 2018
1.1.27 Noma Bar/Dutch Uncle
1.1.28 © 2012 The M. C. Escher Company-Holland. All rights
reserved. www.mcescher.com
PART 1

FUNDAMENTALS
Chapter 1.2
Form, Volume,
Mass, and Texture
PART 1
FUNDAMENTALS
Introduction
Three-dimensional works of art:
Have height, width, and depth
Possess four of the visual elements: form, volume, mass, and
texture

1.2.1 Three dimensions: height, width,
and depth
PART 1
FUNDAMENTALS
Chapter 1.2 Form, Volume, Mass, and Texture
Form
A two-dimensional object is a shape; a three-dimensional object
is called a form
Forms have two basic attributes
Volume: the amount of space a form occupies
Mass: the volume is solid and occupies space
PART 1
FUNDAMENTALS

Forms vary widely in scale (the size of an object relative to
another object)
Forms are tactile; texture can be experienced directly through
touch or imagined simply by looking at it
Great Sphinx of Giza and Pyramid of Khafre
1.2.2 Great Sphinx of Giza (front), c. 2500 BCE, and Pyramid
of Khafre, c. 2500 BCE, Giza, Egypt
Great Sphinx of Giza and Pyramid of Khafre
The Great Sphinx is the largest carving in the world from a
single stone; it guards tombs
Pyramid of Khafre is an example

of regulated geometric form
Egyptian art and architecture is ordered and controlled;
governed
by a canon (set of rules)
PART 1
FUNDAMENTALS
Stone was a common material in ancient Egypt
Both artworks are located at Giza, near Cairo
Great Sphinx
Symbol of the power we, as humans, have to change our
surroundings
The name “sphinx” comes from Greek, not Egyptian, mythology
(creature with the body of a lion, wings of an eagle, and head of
a man)
Believed to be a likeness of the Egyptian King Khafre
Pyramids
Emphasis on mathematical proportion and attention to detail

Geometric Form
Regular forms that are readily expressible in words or
mathematics
Cubes, spheres, cylinders, cones, and pyramids are simple
examples
PART 1
FUNDAMENTALS
Geometric and Organic Forms
PART 1
FUNDAMENTALS

The Pyramids of Giza
Video
PART 1
FUNDAMENTALS
Artwork: David Smith,
Cubi XIX
1.2.3 David Smith, Cubi XIX, 1964. Stainless steel, 113¼ ×
21⅝ × 20⅝". Tate Gallery, London, England

David Smith, Cubi XIX
Smith combines geometric forms in angular relationships
Uses cubes, cuboids, and a thick disk
Diagonal angles imply movement
PART 1
FUNDAMENTALS
American sculptor David Smith (1906–1965) learned welding in
an automobile factory and fabricated tanks of thick armor plate
during World War II
He burnished the stainless steel surfaces to create a
counterpoint between industrial and natural form
Organic Form
The form of most things in the natural world is organic:
irregular and unpredictable
Living things (and their form) change constantly
Can be used for expressive effect

PART 1
FUNDAMENTALS
Artwork: Roettgen Pietà (Vesperbild)
1.2.4 Roettgen Pietà (Vesperbild), Middle Rhine region, c.
1330. Wood, height 34½". Rheinisches Landesmuseum, Bonn,
Germany
Roettgen Pietà (Vesperbild)
The human figure is an organic form
Artist carves the bodies of Mary and Jesus as irregular,
awkward, and distorted
Expresses agony of death and grief
PART 1

FUNDAMENTALS
From fourteenth century; artist is unknown
Jesus is stiffly angular and lifeless
Prickly thorns, gushing wounds, and crumpled drapery give
texture to pain and anguish
Mary is disproportionate, her face twisted in sorrow
Portal Artwork:
Moai ancestor figures
3.5.16 Moai ancestor figures, Ahu Nau Nau, Easter Island
(Chile), Polynesia, before the 15th century
The Easter Island moai ancestor figures are examples of
artistically accentuated organic forms.
14
Artwork: Lino Tagliapietra, Batman
1.2.5 Lino Tagliapietra, Batman, 1998. Glass, 11½ × 15½ × 3½"

Lino Tagliapietra,
Batman
The form of this artwork is lively and organic
The natural energy of light is captured in the glowing
transparency of glass
Uses expressive form to allude
to the character Batman
PART 1
FUNDAMENTALS
Italian glass artist Lino Tagliapietra (b. 1934)
Tagliapietra conveys the idea of “a creature who emerges from
his dark cave to share goodness and light”
He says of his work: “I imaged pieces that allow the viewer to

see both the reality and fantasy of Batman’s world”
Form in Relief and
in the Round
Relief
A work in which forms project from a flat surface
Designed to be viewed from one side only
A form in the round can be seen from all sides
PART 1
FUNDAMENTALS
Form in the Round and in Relief
PART 1
FUNDAMENTALS

Artwork: Imperial Procession,
Ara Pacis Augustae
1.2.6 Imperial Procession, from the Ara Pacis Augustae, 13
BCE. Marble altar, Museo dell’Ara Pacis, Rome, Italy
Imperial Procession,
Ara Pacis Augustae
Figures in the foreground (high relief) are more deeply carved
than figures in the background
Depth of the carvings suggest that some areas are further away
Implies a large crowd

PART 1
FUNDAMENTALS
Relief sculpture on the south facade of the Ara Pacis (Latin for
Altar of Peace) in Rome, Italy
Unknown artist
Artwork: Stela with
supernatural scene
1.2.7 Stela with supernatural scene, Mexico or Guatemala, 761
CE. Limestone, 92 × 42 × 3". Fine Arts Museums of San
Francisco
Stela with
supernatural scene
This artwork is an example of

bas-relief (low relief)
Large figure of a Maya ruler wearing an elaborate costume
All elements of the composition are of equal visual weight
PART 1
FUNDAMENTALS
A stela is an upright stone slab decorated with inscriptions or
pictorial relief carvings
The Maya writing to the left of the figure seems to be of equal
depth
Artwork: Naked Aphrodite Crouching at Her Bath
1.2.8a and 1.2.8b Naked Aphrodite Crouching at Her Bath
(“Lely’s Venus”). Marble, Roman, 2nd century CE; copy of lost
Greek original of the late 3rd/2nd century BCE, height 44⅛".
British Museum, London, England (on loan from Her Majesty
the Queen)

Naked Aphrodite Crouching at Her Bath
Sculptures in the round can be viewed from all sides
Aphrodite’s body is twisted, inviting the viewer to walk around
the work
As the viewer moves, their perception changes, revealing new
and different aspects of the work
PART 1
FUNDAMENTALS
This ancient Roman statue is also known as Lely’s Venus.
Portal Artwork: Giambologna,
Rape of a Sabine
2.4.2a Giambologna, Rape of

a Sabine (model), 1582.
Gesso, height 13'8". Galleria dell’Accademia, Florence, Italy
Giambologna’s Rape of a Sabine is a freestanding sculpture
depicting figures from Classical mythology
It is intended to be viewed in the round
25
Volume
Volume is the amount of space occupied by an object
Solid objects have volume; so do objects that enclose an empty
space
1.2.9 Volume (left) and mass (right)
PART 1
FUNDAMENTALS
Architectural forms usually enclose a volume of interior space
to be used for living or working.

Volume
PART 1
FUNDAMENTALS
Open Volume
When artists enclose a space with materials that are not
completely solid, they create an open volume
PART 1
FUNDAMENTALS

Artwork: Ralph Helmick and Stuart Schechter, Ghostwriter
1.2.10a Ralph Helmick and Stuart Schechter, Ghostwriter, 1994.
Cast metal/stainless cable, 36 × 8 × 10'. Evanston Public
Library, Illinois
Detail of Helmick and
Schechter's Ghostwriter
1.2.10b Detail of Ghostwriter
Detail of the sculpture Ghostwriter, showing smaller sculptures
of heads and other metal pieces suspended from cables.
Ralph Helmick and Stuart Schechter, Ghostwriter
Helmick uses carefully suspended pieces of metal create an
open volume
When seen as a whole, the shape of a large human head is
implied

PART 1
FUNDAMENTALS
The small metal pieces represent letters of the alphabet and
other objects.
Artwork: Tatlin, Monument to the Third International
1.2.11 Vladimir Tatlin, Model for Monument to the Third
International, 1919
Tatlin, Monument to the Third International
This monument was never built
Intended to be a huge steel-and-glass tower commemorating the
triumph of Russia’s Bolshevik Revolution
The proposed materials and the interior's open volume
symbolize the modernism of Communism

PART 1
FUNDAMENTALS
Russian artist Vladimir Tatlin (1885–1953) envisioned this
tower to house the offices and chamber of delegates of the
Communist International
If built, it would have been larger than the Eiffel Tower
The open volume and proposed materials (steel and glass)
symbolize the modernism and dynamism of Communism
Tatlin believed art should support and reflect the new social and
political order
Artwork: Mickett and Stackhouse, In the Blue (Crest)
1.2.12 Carol Mickett and Robert Stackhouse, In the Blue
(Crest), 2008. Painted cypress, 24 × 108 × 11'.
Installation at St. Petersburg Art Center, Florida

Mickett and Stackhouse,
In the Blue (Crest)
Open volume can make a work
feel light
The negative space (openings between wooden slats) and
irregular arrangement make the work seem to float
Implies the presence of water
PART 1
FUNDAMENTALS
Created by American sculptors Carol Mickett (b. 1952) and
Robert Stackhouse (b. 1942).
Mass
Mass suggests that something
is solid and occupies space

Mass can suggest weight but
it does not necessarily imply heaviness
PART 1
FUNDAMENTALS
Our perception of mass is derived from our imagination, our
previous experience with smaller objects, and our understanding
of the forces of nature
Some artists imply mass to give the impression that the object
we are looking at is very heavy
In movies, special-effect artists play with that illusion (e.g.
boulders made of foam)
Mass
PART 1

FUNDAMENTALS
Artwork: Rachel Whiteread, House
1.2.13 Rachel Whiteread, House, 1993. Concrete. Bow, London,
England (demolished 1994)
Rachel Whiteread, House
Whiteread's House suggests great weight and solidity
She filled the interior of a house
with concrete before demolishing exterior walls
Empty volume of the interior is turned into a memorial of the
lives
of the people who used to live in it

PART 1
FUNDAMENTALS
British sculptor Rachel Whiteread (b. 1963)
We comprehend not only the weight of the concrete, but also the
related associations of life and death, memory and change
Artwork: Marisol (Escobar), Father Damien
1.2.14 Marisol (Escobar),
Father Damien, 1969. Bronze, height 7'. State Capitol Building,
Honolulu, Hawaii
Marisol (Escobar),
Father Damien
Father Damien was a humanitarian who served a leper colony in
Hawaii
Steadfast compassion is suggested by the four-square mass

The stout form communicates stability and determination
PART 1
FUNDAMENTALS
Venezuelan-born artist Marisol (b. Maria Sol Escobar, 1930)
depicts the courage of a humanitarian hero
Father Damien was a Catholic missionary who supervised a
leper colony on the island of Molokai during the nineteenth
century
He died of leprosy while serving its victims
Hawaiian legislature voted to place this memorial to him in
front of the State Capitol Building in Honolulu
Portal Artwork:
Colossal Olmec Head
3.4.8 With the help of local villagers, Matthew and Marion
Stirling discovered this 8-foot-tall colossal head in San Lorenzo
in the state of Veracruz, Mexico, in 1945—a few years after

their discoveries at La Venta.
Another example of mass can be found in the colossal Olmec
head from Veracruz, Mexico.
42
Frank Gehry, Guggenheim Museum, Bilbao
1.2.15 Frank Gehry, Guggenheim Museum, 1997, Bilbao, Spain
Frank Gehry, Guggenheim Museum, Bilbao
The museum is located in Bilbao, Spain, which was once a
center for shipbuilding
Undulating surfaces and complex shapes of Gehry’s creation
extend into space like a huge boat
Uses contrasts in geometric and organic form
PART 1

FUNDAMENTALS
American architect Frank Gehry (b. 1929) designed the
Guggenheim Museum, located between the River Nervión and a
motorway
Gehry used computer programs originally invented for
aerospace design
Most walls are irregular, curving organic forms, but entrance is
composed of more familiar geometric form
Employs both relief and sculpture in-the-round
Covered with titanium tiles, resembling bas-relief
Building itself is like a sculpture in the round
This part of the city has been transformed from deteriorating
industrial district to a vibrant cultural area
Artwork: Louise Bourgeois, Maman
1.2.16 Louise Bourgeois, Maman, 1999 (cast 2001). Bronze,
stainless steel, and marble, 29’4⅜" x 32'9⅛" x 38'1".
Guggenheim Museum, Bilbao, Spain

Louise Bourgeois, Maman
This sculpture stands beside the Guggenheim Museum, Bilbao
The massive solidity of the building is contrasted with the
spindly form and open volume of Maman
Means “Momma” in French
PART 1
FUNDAMENTALS
French artist, Louise Bourgeois (1911–2010) wants to convey
both the tenderness and the fierce protectiveness of motherhood
The subtle variations of angle in the legs imply movement
Even though this spider is made of bronze, the effect is one of
lightness
Suspended below the central body is a container of marble
spheres, like an egg sac

1.2.17a Constantin Brancusi, The Kiss, 1916. Limestone, 23 x
13¼ x 10", Philadelphia Museum of Art
Artwork: Constantin Brancusi, The Kiss
By fusing the separate figures into one solid stone mass,
Brancusi communicates a transcendent and timeless love that is
not bound by the human body and its limited time on earth, but
becomes symbolic of something ancient and lasting.
47
1.2.17b Auguste Rodin, The Kiss, c.1882. Marble, 71½ × 44¼ ×
46", Musée Rodin, Paris,
Artwork: Auguste Rodin,
The Kiss
Rodin downplays the role of the material, instead creating a
lighter expression of mass and revealing the form and texture of
the human body to communicate the power of real, physical
love.
48

Brancusi and Rodin: Using Mass to Describe Love
Rodin decided to carve a naturalistic image of two figures
embracing
Brancusi carves directly into a block of limestone to express the
idea of two lovers unified in their relationship with each other
PART 1
FUNDAMENTALS
Texture
Texture is the tactile sensation when we physically encounter
a three-dimensional form
We rely mostly on the impressions we receive from our hands
Looking at a surface, we can imagine its texture based on our
past experience
PART 1

FUNDAMENTALS
Two-dimensional images have implied texture, which means the
artist creates an effect that reminds us of our tactile memory of
an actual texture.
Texture
PART 1
FUNDAMENTALS
Artwork: Anish Kapoor,
Cloud Gate
1.2.18 Anish Kapoor, Cloud Gate, 2004. Stainless steel, 32'9" ×

65'7" × 41'12". Millennium Park, Chicago, Illinois
Anish Kapoor,
Cloud Gate
Viewers of Cloud Gate experience actual texture when they see
and touch the work
Highly polished, organic form that reflects the city of Chicago
Artist wants the viewer to interact with the sleek sculpture
PART 1
FUNDAMENTALS
Indian-born British artist Anish Kapoor’s (b. 1954) sculpture is
polished stainless steel
“Bean-like” form

Artwork: Wangechi Mutu,
She’s Got the Whole World in Her
1.2.19a Wangechi Mutu, She’s Got the Whole World in Her,
2015. Mannequin, paper, wax and lights, 9' × 5' × 3'5"
Artwork: Wangechi Mutu,
1.2.19b Wangechi Mutu, She’s Got the Whole World in Her
(rear view), 2015. Mannequin, paper, wax and lights, 9' × 5' ×
3'5"
Wangechi Mutu,
This artwork features a female figure surrounded by natural
textures—wood, animal horns,
and rough papier maché—gazing
at a lighted globe
PART 1
FUNDAMENTALS

The artist employs a wide variety of organic textures derived
from transient materials like paper and wax to symbolize issues
of gender, colonialism, and those unique to people in Africa or
of African descent
Mutu uses textured objects to express the changing role of
African women, from traditional agrarian responsibilities to
careers in business and government, as well as modern society
in general
56
Subversive Texture
This type of texture contradicts
our previous tactile experience
Artists use subversive texture
to invite viewers to reconsider preconceptions
PART 1
FUNDAMENTALS

Artwork: Méret Oppenheim, Object
1.2.20 Méret Oppenheim, Object, 1936. Fur-covered cup,
saucer, and spoon, height 2⅞". MoMA, New York
Méret Oppenheim,
Object
Oppenheim was a Swiss Surrealist
Used texture to contradict the conscious logical experiences
of viewers
She counts on our tactile memory to conflict with the actual
experience
PART 1
FUNDAMENTALS

In the early twentieth century, Surrealists created work that
drew on ideas and images from dreams and the unconscious
mind
In her sculpture, Oppenheim (1913–1985) takes normally hard
and cool objects, and makes them soft and furry
Conjures up an unexpected sensation of fur tickling our lips
Form is recognizable, but the associated experience is not
To learn more about artists whose work uses form, volume,
mass, and texture, watch these videos of MoMA lecturers
talking about artworks from the MoMA collection:
Joseph Beuys,
Eurasia Siberian Symphony
Umberto Boccioni,
Unique Forms of Continuity in Space
Dynamism of a Soccer Player
MoMA Videos
MoMA Video

MoMA Video
PART 1
FUNDAMENTALS
Constantin Brancusi
Marcel Duchamp,
Bicycle Wheel
MoMA Videos (contd.)
To learn more about the use of time and motion in art, watch
these videos of MoMA lecturers talking about artworks in the
MoMA collection:
MoMA Video
MoMA Video
PART 1
FUNDAMENTALS

Third Edition
Shields
PART 1
FUNDAMENTALS
1.2.1 Ralph Larmann
1.2.2 iStockphoto.com

1.2.3 Photo courtesy the Marlborough Gallery Inc., New York.
© Estate of David Smith/DACS, London/VAGA, New York
2018
1.2.4 Rheinisches Landesmuseum, Bonn
1.2.5 Photo Russell Johnson. Courtesy Lino Tagliapietra, Inc.
1.2.6 Museo dell’Ara Pacis, Rome
1.2.7 Fine Arts Museum of San Francisco, Museum Purchase,
Gift of Mrs. Paul Wattis 1999, 42 a–k
1.2.8a Photo Mary Cameron-Sarani
1.2.8b Prisma/SuperStock
1.2.9 Ralph Larmann
1.2.10aPhoto Clements/Howcroft, MA. Courtesy the artists
1.2.10b Photo Clements/Howcroft, MA. Courtesy the artists
1.2.11 Photo Nationalmuseum, Stockholm
1.2.12 Photo Andrew Hawthorne. Courtesy the artists
1.2.13 Photo Sue Ormerod. © Rachel Whiteread. Courtesy
Gagosian Gallery, London
1.2.14 © Marisol, DACS, London/VAGA, New York 2018
1.2.15 © Romain Cintract/Hemis/Corbis
1.2.16 Photo Carlos Sieiro Del Nido. © The Easton
Foundation/VAGA, New York/DACS, London 2018
1.2.17a Philadelphia Museum of Art, The Louise and Walter
Arensberg Collection, 1950-134-4. © Succession Brancusi - All
rights reserved. ADAGP, Paris and DACS, London 2018
1.2.17b Photo Szilas

PART 1
FUNDAMENTALS
1.2.18 Photononstop/SuperStock
1.2.19a © Wangechi Mutu. Courtesy the artist and Victoria
Miro, London
1.2.19b © Wangechi Mutu. Courtesy the artist and Victoria
Miro, London
1.2.20 Museum of Modern Art, New York, Purchase,
130.1946.a–c. Photo 2012, Museum of Modern Art, New
York/Scala, Florence. © DACS 2018
PART 1
FUNDAMENTALS

Chapter 1.4
Color
PART 1
FUNDAMENTALS
Introduction
Color is the most vivid element
of art
Attracts our attention and excites our emotions
Perceptions of color are personal and subjective
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Chapter 1.4 Color
Gateways to Art: Understanding the Visual Arts,
Color and Light
We cannot perceive color without light
White light can be separated into the visible spectrum using a
prism
Each color has a different wavelength
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Light consists of energy that travels in waves
The distance between the peak of each wave is its wavelength

3
Diagram of a Prism
1.4.1 White light can be separated into the visible spectrum
using a prism
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Gateways to Art: Understanding the Visual Arts, Debra J.
DeWitte, Ralph M. Larmann, M. Kathryn Shields
Color and Pigment
The colors we see in objects are the colors that are reflected
back
Other colors of the spectrum
are absorbed by the pigment in
the object
Reflected color excites nerve cells in our eyes and is interpreted
by our brain
PART 1

FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
For example, if the surface of a sweater contains blue pigment,
when white light reaches that surface, all the other colors in the
spectrum are absorbed by the pigment, and only blue is
reflected back.
5
Diagram of Light Reflection
1.4.2 White light reaches a blue object and blue light is
reflected
PART 1
FUNDAMENTALS
Chapter 1.4 Color

Additive and
Subtractive Color
Mixing colored beams of light is called additive (adding colors
= lighter results)
Mixing pigments is called subtractive color (adding colors =
darker results)
In pigment mixtures, more of the spectrum is absorbed (or
subtracted)
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
7
Artwork: Charles Csuri, Wondrous Spring

1.4.3 Charles Csuri, Wondrous Spring, 1992. Computer image,
4' × 5'5"
Charles Csuri, Wondrous Spring
The digital artist Csuri created this image on a computer
To be viewed on video display
Made visible by numerous additive combinations of red, green,
and blue light
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
The digital artist Charles Csuri (b. 1922) has been creating

imagery on computers since 1963
A pioneer in the merging of art with scientific innovations in
computer technology, Csuri has explored and helped develop
the digital realm as a viable art medium
9
Color Wheels
Used by artists, color wheels
have been produced since the
18th century by scientists and
color theorists
Displays important information
about hue relationships (a “map”)
Different color wheels for pigment (subtractive) and light
(additive)
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color

10
Twelve-step Color Wheel
1.4.4 Traditional twelve-step color wheel using “artist’s colors”
PART 1
FUNDAMENTALS
Chapter 1.4 Color
11
Twelve-step Color Wheel
Primary colors: red, yellow, blue (cannot be created by mixing
any other two colors)
Secondary colors: orange, green, violet (mixing two primaries)
Tertiary colors: e.g. red-violet
(mixing a primary and secondary)

PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
The primary colors are known as “artist’s colors”
Gray is in the center of the wheel
In theory, a perfect subtractive mix of primaries should result in
a perfect black, which absorbs all the colors of the spectrum
In practice, when an artist mixes all the colors, the result is a
brownish gray
12
Artwork: Vasily Kandinsky, Yellow-Red-Blue
1.4.5 Vasily Kandinsky, Yellow-Red-Blue, 1925. Oil on canvas,
50⅜ × 79¼".
Musée National d’Art Moderne, Centre Georges Pompidou,

Paris, France
Vasily Kandinsky,
Yellow-Red-Blue
Kandinsky uses primary colors plus black and white
He intended to simplify and celebrate art in its purest sense
Primary colors produce the purest color because they are not
created by mixing other colors
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Russian artist Vasily Kandinsky (1866–1944) appropriately
titled this work Yellow-Red-Blue.

14
Color Wheel of CMY Pigments
1.4.6 Cyan, Magenta, Yellow (CMY) pigment twelve-color
wheel with black center
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Color Wheel of
CMY Pigments
This wheel maps subtractive color combinations
Pigment mixture of cyan, magenta, and yellow results in a
“true” black
Used by designers for printing purposes
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Chapter 1.4 Color
Although red, yellow, and blue are the traditional basic hues of
pigment, scientific discoveries in physics have provided a new
set of primaries
The entire spectrum of white light is absorbed (subtracted) in a
combination of cyan, magenta, and yellow pigments, so not a
single segment of the spectrum is reflected
16
Subtractive Color Mixtures
1.4.7 Subtractive color mixtures using CMY primaries. When
the three colors are perfectly layered together, the result is
black
PART 1
FUNDAMENTALS
Chapter 1.4 Color

Artwork: Analia Saban, Layer Painting (CMY): Flowers
1.4.8 Analia Saban, Layer Painting (CMY): Flowers, 2008.
Acrylic and screen printing
ink on canvas,
36 × 36 × 1½". Thomas Solomon Gallery
18
Analia Saban, Layer Painting (CMY): Flowers
Saban seeks to “debunk” traditional beliefs about color
Mixes red from magenta and yellow
CMY are already the accepted colors used in design and
commercial printing
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Chapter 1.4 Color
19
Color Wheel of
RGB Light
1.4.9 Red, green, blue (RGB) light twelve-color wheel with
white center (primary mixture)
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Color Wheel of RGB Light

This wheel maps additive color combinations that are used for
mixing light
Primary colors: red, green, blue
Secondary colors: cyan, yellow, magenta
Tertiary colors: mixture of a primary and secondary (e.g. red-
magenta)
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
White is in the center of the wheel
Helpful for digital artists
We call the mixture of colors in light “additive color,” because
each time a color of light is added to a mixture it gets lighter,
until eventually it results in white

21
Additive Color Mixtures
1.4.10 Additive color mixtures using red, green, and blue (RGB)
primaries
PART 1
FUNDAMENTALS
Chapter 1.4 Color
22
Dynamics of Color
Color wheels can be a guide to the many attributes of color and
how to use them
Two aspects of color that can be seen by looking at color
wheels:
Complementary color
Analogous color

PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
Complementary Color
These colors can be found on opposite sides of a color wheel
When mixed, produce gray (or black)
When painted side by side, they intensify one another
Their wavelengths are very different; creates the illusion of
vibrating edges
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color

24
Color Combinations and Complements
1.4.11 Color combinations and color complements in pigment
PART 1
FUNDAMENTALS
Chapter 1.4 Color
When the eye tries to compensate for the different wavelengths
of two complementary colors, we tend to see each color more
vibrantly than when we see them separately.
25
Complementary Colors
1.4.12 Makeup artists’ guide to complementary colors

PART 1
FUNDAMENTALS
Chapter 1.4 Color
Make-up artists, whose work involves making their clients’ eyes
show to maximum effect, will apply an eyeshadow with red
undertones to green eyes.
26
Artwork: Frederic Edwin Church, Twilight in the Wilderness
1.4.13 Frederic Edwin Church, Twilight in the Wilderness,1860.
Oil on canvas, 40 × 64". Cleveland Museum of Art, Ohio
27
Frederic Edwin Church,
Twilight in the Wilderness
Church's use of complementary colors create dramatic effect
Red-orange clouds complement the blue-green evening sky

The use of powerful color reveals Church’s awe and respect for
the American landscape
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
American landscape painter Frederic Edwin Church (1826–
1900) gives magnificence to a quiet landscape.
28
Analogous Color
These colors are adjacent to each other on the color wheel
Similar in wavelength
Create color unity and harmony
PART 1

FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
29
Artwork: Mary Cassatt,
The Boating Party
1.4.14 Mary Cassatt, The Boating Party, 1893–94. Oil on
canvas, 35⅜ × 46⅛".
National Gallery of Art, Washington, D.C.
30
Mary Cassatt,
The Boating Party
The analogous color palette (yellows, greens, blues) creates a

harmonious, relaxed effect
Cassatt was one of the few female members of the Impressionist
group
Impressionists shared an interest in the effects of light and color
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
American artist Mary Cassatt (1844–1926)
Cassatt was the only American member of the Impressionists
31
Key Characteristics of Color
All colors have four basic properties:
Hue

Value
Chroma
Tone
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.4 Color
32
Properties of Color: Hue
Hue is the general classification
of a color, as seen in the visible spectrum
Red, yellow, blue, green, orange, and violet are hues
We associate a hue with an ideal version of a given color
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Chapter 1.4 Color
When many of us refer to “the color orange” we are really
referring to the hue orange
The hue orange is usually associated with a bright, warm,
intense orange color
So, when we use the term “hue,” we most often are making
associations with a brilliant color
33
Artwork: Kane Kwei, Coffin
in the Shape of a Cocoa Pod
1.4.15 Kane Kwei, Coffin in the Shape of a Cocoa Pod (Coffin
Orange), c. 1970. Polychrome wood, 2'10" × 8'6" × 2'5".
Fine Arts Museums of San Francisco
34

Kane Kwei, Coffin in the Shape of a Cocoa Pod
Kwei painted this coffin with a brilliant, intentionally
exaggerated, mid-hue orange
Bright colors add to the celebratory mood of funerals in Ghana
Commissioned by a cocoa farmer who wanted to express his
lifelong passion at his funeral
PART 1
FUNDAMENTALS
PART 1
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Chapter 1.4 Color
African sculptor Kane Kwei’s (1922–1992) career started when
his dying uncle asked him to build him a boat-shaped coffin
Others in the community began to ask for coffins in interesting
shapes
Ghanaians believe that having lots of happy people at a funeral
gives solace to the family of the deceased

35
Properties of Color: Value
Each hue has a value, meaning its relative lightness or darkness
compared to another hue
A tint is a color lighter in value than its purest state
A shade is a color darker in value
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Tints imply that the color has been mixed with white
Shades imply that the color has been mixed with black
36
Color-value Relationships
1.4.16 Color–value relationships

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Chapter 1.4 Color
The purest values, compared with those visible in the spectrum,
are indicated by the black outline
Grayscale values are described as neutral, meaning there is an
absence of color
37
Artwork: Mark Tansey, Picasso and Braque
1.4.17 Mark Tansey, Picasso and Braque, 1992. Oil on canvas,
5'4" × 7'
Mark Tansey,
Picasso and Braque
A work that uses only one hue is called monochromatic
An artist can give variety to such

a work by using a range of values
References Picasso and Braque, who referred to each other as
Orville and Wilbur in the early days of Cubism
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Chapter 1.4 Color
Many of American Mark Tansey’s (b. 1949) large paintings are
monochromatic
The flying machine resembles an early Cubist collage
The monochromatic palette is reminiscent of early black-and-
white photos of the Wright Brothers’ experiments with flight
The blue tone refers to Picasso’s Blue Period
39
Artwork: Pablo Picasso,

The Old Guitarist
1.4.18 Pablo Picasso, The Old Guitarist, 1903–4. Oil on panel,
48⅖× 32½", Art Institute of Chicago, Illinois
Pablo Picasso,
The Old Guitarist
This painting features a color palette of blues, browns, and
grays that Picasso used during his Blue Period
Colors create a sad and somber mood
The use of different values create
a realistically modeled figure
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Picasso’s The Old Guitarist was painted during 1901–4, a time
of poverty and personal depression after the suicide of a good
friend.
41
Properties of Color: Chroma
We tend to associate a color with
its purest state, its highest level
of chroma
Refers to the strength or weakness of a color
Sometimes described as saturation, chromaticness, or intensity
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When we think of the color yellow, we often imagine something
strong, bright, and intense
There are many shades of yellow, however

Mustard yellow, which has a brownish tone, has a weaker
chroma because the intensity of the color is less than the purest
hue
42
Artwork: Barnett Newman,
Vir Heroicus Sublimis
1.4.19 Barnett Newman, Vir Heroicus Sublimis, 1950, 1951. Oil
on canvas, 7'11⅜" × 17’8¼". MoMA, New York
Barnett Newman,
Vir Heroicus Sublimis
The visual impact of this painting
relies on value and strong chroma
Subtle variations in the strong red hues; narrow vertical lines
(“zips”) alternate in color
Newman wants viewers to be engulfed by color
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Chapter 1.4 Color
The title of this work by American Barnett Newman (1905–
1970) is Latin for “heroic sublime man”
Parts of the painting appear separately lit
The square area in the center of this painting suggests
Newman’s idealistic vision of the perfectibility of humankind
44
Artwork: André Derain,
The Turning Road, L’Estaque
1.4.20 André Derain, The Turning Road, L’Estaque, 1906. Oil
on canvas, 4'3" × 6'4¾".
Museum of Fine Arts, Houston, Texas
André Derain, The Turning Road, L’Estaque
Derain's use of vivid color makes the scene glow with energy

and vitality
The Fauves
French for “wild beasts”
Used colors in their purest and strongest states as an act of
defiance against the Academy
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French artist André Derain’s (1880–1954) painting is energized
by high chroma and color complements that intensify adjacent
colors when seen close together
The Academy was a state-sponsored school of art that set rigid
rules for acceptable standards for art at the turn of the twentieth
century
46

Properties of Color: Tone
Tone is the weaker chromatic state of any hue
A hue that is almost gray is a tone, because it has been dulled
from its brightest, most pure, state
A tone (low chroma) may be similar in value to a hue at its most
intense state (highest chroma)
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Chapter 1.4 Color
Chroma, Tone, Shades, and Tints
1.4.21 Sampling of chroma, tone, shades, and tints in green hue
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Chapter 1.4 Color
Chroma is a term that also describes the purity of a hue derived
from the spectrum of pure white light
Green at its highest chroma is closest to its pure state in the
spectrum of light
When a color is in its strongest chromatic state, it has no tints
or shades
A muted tone, whatever its hue, is less intense as it gets further
from the purity of its spectral origin
A pastel-green tone and a dark-green tone would each have a
restricted value of green, but a grayed-green hue that is just as
dark as the original green would also have a low chroma
48
Artwork: Paul Klee,
Ancient Sound
1.4.22 Paul Klee, Ancient Sound, 1925. Oil on cardboard, 15 ×
15". Kunstmuseum Basel, Switzerland

Paul Klee,
Ancient Sound
In Ancient Sound Klee associates the tonal qualities of color
with sound; for example, yellows are similar to bright, high-
pitched noises
Dark tones are similar to deep,
low sounds
Klee was both an artist and violinist
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Swiss artist Paul Klee (1879–1940), organized a grid full of
colors that vary in tone and create contrast
Like the changing notes in a piece of music, the chroma of these

colors rises and falls
50
The Sensation of Color
Some colors are associated with emotional states (e.g. feeling
“blue”)
Color temperature is based on our associations with warmth and
coolness (e.g. red is hot)
Color can affect the way we see (the illusion of optical color)
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Chapter 1.4 Color
Color Temperature
We associate color with temperature because of our previous
experiences
Relative to colors nearby
Used by artists to communicate physical and emotional states

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Chapter 1.4 Color
Our perception of color temperature can be altered if placed
next to an analogous color
For example, green, a color we might associate with coolness,
can be warm if we see it next to a cooler color, such as blue
52
Artwork: Mosque lamp from the Dome of the Rock
1.4.23 Mosque lamp from the Dome of the Rock in Jerusalem,
1549. Iznik pottery, height 15". British Museum, London,
England

53
Mosque lamp from the
Dome of the Rock
The colors blue and green reflect the meditative atmosphere of a
holy place
In Islamic art, green has positive associations and supports the
peacefulness of prayer
Many people associate green and
blue with passive environments
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The blue and green are placed on a white ground for contrast.
54

Optical Color
Colors that our minds create are based on the information we
can perceive
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Chapter 1.4 Color
Optical Color Mixing Effect
1.4.24 Two squares, one filled with red and blue dots and the
other with red and yellow dots to create optical color mixing
effect
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Chapter 1.4 Color

The square on the left contains so many red and blue dots that
our brain interprets them as a violet color
In the square on the right, red and yellow dots are interpreted as
an orange tone
56
Artwork: Georges Seurat,
The Circus
1.4.25a Georges Seurat,
The Circus, 1890–91. Oil on canvas, 6'⅞" × 4'11⅞". Musée
d’Orsay, Paris, France
Detail of Georges Seurat,
The Circus
1.4.25b Detail of Georges Seurat, The Circus
Georges Seurat,
The Circus
Pointillism is the use of small dots of color, painted close

together
Our eyes see the colors differently through optical mixing
Colors appear more intense because they retain their individual
intensity
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Chapter 1.4 Color
Georges Seurat’s (1859–1891) The Circus produces a jewel-like
diffusion of light
The illusion of visual vibrations between the colors make it
visually exciting
59
Georges Seurat: Sunday on La Grande Jatte

Video:
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Video:
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Chapter 1.4 Color
Color Theory and Deception
We can be deceived by a color because
of the influences of color adjacent to it
Color theorist Johannes Itten looked for ideal color
combinations
Theorist Josef Albers described some
of these color deceptions in his experiments:
for example, he created illustrations
of how one color can look like two

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Chapter 1.4 Color
Josef Albers was a teacher of color theory and design at the
Bauhaus in Germany, Black Mountain College, and Yale
Johannes Itten was a painter, designer, and teacher at the
Bauhaus, a school of art that focused on Modernist ideas in
twentieth-century Germany
61
Josef Albers,
Two Colors Look Like One
1.4.26a Josef Albers, Two Colors Look Like One, State A. From
Interaction of Color, Ch. IV, plate 1
1.4.26b Josef Albers, Two Colors Look Like One, State B. From
Interaction of Color, Ch. IV, plate 2

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Chapter 1.4 Color
If you look at state A, the brown squares on either side of the
horizontal center stripes look distinctly different
But when the blue and yellow center stripes are removed, we
see that the different browns are actually exactly the same
By changing adjacent colors, our perception of colors can be
changed
62
Interpreting Color Symbolism
Color and our cultural beliefs about color can affect how we
think and feel
Studies show that color can affect human behavior
Colors also have traditional symbolic values
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Chapter 1.4 Color
Faber Birren, a color psychologist, found that when people are
constantly exposed to red light they often become loud, grow
argumentative, and eat voraciously
It appears that red can influence aggression in our behavior
We also make associations between colors and language
We might call a severe depression a “black” mood, or, when we
don’t want to upset someone, tell “white” lies
63
Interpreting Color Symbolism (contd.)
The color green has positive associations for Muslims
Buddha wore yellow or gold
Jews and Christians associate
the color blue with God (the Virgin Mary is most frequently
depicted wearing blue)
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64
Symbolism in the Wu Xing (Theory of Five Elements)
1.4.28 Chart of the colors, or “qing,” representative of the Five
Virtues and other associated symbols
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Chapter 1.4 Color
Black, white, red, yellow, and green-blue were established as
the colors representing these five basic elements

Wu Xing was a philosophy that sought to explain how change
affects the cosmos through five elements: water, metal, fire,
earth, and wood
65
Artwork: Tray in the form of
a plum blossom with birds
and flowers
1.4.27 Tray in the form of a plum blossom with birds and
flowers, China, Late Southern Song Dynasty, c. 1200–1279.
Carved red lacquer on wood core, 7⅜" diameter. Los Angeles
County Museum of Art (LACMA), California
The color red represents fire and the direction south; it is also
symbolic of warmth, good luck, and happiness.
66
Tray in the form of
a plum blossom with
birds and flowers
This tray features many of the traditional symbols associated
with the color red of the Wu Xing

The Vermillion (a shade of red)
Bird represents one of four constellation symbols seen in the
night sky over China
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Chapter 1.4 Color
The two long-tailed birds could be phoenixes; they may also
remind us of the “Vermillion Bird”
The Chinese word for “long life” (shou) is similar to that for
“long-tailed birds” (dai-shou), associating the work with
blessings of longevity
The Vermillion Bird is linked with one of the constellations in
the southern night sky that can be seen during the summer
months
67

Portal Artwork: Painted banner from tomb of Lady Dai
3.3.12 Painted banner from tomb of Lady Dai Hou Fu-ren, Han
Dynasty, c. 168 BCE. Silk, length 80½", width at top 36", width
at bottom 18¾". Hunan Museum, Changsha, China
An example of the elemental colors of ancient China can be
found in Painted banner from tomb of Lady Dai Hou Fu-ren
68
The Psychology of Color
Color can alter the way we feel
and react; for example, red may provoke passion or anger
Some reactions are culturally biased:
In Western cultures blue is paired with masculinity, while in
China it is associated with femininity
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Chapter 1.4 Color
Some ancient cultures, such as the Egyptians and Chinese, used
colors for healing
The ancient Persian philosopher Avicenna created a chart that
associated color with medical symptoms and their treatment
For example, it was believed that a bleeding open wound would
be aggravated by the presence of red, but if the patient was
exposed to blue (by simply looking at it) the effect would be
beneficial
An example of culturally biased psychological associations of
culture: in the United States blue is paired with masculinity, but
in China it is associated with the feminine
69
Artwork: Vincent van Gogh, The Night Café
1.4.29 Vincent van Gogh, The Night Café, 1888. Oil on canvas,
28½ × 36¼".
Yale University Art Gallery, New Haven, Connecticut
Vincent van Gogh,
The Night Café

The colors used by Van Gogh express his sense that this
nightspot had a detrimental psychological influence on its
patrons
Fierce red, feverish yellow, and
sickly green convey feelings of unease and sorrow
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Chapter 1.4 Color
Dutch painter Vincent van Gogh (1853–1890) was plagued by
periods of deep depression and was hospitalized on many
occasions
Through his treatment he learned a great deal about psychology
The colors in this painting are not taken from life
In a letter to his brother Theo, Van Gogh writes about the work,
“I have tried to express with red and green the terrible passions

of human nature”
In addition to the lurid hues, the strange, lurching perspective in
the room opens up irregular spaces that intensify the painting’s
lonely atmosphere
71
Vincent van Gogh, Starry Night
To learn about another artwork by Vincent van Gogh, watch this
video of a MoMA lecturer talking about Starry Night:
MoMA Video
MoMA Video:
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Chapter 1.4 Color
Vincent van Gogh in His Own Words

Video:
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Video:
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Chapter 1.4 Color
Artwork: Chemi Rosado-Seijo, El Cerro
1.4.30 Chemi Rosado-Seijo, El Cerro, 2003 (started 2002).
Collaboration, Naranjito, Puerto Rico
Chemi Rosado-Seijo,
El Cerro
This work is a collaboration between the artist and the local
community
Residents decided to paint their homes different shades of
green, showing respect for the surrounding mountainous
environment

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The work helped to unify the community and promote programs
that support positive changes, such as the creation of a space
that is both a museum and classroom, as well as the
establishment of a community center.
75
Expressive Aspects of Color
Artists sometimes want viewers
to “feel” an artwork, rather than merely understand it
Color can express a wide range
of emotions
Artists can use color to engage

the viewer and suggest meaning
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Chapter 1.4 Color
Artists and designers know that the bright yellow of a happy-
face symbol attracts our attention and lifts our spirits
They may use blue around the image of a political candidate to
suggest traditional values, or green as an identifier of
environmental awareness
76
Artwork: Henri Matisse,
Open Window, Collioure
1.4.31 Henri Matisse,
Open Window, Collioure, 1905. Oil on canvas, 21¾ × 18⅛".

Henri Matisse,
Open Window, Collioure
Matisse, an influential member
of the Fauves, focused on the expressive use of color
Used color intensely to reveal the rich character of painting
Complementary pairs enhance the painting, resulting in vibrant
color
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Chapter 1.4 Color
French artist Henri Matisse (1869–1954)
In this work he used pairs of complementary color combinations

to enhance the painting, for example:
The orange and blue boats, through the window
The red-pink wall on the right paired with the greenish-blue one
on the left
78
Henri Matisse, Red Studio
To learn about another artwork by Henri Matisse, watch this
video of a MoMA lecturer talking about Red Studio:
MoMA Video
MoMA Video:
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FUNDAMENTALS
Chapter 1.4 Color
Artwork: Paul Gauguin,
The Yellow Christ
1.4.32 Paul Gauguin, The Yellow Christ, 1889. Oil on canvas,
36¼ × 27⅞".
Albright-Knox Art Gallery, Buffalo, New York

80
Paul Gauguin,
The Yellow Christ
Gauguin's color choice is symbolic as it expresses the optimism
of rebirth
Through color he connects the crucifixion of Christ to the
seasons
of Earth and the cycle of life
Bright color creates a simple and emotional connection with
the viewer
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Chapter 1.4 Color
The French painter Paul Gauguin (1848–1903) used yellow for
its uplifting associations
He painted this scene—a deliberately populist portrayal of folk
spirituality—while in Brittany, France
Three women in traditional Breton dress attend the crucifixion
He was inspired by a woodcarving in a local chapel
Yellows and browns correspond to the colors of the surrounding
autumnal countryside, harvested fields, and turning leaves
Gauguin’s color palette relates the background natural world to
the body on the cross, so that our gaze too is drawn in and
upward
81
Artwork: Hilma af Klint,
Group IV, No. 7, Adulthood
1.4.33 Hilma af Klint, Group IV, No. 7, Adulthood, 1907.
Tempera on paper mounted on canvas, 10'4½" × 7'8½". Moderna
Museet, Stockholm, Sweden
Hilma af Klint, Group IV, No. 7, Adulthood

According to af Klint, the designs and colors used in her work
were directed by a spirit whom she contacted during séances
Use of strong yellow represents light and the knowledge that
one achieves with adulthood
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Chapter 1.4 Color
Klint may not have intended for viewers to understand
completely her paintings and their symbolism—in fact, she
requested that her works not be shown publicly until twenty
years after her death.
83
Artwork: Kondratowicz, TRASH maximalism NYC (Harlem)
1.4.34 Adrian Kondratowicz, TRASH maximalism NYC

(Harlem), TRASH project, 2008–
Kondratowicz, TRASH maximalism NYC (Harlem)
Kondratowicz asked his Harlem neighbors to look at trash
differently
Distributed bright pink, rodent-repellent, biodegradable trash
bags
Elicits a positive emotion from the community
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Chapter 1.4 Color
Color has always been used expressively by artists and
designers, sometimes to change the way that a viewer feels

about his or her surroundings.
85
Third Edition
Shields
PART 1
FUNDAMENTALS
Chapter 1.4 Color
1.4.1Ralph Larmann
1.4.2Ralph Larmann
1.4.3 Courtesy Charles Csuri

1.4.4 Ralph Larmann
1.4.5 akg-images
1.4.6Ralph Larmann
1.4.7Ralph Larmann
1.4.8 Photo Joshua White. Courtesy the artist and Thomas
Solomon Gallery, Los Angeles. © Analia Saban 2008
1.4.9, 1.4.10, 1.4.11, 1.4.12 Ralph Larmann
1.4.13 Cleveland Museum of Art, Mr. and Mrs. William H.
Marlatt Fund, 1965.233
1.4.14 National Gallery of Art, Washington, D.C., Chester Dale
Collection, 1963.10.94
1.4.15 Fine Arts Museum of San Francisco, Gift of Vivian
Burns, Inc., 74.8
1.4.17 © Mark Tansey. Courtesy Gagosian Gallery, New York
1.4.18 The Art Institute of Chicago, Illinois/Helen Birch
Bartlett Memorial Collection/Bridgeman Images. © Succession
Picasso/DACS, London 2018
1.4.19 Museum of Modern Art, New York, Gift of Mr. and Mrs.
Ben Heller, 240.1969. Photo 2012, Museum of Modern Art,
New York/Scala, Florence. © The Barnett Newman Foundation,
New York/DACS, London 2018
1.4.20 The Museum of Fine Arts, Houston, Gift of Audrey Jones
Beck. © ADAGP, Paris and DACS, London 2018;

1.4.22 Kunstmuseum Basel, Switzerland
1.4.25aMusée d’Orsay, Paris
1.4.25bMusée d’Orsay, Paris
1.4.26a© Yale University Press
1.4.26b © Yale University Press
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Chapter 1.4 Color
1.4.27 Los Angeles County Museum of Art (LACMA),
California. Gift of Dr. and Mrs. Sam K. Lee, M.86.330
(www.lacma.org)
1.4.29 Yale University Art Gallery, New Haven, Bequest of
Stephen Carlton Clark, B.A. 1903, 1961.18.34
1.4.30 Photo Edwin Medina. Courtesy the artist and Embajada
Gallery

1.4.31 National Gallery of Art, Washington, D.C. Collection of
Mr. and Mrs. John Hay Whitney, 1998.74.7.
© Succession H. Matisse/DACS 2018
1.4.32 Albright-Knox Art Gallery, Buffalo, New York, General
Purchase Funds, 1946
1.4.33 Photo Albin Dahlström/Moderna Museet-Stockholm.
Courtesy Hilma af Klint Foundation
1.4.34 Courtesy the artist
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Chapter 1.4 Color
Chapter 2.6
The Tradition of Craft
PART 2
MEDIA AND PROCESSES

Introduction
During the Renaissance,
a distinction came to be made between art and craft
Unique to Western culture
Crafts came to mean hand-made items meant to be used rather
than simply looked at
PART 2
MEDIA AND PROCESSES
Chapter 2.6 The Tradition of Craft
Certain media, notably painting and sculpture, came to be
considered as art, while ceramics, weaving, and embroidery
were termed crafts
Some handcrafted objects, because of their ingenuity and
refinement, stand out as artworks that transcend mere utility
The distinction has now broken down in the twentieth and
twenty-first centuries
Ask yourself whether you think the objects discussed can be
considered art or craft
At the same time, think about whether the makers of the objects,

and the people they made them for, could tell the difference
either
2
Artwork: Hyo-In Kim,
To Be Modern #2
2.6.1 Hyo-In Kim, To Be Modern #2, 2004. Metal screen, wire,
porcelain, acrylic paint, and found objects, slightly over lifesize
2.6.2 Hyo-In Kim
Hyo-In Kim, Art or Craft: What's the Difference?
A hanbok is a traditional Korean dress worn by women of upper
classes
Kim has subtly transformed the materials of the dress and its
display
She wants us to see that traditional cultural values are fading
away
Perspectives on Art:
PART 2

MEDIA AND PROCESSES
Dress is made out of silver-colored wire mesh (instead of cloth)
Upon close-up inspection, the decoration turns out to be tiny
versions of fashionable Western clothing: jeans, skirts, shoes,
purses
She decided to suspend it with its sleeves outstretched so that
its transparency and weightlessness would be emphasized
What Kim wants us to see and appreciate, both literally and
figuratively, is that those traditional cultural values that give
structure and form to people’s lives, including our own, are
fading away and disappearing as globalization spreads
4
Ceramics
Ceramic comes from the Greek word meaning “pottery,”
keramos
Manufacture requires the shaping of clay, a natural material dug
from the earth, which is then baked at high temperatures to
make it hard
Basic technique date back thousands of years

PART 2
MEDIA AND PROCESSES
5
Pinch Method
This technique is one of the most basic ways of working with
clay
Process of squeezing clay between the fingers to push and pull
it into the desired shape
A spontaneous and effective way to create a clay object
PART 2
MEDIA AND PROCESSES
6

Artwork: The Mother Goddess
Men Brajut (Hariti)
2.6.3 The Mother Goddess
Men Brajut (Hariti), Indonesian, c. 14th–15th century. Terra-
cotta, 18⅞ × 8½ × 8", Metropolitan Museum of Art, New York
7
The Mother Goddess
Men Brajut (Hariti)
Uses the Pinch method of clay construction
Work created to honor Hindu gods and goddesses
Originally created as a pillar ornament
Hariti is “protector of children”
PART 2
MEDIA AND PROCESSES

Created during the Majapahit period in Indonesia (1293-1520)
Represents one of the manifested goddesses of Hinduism
8
Ceramics
Video:
PART 2
MEDIA AND PROCESSES
Coil Method
This method has been in common usage since ancient times
A coil is created by rolling the clay on a flat surface so that it
extends into a long rope-like shape
The coil is wrapped around itself and then fused together by
smoothing
PART 2

MEDIA AND PROCESSES
Artwork: Seated Figure
2.6.4 Seated Figure, Oaxaca, Mexico, Zapotec style, 300 BCE–
700 CE. Ceramic,12⅝ × 7 × 7⅜". Cleveland Museum of Art,
Ohio
Seated Figure, Oaxaca, Mexico
This work is from the Zapotec culture of Mexico
Handcrafted using the coil method
Buried in the tomb of a Zapotec ruler
May portray a god or possibly a companion for the deceased
PART 2
MEDIA AND PROCESSES

On its headdress and chest the artist has carved two calendar
dates in Zapotec writing.
12
Throwing
A potter’s wheel consists of a round disk that revolves while the
ceramist shapes his or her object
In use by the Chinese since
3000 BCE
The process of making pottery on a wheel is known as throwing
PART 2
MEDIA AND PROCESSES
13
Artwork: Porcelain flask with decoration in blue underglaze
2.6.5 Porcelain flask with decoration in blue underglaze, Ming
Dynasty, 1425–35. Palace Museum, Beijing, China

Porcelain Flask with decoration in blue underglaze
The Chinese invented porcelain
Produced on a potter’s wheel during the Ming Dynasty
Multiple glaze layers: first, a blue glaze and then a clear one to
provide a luxurious glossy finish
PART 2
MEDIA AND PROCESSES
The Ming Dynasty was almost 600 years ago
Their wares were so fine that the users of Ming Dynasty
porcelain included the emperor of China himself
15
Maria Martinez
2.6.6 Maria Martinez, San Ildefonso Pueblo, New Mexico, c.
1930–40

16
Julian Martinez
2.6.7 Julian Martinez, San Ildefonso Pueblo, New Mexico, c.
1925–45
17
Artwork: Bowl with
plumed serpent
2.6.8 Maria Martinez and Julian Martinez, bowl with plumed
serpent, c.1925.
Coiled and burnished earthenware, 6" × 9½". Newark Museum,
New Jersey

18
San Ildefonso-Style Pottery
Native American pottery is made using hand-building methods
The Martinez family revived the pottery traditions of their
ancestors
Famous for their distinctive style
A favorite motif is the avanyu,
a water guardian serpent god
PART 2
MEDIA AND PROCESSES
Dr. Edgar Lee Hewett discovered sherds of pottery near San
Ildefonso Pueblo in New Mexico and asked a local potter to

produce replicas of the originals
That potter, Maria Martinez (1887–1980), whose Tewa name
was Po’ve’ka (“Pond Lily”), and her husband Julian (1879–
1943) re-created ceramic objects that their distant ancestors had
made
19
Slab Method
In this technique clay is rolled into a flat sheet and cut into
shapes
The corners of the different shapes are carefully joined
Lends itself to making boxes and other forms that have large
flat sides
PART 2
MEDIA AND PROCESSES
Artwork: Peter Voulkos,
Gallas Rock
2.6.9 Peter Voulkos, Gallas Rock, 1960. Stoneware with slip
and glaze, 84 × 37 × 26¾". University of California at Los
Angeles, Franklin D. Murphy Sculpture Garden

Peter Voulkos,
Gallas Rock
Voulkos is known for using clay’s naturalness–its tendency to
take on organic forms–and plasticity
Slab construction is evident in
the flat planes
Organic and Expressionistic
PART 2
MEDIA AND PROCESSES
American sculptor Peter Voulkos (1924–2002) created this
eight-foot-tall sculptural object.
22
Glass
Glass is produced by melting silica (sand) with lead at intense

heat
Probably first used in ancient Mesopotamia and Egypt (3500
bce)
To create a vessel by forcing air into molten glass is called
glassblowing
Used by Syrians in the first century BCE and later perfected by
Romans
PART 2
MEDIA AND PROCESSES
Forcing air into molten glass is usually achieved by blowing
through a tube.
23
Glass
Video:
PART 2
MEDIA AND PROCESSES

Artwork: Portland Vase
2.6.10 Portland Vase, Roman
c. 1–25 CE. British Museum, London, England
Portland Vase
This vase was created in the Roman Empire during first century
CE
Made using the dip-overlay method
The blue glass forms the background to the figures in white
Amazing degree of detail
PART 2
MEDIA AND PROCESSES

An elongated bubble of blue glass was partially dipped into a
crucible of white glass, before the two were blown together
After cooling, the white layer was cut away to form the design
26
Artwork: Rose window and lancets, Chartres Cathedral
2.6.11 Rose window and lancets, north transept, 13th century.
Chartres Cathedral, France
27
Rose window and lancets, Chartres Cathedral
Fine example of Gothic stained glass
Bath the cathedral in colored light
The brilliant blue color is one of the most extraordinary artistic
achievements of the early thirteenth century
PART 2
MEDIA AND PROCESSES

The large decorative window is 43 feet in diameter
They are so valued that to prevent them from being damaged
during World War II, they were removed and placed in storage
until after the war
28
Artwork: Dale Chihuly,
Fiori di Como
2.6.12 Dale Chihuly, Fiori di Como, 1998. Hand-blown glass
and steel, 70 × 30 × 12'.
Bellagio Hotel, Las Vegas, Nevada
Dale Chihuly,
Fiori di Como
This ceiling was created by the American glass artist Dale
Chihuly
2,000 individually blown glass flowers
Strong color enlivens and invigorates the reception area at the
Bellagio Hotel in Las Vegas

PART 2
MEDIA AND PROCESSES
30
Metalwork
Metalwork was especially important in the Bronze and Iron
Ages
Metal can be heated to a liquid state and poured into molds
It can also be hammered into shape or bent to fit the needs of
the artist
Important medium for utilitarian purposes
PART 2
MEDIA AND PROCESSES

Some metals, such as iron or copper, are natural materials
Others are alloys, combinations of two or more naturally
occurring metals
Tin mixed with copper produces bronze
Most metals are strong but malleable
31
Metalwork and Jewelry
Video:
PART 2
MEDIA AND PROCESSES
Artwork: Death mask
from Mycenae
2.6.13 Death mask from Shaft Grave V, Grave Circle A,
Mycenae. Also known
as Mask of Agamemnon,
c. 1550–1500 BCE. Gold, height 12". National Archaeological

Museum, Athens, Greece
Death mask from Mycenae
This mask was created by laying a thin sheet of gold over an
object carved to resemble a human face
The artist then hammered the surface until the shape and texture
of the design was imprinted in the metal
Process is called chasing
PART 2
MEDIA AND PROCESSES
Artwork: Chalice with Apostles Venerating the Cross
2.6.14 Chalice with
Apostles Venerating
the Cross, c. 600 CE,
Syria (Byzantine). Silver repoussé, partial gilt, 6⅝ × 5½"
diameter at rim. Walters Art Museum, Baltimore

Chalice with Apostles Venerating the Cross
To achieve this relief design the artist hammered a blunt tool
against the back of the image
The opposite side was pushed out to form the images
Technique is called repoussé
PART 2
MEDIA AND PROCESSES
Artwork: Benvenuto Cellini, Salt Cellar of Francis I
2.6.15 Benvenuto Cellini, Salt Cellar of Francis I, 1540–43.
Gold, enamel, ebony, ivory, 11¼ × 8½ × 10⅜".
Kunsthistorisches Museum, Vienna, Austria
Benvenuto Cellini,

Salt Cellar of Francis I
The Italian goldsmith Cellini created this piece for the ki ng of
France
Complex process where molten gold was poured into a mold
Salt was held next to Neptune (god of the sea) and pepper next
to the symbolic image of Mother Earth
PART 2
MEDIA AND PROCESSES
Magnificent example of Renaissance metalwork
It took Benvenuto Cellini (1500–1571) more than two years to
make it
38
Portal Artwork: Riace Warrior A
2.4.12 Riace Warrior A, c. 460 BCE. Bronze with copper,
silver, and ivory, height 6'6”. Museo Nazionale della Magna
Grecia, Reggio di Calabria, Italy

More information about the process of metal casting can be
found in chapter 2.4: see 2.4.12, p.250.
39
Fiber
Fibers are threads made from
animal or vegetable materials (fur, wool, silk, cotton, flax, or
linen) or synthetic materials (nylon, polyester)
Can be spun into yarn, string, or thread, then woven or knitted
into textiles
PART 2
MEDIA AND PROCESSES
40
Fiber Art

Video:
PART 2
MEDIA AND PROCESSES
Artwork: Mary Linwood, detail from Hanging Partridge
2.6.16 Mary Linwood,
detail from Hanging
Partridge, late 18th century. Crewelwork embroidery,
approximately 24½ × 28". Private collection
Mary Linwood, detail from Hanging Partridge
To create this work Linwood used crewel embroidery: a process
that uses free-form, fine wool-thread stitching on a drawn
design
Like “painting with thread”
Intricate and slow; artist shows great patience and skill

PART 2
MEDIA AND PROCESSES
Embroidery is the process of stitching an image into a fabric
surface using a needle and thread (or yarn)
British artist Mary Linwood (1755–1845) was held in high
esteem, and was popular with royalty in England and Russia
43
2.1.21 Hishikawa Moronobu, Papermaking in Japan, showing
the vatman and
the paper-drier, 1681. Woodblock print from the four-volume
Wakoku Shōshoku Edzukushi, 1681
Portal Artwork: Hishikawa Moronobu, Papermaking in Japan
A diverse range of materials can be used in the creation of fiber
art, including paper.
44

Artwork: Faith Ringgold,
Tar Beach
2.6.17 Faith Ringgold, Tar Beach, 1988. Acrylic on canvas,
bordered with printed, painted, quilted, and pierced cloth, 6'2⅝"
× 5'8½". Solomon R. Guggenheim Museum, New York
Faith Ringgold,
Tar Beach
Tells the story of a girl named Cassie
Ringgold relates the African-American experience through
memories of her own childhood in New York
PART 2
MEDIA AND PROCESSES
Made in collaboration with her mother: she painted the scene
and her mother sewed the quilted border.

46
Artwork: Tlingit Chilkat dancing blanket
2.6.18 Tlingit Chilkat dancing blanket, 19th century
Tlingit Chilkat
dancing blanket
Woven entirely by hand from goat wool and cedar bark
Traditional Chilkat style: a weaving intended to be a two-
dimensional portrayal of totem carving
Worn on ceremonial occasions by high-ranking Tlingit tribe
members
PART 2
MEDIA AND PROCESSES
The Tlingit people live on the western coast of Canada and

Alaska
These blankets are highly prized and very expensive
48
2.6.19 Sheila Hicks, The Silk Rainforest, c. 1975. Silk, linen,
and cotton, 96 × 270 × 3",
Smithsonian American Art Museum, Renwick Gallery,
Washington, D.C.
Artwork: Sheila Hicks,
The Silk Rainforest
Sheila Hicks,
The Silk Rainforest
This work by Hicks is a large-scale installation
Fiber is raw and irregular
Originally installed at the AT&T Headquarters in New Jersey
Conjures physical sense of touch paired with visual experience
PART 2
MEDIA AND PROCESSES

American born Sheila Hicks (b. 1934) is considered a modern
master of fiber art.
50
Artwork: MacAdam,
Knitted Wonder Space II
2.6.20 Toshiko Horiuchi MacAdam, Knitted Wonder Space II,
2009. Braided nylon 6–6; hand crochet, 49'2" × 29'6" × 21'3".
Woods of Net Pavilion, Hakone Open Air Museum, Hakone,
Japan
51
MacAdam,
Knitted Wonder Space II
Toshiko Horiuchi MacAdam knits large-scale interactive
environments, such as children's playgrounds
Viewers are invited to touch the artwork

Challenges preconceived ideas
of what fiber art can be
PART 2
MEDIA AND PROCESSES
Knitting is a process of creating a fabric using loops and
stitching
Japanese artist Toshiko Horiuchi MacAdam (b. 1940) builds
these large-scale fiber constructions in her studio in Canada
Installs them in many countries
52
Wood
This material deteriorates over time, so few ancient examples
exist
Trees provide different woods that vary in color and hardness
Innate beauty can be brought out by cutting, carving, sanding,
and polishing

PART 2
MEDIA AND PROCESSES
Artwork: Detail of studiolo,
Ducal Palace
2.6.21 Detail of studiolo from the Ducal Palace in Gubbio,
Italy, by Giuliano da Maiano, after a design by
Francesco di Giorgio Martini, c. 1480. Walnut, beech,
rosewood, oak, and fruit woods in walnut base,
15'11" × 16'11" × 12'7¼". Metropolitan Museum of Art, New
York
Detail of studiolo,
Ducal Palace
To create this work the artist used the technique of intarsia, a
kind of mosaic using woods of different colors
Creates an illusion of depth
Symbols are included to reflect the Duke of Urbino's
achievements as a ruler, military commander, collector
of books, and patron of the arts

PART 2
MEDIA AND PROCESSES
The Italian artist Francesco di Giorgio Martini (1439–1501)
used intarsia in the design of this studiolo (a private room, often
a library or study), which he created in c. 1480
Guiliano da Maiano executed the work with such skill, it is not
clear where reality ends and illusion begins
Federico da Montefeltro, the Duke of Urbino, commissioned
Martini to create this work
55
Artwork: Captain Richard Carpenter, bent-corner chest
2.6.22 Captain Richard Carpenter, bent-corner chest, c. 1860.
Yellow cedar, red cedar, and paint, 21¼ × 35¾ × 20½". Seattle
Art Museum, Washington

Captain Richard Carpenter, bent-corner chest
Created by a Native American of the Heiltsuk tribe
The wood was made flexible by steam, bent at the notches
(kerfs), and joined
After that, the chest was carved and painted with an elaborate
design
PART 2
MEDIA AND PROCESSES
Notches (kerfs) were cut at three corners of a smooth plank of
cedar
A separate base and top were then fitted to the whole
57
Artwork: Andrew Early,
turned bowl
2.6.23 Andrew Early, turned bowl, 2010. Indian mahogany, 13¾
× 29½"

Andrew Early,
turned bowl
Turning is the fashioning of a wooden object using a lathe (a
power-driven spinning support)
Wood is prepared by seasoning (careful aging and drying)
Early leaves irregularities to preserve the innate “personality”
of the wood
PART 2
MEDIA AND PROCESSES
Andrew Early, a South African wood turner (b. 1970), who
learned the craft from his father, John, has become one of
today’s most collected and exhibited wood turners.
59

Third Edition
Shields
PART 2
MEDIA AND PROCESSES
2.6.1 Courtesy Trudy Labell Fine Art, Florida. © the artist
2.6.2 Photo Trudy Labell
2.6.3 Metropolitan Museum of Art, New York, Gift of Jaap
Polak, 2009, 2009.321
2.6.4 Cleveland Museum of Art, Gift of the Hanna Fund,
1954.857
2.6.5 Palace Museum, Beijing

2.6.6 Photo Tyler Dingee. Courtesy Palace of the Governors
Photo Archives (NMHM/DCA), Neg. No. 073453
2.6.7 Photo T. Harmon Parkhurst. Courtesy Palace of the
Governors Photo Archives (NMHM/DCA), Neg. No. 055204
2.6.8 Newark Museum, Gift of Amelia Elizabeth White, 1937.
37.236 © 2014. Photo The Newark Museum/Art Resource/Scala,
Florence
2.6.9 Courtesy the Voulkos & Co. Catalogue Project,
www.voulkos.com
2.6.11 © Angelo Hornak/Corbis
2.6.12 Photo Teresa Nouri Rishel © Dale Chihuly
2.6.13 National Archaeological Museum, Athens
2.6.14 The Walters Art Museum, Baltimore. Acquired by Henry
Walters, 1929
2.6.15 Kunsthistorisches Museum, Vienna
2.6.16 Private Collection
2.6.17 The Solomon R. Guggenheim Foundation, New York,
88.3620. Faith Ringgold © 1988
2.6.18 © Christie’s Images/Corbis
2.6.19 Photo Smithsonian American Art Museum/Art
Resource/Scala, Florence. © Sheila Hicks
2.6.20 Collaborators: Charles MacAdam with Interplay Design
& Manufacturing, Inc, Nova Scotia, Canada (design &
production); Norihide Imagawa with T.I.S. & Partners., Co. Ltd,

Tokyo (structural design). Photo Masaki Koizumi. Courtesy the
artist
2.6.21 Metropolitan Museum of Art, Rogers Fund, 1939,
39.153. Photo Metropolitan Museum of Art/Art Resource/Scala,
Florence
PART 2
MEDIA AND PROCESSES
2.6.22 Seattle Art Museum, Gift of John H. Hauberg and John
and Grace Putnam, 86.278. Photo Paul Macapia
2.6.23 Photo courtesy Andrew Early
PART 2
MEDIA AND PROCESSES

Chapter 1.3
Implied Depth:
Value and Space
PART 1
FUNDAMENTALS
Introduction
Techniques artists use to imply depth are:
Value
Space
Perspective
PART 1
FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space

Artwork: René Magritte,
The Treachery of Images
1.3.1 René Magritte, The Treachery of Images (“This Is Not a
Pipe”), 1929. 23¾ × 32".
Los Angeles County Museum of Art (LACMA), California
René Magritte,
The Treachery of Images
Magritte uses value and perspective to imply depth
He wants us to recognize that
what appears to be a pipe is not really a pipe: it is an illusion
PART 1
FUNDAMENTALS
Belgian Surrealist artist René Magritte (1898–1967) invites us

to re-examine our habits of visual perception
The painted shadows suggest depth
The top of the pipe bowl is composed of two concentric
ellipses, which is how circles appear in perspective
Value
Value refers to lightness and darkness
An artist’s use of value can produce a sense of solidity and
influence mood
Artists use dark and light values
as tools for creating depth
PART 1
FUNDAMENTALS
For example, the serious mood of film noir (French for “dark
film”) was enhanced by the filmmaker’s choice of dark values.
Value and Light
PART 1

FUNDAMENTALS
Interactive Exercises:
Artwork: Spaceship Earth
1.3.2 Spaceship Earth, Future World, Walt Disney World
Resort, Orlando, Florida
Spaceship Earth
Many triangular flat planes make
up this surface
Each plane has a different relative degree of lightness or
darkness
Value changes often occur gradually

PART 1
FUNDAMENTALS
The relative dark values increase as the planes get further away
and face away from the light source
Spaceship Earth – a large sphere, inside which is an educational
ride, located in the Future World area of Walt Disney World
Resort
Values and Planes of
a Geodesic Sphere
1.3.3 Values and planes of a geodesic sphere
PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Third Edition
Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
There is a value range of black, white, and eight values of gray.

Chiaroscuro
This method of applying value to
a two-dimensional artwork creates the illusion of three
dimensions
Italian for “light-dark”
Renaissance artists identified five distinct areas of light and
shadow:
Highlight, light, core shadow, reflected light, and cast shadow
PART 1
FUNDAMENTALS
Diagram of Chiaroscuro
1.3.4 Diagram of chiaroscuro
PART 1
FUNDAMENTALS

Artwork: Pierre-Paul Prud’hon, La Source
1.3.5 Pierre-Paul Prud’hon,
La Source, c. 1800–10. Black and white chalk, stumped, on
light blue paper, 21⅛ × 15⅜". Sterling and Francine Clark Art
Institute, Williamstown, Massachusetts
12
Pierre-Paul Prud’hon,
La Source
Prud’hon uses chiaroscuro in this artwork
Black and white chalk on light blue paper allows the artist to
accentuate the lightest and darkest areas
PART 1

FUNDAMENTALS
Chiaroscuro in Pierre-Paul Prud’hon's La Source
1.3.5 Chiaroscuro graphic applied
to Pierre-Paul Prud’hon, La Source, c. 1800–10. Black and
white chalk, stumped, on light blue paper, , 21⅛ × 15⅜”.
Sterling and Francine Clark Art Institute, Williamstown,
Massachusetts
There is an area of highlight on the knee, leading into the
lighted thigh
Under the knee and thigh there is a strong core shadow
Reflected light can be seen on the calf and the underside of the
thigh
The reflected light is accented by the dark cast shadow behind
the calf

Artwork: Caravaggio,
The Calling of St. Matthew
1.3.6 Caravaggio, The Calling of St. Matthew, c. 1599–1600.
Oil on canvas, 11'1" × 11'5".
Contarelli Chapel, San Luigi dei Francesci, Rome, Italy
Caravaggio,
The Calling of St. Matthew
Chiaroscuro can produce dramatic effects
The intense difference between light and dark places emphasis
on Christ’s hand
The light also frames Matthew
PART 1
FUNDAMENTALS

Italian artist Caravaggio (1571–1610) uses strongly contrasting
values to convert a quiet gathering into a pivotal and powerful
event.
Hatching and Cross-Hatching
Hatching consists of a series of lines, close to and parallel to
each other
Cross-hatching is a variant of hatching in which the lines
overlap
Used to express value and create
a greater sense of form and depth
PART 1
FUNDAMENTALS
Diagram of Hatching and
Cross-Hatching
1.3.7 Creating value using hatching and cross-hatching

PART 1
FUNDAMENTALS
Artwork: Michelangelo,
Head of a Satyr
1.3.8 Michelangelo, Head
of a Satyr, c. 1520–30.
Pen and ink on paper, 10⅝ × 7⅞". Musée du Louvre,
Paris, France
Michelangelo,
Head of a Satyr
This artwork is a cross-hatched pen-and-ink drawing
Gives the face solidity and depth
By building up layers of brown ink, Michelangelo overcomes

the restrictions created by the thin line
of the pen
PART 1
FUNDAMENTALS
Italian artist Michelangelo (1475–1564)
The bright white highlight uses no lines; the surrounding hatch
lines define the transition from bright light to a darker value
As the hatching lines cross over and over, the value appears to
get darker
Portal Artwork: Albrecht Dürer,
The Last Supper
3.6.16 Albrecht Dürer, The Last Supper, 1523. Woodcut, 8½ ×
11". British Museum, London, England

The techniques of hatching and cross-hatching can be found in
Albrecht Dürer’s version of the Last Supper.
21
Space
Techniques for creating a sense
of depth and the illusion of space include:
Size, overlapping, and position
Alternating value and texture
Changing brightness and color
PART 1
FUNDAMENTALS
Size, Overlapping,
and Position
The size of one shape compared to another often suggests that
the larger object is closer to us
If one shape overlaps another, the shape in front seems to be

closer
A shape lower in the picture plane also appears to be closer
PART 1
FUNDAMENTALS
Size, Overlapping, and Position
PART 1
FUNDAMENTALS
Artwork: Beda Stjernschantz, Pastoral (Primavera)

1.3.9 Beda Stjernschantz, Pastoral (Primavera), 1897. Oil on
canvas, 49⅝ × 41¾". K. H. Renlund Museum, Kokkola, Finland
Digital rights not available for this image. See p. 81 of the
textbook.
Beda Stjernschantz, Pastoral (Primavera)
The viewer sees the larger figures as closer because of this
difference in size between the figural pairs
Implies depth by positioning the larger figure with the flute in a
way that conceals the foot of one of the smaller figures
PART 1
FUNDAMENTALS
In using such relative placement, the artist invites us to saunter
visually from the foreground (where the two largest figures are
placed) to the middle ground (where the smaller group of
figures is set), and continue on our visual journey along the
softly curving river and into the beckoning woods in the
background (the uppermost area of the work).

Beda Stjernschantz was one of a group of artists known as the
Finnish Symbolists, who were influential at the turn of the
twentieth century. They were especially interested in landscape
and the relationship between the arts, including music and what
is known as synesthesia, where one of the body’s senses
experiences something that triggers an experience in another
sense—hence the inclusion of the flute player in this painting
26
Alternating Value and Texture
The illusion of depth in two dimensions is often influenced
by the arrangement of value
and texture
Artists intersperse value and
visual texture to create a sense
of rhythm
PART 1
FUNDAMENTALS

Artwork: Li Cheng, A Solitary Temple Amid Clearing Peaks
1.3.10 Li Cheng (attributed), A Solitary Temple Amid Clearing
Peaks, Northern Song Dynasty, c. 960–1127 ce. Hanging scroll,
ink and slight color on silk, 44 x 22". Nelson-Atkins Museum,
Kansas City, Missouri
Li Cheng, A Solitary Temple Amid Clearing Peaks
Each area of light and dark occupies different amounts of space
Note the change in visual texture from bottom to top
Visual layers create a sense of depth
PART 1
FUNDAMENTALS
Chinese painter Li Cheng’s (c. 919–967)

As the landscape in this artwork rises, it also appears to recede
behind the soft mist, then reappear with great vertical strength
Brightness and Color
Lighter areas seem to be closer
as dark areas recede
For example, an intense green
will appear closer to the viewer than a darker green
PART 1
FUNDAMENTALS
Brightness and Color
PART 1
FUNDAMENTALS

Artwork: Thomas Hart Benton, The Wreck of the Ole ’97
1.3.11 Thomas Hart Benton, The Wreck of the Ole ’97, 1943.
Egg tempera on gessoed masonite, 28½ × 44½".
Hunter Museum of Art, Chattanooga, Tennessee
Thomas Hart Benton,
The Wreck of the Ole ’97
Benton used brightness and color to create a sense of distance
We perceive color that is more intense as being closer
PART 1
FUNDAMENTALS

American painter Thomas Hart Benton (1889–1975) used
brightness and color to create and manipulate our sense of
distance in his painting.
Perspective
Three common ways to suggest the illusion of depth on a two-
dimensional surface are:
Atmospheric perspective
Isometric perspective
Linear perspective
PART 1
FUNDAMENTALS
Atmospheric Perspective

Distant objects lack contrast, detail, and sharpness of focus
because the air that surrounds
us is not completely transparent
Objects take on a blue-gray middle value as they get further
away
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

The Effects of
1.3.12 The effects of atmospheric perspective
PART 1
FUNDAMENTALS
Artwork: Asher Brown Durand,
Kindred Spirits
1.3.13 Asher Brown Durand, Kindred Spirits, 1849. Oil on
canvas, 44 × 36". Crystal Bridges Museum of American Art,
Bentonville, Arkansas

Asher Brown Durand,
Kindred Spirits
The trees in the foreground are detailed and bright green, but as
they recede into the background they become a lighter gray and
out of focus
Lines and shapes also become less distinct in the background
PART 1
FUNDAMENTALS
By using atmospheric perspective, Asher Brown Durand (1796–
1886) conveys an impression of the vastness of the American
landscape.
Isometric Perspective
This system arranges parallel lines diagonally in a work to give
a sense of depth
Derives from the Greek meaning “equal measure”
Has been used by artists in China for more than a thousand
years

PART 1
FUNDAMENTALS
Since Chinese landscape painters were never really interested in
portraying space from a single viewing point—they preferred to
convey multiple viewpoints simultaneously—isometric
perspective was their chosen technique.
PART 1
FUNDAMENTALS

Artwork: The Qianlong Emperor’s Southern Inspection Tour
1.3.14 Xu Yang, The Qianlong Emperor’s Southern Inspection
Tour, Scroll Six: Entering Suzhou and the Grand Canal, Qing
Dynasty, 1770 (detail). Hand scroll, ink and color on silk, 2'3⅛"
× 65'4½". Metropolitan Museum of Art, New York
Xu Yang’s use of
1.3.15 Graphic detailing isometric perspective in scroll image
Lines are drawn parallel and diagonal to create depth in
isometric perspective.
Xu Yang, The Qianlong Emperor’s Southern Inspection Tour
The parallel diagonal lines define
the small L-shaped building in the center and give an illusion of
depth
This method of implying depth is

not “realistic” according to Western tradition
PART 1
FUNDAMENTALS
The diminishing size of the trees as they recede into the
distance helps us to understand how the space is structured.
Screenshot from Transistor
1.3.16 Supergiant Games, screenshot from Transistor, 2014. Art
Director, Jen Zee
Screenshot from Transistor
The use of isometric perspective
is common in computer graphics

Architecture of the game is designed using parallel diagonal
lines to make “tiles”
PART 1
FUNDAMENTALS
Players of the video console game Transistor move from level to
level and space to space without distortion, because the
individual tiles remain the same size.
Linear Perspective
This type of perspective is a mathematical system that uses
lines to create the illusion of depth in a two-dimensional
artwork
Based on observation of space in the world we see around us
Developed with knowledge acquired over centuries
PART 1
FUNDAMENTALS

Mozi, a Chinese philosopher working in the fifth century BCE;
Alhazen, an Arab mathematician from around the year 1000;
and Leon Battista Alberti (1404–1472), an Italian Renaissance
architect, each contributed ideas that helped artists to
understand light and its properties more fully
Renaissance artists used a projection device called a camera
obscura (Latin for “dark room”) to explore the possibilities of
naturalistic illusion
The Baptistery, Florence
1.3.17a The Baptistery, Florence, Italy
The Baptistery, Florence
Filippo Brunelleschi, a Renaissance artist and architect,
formulated the rules of linear perspective
He applied his rules to a painting he created of the Florence
Baptistery

PART 1
FUNDAMENTALS
Brunelleschi’s Proof
1.3.17b Brunelleschi’s proof of the accuracy of linear
perspective
Brunelleschi’s Proof
The viewer could compare the degree of realism of his painting
with the Baptistery itself
For hundreds of years, his discovery became a standard
systematic process for creating
an impression of realistic depth

PART 1
FUNDAMENTALS
Brunelleschi drilled a small hole in the polished silver plate, on
which was his painting of the Baptistery
A viewer could look through the back of this plate and, holding
a mirror up in front of it, could see the painted image of the
Baptistery reflected in the mirror
Linear Perspective
PART 1
FUNDAMENTALS

Artwork: Edith Hayllar,
A Summer Shower
1.3.18 Edith Hayllar,
A Summer Shower, 1883.
Oil on panel, 21 × 17⅜".
Private collection
Edith Hayllar,
A Summer Shower
Hayllar uses linear perspective
Composition reflects the orderly life of upper-middle-class
Victorian England
Parallel lines called orthogonals converge on a point (the
vanishing point)

PART 1
FUNDAMENTALS
British artist Edith Hayllar (1860–1948) exhibited many works
at the Royal Academy—a rare honor for a woman artist at the
time.
The Effect of Convergences
in A Summer Shower
1.3.18 The effect of convergences: Edith Hayllar, A Summer
Shower, 1883. Oil on panel, 21 × 17⅜".
Private collection
The converging lines (orthogonals) represent planes that are
parallel to each other in reality
The orthogonals appear to converge on a single vanishing point,
in front of the male tennis player on the left

One-Point Perspective
This type of perspective relies on
a single vanishing point
Has limitations—the scene must be directly in front of the artist
and receding
PART 1
FUNDAMENTALS
One-Point Perspective Technique
1.3.19 Applying one-point perspective technique
PART 1
FUNDAMENTALS

Artwork: Masaccio,
Trinity
1.3.20 Use of one-point perspective: Masaccio,
Trinity, c. 1425–26. Fresco, 21'10½" × 10'4⅞". Santa Maria
Novella, Florence, Italy
Masaccio, Trinity
Masaccio places the horizon line, an imaginary line that mimics
the horizon, at the viewer’s eye level
Creates the illusion that the background is an architectural
setting
PART 1
FUNDAMENTALS

The illusion of depth in Italian artist Masaccio’s (1401–1428)
fresco must have amazed visitors at the church of Santa Maria
Novella in Florence, Italy
His innovative work influenced other artists of the Renaissance,
including Michelangelo
Portal Artwork: Leonardo da Vinci, The Last Supper
3.6.15 Leonardo da Vinci, The Last Supper, c. 1497. Fresco:
tempera on plaster, 15'1" x 28'10½",
Refectory of Santa Maria delle Grazie, Milan, Italy
Another famous example of one-point linear perspective is
Leonardo da Vinci’s The Last Supper.
60
Two-Point Perspective
This type of perspective uses two separate vanishing points
Both rely on the horizon line
PART 1
FUNDAMENTALS

Artwork: Raphael,
The School of Athens
1.3.21a Raphael, The School of Athens, 1510–11. Fresco, 16'8"
× 25', Stanza della Segnatura, Vatican City, Italy
Raphael, The School of Athens: Perspective and the Illusion of
Depth
Raphael introduces two additional vanishing points into a one-
point perspective composition
Both new vanishing points fall on the horizon line
PART 1
FUNDAMENTALS

Gateway to Art:
Applying Two-Point Perspective
1.3.21b Applying two-point perspective: detail from
Raphael,The School of Athens
Since the block in the center of the picture is turned at an angle,
Raphael had to integrate another level of perspective into the
work
One vanishing point is positioned to the left of the central
vanishing point
The right vanishing point is outside of the picture
Multiple-Point Perspective
When looking at an object from a high or low angle of
observation, we need vanishing points away from the horizon
line

Three-point perspective:
a vanishing point is placed
above or below the horizon line
PART 1
FUNDAMENTALS
Cone of Vision
1.3.22 Cone of vision
PART 1
FUNDAMENTALS
Any object that exists within our cone of vision—the area we
can see without moving our head or eyes—can usually be

depicted using vanishing points on the horizon line.
Artwork: M. C. Escher,
Ascending and Descending
1.3.23 M. C. Escher, Ascending and Descending, March 1960.
Woodcut,
14 × 11¼". The M. C. Escher Company, The Netherlands
M. C. Escher, Ascending and Descending
This woodcut features three distinct vanishing points
Two on the horizon line and one well below it
Gives us a bird’s-eye view
PART 1
FUNDAMENTALS

Dutch graphic artist M. C. Escher (1898–1972) uses a third
vanishing point.
Three-point Perspective in Ascending and Descending
1.3.23 Three-point perspective, bird’s-eye view: M. C. Escher,
Ascending and Descending, March 1960. Woodcut,
14 × 11¼". The M. C. Escher Company,
The Netherlands
Foreshortening
When the rules of perspective
are applied to represent unusual points of view it results in
foreshortening
Has the effect of grabbing our interest
PART 1
FUNDAMENTALS

Foreshortening
PART 1
FUNDAMENTALS
Artwork: Albrecht Dürer, Draftsman Drawing a
Recumbent Woman
1.3.24 Albrecht Dürer, Draftsman Drawing a Recumbent
Woman, 1525. Woodcut, 3 × 8¾". Graphische Sammlung
Albertina, Vienna, Austria

Albrecht Dürer,
Draftsman Drawing
a Recumbent Woman
The female figure is reclining at
an oblique angle
The gridded screen helps the artist translate the model into a
foreshortened two-dimensional composition
PART 1
FUNDAMENTALS
The German artist Albrecht Dürer (1471–1528) portrays an
artist at work drawing a figure
The artist has a fixed lens or aperture in front of him to make
sure he always views from the same point
He looks through the gridded window to view the figure
Then he aligns his drawing to a similar grid marked on the piece
of paper in front of him

Artwork: Wonderwoman, Superman, and Batman
1.3.25 Wonder Woman, Superman, and Batman, pages from
Trinity: Volume 1™ and © DC Comics
Wonder Woman, Superman, and Batman
Superman’s fist is placed in the foreground; its large size
exaggerates depth
His body recedes back into space
PART 1
FUNDAMENTALS

Third Edition
Shields
PART 1
FUNDAMENTALS
1.3.1 Los Angeles County Museum of Art (LACMA),
California. Purchased with funds provided by  the Mr. and Mrs.
William Preston Harrison Collection, 78.7 (www.lacma.org). ©
ADAGP, Paris and DACS, London 2018
1.3.2 Photo © Dzmitry Kliapitski/123RF.com
1.3.3Ralph Larmann

1.3.4Ralph Larmann
1.3.5 Sterling & Francine Clark Art Institute, Williamstown,
Massachusetts
1.3.6 Contarelli Chapel, Church of San Luigi dei Francesci,
Rome
1.3.7 Ralph Larmann
1.3.8 Musée du Louvre, Paris
1.3.9 Courtesy K. H. Renlund Museum – Provincial Museum of
Central Ostrobothnia, Kokkola, Finland
1.3.10 The Nelson-Atkins Museum of Art, Kansas City,
Missouri. Purchase William Rockhill Nelson Trust, 47-71.
Photo John Lamberton
1.3.11 © Benton Testamentary Trusts/UMB Bank
Trustee/VAGA, NY/DACS, London 2018
1.3.13 Crystal Bridges Museum of American Art, Bentonville,
Arkansas
1.3.14 Metropolitan Museum of Art, New York, Purchase, The
Dillon Fund Gift, 1988
1.3.16 © Supergiant Games, LLC 2014
1.3.17a JTB Photo/SuperStock
1.3.17b Ralph Larmann

1.3.20 Santa Maria Novella, Florence
1.3.21aStanza della Segnatura, Vatican Museums, Rome
1.3.21b Stanza della Segnatura, Vatican Museums, Rome
PART 1
FUNDAMENTALS
1.3.23 © 2012 The M. C. Escher Company-Holland. All rights
reserved. www.mcescher.com
1.3.24 Graphische Sammlung Albertina, Vienna
1.3.25 From Trinity: Volume 1, TM and © DC Comics
PART 1
FUNDAMENTALS

Chapter 2.7
Visual Communication Design
PART 2
MEDIA AND PROCESSES
1
Introduction
The essence of visual communication design is the
use of symbols to communicate information and ideas
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Traditional communication design was known as graphic
design: the design of books, magazines, posters, advertising,

and other printed matter by arranging drawings, photographs,
and type
Advances in printing processes, television, the computer, and
the growth of the Web have expanded graphic design to include
many more design possibilities, so a more accurate term for it is
visual communication design
2
The Visual Character of Text
The ancient Mesopotamians were the first to employ picture
symbols in a consistent language system
Ancient Egyptians later created their own version, known as
hieroglyphics
PART 2
MEDIA AND PROCESSES
In calligraphy, the physical act of writing, the thought
expressed, and the visual form of the text become one.
3

Artwork: Section of papyrus
from Book of the Dead of Ani
2.7.1 Section of papyrus from Book of the Dead of Ani, c. 1250
BCE, British Museum, London, England
Section of papyrus from
Book of the Dead of Ani
This written work features Egyptian hieroglyphics
Written on papyrus scroll
Papyrus: made of a paper-like substance created from the pith
of the papyrus plant
PART 2
MEDIA AND PROCESSES
Artwork: Rubbing of stela inscription, Preface of the Lanting
Gathering
2.7.2 Rubbing of stela inscription, Preface of the Lanting

Gathering, Ding Wu version (Inukai version), original by Wang
Xizhi, Eastern Jin Dynasty, dated 353 CE. Album, ink on paper,
9⅝ × 8⅞". Tokyo National Museum, Japan
Rubbing of stela
inscription, Preface of
the Lanting Gathering
Wang Xizhi defined the art of calligraphy in China during the
Jin Dynasty (265–420 CE)
In ancient China, writings were carved on large stone tablet;
visitors could take copies by making rubbings
PART 2
MEDIA AND PROCESSES
Although none of Wang’s originals still exists, other
calligraphers copied his work through the ages, perpetuating his

ideal of perfect form.
7
Typography
The visual form of printed letters, words, and text is called
typography
Type first came into existence with Johannes Gutenberg’s
invention
of the printing press in Germany
around 1450
PART 2
MEDIA AND PROCESSES
He also created a technique for producing letterforms that could
be set in a row, inked, and then printed
Letterforms are small cast-metal letter shapes
8
Artwork: Dürer, pages from Course in the Art of Measurement
with Compass and Ruler
2.7.3 Albrecht Dürer, pages from Course in the Art of

Measurement with Compass and Ruler, 1538.
Victoria and Albert Museum, London, England
9
Dürer, pages from Course in the Art of Measurement with
Compass and Ruler
Dürer wrote the first manual to standardize the design of letter
shapes
Created each letter using geometric elements (squares, circles,
and lines)
PART 2
MEDIA AND PROCESSES
German master printmaker Albrecht Dürer (1471–1528) wrote
The Painter’s Manual: A Manual of Measurement of Lines,

Areas, and Solids by Means of Compass and Ruler (1525)
Using Dürer’s instructions a typographer could create
letterforms similar to those of the ancient Romans
10
Font Styles
2.7.4 Some font styles
PART 2
MEDIA AND PROCESSES
A font is a group of letterforms designed to have a unified
appearance
Roman-style fonts were derived directly from the letters
chiseled into stone on the buildings and monuments of ancient
Rome
Those characters had a vertical or horizontal mark at the edges
of some letters (called serifs)
Serif fonts are considered easier to read
Sans serif fonts, or a font without serifs, are the standard font

style in electronic media
11
2.7.5 Kok Cheow Yeoh, Hegemony, 2016. Poster design for
International Art and Design Exhibition (INAD), Selçuk
University, Konya, Turkey
Artwork: Kok Cheow Yeoh, Hegemony
Kok Cheow Yeoh, Hegemony
Yeoh considers relationship between message and visual form
Hegemony means authority or dominance
Refers to the economic leadership of China and the USA
Balanced tension
PART 2
MEDIA AND PROCESSES

Kok Cheow Yeoh (b. 1967) is a Malaysian-born American
typographer.
13
The Communicative Image
Logo: a carefully designed piece of type, called a logotype, that
is unique and easily identified
Icons: simple symbolic graphic shapes
Used in place of written labels because they provide an
immediate message that can be understood in any language
PART 2
MEDIA AND PROCESSES
Artwork: Dutch History Bible
2.7.6 Dutch History Bible, copied by Gherard Wessels van
Deventer in Utrecht, 1443, fol. 8r. National Library of the
Netherlands,
The Hague

Dutch History Bible
Illuminated manuscripts were executed in monasteries on
prepared animal skins, called parchment
After being painted and lettered by hand, they were bound as
books
Time-consuming and produced only one copy
PART 2
MEDIA AND PROCESSES
During the Middle Ages, European artists combined calligraphy
and illustration to craft illuminated manuscripts
The invention of printing technology simplified the design
process and made it possible to print multiple copies
16
Artwork: Chevrolet logo
2.7.7 Chevrolet logo, first used in 1913

Chevrolet logo
This logo was first used by Chevrolet in 1913
Originally, the name “Chevrolet” was written across the simple
stylized cross (called the “bowtie”)
It now communicates the company name without using any
letters
PART 2
MEDIA AND PROCESSES
Herbert Bayer,
Universal typeface
2.7.8a Herbert Bayer, Universal typeface, 1925
Walter Gropius,

Bauhaus building
2.7.8b Walter Gropius, Bauhaus building, 1925–26, Dessau,
Germany
20
Influence of
the Bauhaus on Visual Design
The Bauhaus was a German school of art and design that
operated in the early 20th century
Modernist theory: “form follows function”
PART 2
MEDIA AND PROCESSES

Modernist theory, or the idea that the design of an object and
the material from which it is made should be determined by its
purpose
Although the Bauhaus was initially conceived as a school of
architecture by its founder, Walter Gropius, the school worked
to establish design ideals that could be applied universally with
no constraints on culture or medium
Ludwig Mies Van der Rohe, a former Head of the Bauhaus, is
often best remembered for his emphasis on simplicity of design,
and his quips, “Less is more” and “God is in the details”
21
Influence of the
Bauhaus on Visual
Design (contd.)
Sought a universal style that did not favor one culture over
another
Herbert Bayer, one of the school's professors, created an easy-
to-read, sans serif typeface named “Universal”
PART 2

MEDIA AND PROCESSES
Modernist theory, or the idea that the design of an object and
the material from which it is made should be determined by its
purpose
Although the Bauhaus was initially conceived as a school of
architecture by its founder, Walter Gropius, the school worked
to establish design ideals that could be applied universally with
no constraints on culture or medium
Ludwig Mies Van der Rohe, a former Head of the Bauhaus, is
often best remembered for his emphasis on simplicity of design,
and his quips, “Less is more” and “God is in the details”
22
Artwork: Car dashboard
Icon Set
2.7.9 Illuminated car dashboard icon set

23
Car dashboard Icon Set
Graphic images have supplanted written languages in many
places, one example is the universal icons that appear on car
dashboards
Recognized and understood across cultures
No words need to be printed
PART 2
MEDIA AND PROCESSES
Illustration
Illustrations are images created to inform as well as to
embellish the printed page
Good illustration is critical in certain fields, where it may
communicate essential information more effectively than text or
a photograph

PART 2
MEDIA AND PROCESSES
Artwork: Morris and Burne-Jones, Works of Geoffrey Chaucer
2.7.10 William Morris and Edward Burne-Jones, page from
Works of Geoffrey Chaucer, Kelmscott Press, 1896. British
Museum, London, England
Morris and Burne-Jones, Works of Geoffrey Chaucer
Morris and Burne-Jones believed that society should reject
rampant industrialization and restore hand craftsmanship
Hand-crafted an illustrated book: illustrations, illuminated
characters, and patterns
Enhances Chaucer’s written words
PART 2
MEDIA AND PROCESSES

Nineteenth-century English artists and designers William Morris
(1834–1896) and Edward Burne-Jones (1833–1898) illustrated
the work of medieval poet Geoffrey Chaucer.
27
Artwork: James Montgomery Flagg, I Want You for U.S. Army
2.7.11 James Montgomery Flagg, I Want You for U.S. Army,
recruitment poster,
c. 1917
28
James Montgomery Flagg,
I Want You for U.S. Army
Uncle Sam was a fictional character from the early 19th century
Flagg brought him to life in his poster of 1917, using his own
face
Helped to recruit soldiers for World Wars I and II

PART 2
MEDIA AND PROCESSES
American illustrator James Montgomery Flagg (1877–1960)
drew the first image of “Uncle Sam”
The poster was inspired by a similar British poster featuring
Lord Kitchener
Authoritarian stare and pointing finger intended to single out
and challenge the viewer
29
Artwork: Maxfield Parrish, Daybreak
2.7.12 Maxfield Parrish, Daybreak, 1922. Oil on board, 26½ ×
45", Private collection
Maxfield Parrish,
Daybreak
Parrish’s image is one of the most popular illustrations ever

made
25 percent of all American households may have owned a copy
in the 1920s
Still influences artists and filmmakers
PART 2
MEDIA AND PROCESSES
Maxfield Parrish (1870-1966) was an American painter-
illustrator
Created to be printed and commercially marketed
31
Artwork: Mary Grandpré, cover art for Harry Potter and the
Sorcerer’s Stone
2.7.13 Mary Grandpré, cover art for Harry Potter and the
Sorcerer’s Stone, published by Scholastic, 1997

Mary Grandpré, cover art for Harry Potter and the Sorcerer’s
Stone
Grandpré’s illustration introduces
the reader to the main character
Imagery complements the written text
Half-hidden clues in the artwork provide a visual introduction
PART 2
MEDIA AND PROCESSES
Mary Grandpré (b. 1954) is a book illustrator
Illustration features Harry Potter flying toward the viewer while
attempting to catch a shiny object called a Golden Snitch
33
Artwork: Jorge Colombo,
Finger Painting
2.7.14 Jorge Colombo, Finger Painting. The New Yorker
magazine cover, June 1, 2009. Digital sketch using iPhone

34
Jorge Colombo,
Finger Painting
To create his art, Colombo uses his iPhone in the streets of New
York City
Passersby do not disturb him as they think that he’s checking
his e-mail rather than drawing them
Digital illustration increasingly popular
PART 2
MEDIA AND PROCESSES
Portuguese-born Jorge Columbo (b. 1963) creates digital
illustrations
His work has become well known, and has appeared on several
covers of The New Yorker magazine

35
Layout Design
Layout design is the art of organizing type, logos, and
illustrations in traditional print media
Essential if information is to be easily understood
One of the main considerations in layout design is spacing
PART 2
MEDIA AND PROCESSES
Designers are very aware of white space—the voids that lie
between text areas and images—and are careful in its
organization and distribution in their layouts.
36
Portal Artwork: Bayeux Tapestry
4.7.5 Detail of the Battle of Hastings, Bayeux Tapestry, c.
1066–82.
Linen with wool, 275' long. Bayeux Tapestry Museum, Bayeux,

France
An example of early layout design is the embroidered eleventh-
century Bayeux Tapestry.
37
2.7.15 April Greiman, Does It Make Sense? from Design
Quarterly Issue #133, 1986. Magazine cover design
Artwork: April Greiman,
Does It Make Sense?
April Greiman, Does It Make Sense? Greiman’s Design
Quarterly #133, 1986
Greiman was one of the first designers to create a major work
completely on a computer
Used a self-portrait as image
Imported images to a Mac using
a video import device

PART 2
MEDIA AND PROCESSES
Perspectives on Art:
April Greiman is an American graphic/visual communication
designer
Work done after attending the first TED (Technology,
Education, and Design) Conference and seeing a Macintosh
computer for the first time
Reimagined an entire magazine (Design Quarterly)
39
Artwork: Toulouse-Lautrec,
La Goulue at the Moulin Rouge
2.7.16 Henri de Toulouse-Lautrec, La Goulue at the Moulin
Rouge, 1891. Lithograph in black, yellow, red, and blue on
three sheets of tan wove paper, 6'2½" × 3'9⅝". Art Institute of
Chicago, Illinois

Toulouse-Lautrec,
La Goulue at the
Moulin Rouge
Poster for his favorite Parisian nightspot, the Moulin Rouge
Free, rounded writing style is as casual as the spectators in the
scene
Skillful hand-rendered text and images
PART 2
MEDIA AND PROCESSES
French artist Henri de Toulouse-Lautrec (1864–1901)
Created using lithographic printing
Spectators watch La Goulue (the nickname, meaning “The
Glutton,” of the dancer Louise Weber) dance the can-can
41
Advertising Design
Design specifically created to sell

a product or service
Considered placement of textual and visual elements to unify an
advertising design conceptually has become common practice
PART 2
MEDIA AND PROCESSES
42
Artwork: Shiseido
Advertising Design
2.7.17 Poster for Hydrogen Peroxide Tooth Powder, c. 1927.
Shiseido Corporate Museum, Tokyo
43
Shiseido
Advertising Design

In the 1920s the cosmetic company Shiseido produced a series
of elegant designs to promote beauty goods
Integrated traditional Japanese design with European art
influences
Type, illustration, symbol, and message come together
PART 2
MEDIA AND PROCESSES
Artwork: McDonald’s
Happy Meal Campaign
2.7.18 Leo Burnett Company, Inc. and Helen Musselwhite,
McDonald’s Happy Meal Campaign, 2013
Leo Burnett Company, Inc. and Helen Musselwhite,
McDonald’s Happy Meal Campaign
This work is a collaborative effort between an independent

illustrator
and designers from an advertising firm
Cut paper relief used to create a three-dimensional artwork
PART 2
MEDIA AND PROCESSES
The Leo Burnett Company, Inc. is one of the largest advertising
firms in Chicago
Hellen Musselwhite (b. 1963) is a British illustrator known for
her cut paper illustrations
46
2.7.19a Conrad Garner, Toronto Maple Leafs Centennial Season
Ticket Package, 2016
Artwork: Conrad Garner, Toronto Maple Leafs Centennial
Season Ticket Package

2.7.19b Conrad Garner, Toronto Maple Leafs Centennial Season
Tickets, 2016
Artwork: Conrad Garner, Toronto Maple Leafs Centennial
Season Ticket Package
Conrad Garner, Toronto Maple Leafs Centennial Season Ticket
Package
Garner fuses innovative typography with elegant imagery in this
design
Each ticket reflects stories from the 100 year history of the team
Developed cover pattern from Maple leaf
PART 2
MEDIA AND PROCESSES
Conrad Garner (b. 1983) is a Canadian-American artist,
designer, and illustrator.

49
Web Design
Text and image in mass communication has evolved to include
interactive designs used on the World Wide Web
Allows designers more freedom to add interactivity
PART 2
MEDIA AND PROCESSES
Artwork: Razorfish,
Taste Re-wind
2.7.20 Razorfish, Taste Re-wind, 2016. Web design
51
Razorfish, Taste Re-wind
This design features a careful organization of text and image for

simple and easy use
Allows listener to select music from a specific time period and
then customize to own taste
PART 2
MEDIA AND PROCESSES
Razorfish is one of the preeminent web communication
companies in the world
Design work was done for Spotify Internet music provider
Recipient of Webby Award for Best Visual Design – Aesthetic
2016
52
Screenshot from MoMA’s Magritte exhibition website
2.7.21a “Magritte: The Mystery of the Ordinary. 1926–1938,”
MoMA, 2013. Screenshot from exhibition website, design by
Hello Monday, 2013. Featuring detail of René Magritte’s The
Menaced Assassin, Brussels, 1927

53
Artwork: Magritte,
The Menaced Assassin
2.7.21b René Magritte, The Menaced Assassin, Brussels, 1927.
Oil on canvas, 4’11¼” × 6’4⅞”. MoMA, New York.
Screenshot from “Magritte: The Mystery of the Ordinary, 1926–
1938” exhibition website, MoMA, 2013
54
Magritte exhibition
website, MoMA
Contemporary web designers try to connect the subject to the
design
Sounds, movement, and other features are revealed as the
viewer enters the site
Mysterious character of Magritte’s art is captured in the website

experience
PART 2
MEDIA AND PROCESSES
The web design group Hello Monday created a website for an
exhibition of the Belgian artist René Magritte’s (1898–1967)
work at the Museum of Modern Art in New York and the Art
Institute of Chicago.
55
Color in Visual Communication Design
Color is used differently in print and electronic displays than it
is by painters or other kinds of artists
PART 2
MEDIA AND PROCESSES

Color in Print
Most printed color images rely on four separate colors: cyan,
magenta, yellow, plus black, called “key” (CMYK)
Four colored inks are printed on paper as dots in a regular
pattern (“screen”)
This color printing process is called offset printing
PART 2
MEDIA AND PROCESSES
An image is scanned and separated into the four colors
(C,M,Y,K)
The image is re-created when the separated colors are printed in
sequence, overlapping with each other
57
2.7.22 Cyan, Magenta, Yellow, and Black ink overlays, showing
the resulting secondary color when they are combined

CMYK Ink Overlays
2.7.23 Color separation for a commercially printed reproduction
of an artwork by Van Gogh. The image on the extreme left is
Van Gogh’s original; the other four show how it reproduces in
each of the separate, different-colored ink printing screens
Color separation in Van Gogh reproduction
Color in Electronic Displays
The digital display is illuminated by red, green, and blue (RGB)
light cells, called phosphors
The monitor turns a combination of phosphors on or off to
produce colors
PART 2
MEDIA AND PROCESSES

If all three primaries are on, the result is white light, whereas
using only red and blue will create magenta.
60
2.7.24 Combinations of Red, Green, and Blue (RGB) light,
overlaid to reveal mixtures
RGB Light Overlays
2.7.25 Dreamhack Gaming Conference, Bucharest, Romania,
2013
Photograph of Dreamhack Gaming Conference
Dreamhack Gaming Conference
The game Starcraft uses RGB primaries to create dazzling
colors
Displayed at the annual Dreamhack computer gaming

conference
Digital works have a glow and rich color that bring new
sensations to art and design
PART 2
MEDIA AND PROCESSES
Blizzard Entertainment developed the game Starcraft
At the conference in Bucharest, Romania, teams of professional
game players generate vivid animated scenes for audiences that
fuse the experience of an animated movie with that of a sporting
event
63
Portal Artwork: Charles Csuri, Wondrous Spring
1.4.3 Charles Csuri,
Wondrous Spring,
1992. Computer

image, 4' × 5'5"
An example of a work that was produced on a computer monitor
then printed is Charles Csuri’s Wondrous Spring.
64
Visual Communication Design
Video:
PART 2
MEDIA AND PROCESSES

Third Edition
Shields
PART 2
MEDIA AND PROCESSES
2.7.2 Tokyo National Museum
2.7.3 V&A Images/Victoria & Albert Museum
2.7.4 Ralph Larmann
2.7.5 © Kok Cheow Yeoh (www.yeoh.com)
2.7.6 Koninklijke Bibliotheek, The Hague, folio 8r., shelf no.
69B 10
2.7.7 General Motors Corp. Used with permission, GM Media
Archives
2.7.8a © DACS 2018
2.7.8b © Lianem/Dreamstime.com

2.7.9 © Annsunnyday/Dreamstime.com
2.7.10 from Works of Geoffrey Chaucer, Kelmscott Press, 1896
2.7.11 Library of Congress Prints, Washington, D.C., Prints &
Photographs Division, LC-DIG- ppmsc-03521
2.7.12 © Maxfield Parrish Family, LLC/VAGA, NY/DACS,
London 2018
2.7.13 Harry Potter characters, names and related indicia are ©
& TM Warner Bros. Entertainment Inc. Publishing Rights © J.
K. Rowling. (s18)
2.7.14 © Jorge Colombo, courtesy The New Yorker;
2.7.15 Video-computer graphic © April Greiman
2.7.16 The Art Institute of Chicago, Mr. and Mrs. Carter H.
Harrison Collection, 1954.1193
2.7.17 Shiseido Corporate Museum, Kakegawa-shi, Shizuoka-
ken
2.7.18 Courtesy Helen Musselwhite
2.7.19aCourtesy Maple Leaf Sports & Entertainment Ltd.
(MLSE)
2.7.19bCourtesy Maple Leaf Sports & Entertainment Ltd.
(MLSE)
PART 2
MEDIA AND PROCESSES

2.7.20 Courtesy Spotify/spotify.com
2.7.21a, 2.7.21b Website commissioned by The Museum of
Modern Art, New York
(www.moma.org/interactives/exhibitions/2013/magritte/).
Artwork: The Museum of Modern Art, Kay Sage Tanguy Fund,
247.1966. The Museum of Modern Art, New York/Scala,
Florence. © ADAGP, Paris and DACS, London 2018
2.7.25 Photo Helena Kristiansson, esportphoto.com
PowerPoints developed by CreativeMyndz Multime dia Studios
PART 2
MEDIA AND PROCESSES
Chapter 1.5
Motion and Time

PART 1
FUNDAMENTALS
Introduction
Most traditional art media (e.g. painting) are static, but artists
have found ways to indicate the passage of time and appearance
of motion
New technology and media, such as film and video, allow artists
to capture motion and time
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Chapter 1.5 Motion and Time
Moving images are part of our daily life
In the past, our visual experience would be quite different: all
art images were still

Motion
Motion occurs when an object changes location or position
Directly linked to time
Artists can communicate motion by implying time or creating
the illusion of it
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Motion
PART 1
FUNDAMENTALS

Implied Motion
This type of motion is used in static works of art
Visual clues tell us that the work portrays motion
We do not actually see the motion happening
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: Gianlorenzo Bernini,
Apollo and Daphne
1.5.1 Gianlorenzo Bernini,

Apollo and Daphne,
1622–24. Carrara marble,
height 8'. Galleria Borghese, Rome, Italy
Gianlorenzo Bernini,
Apollo and Daphne
The sun god Apollo falls madly in love with the wood nymph
Daphne
As she runs away terrified, her father saves her by transforming
her into a bay laurel tree
Diagonal lines convey the action
The pivotal moment is frozen in time
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Seventeenth-century Italian sculptor Gianlorenzo Bernini
(1598–1680) illustrates the ancient Greek myth
Daphne’s fingers sprout leaves as bark encases her legs
She could no longer be Apollo’s wife, instead becoming his tree
Apollo made the laurel wreath his crown
Gianlorenzo Bernini: The Ecstasy of
St. Teresa
Video:
PART 1
FUNDAMENTALS
Video:
PART 1
FUNDAMENTALS

Portal Artwork: Camille Claudel, The Waltz
3.8.19 Camille Claudel, The Waltz. Bronze (posthumous
edition), 16⅞ × 14⅜ × 6¾". Private collection
Another great example of implied motion is The Waltz, by
Camille Claudel.
9
Artwork: Giacomo Balla, Dynamism of a Dog on a Leash
1.5.2 Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil
on canvas, 35⅜ × 43¼".
Albright-Knox Art Gallery, Buffalo, New York

Giacomo Balla, Dynamism of a Dog on a Leash
Balla was an Italian Futurist
Conveys a sense of forward motion
A series of repeating marks in the dog’s tail, feet, and leash
communicate rapid movement
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Giacomo Balla (1871–1958) paints the dog’s tail in eight or
nine different positions
The leash is an implied line, repeated in four different positions
The Illusion of Motion
Artists create an illusion of motion through visual tricks

Our eyes are deceived into believing there is motion as time
passes, even though no actual motion occurs
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: Jenny Holzer, Untitled
1.5.3 Jenny Holzer, Untitled (Selections from Truisms,
Inflammatory Essays, The Living Series,
The Survival Series, Under a Rock, Laments, and Child Text),
1989. Extended helical tricolor LED,
electronic display signboard, site-specific dimensions. Solomon
R. Guggenheim Museum, New York

Jenny Holzer, Untitled
In Holzer's Untitled Tiny LEDs (light-emitting diodes) are
illuminated in
an automated sequence
The messages appear to scroll up the circular atrium, although
the text does not actually move
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
American artist Jenny Holzer (b. 1950) created this installation
in the Guggenheim Museum, New York (designed by Frank
Lloyd Wright)
Holzer used this illusion to invigorate her messages and
critiques of society

Artwork: Bridget Riley,
Cataract 3
1.5.4 Bridget Riley,
Cataract 3, 1967. PVA on canvas, 7'3¾" × 7'3¾". British
Council Collection
Bridget Riley, Cataract 3
This artwork is an example of
Op art (Optical art)
If we focus on a single point in the work, the image appears to
vibrate
We can see this optical illusion because Riley uses sharp
contrast and hard-edged graphics set close together
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
British artist Bridget Riley (b. 1931) was part of the Op art
movement
During the 1960s, painters in this style experimented with
discordant positive–negative relationships
This optical illusion grows out of the natural physiological
movement of the human eye
Stroboscopic Motion
When we see two or more repeated images in quick succession,
they appear to fuse together
Basis for early attempts to show moving images
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Stroboscopic Motion
PART 1
FUNDAMENTALS
Artwork: Phenakistoscope
1.5.5 Phenakistoscope, or “Magic Disk,” c. 1840. Wood and
glass with 8 paper disks. Made in France

Phenakistoscope
This device, meaning “spindle viewer” was invented in 1832
Features a series of drawings placed on one side of a disc
Viewer looks through a slotted
disc while the illustrated disc is spinning to see images appear
to move and repeat
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Artwork: Gregory Barsamian, Drum 52
1.5.6 Gregory Barsamian, Drum 52, 2013. Kinetic
sculpture/installation:
steel, ureathane foam, sculpy, strobe light, motor. Artist’s
collection
Gregory Barsamian, Drum 52
This artwork was intended to be viewed in an environment with
strobe lighting
Kinetic, or moving, sculpture and also an installation
Without the strobe's pulsing effect, the image would disappear
into a blur of motion
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Frame from Finding Nemo
1.5.7 Frame from Finding Nemo, 2003. Duration 100 minutes.
Director Andrew Stanton, Walt Disney Pictures
Frame from
Finding Nemo
This movie was compiled from individual frames that were
generated using 3-D modeling software
Animator produces sequenced frames, played in rapid
succession
Committed to film or digital media
for distribution to movie theaters
PART 1
FUNDAMENTALS

PART 1
FUNDAMENTALS
Animation
Video:
PART 1
FUNDAMENTALS
Video:
PART 1
FUNDAMENTALS

Scene from Run Lola Run
1.5.8 Scene from Run Lola Run, 1998. Duration 81 minutes.
Director Tom Tykwer,, X-Filme Creative Pool/WDR/Arte
Scene from
Run Lola Run
The plot follows Lola who must save her boyfriend within 20
minutes
Story reboots three times, each time with a new set of
circumstances
Film reinterprets time and demonstrates the impact that a few
seconds’ difference can make
PART 1
FUNDAMENTALS
PART 1

FUNDAMENTALS
“Movie” is an abbreviation of “moving picture”
Director Tom Tykwer (b. 1965) sets the film in Berlin
Lola receives a panicked call from her boyfriend, Manni
He is threatened by a mobster demanding 100,000 Deutschmarks
(approximately $70,000)
Lola tries to save his life, but gets shot herself
As the story begins again, she is partly prepared from the first
version of events
Viewer is engaged and can explore the characters in greater
depth with each reset
Actual Motion
We see actual motion in artworks that change in real space and
time
Examples include kinetic art
(a work that contains moving parts) and performance art
In performance art, the artist’s intention is to create an
experience rather than an art object

PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Performance art emerged during the 20th century with such
artists as Joseph Beuys (1921–1986)
Following his traumatic experiences in the German Air Force in
WWII, Beuys performed what he called actions
Actions were self-performed situations in which Beuys would
interact with everyday objects; for example animals, fat,
machinery, and sticks
By putting common items in new situations, he conjured up
different ways of thinking about our world
He once played a piano filled with animal fat that changed the
sound and mechanics
Actual Motion
PART 1

FUNDAMENTALS
Portal Artwork: Joseph Beuys, Coyote, I Like America and
America Likes Me
2.10.7 Joseph Beuys, Coyote, I Like America and America
Likes Me, May 1974. Living sculpture at the René Block
Gallery, New York
30
Artwork: Cirque du Soleil performing Totem
1.5.9 Cirque du Soleil performing Totem in Montreal, Quebec,
July, 2010

Cirque du Soleil performing Totem
Formed in 1984, this troupe is
a touring entertainment act
French for “Circus of the Sun”
Integrates music and acrobatics, enacted before a live audience
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: Alexander Calder, Untitled
1.5.10 Alexander Calder, Untitled, 1976. Aluminum and steel,

29'10⅜" × 75'11¾".
Alexander Calder,
Untitled
Calder invented the mobile, a type of kinetic sculpture
Relies on air currents to power its movement; constantly
changes
Untitled, his final sculpture, is made up of counterbalanced
organic shapes
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

The earliest kinetic artwork is credited to French artist Marcel
Duchamp (1887–1968)
Duchamp mounted a bicycle wheel on a barstool so that the
wheel could be spun
American sculptor Alexander Calder (1898–1976) took the name
“mobile” from a suggestion by Duchamp
Untitled is made of aluminum and steel; it is suspended in the
National Gallery of Art in Washington, D.C.
Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris
1.5.11 Theodorus Gerardus Jozef “Theo” Jansen, Animaris
Umeris (Strandbeest #48), 2009.
Recycled plastic bottles, plastic tubing, PVC pipe, wood, fabric.
Scheveningen Beach, The Netherlands
Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris
Jansen's sculptures, "Strandbeests," are carefully designed to
appear to move by themselves
Remarkable appearance of continuous movement that looks
like an animal walking

PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Portal Artwork: Marcel Duchamp, Bicycle Wheel
3.9.8 Marcel Duchamp, Bicycle Wheel, 1951. Metal wheel
mounted on painted wood stool, 50½ × 25½ × 16⅝". MoMA,
New York
Marcel Duchamp was one of the first artists to create kinetic
sculptures.
37
Time
Any artwork that deals with events must show how time goes by

Artists find ways to communicate the passage of time and
remind us of its influence
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Time
PART 1
FUNDAMENTALS

The Passage of Time
Artists often seek to tell a story
This can be in a single painting
Some artists examine cycles of time
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: The Meeting of
St. Anthony and St. Paul
1.5.12 Workshop of the Master of Osservanza (Sano di Pietro?),
The Meeting of St. Anthony and St. Paul, c. 1430–35. Tempera
on panel, 18½ × 13¼”. National Gallery of Art, Washington,
D.C.

The Meeting of
St. Anthony and St. Paul
This painting tells a story by merging a series of episodes into
one picture
The entire painting signifies a long pilgrimage over time, rather
than a single moment
Linear method is still used by artists, comic-book writers, and
designers
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Fifteenth-century painters in the workshop of the Master of
Osservanza solved the problem of telling a story in a single
picture.
The story begins in the upper left-hand corner, where St.
Anthony sets out across the desert to seek St. Paul
Next, in the upper right, St. Anthony encounters a centaur
(associated with the Greek god of wine, Bacchus)
St. Anthony is not deterred by earthly temptation and continues
until he embraces St. Paul in the foreground
Artwork: Nancy Holt,
Solar Rotary
1.5.13 Nancy Holt, Solar Rotary, 1995. Aluminum, concrete,
and meteorite,
approx. height 20', approx. diameter 24'. University of South
Florida
Nancy Holt,
Solar Rotary
Holt's sculpture intertwines the passage of time with the sun's

motion
At relevant times of the year, the work casts shadows on notable
dates set into the surrounding concrete
Center bench is encircled by shadow at noon on the summer
solstice
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
American artist Nancy Holt (1938–2014) examines cycles of
time in her works
Solar Rotary, located in Tampa, Florida, features an aluminum
sculptural “shadow caster” perched on eight poles
On March 27, a circle shadow surrounds a marker recounting a
day in 1513 when Spanish explorer Juan Ponce de León fi rst
sighted Florida

The center circular bench contains a meteorite symbolizing the
connection between our world and the larger universe
Artwork: Hunting Scene,
painting from Cova dels Cavalls
1.5.15 Hunting Scene, painting from Cova dels Cavalls
(Horses’ Cave), Mesolithic period. Valltorta, Valencia, Spain
Hunting Scene, painting from Cova dels Cavalls
Depicting time in art is not a concept that exists only in the
modern world
Shows bow hunters as the bow
is aimed; the arrows in flight; and arrows piercing deer
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Artwork: Ai Weiwei,
Dropping a Han Dynasty Urn
1.5.14 Ai Weiwei, Dropping a Han Dynasty Urn, 1995. Three
black-and-white photographs, each 53½ × 42⅜"
The three life-sized photographic panels are documentation of
the passage of time as the artist committed the irreversible act
of destruction.
The left panel shows the artist holding the vase somewhat
carelessly
The second shows the vase falling to the ground and the artist’s
hands boldly (or shamelessly) in the air
The third photo captures the vase smashing on the ground
without any reaction on his part
Ai Weiwei: Motion and Reproduction as a Metaphor for Time
Through time and motion, the artist acknowledges both the

antiquity and importance of the object
The images link the old and the new in Chinese art and culture
PART 1
FUNDAMENTALS
Gateway to Art:
PART 1
FUNDAMENTALS
Gateway to Art:
In 1995 Chinese artist Ai Weiwei (b. 1957) created a time-based
work that sparked great controversy: he was photographed
dropping a 2,000-year-old Chinese urn
Chinese ceramics are symbols of centuries-long innovation and
ingenuity
References the Chinese government’s similar lack of care and
preservation of ancient objects
Dropping A Han Dynasty Vase has sparked a renewed interest

in ancient objects that were being taken for granted by the
Chinese government and society as whole
The Attributes of Time
Time-based arts, such as film, embody six basic attributes of
time:
duration, tempo, intensity, scope, setting, and chronology
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: Edison and
Dickson, Fred Ott’s Sneeze
1.5.16 Thomas Edison and W. K. Dickson, Fred Ott’s Sneeze,
1894. Still frames from kinetoscope film. Library of Congress,
Washington, D.C.

Edison and Dickson,
Fred Ott’s Sneeze
Duration (length) is 5 seconds
Tempo (speed) is 16 frames
per second
Intensity (level of energy) is high
Scope (range of action) is limited
Setting (context) is Edison’s studio
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

Intensity is high because the activity is sudden and strong
Scope is limited because it is confined to a simple activity
Fred Ott appears to be placing some snuff in his nose, recoiling,
then jerking forward as he sneezes
Natural Processes and
the Passage of Time
Some artists use biology and organic materials to indicate the
passage of time in their artwork (bioart)
Organic materials grow and degrade, so work by “bioartists”
is always changing
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Artwork: Suzanne Anker, Astroculture (Shelf Life)
1.5.17 Suzanne Anker, Astroculture (Shelf Life), 2009.

Aluminum, plastic, red and blue LED lights,
plants, water, soil, and no pesticides. Dimensions variable.
Vegetable-producing plants grown from seed using
LED lights. Installation view at Corpus Extremus (LIFE+), Exit
Art, New York
Suzanne Anker,
Astroculture (Shelf Life)
Anker's bioart experiments with how plants might react in
artificial conditions
Uses LED lights instead of sunlight to provide nourishment
Blurs the line between science
and art
PART 1
FUNDAMENTALS
PART 1

FUNDAMENTALS
In her work, American bioartist Suzanne Anker (b. 1946)
creates conditions that would suit rare environments, such as
outer space
The use of red and blue LED lights reduces the amount of light
and energy required, eliminates the need for insecticide, and
lowers carbon emissions
Contributes to our understanding of the universe while
delivering interesting visual forms
Artwork: Ron Lambert,
Sublimate (Cloud Cover)
1.5.18 Ron Lambert, Sublimate (Cloud Cover), 2004. Water,
vinyl, humidifiers, steel, aluminum, and acrylic, dimensions
variable
Ron Lambert,

Sublimate (Cloud Cover)
Lambert created a large transparent plastic environment in
which water endlessly evaporates
and condenses
Shows how the rhythms of nature become a measure of natural
time
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS
Natural processes dominate the work of American sculptor Ron
Lambert (b. 1975)
The water cycle illustrates the passage of time
We gauge time by how long we have to wait for the next rain
Constantin Brancusi

Umberto Boccioni,
Unique Forms of Continuity in Space
Dynamism of a Soccer Player
MoMA Videos
MoMA collection:
MoMA Video
MoMA Video
PART 1
FUNDAMENTALS
MoMA Videos (contd.)
Marcel Duchamp,
Bicycle Wheel

MoMA collection:
MoMA Video
PART 1
FUNDAMENTALS
Third Edition
Shields
PART 1

FUNDAMENTALS
PART 1
FUNDAMENTALS
1.5.1 Galleria Borghese, Rome
1.5.2 Albright-Knox Art Gallery, Buffalo, New York, Bequest
of A. Conger Goodyear and Gift of George F. Goodyear, 1964.
© DACS 2018
1.5.3 Solomon R. Guggenheim Museum, New York, Partial gift
of the artist, 1989, 89.3626. Photo David Heald © Solomon R.
Guggenheim Foundation, New York. © Jenny Holzer. ARS, NY
and DACS, London 2018
1.5.4 © Bridget Riley, 2012. All rights reserved
1.5.5 Courtesy The Bill Douglas Cinema Museum, University of
Exeter, England
1.5.6 © Gregory Barsamian 2013. Photo the artist
1.5.7 Disney Enterprises/Album/akg-images
1.5.8 Arte/Bavaria/WDR/Spauke, Bernd/The Kobal Collection
1.5.9 Photo OSA Images

1.5.10 © Board of Trustees, National Gallery of Art,
Washington, D.C.
1.5.11 Courtesy the artist
1.5.12 National Gallery of Art, Washington, D.C., Samuel H.
Kress Collection, 1939.1.293
1.5.13 Photo University of South Florida. © Estate of Nancy
Holt/DACS, London/VAGA, New York 2018
1.5.14 Courtesy Ai Weiwei Studio
1.5.15 Rotger/Iberfoto/photoaisa.com
1.5.16 Library of Congress, Washington, D.C. Prints &
Photographs Division, LC-USZ62-536
1.5.17 © Suzanne Anker
1.5.18 © the artist. Courtesy Catherine Person Gallery, Seattle,
Washington
PART 1
FUNDAMENTALS
PART 1
FUNDAMENTALS

IT 210: Business Systems Analysis
IT 210: Business Systems Analysis3
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Contents
Introduction5
Problem Statement5
Two Technologies5
Business Requirements5
Objectives5
Project Description5
Key Technology Requirements6
Competitors and Technology6
Technology One [Replace heading with the technology selected
(e.g., Social Media)]6
Technology Two [Replace heading with the technology selected

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