Foundations of Art and Design: An Enhanced Media Edition (with Art CourseMate with eBook Printed Access Card) PDF
Preview Foundations of Art and Design: An Enhanced Media Edition (with Art CourseMate with eBook Printed Access Card)
Sign in today using the access code* that came with your new text! It’s your gateway to CourseMate’s many resources: Icons in the chapter Project boxes prompt you to Art Studio: Through easy to use online submission, students can upload project-based images for Instructor and Peer review and critique. *If your instructor didn’t order website access with this book, you can purchase it separately at www.cengagebrain.com. Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 7711445566__0000__IIFFCC__ii--ii..iinndddd 11 1122//11//1100 22::3322::2266 AAMM 71456_00_fm_i-xiv.qxd 12/7/10 7:31 PM Page i Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/8/10 5:40 PM Page ii P R O J E C T DEVELOPING A CRITICAL EYE Welcome to Foundations of Art and Design! Dive right in. As you acquire and perfect your skills as artists and designers in courses like 2-D and 3-D design, color theory, and other foundations studios, a large part of your learning process will revolve around the classroom critique—the crit. It is a vehicle for putting your work out there—to your peers and your artist-instructor—to gauge whether you have been successful in communicating your intent through the concept and materials and processes you have chosen. It is also an opportunity to develop your own critical eye and your own critical voice. This book features a project in each chapter that you can work on and upload to our own version of a classroom crit. By posting your work to our online Art Studio and critiquing projects submitted by other students, you will begin to perfect your ways of looking and learn to articulate in words what it is that you and others are doing visually. Start here. The first page of your book arrays Chung Chak’s designs for the cover of the new Enhanced Media Edition of Foundations of Art and Design—including the “out-takes” and some of his notes on each version. Consider our options. What are the strengths of each? The potential problems with each? Which do you like, and why? Did we make the right choice? How might you work with the image and text to design a cover? Let us see your version. See the full Project description in your course’s Art Studioand upload your projectto the Crit Room Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/7/10 7:31 PM Page iii Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/8/10 5:41 PM Page iv Foundations of Art and Design: © 2012, 2008Wadsworth, Cengage Learning An Enhanced Media Edition ALL RIGHTS RESERVED. No part of this work covered by the copyright herein Lois Fichner-Rathus may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, Publisher/Acquisitions Editor: Clark Baxter recording, scanning, digitizing, taping, Web distribution, information networks, or Development Editor: Ashley Bargende information storage and retrieval systems, except as permitted under Section 107 Editorial Assistant: Elizabeth Newell or 108of the 1976United States Copyright Act, without the prior written permission Media Editor: Kimberly Apfelbaum of the publisher. Senior Marketing Manager: Diane Wenckebach For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706 Marketing Coordinator: Lorreen Pelletier For permission to use material from this text or product, Senior Marketing Communications submit all requests online www.cengage.com/permissions Manager: Heather Baxley Further permissions questions can be emailed to Content Project Management: [email protected] PreMediaGlobal Senior Art Director: Cate Rickard Barr Library of Congress Control Number: 2010940880 Print Buyer: Julio Esperas ISBN-13: 978-1-111-77145-4 Rights Acquisition Specialist, Image: ISBN-10: 1-111-77145-6 Amanda Groszko Rights Acquisition Specialist, Text: Wadsworth Katie Huha 20Channel Center Street Production Service: PreMediaGlobal Boston, MA 02210 Text Designer: Jerry Wilke USA Chapter Opener Illustrator: Marisa D. Green (Studio Danae) Cengage Learning is a leading provider of customized learning solutions with Cover Designer: Chung Chak office locations around the globe, including Singapore, the United Kingdom, Australia, Mexico, Brazil, and Japan. Locate your local office at Cover Image: Franz Ackermann, Faceland, international.cengage.com/region 2001mixed media on paper, 84.5x 64.5cm (part of Wallpainting White Crossing). Collection Martin and Rebecca Eisenberg, Cengage Learning products are represented in Canada by Nelson Education, Ltd. Scarsdale. Copyright the artist. Courtesy Neugerriemschneider, Berlin and Gavin For your course and learning solutions, visit www.cengage.com Brown, New York. Author of Projects: Dustin London Purchase any of our products at your local college store or at our preferred online store www.cengagebrain.com. Compositor: PreMediaGlobal Instructors:Please visit login.cengage.comand log in to access instructor- specific resources. Printed in the United States of America 1 2 3 4 5 6 7 15 14 13 12 11 Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. The publisher reserves the right to remove content from this title at any time if subsequent rights restrictions require it. For valuable information on pricing, previous editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest. Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/7/10 7:31 PM Page v Dedicated to the memory of my father Louis Fichner Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/7/10 7:31 PM Page vii C O N T E N T S 1 The Creative Impulse 3 Shape . . . . . . . . . 2 . . . . . . . . . . . . . . . . . . . . . . . 46 Looking at Life and Art 5 Coming to Terms with Shape 48 Nature 5 Shape 48 Culture 6 Form 49 Art History 7 Volume 49 Yourself 8 Mass 49 Thinking about Life and Art: Types of Shape 51 Recording and Communicating 10 Geometric Shapes 51 Understanding Art 12 Organic Shapes 53 Subject 12 COMPARE+CONTRAST Picasso’s Les Demoiselles Form 13 d’Avignonwith Colescott’s Les Demoiselles d’Alabama: Vestidas 54 Content 14 Abstract Shapes 55 Iconography 15 Amorphous Shapes 58 COMPARE+CONTRAST Art & Language, Joseph Stalin Gazing . . . in the Style of Jackson Pollockwith Positive and Negative Shapes 59 Jackson Pollock’s Sea Change 16 Figure-Ground Reversals 62 Putting It All Together 17 The Shaped Canvas 64 Visual Elements 17 Shape as Icon 64 Principles of Design 17 Mediums 17 4 Value . . . . . . . . . . . . . . . . . . . . . . . . 66 Style 17 Shades of Gray 68 2 Line Value Contrast 68 . . . . . . . . . . . . . . . . . . . . . . . . . 22 Value Pattern 69 Line,Communication,and the Impulse to Order 24 Low-Key and High-Key Values 70 Characteristics of Line 25 COMPARE+CONTRAST Rothko’s Number 22 The Measure of Line 26 with Rothko’s Black on Grey 72 Types and Qualities of Lines 26 Chiaroscuro 73 COMPARE+CONTRAST Van Gogh’s Self-Portrait Tenebrism 74 with Grey Felt Hatwith Van Gogh’s Self-Portrait 29 Highlights and Cast Shadows 75 Directionality of Line: Vertical, Horizontal, Silhouetting 77 and Diagonal 30 Descriptive and Expressive Properties of Value 78 Location of Line 31 Actual, Implied, and Psychological Lines 32 5 Color . . . . . . . . . . . . . . . . . . . . . . . . 82 Line and Shape 35 Outline and Contour Line 35 Color and Light 84 Blurring the Boundaries between Outline and The Science of Light 84 Contour 38 Bringing Color Full Circle 85 Line and Value 39 Additive and Subtractive Colors 86 Line and Texture 41 Cool and Warm Colors 87 Interpretation of the Quality of Line 42 Properties of Color 88 Closure and Continuity 43 Hue 88 The Expressive Language of Line 44 Value 89 Intensity 91 Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 71456_00_fm_i-xiv.qxd 12/7/10 7:31 PM Page viii Color Mixing 94 Transparency 149 Visual Color Mixing 94 Vertical Position 150 Color Mixing in Practice 95 Atmospheric Perspective 151 Color and Principles of Design 97 COMPARE+CONTRAST Hogarth’s False Perspective Color and Emphasis 97 with Hockney’s Kerby (After Hogarth) Useful Knowledge 154 Color and Balance 98 Linear Perspective 155 Color and Space 99 One-Point Perspective 156 COMPARE+CONTRAST Michelangelo’s David with Keith Haring’s “Untitled” 101 Two-Point Perspective 158 Color Schemes 102 Three-Point Perspective 159 The Monochromatic Color Scheme 102 COMPARE+CONTRAST Degas’s The Absinthe Drinker with Johnson’s Café 160 The Triadic Color Scheme 103 Multiple Perspective 162 The Analogous Color Scheme 105 Amplified Perspective 164 The Complementary Color Scheme 106 Parallel Perspective 165 The Split-Complementary Color Scheme 107 Isometric Projection 165 The Double-Complementary Color Scheme 108 Oblique Projection 166 Other Uses of Color 108 Color Discord and Vibrating Colors 108 Local, Optical, and Arbitrary Color 110 8 Time and Motion. . . . . . . . . . . . 168 Emotional Color 113 Color and Symbolism 114 Actual Motion 170 Kinetic Art 170 Recording Actual Motion 172 6 Texture . . . . . . . . . . . . . . . . . . . . . 116 Implied Motion 174 Repetitive Imagery 175 Types of Texture 119 Illusion of Motion 177 Actual Texture 120 Multiple Exposures 178 COMPARE+CONTRAST Géricault’s The Raft of the Medusawith Stella’s Raft of the Medusa 122–123 Blurred Outlines 179 Visual Texture 125 Optical Sensations 180 Abstract Texture 126 COMPARE+CONTRAST Giacomelli’s I Have No Hands to Caress My Facewith Matisse’s Dance (I) 181 Invented Texture 128 Time and Motion 182 Subversive Texture 129 Figure Repetition and Elapsed Time 182 Texture and Design 132 Time and Motion in Film and Video 183 Texture and Pattern 132 Animation 184 Texture and Composition 135 Cinematography and Video Techniques 185 Texture and Space 136 Texture as Subject 137 9 Unity and Variety . . . . . . . . . . . 188 7 Space . . . . . . . . . . . . . . . . . . . . . . 138 Ways to Achieve Unity 190 Proximity 190 Actual Space 140 Repetition 191 Sculpture 140 Color and Value 192 Architecture 142 Line 193 Pictorial Space 144 Shape 194 Methods for Creating the Illusion of Depth 146 Texture 195 Relative Size 146 Continuity 195 Overlapping 147 The Grid 196 VIII CONTENTS Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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