Sunday, October 26, 2008

Balance WebQuest

Art Quest:

Balance

In this Art Quest you will have the opportunity to learn more about balance. After you complete this Art Quest take the online quiz to test your knowledge.

After you have learned to recognize the elements of art, you will learn the ways in which the elements can be organized for different effects. We call these organizational rules the principles of art.

One of the principles of art is balance. You know that when you speak of balance in everyday life, you are usually speaking of equalizing the weight of one or more objects so someone or something won’t fall. For example, a seal might balance a ball on its nose. Or a person may have to keep his balance if he walks a tightrope.

Balancing Visual Forces
In order to know whether two objects are of equal weight—that is, whether they balance each other—a balance scale can be used. In the visual arts, however, balance must be seen rather than weighed. The art elements become the visual forces, or weights, in an art object.

Central Axis
A central axis is a dividing line that works like the point of balance in the balance scale. Many works of art have a central vertical axis with equal visual weight on both sides of the dividing line.

Look at the painting here:
An Afterglow, 1883
Winslow Homer

The light area down the center acts as a central axis. The dark sailboats on each side provide balanced visual weights.

Horizontal Axis
Works of art can also have a horizontal axis. In this case, the visual weight is balanced between top and bottom.

Late classic sarape - Navajo 19th century

Formal Balance
Formal balance occurs when equal, or very similar, elements are placed on opposite sides of a central axis. The axis can be vertical or horizontal. It may be a real part of the design or it may be an imaginary line. The examples we have looked at so far have formal balance. So do the following images:


Symmetrical Balance

Symmetry is a special type of formal balance in which two halves of a balanced composition are identical, mirror images of each other. Most textiles, pottery, and architectural works are perfectly symmetrical. This type of balance is sometimes called bilateral symmetry.



Ancient Art
Female Figure (bioma or agiba), 20th century

Radial Balance
Another type of symmetry is radial balance. Radial balance occurs when the forces or elements of a design flow outward (radiate) from a central point. The axis in a radial design is the center point. Radial balance is often used in pottery designs.

Native American Baskets


Native American Pottery

Recognizing Natural Balance
Natural balance gives the viewer the same comfortable
feeling as formal balance, but in a much subtler way. Sometimes called informal balance, or asymmetry, natural balance involves a balance of unlike objects.

Many factors influence the visual weight, or attraction, that elements in a work of art have to the viewer’s eye.


Size and Contour
A large shape or form appears to be heavier than a small shape or form. Look at Red, White, and Green below and notice how the smaller shapes on the right in this painting balance the larger ones on the left.

Red, White, and Green, 1940
Arthur G. Dove

An object with a complicated contour is more interesting and appears to be heavier than one with a simple contour. Click on the following image:

Place Pasdeloup No. 2, 1929
Stuart Davis

The decorative contours of the building and the wall balance the large, smooth, and featureless shapes of the surroundings.


Color

A high-intensity color has more visual weight than a low-intensity color. The viewer’s eyes are drawn to the area of bright color.

The intense colors of the boy with the hatchet and the man in the red coat draw our attention even though the figure in the foreground is much larger.

Parson Weems' Fable,1939
Grant Wood


Value

The stronger the contrast in value between an object and the background, the more visual weight the object has.

The black and white area in the center has much more weight than the more neutral color surrounding it.

Super Table, 1925
Stuart Davis

In this print, the black area seems to press down with its weight upon the woman.

Heimarbeit (Piece Worker), 1925
Käthe Kollwitz


Texture

A rough texture attracts the viewer’s eye more easily than a smooth, even surface does.
Think about how the texture in the The Farmer’s Kitchen attracts the viewer’s eye.

The Farmer’s Kitchen, 1933-34
Ivan Albright


Position

Children playing on a seesaw quickly discover that two friends of unequal weight can balance the seesaw by adjusting their positions. The heavier child moves toward the center; the lighter child slides toward the end. The board is then in balance. In visual art, a large object close to the dominant area can be balanced by a smaller object placed farther away from the dominant area. In My Egypt, by Charles Demuth, the large shapes of the white building extend from one side over the middle of the painting. Two smaller shapes—a black chimney and part of a red building—sit on the far right.

My Egypt, 1927
Charles Demuth

Test Yourself! (print off for participation grade and turn in tomorrow, along with assignment)

ASSIGNMENT: Due at the beginning of class tomorrow (before the bell).
Create an outline showing the three main types of balance, along with a small illustration or sketch showing an example of each. Now think about one of the art projects you have completed in class this year. Describe how you achieved balance in this art project, which type of balance it uses (one of the three main types), and which elements and principles were dominant in achieving that balance. Remember: all artwork must use some kind of balance; remember that good design is one of the factors when determining whether or not something is art! Good design includes BALANCE!
This may be typed or handwritten. If you do not finish today, you can use the notes you took to complete the assignment or you can get back online before then.

Wednesday, April 2, 2008

Introduction to Ceramics

Text source: read Chapter 10 for information.
What is clay? What are some of the properties of clay?
This week we learned three basic hand-building techniques in class: coil, slab, and pinch. Your assignment in class is to use one or more of these new hand-building techniques to create pottery. Be inventive and creative with the tools available to you. Add your own flare!

Things to watch out for:
drying and cracking...add water!
uneven thickness...do you remember why this is important?
craftsmanship (watch your edges and lumps)
aesthetics...is your work pleasing to the eye? interesting? engaging?

**Extra Credit Opportunity: Find out more about the origins of clay and how it came into existence for 5 e.c. points.

Due dates: April 15 Grid Portraits are due with rubric!

Sunday, March 9, 2008

Exam Review

Extra credit opportunity: Come up with thinking questions for Monday's Jeopardy! review game. All questions must be in by the end of Sunday.
1-pt. memorization of facts.
2-pts. analytical thinking questions

Limit: 10 questions per student. Good Luck!

An extra copy of the review sheet is now on the shared drive. If you need an extra copy and cannot access the school's shared drive, email me and I will be happy to forward you a copy.
furgasonj@psm.k12.il.us

Questions that have been submitted by students so far:

If an object is above the horizon, will you see the
top or bottom of the object?

What the lines of an object that point towards the
vanishing point?

Explain why contour line drawing is helpful.

Name and define three techniques for making an object
appear closer or further away.

If trying to depict an angry mood, what type of lines
would you use? Why?

How can you create contrast in a picture?

According to the right brain theory, when in art class
which side of your brain is more active?

Sunday, March 2, 2008

Presentations begin...

Presentations will begin on Monday and go on until completed.
Due Monday, March 3, 5pm:
Artist Statement (with self-evaluation rubric attached)
Project (with rubric---do not attach the rubric to your artwork!!)
Presentation of your research to the class via PowerPoint based on the following criteria:
1. architect and style of architecture
2. Historical context
3. Significance/purpose
4. Your adaptation to this style: How did you use the style in your own work?
5. Use of visual image to make the connection easier for audience to understand.

This is all on the handout you received last week. I'm looking forward to seeing your hard work!

Monday, February 18, 2008

Perspective and Drawing Buildings

Building Perspective

LRC/Studio Project

"It would be a mistake to ascribe this creative power to an inborn talent. In art, the genius creator is not just a gifted being, but a person who has succeeded in arranging for their appointed end, a complex of activities, of which the work is the outcome. The artist begins with a vision — a creative operation requiring an effort. Creativity takes courage."

Henri Matisse (1869-1954), French modernist artist.

Your assignment:

  1. Research: Research and present an architect or an architectural style. Your job is to creatively incorporate this style or technique in a cityscape drawing, while using linear perspective (first come, first serve…any doubles must be arranged with me in advance).
  2. Sources: You must use at least two sources. At least one must be in print (we will have an LRC day to use #700 REF) and no more than one can be electronic. Some architects can also be found in your textbook, as well a great number of books available in the LRC!
  3. Where will you site your sources? In the artist statement, of course! Use your artist statement guidelines as you have in the past, with the addition of a works cited page, using MLA format. (see handouts: Artist Statement Rubric and Artist Statement Organizer for more details)
  4. Because you will present these to your classmates, an electronic image example in a PowerPoint for the presentation may be used as a visual aid during your presentation along with your artwork.
  5. Due dates:

Ø Monday: 2/18

· Sign up for research project topic/architect

· We will start research in the LRC. Cite your sources while you’re there to save yourself some time.

· You may begin researching for internet sources if you have extra time in the LRC. See list for suitable websites (handout) for research.

Ø Tuesday, 2/19:

· Develop 5 preliminary sketches for your cityscape.

(Experiment with different perspectives/compositions)

Ø Wed. 2/20 – Thurs., 2/21 (no classes Friday 2/22)

· Studio workdays provided in class.

· Please manage your time accordingly. Improvise and experiment!


Monday, February 11, 2008

Space Surrounds Us Every Day!



Read through pages 118-119 in your text, noting the vocabulary words:
positive and negative spaces
picture plane
overlapping
high and low placement
linear perspective
one-point perspective
vanishing point
two-point perspective
eye level
aerial perspective
framing
How is the space in a classroom different from that of the gym or the auditorium?
Hint: think about sound, lighting, the height of the ceiling... architects must take much into consideration when planning spaces!
How do the above vocabulary words create an illusion of depth on a 2-D picture plane?

*HW due Tuesday: Write a description of the photograph of the interior of the National Gallery using the terms given above.

Saturday, February 9, 2008

Due Monday!

The Metamorphosis project, along with the self-evaluation rubric and Chapter 4 questions #1-6 from your text is due Monday. Have a great weekend!

Tuesday, February 5, 2008

Strawberry Shortcake



1.Describe 3 things you see in this drawing
2.What elements and principles are dominant?
3.How are they used to get a certain effect?
4.What do you think the artist was trying to communicate?
5.Do you think this artist was successful given the intentions we think she had? Why or why not?

Saturday, February 2, 2008

Metamorphosis II








What is the difference between positive and negative space?
How did M.C. Escher manipulate both in Metamorphosis II?
Why might people see M.C. Escher as a mathematician, as well as an artist?
Your assignment: Draw a 3-dimensional object on a 3"x3" paper.
Rotate, mirror, and transform this image so that the lines that define
the figure will also define the ground.

Thursday, January 24, 2008

Let's Strengthen our Spatial Perception!

Monday: MLK Day!

  • Due to the assembly, there will be a special plan for today and no homework!

Tuesday:

  • Today is a studio work-day. Your Civil Rights collages are due by the end of the day tomorrow. Extend, modify, change, and use your best judgement. Does it visually work? Is your composition balanced? Is there anything missing? Feel free to come by after school to work on it or bounce ideas around with other art students!
  • Don't forget to complete your self-evaluation rubric and clip it to your artwork! It's worth 10% of this project's grade.
  • HW Due Thursday: Artist Statement Organizers were handed out (click on the right image). You may email it to me or hand in during class.

Wednesday: Drawing Upside Down?!

  • Frustrate your efficient left brain by concentrating and working deliberately and intently.

Thursday: What's the difference between a contour line and an outline?!

  • Due today: Artist Statement
  • Excercises (and vocabulary!): contour lines vs. outlines, eye-hand coordination, blind contour line vs. controlled contour line, and continuous lines.

Friday: Connecting your senses

  • Using your sense of touch to feel the texture of an object without looking at it can heighten your perception skills. Draw an object without looking at it. Use the texture and the shape alone as you draw exactly what you feel. Afterward, you may look at it closely and compare it to your drawing. Were you close? What were you right about? What needs more work? Try it again now that you can see it.
  • Look at the way the light reflects off an object. What shapes do you see? Where are the darkest areas? Use your pencil to blend the values you see. Create implied lines---no outlines!




Tuesday, January 15, 2008

Qtr 3 Week 2/ January 14-18, 2008

Monday 1/14



Introduction to value. Read text 4.1 (pg. 60-61)
  • Take notes on vocabulary

  • Create a value scale using both ink and pencil.

  • Use value and shading to create the illusion of 3-D depth on a 2-D surface.

  • Materials: 4B pencils and kneaded erasers

  • HW Due Tuesday: bring images from the civil rights movement that inspire your thoughts about it today for a project that will be started on Wednesday (1 pt.)

  • Tuesday 1/15



    • Review concepts of value.

    • Id shapes vs. forms, 2-d vs. 3-d, and look at Charles W. White’s drawing Harvest Talk.

    • Complete handout on value.

    • Perceive how value is used not only to create the illusion of a 3-d form, but also to communicate meaning. (weather, clothing, facial expression)

    • Intro to vine sticks (blending with charcoal) and kneaded erasers.

    • Vocab: highlights and shadows.

    • Draw your own nose using not lines, but value changes with charcoal and a kneaded eraser.

    • HW: practice nose drawing at home in front of mirror.

    Wednesday 1/16



    • Review concepts from 1/15.

    • Value: form and meaning.

    • How? No outlines; blend.

    • Look at collage examples that contain drawing added to images. Continue the lines, shapes, textures, and values (all elements of art) outside and around the images. Look at the work of collage artist Kara Walker.

    • Depending on how many images we have, each person or table will create a compositional layout, sketching out ideas for the addition of drawing within the composition. Understand the importance of negative and positive shapes and spaces in this lesson.

    • HW: Kara Walker reading comp.

    Thursday 1/16



    • On loose-leaf, describe your intentions with the project introduced yesterday. Use the following questions as a guide:
      •What do you intend to accomplish?
      •How will you carry out your intentions?
      •What media and techniques will you use? Are there any supplies that you need that have not been made available to you? If so, please list here.
      •How is this artwork going to visually reflect your personal feelings/intentions?

    • Shown: examples of mixed-media collage artworks by contemporary artists as well as students of various ages and skill levels.

    • Vocabulary: collage

    • Rubric for assignment: