WHAT DO YOU SEE? Let

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WHAT DO YOU SEE?Lets ANALYZE Some PAINTINGS
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• Composition VIII, 1923, Wassily Kandinsky
• Oil on canvas, 140 x 201 cm (55 1/8 x 79 1/8 in)

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• Woman I
• Willem De Kooning
• Oil on Canvas

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• Pablo Picassos
• Les Demoiselles d Avignon

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• Still Life with a Ginger Jar and Eggplants,
  1890-94, Paul Cezanneoil on canvas, 28 1/2 x 36
  inches (72 x 91 cm)

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Dede Eri SupriaUrban Class,1977Oil on Canvas,
200x100cm
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Cindy ShermanUntitled Film Stills
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Bayu Utomo Radjikin Lang Kacang, 1991 Mixed
media 141 x 104 x 120 cm
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The 7ELEMENTS OF DESIGN
The 7 Principles of Design
FELDMANs Approach to Reading a Painting
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The 7ELEMENTS OF DESIGN
1. Line
5. Value

• 2. Shape

3. Form
6. Texture
7. Space
4. Colour
Complex Correlation
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1. LINE

• A mark with length and direction. It refers to
  the continuous mark made on some surface by a
  moving point.

1. Tools used to create lines (materials/ approach)
2. Types of lines and what they say

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LINE

• Lines can be created using various tools. Lines
  can be created by drawing, painting, printing,
  incising etc.
• Possible Materials/Tools

• Pencil (2B, 4B, 6B, H, etc)
• Colour Pencil ( Water)
• 3. Pen ( Ink Water)
• 4. Chalk/ Oil Pastels
• 5. Paints (Watercolours/ Poster Colours, Acrylic,
  Oil, etc)
• 6. Brushes (Flat, Round, Big, Small, etc)
• 7. Others (Sticks, Lipsticks, Paper, Rust etc)

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LINE

• Lines can be seen in some artworks as patterns or
  outline of objects.
• There are various different types of line
  Vertical, horizontal, diagonal, straight/ ruled,
  curved, bent, angular, thin, thick/ wide,
  interrupted (dotted, dashed, broken, etc.),
  blurred/fuzzy, controlled, freehand, parallel,
  hatching, meandering, spiraling etc.
• Lines often define a space and may create an
  outline/ contour, define a silhouette create
  patterns/ shape/ movement and the illusion of
  mass/ volume.

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LINE
Lines can be expressive!

• It can convey messages. Certain kinds of lines
  create feelings of nervousness, weakness,
  strength, dominance/ power.

Type of Line
Vertical Lines
Curvy Lines
Zigzag Lines/ Diagonal Lines
Thick Lines
Thin Lines
Description
Create sense of balance in layout
Create an appearance of rhythm, harmony and grace.
Create a sense of energy and drama
Create a feeling of strength, aggression, anger
Appears delicate and fragile
(complexity)
Vertical, Horizontal, Thick, Bold Solid lines painting in red, blue and yellow
Curvy, Fluid, Thin lines splattered across the entire canvas
Complex Description
Creates an appearance of strength, stability and balance in layout. Primary colours suggest purity and back to basics?
Suggests movement, rhythm and fragility. Create a sense of confusion?
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• Materials/ Approach
• Use of bold thick brushes
• Oil paint
• Rub, scrap off re-paint
• Paint left to drip
• Line quality
• Aggressive brushwork used to outline the shape of
  the figure.
• Organic black lines which appears thick or thin
  based on the pressure and the attack on the
  canvas.
• Lines created from scraping of paint/ thin layers
  of paint.

LINE

• Woman I
• Willem De Kooning, Oil on Canvas

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LINE

• Materials/ Approach
• Dripping of Paint to create an Action Painting
• Enamel paint
• Use of a stick/ fine brush
• Canvas on floor.
• Line quality
• Fluid and layers of paint dripped in a rhythmic
  formation of lines.
• Organic curvy lines which appears thick or thin
  depending of the speed and energy exert by
  Pollock.
• Overlapping of black, white and grey lines.

Cathedral, Jackson Pollock, 1947
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LINE
Dede Eri Supria, Urban Class,1977Oil on
Canvas, 200x100cm

• Materials/ Approach
• Meticulous capturing of the illusion of depth,
  space and form.
• Carefully composed image with no visible
  intention of presenting lines as lines. Rather,
  the lines (if any evident) are used to define a
  space, an outline, a implied form or for textural
  qualities.
• Line quality
• No visible lines intended. Illusion of mass/
  volume created with colours, tones and use of
  lines.
• Objects that are linear in nature (Eg. The
  vertical stilts) create a sense of balance and
  perspective in the painting.

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2. SHAPE

• it is an enclosed space defined and determined by
  other art elements such as line, colour, value
  and texture.

1. Geometric and Organic Shapes
2. Shapes as symbols
3. Shapes that evokes feelings

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SHAPE

• Geometric and Organic Shapes

• Examples of geometric/ inorganic shapes include
• circle and oval polygon such as triangle,
  square, rectangle, rhombus, trapezium, trapezoid,
  pentagon etc.

• Examples of organic shapes include
• Anything that do not have a regular fixed shape.
  Anything from nature.

Organic shapes are often described as amorphous
and biomorphous.
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SHAPE
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• Shapes as Symbols

• Simple shapes may be given contextual meanings
  and hence become recognizable symbols

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SHAPE

• Shapes can evoke feelings by changing their
  colours.

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• Wassily Kandinsky,
• Composition VIII, 1923,
• Oil on canvas, 140 x 201 cm

SHAPE

• Materials/ Approach
• Detailed and mathematical approach to painting.
• Appear to have used mathematical tools like
  rulers, compasses etc
• Shape quality
• Geometric shapes of varying sizes. (eg. Circles,
  triangles, grids etc)
• Gradual and mild colours used for individual
  shapes to create a sense of unity/ balance in the
  painting.
• Patterns, Rhythm and sense of depth created with
  repeated use of certain shapes.

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• Materials/ Approach
• Oil Paint on Canvas
• Carefully conceived composition and layout which
  shows multiple angles and viewpoint of objects.
• Shape quality
• Angular shapes combined to form the figure, an
  organic form.
• Nature of cubism.
• Shapes that are suggestive of fruits.
• Colours added in shapes to create illusion of form

SHAPE

• Pablo Picasso
• Les Demoiselles d Avignon
• Oil on Canvas

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3. FORM

• Form also refers to an element of art that is
  three-dimensional (height, width and depth) and
  encloses volume. It is the total physical
  characteristics of an object.
• For example, a triangle, which is
  two-dimensional, is a shape, but a pyramid, which
  is three-dimensional, is a form.
• Cubes, spheres, ovoids, pyramids, cones and
  cylinders are examples of various forms.

• Organic Vs Geometric Form

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4. COLOUR

• Colour is produced by light of various
  wavelengths, and when light strikes an object and
  reflects back to the eyes.
• When the spectrum is organized as a color wheel,
  the colors are divided into groups called
  primary, secondary and intermediate (or tertiary)
  colors analogous and complementary, and also as
  warm and cool colors.

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• Colors can be objectively described as saturated,
  clear, cool, warm, deep, subdued, grayed, tawny,
  matt, glossy, monochrome, multicolored,
  particolored, or polychromed.
• Some words used to describe colors are more
  subjective (subject to personal opinion or
  taste), such as exciting, sweet, saccharine,
  brash, garish, ugly, beautiful, cute,
  fashionable, pretty, and sublime.

COLOUR
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The Colour Wheel
COLOUR
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Warm Colours Vs Cool Colours
Warm Colours Expressive Qualities
Red, Red-Orange, Yellow Produces a sense of warmth, harmony or anger.
Cool Colours Expressive Qualities
Blue, Blue-Green, Violet Produces a sense of freshness, coolness or sadness.
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SYMBOLISM and EMOTIONS

• Color conveys meanings in two primary ways -
  natural associations and psychological symbolism.
  
• It is not mind control. The truth of the matter
  is that people are comfortable when colors remind
  them of similar things. Eg. a soft shade of blue
  triggers associations with the sky and a
  psychological sense of calm.Successful design
  requires an awareness of how and why colors
  communicate meaning. The source of these meanings
  can be quite conspicuous, such as those found in
  nature red is the color of blazing fire and
  blood, blue the color of cooling waters and the
  sky. Other meanings may be more complex and not
  universal.

COLOUR
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• Natural AssociationsOccurrences of colors in
  nature are universal and timeless. For example,
  the fact that green is the color of vegetation
  can be considered a universal and timeless
  association.

COLOUR
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Psychological/ Cultural Associations
COLOUR

• Color may generate another level of meaning in
  the mind. This symbolism arises from cultural and
  contemporary contexts. As such, it is not
  universal and may be unrelated to its natural
  associations.
• Eg, greens associations with nature communicate
  growth, fruitfulness, freshness and ecology. On
  the other hand, green may also be symbolic of
  good luck, seasickness, money and greed all of
  which have nothing to do with green plants. These
  associations arise from a complex assortment of
  sources.

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Psychological/ Cultural Associations
COLOUR

• Furthermore, color may have both positive and
  negative symbolism.
• For example, although blue is the beautiful color
  of the sky on a sunny day, it can be symbolic of
  sadness or stability. Idiomatic American English
  reflects these traits in phrases such as singing
  the blues and blue chip stocks.
• Red is another example of dual symbolism. On one
  hand, as the color of fire and blood, it is an
  energizing, aggressive and bold color. In direct
  contrast, red is used for STOP signs throughout
  the world today.

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Although there are no absolutes, there are
logical sources for the range of complex and
sometimes contradictory psychological/cultural
meanings of colors. These may arise from any of
the following
COLOUR

• 1. Cultural associations the color of currency,
  traditions, celebrations, geography, etc. (Eg,
  green is associated with heaven (Muslims) and
  luck (U.S. and Ireland)2. Political and
  historical associations the color of flags,
  political parties, royalty, etc. (Eg, green is
  the color of Libya's flag its the favorite
  color of Emperor Hirohito and the source of
  "Green Day" in Japan, and in the U.S., the Green
  Party.)

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• 3. Religious and mythical associations the
  colors associated with spiritual or magical
  beliefs (Eg, the green man was the God of
  fertility in Celtic myths, a symbolism that
  carries over into todays associations of Green
  MM candies with sexuality in the U.S. Also, in
  contemporary Western culture, green is associated
  with extraterrestrial beings.)4. Linguistic
  associations color terminology within individual
  languages (Eg, South Pacific languages refer to
  shades of green by comparison to plants in
  various stages of growth. In Scottish Gaelic the
  word for blue ('gorm') is also the word used for
  the color of grass.5. Contemporary usage and
  fads current color applications to objects,
  sports, and associations generated by modern
  conventions and trends. (Eg, green is used world
  wide for traffic lights signifying "go." In
  Scandinavia, green has been a popular color for
  many decades. In the U.S., avocado green was a
  popular color for appliances in the 1960s. Today,
  lime green has been a hip and trendy color in
  fashion and advertising in the US since the late
  1990s.)

COLOUR

• http//www.colormatters.com/brain.html

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The bride in this Renaissance masterpiece wears
green as a symbol of her fertility. She is
slouching in imitation of pregnancy, thus
indicating her willingness to bear children.
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5. VALUE (TONE)

• Value refers to the lightness or darkness of a
  colour. This is important in any polychromatic
  image, but it can be more apparent when an image
  is monochromatic, as in many drawings, woodcuts,
  lithographs and photographs. This is commonly the
  case in much sculptures and architecture too.

• Changes in value, whether sudden or gradual, can
  add greatly to the visual impact of art forms.
  Changes in value can also be used to help the
  artist express an idea.

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VALUE (TONE)
A value scale employing a smoothly nuanced
gradation of values.
A value scale or gray scale in eight stepped
grades of values.
And another stepped scale produced by hatching
and cross-hatching.
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•  Below another value scale or gray scale in
  which stepped grades of values are labeled for
  their percentages of black, and values used to
  give planar shapes greater solidity and depth.

VALUE (TONE)
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• A full range of values can also be produced by a
  variety of other means. These include hatching
  and stipple techniques, as well as with textures
  and patterns of other sorts.
• The following illustration shows colors of
  various values. Value changes from pure hues are
  called shades and tints. On the right, pure hues
  are marked by dots. Notice how their values
  their positions beside the gray scale are
  varied.

VALUE (TONE)
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6. TEXTURE

• Texture is the surface quality or "feel" of an
  object, its smoothness, roughness, softness, etc.
• Textures may be actual or simulated. Actual
  textures can be felt with the fingers, while
  simulated textures are suggested by an artist in
  the painting of different areas of a picture
  often in representing drapery, metals, rocks,
  hair, etc.

Samuel van Hoogstraten (Dutch, 1627-1678),
Trompe-l'oeil, 1664, oil on canvas, 45.5 x 57.5
cm,
Woman I, Willem De Kooning Oil on Canvas
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Examples of textures
                 
             
Words describing textures include flat, smooth
(third row, right), shiny, glossy, glittery,
velvety, feathery, soft, wet, gooey, furry,
sandy, leathery (second row, right), crackled
(upper left), prickly, abrasive, rough (first
row, right), furry, bumpy, corrugated (second
row, left), puffy (second row, third), rusty
(third row, second), slimey (third row, third).
TEXTURE
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7. SPACE

• An element of art that refers to the distance or
  area between, around, above, below, or within
  things. It can be described as two-dimensional or
  three-dimensional as flat, shallow, or deep as
  open or closed as positive or negative and as
  actual, ambiguous, or illusory.

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two-dimensional space Illusion of Depth flat,
shallow, or deep
Workers in a Canteen by Chua Mia Tee
SPACE
Les Demoiselles d Avignon by Pablo Picasso
Cathedral, Jackson Pollock, 1947
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• Space is implied when perspective is used. Other
  methods used to suggest space include overlapping
  objects, scaling and shading.

SPACE

• perspective - The technique artists use to
  project an illusion of the three-dimensional
  world onto a two-dimensional surface. Perspective
  helps to create a sense of depth of receding
  space.
• Fundamental techniques used to achieve
  perspective are controlling variation between
  sizes of depicted subjects, overlapping some of
  them, and placing those that are on the depicted
  ground as lower when nearer and higher when
  deeper. In addition, there are three major types
  of perspective aerial perspective, atmospheric
  perspective and linear perspective.

http//studiochalkboard.evansville.edu/draw.html
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Three-dimensional space
SPACE
A Thousand Years by Damien Hirst
Temple of the Mind by Montien Boonma
In Bed by Ron Mueck
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• In these images, negative spaces have been shaped
  and placed among positive spaces so that a viewer
  can make closure on a triangle, a square, and a
  cube.

SPACE
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The 7ELEMENTS OF DESIGN
When Analyzing Works Objectively..
The 7 PRINCIPLES OF DESIGN
FELDMANs Approach to Reading a Painting