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Understanding Formal Analysis

Understanding Formal Analysis
The elements of art are components or parts of a work of art that can be isolated and defined. They are the building blocks used to create a work of art. The list below describes each element of art. Learn about the principles of design here. Download a student handout containing a list of the elements of art and their definitions. (PDF, 168KB) Line A line is an identifiable path created by a point moving in space. Horizontal lines suggest a feeling of rest or repose because objects parallel to the earth are at rest. Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. Horizontal and vertical lines used in combination communicate stability and solidity. Diagonal lines convey a feeling of movement. The curve of a line can convey energy. Shape and form Shape and form define objects in space. Shape has only height and width. Form has depth as well as width and height. Space Real space is three-dimensional. Color Texture Related:  research Visual ElementsArt Analysis

Composition and the Elements of Visual Design Proportion - Golden Ratio and Rule of Thirds Proportion refers the size relationship of visual elements to each other and to the whole picture. One of the reasons proportion is often considered important in composition is that viewers respond to it emotionally. Proportion in art has been examined for hundreds of years, long before photography was invented. One proportion that is often cited as occurring frequently in design is the Golden mean or Golden ratio. Many photographers and artists are aware of the rule of thirds, where a picture is divided into three sections vertically and horizontally and lines and points of intersection represent places to position important visual elements. On analyzing some of my favorite photographs by laying down grids (thirds or golden ratio in Adobe Photoshop) I find that some of my images do indeed seem to correspond to the rule of thirds and to a lesser extent the golden ratio, however many do not.

Culture Whisper: Sonia Delaunay at Tate Modern [STAR:4] Sonia Delaunay Yellow Nude 1908 Musée des Beaux-Arts de Nantes, Nantes © Pracusa 2014083 Tate Modern: Female Artists With the brooding Marlene Dumas exhibition across the hall, Tate Modern unveils the latest in a series of blockbuster shows to celebrate little known female figures in modern art who have been sadly sidelined. Next in the limelight is Sonia Delaunay, the fiercely inventive artist who crafted vibrant textiles and thrilling paintings of modern life, but is best known as the co-creator of a new form of abstraction called Simultanism with her husband Robert. This new exhibition is a riot of colour and pattern across Sonia Delaunay's enormously varied practice, from fine art painting to furniture to fashion. A tour de force with , Sonia Delaunay's colours and pattern pulsate with the musical rhythms of 1920s Parisian dance halls and the flickering new electric lights on the Boulevard Saint Michel. Sonia Delaunay: Art Sonia Delaunay: Fashion by Alice Godwin John Gast, American Progress, 1872 Martha A. Sandweiss, Amherst College Historian Martha A. John Gast, American Progress, 1872. John Gast, a Brooklyn based painter and lithographer, painted this picture in 1872 on commission for George Crofutt, the publisher of a popular series of western travel guides. I use this image early on in my western history classes for several reasons. As students begin to describe what they see, they quickly realize that they’re looking at a kind of historical encyclopedia of transportation technologies. Then, of course, there is that “beautiful and charming female,” as Crofutt described her, whose diaphanous gown somehow remains attached to her body without the aid of velcro or safety pins. The ideas embodied in this painting not only suggest the broad sources for Turner’s essay about the importance of the frontier in American life, they suggest that his essay reached an audience for whom these ideas were already familiar.

Home Education Guided tours: Tuesday–Friday, 10:00 a.m.–5:00 p.m. Unguided tours: Tuesday–Friday, noon–5:00 p.m. Philadelphia Museum of Art Preschool program: $80 per class K–12 programs: $5 per student for Philadelphia public*, private, and parochial schools; $7 per student for all other schools Rodin Museum Guided tours: same as rates for Philadelphia Museum of ArtUnguided tours: $5 per person Museum memberships do not apply to school programs admissions. *Thanks to a grant, the Museum is able to offer free admission to a limited number of Philadelphia public school classes. No students may tour the Museum unchaperoned. All Museum programs are available to all students. Brown-bag lunch facilities are available for K–12. School groups are permitted to shop in the main Museum Store. One free-admission educator's pass will be sent to teachers with a confirmed booking. Buses will be directed by Security to the appropriate parking space upon arrival.

Similarity and Proximity SIMILARITY/PROXIMITY COLLAGE Make a collage that consists of a simple phrase of four or more words and a picture that illustrates the phrase. The words will be made using all different sizes, colors and shapes of letters cut from magazines. The letters will be chosen for maximum variety and no duplicate styles are allowed unless there are more than twenty letters in the phrase. There will be at least one word using each of the four proximity techniques to organize all of that word's letters into the word. All of the letters must be easy to see and the phrase must be easy to read. HOW TO START Find a phrase that you are interested in using that can be illustrated with a picture you can find (or make). Start collecting letters. Remember that the color of paper behind the letter will often show so make the shapes around the letters look like what you want to see. As you are looking for letters, look for an illustration to use. When you have all the parts start laying out the composition.

3 Design Layouts: Gutenberg Diagram, Z-Pattern, And F-Pattern Several layout patterns are often recommended to take advantage of how people scan or read through a design. 3 of the more common are the Gutenberg diagram, the z-pattern layout, and the f-pattern layout. Each offers advice for where to place important information, but I think these patterns are often misunderstood and followed without thought to what they really describe. I want to walk through the what and why of each pattern and then offer something else that gives you as a designer more control over where your viewer’s eye moves across your design. The Gutenberg Diagram The Gutenberg diagram describes a general pattern the eyes move through when looking at evenly distributed, homogenous information. The pattern applies to text-heavy content. The Gutenberg diagram divides the layout into 4 quadrants. Primary optical area located in the top/leftStrong fallow area located in the top/rightWeak fallow area located in the bottom/leftTerminal area located in the bottom/right Z-Pattern Layout

Ashcan School The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the early twentieth century that is best known for works portraying scenes of daily life in New York, often in the city's poorer neighborhoods. The most famous artists working in this style included Robert Henri (1865–1929), George Luks (1867–1933), William Glackens (1870–1938), John Sloan (1871–1951), and Everett Shinn (1876–1953), some of whom had met studying together under the renowned realist Thomas Anshutz at the Pennsylvania Academy of the Fine Arts, and others of whom met in the newspaper offices of Philadelphia where they worked as illustrators. Origin and development[edit] Ashcan School artists and friends at John French Sloan's Philadelphia Studio, 1898 The Ashcan School was not an organized movement. The artists who worked in this style did not issue manifestos or even see themselves as a unified group with identical intentions or career goals. See also[edit] Notes[edit]

Intro : Imagination: Creating the Future of Education & Work The creative adult is the child who has survived - Ursula Le Guin RSA Animate – Changing Education Paradigms In February 2011, every teacher in Providence, Rhode Island was pink slipped. Not all 1,926 of them will get fired, of course, but with the district facing a $40 million deficit, anything is possible. The district says it needs flexibility, just in case, but to some, the move invokes the terrible surprise of Pearl Harbor. “This is beyond insane,” Providence Teachers Union President Steve Smith told the Providence Journal. Every school district in the United States faces its own version of what’s happening in Providence. Americans are currently faced with a shortage of jobs, but by 2018 the nation will be faced with a shortage of educated workers. Can that be prevented, and if so, how? Since 2007, the directors of this project have been collaborating on the development of imagination as the driving force behind this shift. Yes. This project is dedicated to Dr. Follow Rita J.

State Winners - Doodle 4 Google – Google A Jolly Trip to Old Victorian Age Alexa B , North Pole, AK, Grade 10 If I could travel in time, I'd visit back to Victorian Age. My doodle shows some of the Victorian structures for which I'd admire, the bike is one of two ways I'd travel through England besides train, and Queen Victoria, whom I'd like to see. Prehistoric Times Wilfredo R , Wilmington, DE, Grade 11 This conveys a time of prehistoric substance before the familiar existence of modern day convenience and even human life. The Spiritual People Walker P , Miami, FL, Grade 12 If I could travel in time, I would visit the time period before manifest destiny when the Native Americans thrived. Stone Age Cave Painting Tucker B , Baldwin City, KS, Grade 12 If I could tavel in time, I'd visit the stone age, which is why I drew the Google logo as a cave painting that includes a deer, the sun, a mammoth, spear and a rattlesnake. Bonjour from the World's Fair Emily D , Liberty, MO, Grade 11 A World of Adventure Cynthia C , Edison, NJ, Grade 11

Balance Symmetry SYMMETRICAL COMPOSITION Make a symmetrically balanced collage using only circles, triangles and/or rectangles. The shapes can overlap or be trimmed to make new shapes. Up to four colors may be used. The composition must have a vertical axis of symmetry. Biaxial symmetry may be used. Start with thumbnail sketches. Decide what colors you will use. Try to make all of the colors operate as figure in the design. Filling in the thumbnail sketches can make it easier to see color and value relationships. Design Principles: Connecting And Separating Elements Through Contrast And Similarity Advertisement Similarity and contrast, connection and separation, grouped and ungrouped are all ways to describe the varying sameness and difference between elements. Based on the information they carry, we’ll want some elements to look similar, to indicate that they are related in some way. Key to showing both is the visual characteristics of elements and their relationships. Note: This is the third post in a series on design principles. Primitive Features How do you show contrast and similarity between elements? Primitive features3 are the intrinsic characteristics or attributes that an element might have. These elements have different primitive features — in this case, of shape, color and texture. Each of these things communicates something about the element. Sometimes, an element’s attributes need to be compared to the same attributes of another element in order to have meaning. size,shape,color,value,texture,position,orientation. A rectangle and a circle contrast in shape. Contrast