AIS IB Student Handbook

IB Visual Art @ AIS 2012-14 Mrs. E. King

Student Handbook

mrs.king.330@gmal.com

This Handbook contains a lot of essential information.

Keep it safe and refer to it often!

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1: The Basics

During the IB course you will produce:

Studio Work: 60% prints, sculptures, collages, design work, mixed media Drawings, paintings, work, digital artwork, photography, models, textiles and more. Your Studio Work must show your personal interests and artistic skills through a range of different media and techniques in direct connection with your planning as documented in your IWB. Investigation Workbooks (IWBs): 40% Investigation Workbooks will contain written notes, photos, exhibition leaflets, postcards, sketches, experiments with different media, written analysis of artworks, brainstorms, as well as more ‘finished’ drawings and paintings. You can basically put anything you want into your IWB as long as it supports the development of your artistic ideas and skills. Your IWB is the net to catch your ideas and will be a great support in your studio work.

You will need to complete 4 or more IWB pages each week. Most of this will be done in your study periods or at home. Some weeks you will be able to do more than 5 pages because of your wonderful ideas. Excellent – but that does not mean the next week you do not have to do any! Holidays are a great opportunity to collect information, sketch, record and develop ideas; especially if you are in another country. By the end of the course, you should have at least two IWBs completed.

Self-Assessment You will be involved in assessing your own work every month, referring to the IB assessment criteria in detail. You will also receive comments from me that are useful in showing both your strong points and areas for improvement.

There will be regular opportunities to discuss and explain your work and ideas in group discussions and critiques. You will be asked to comment upon other IB students work.

Summary:

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Investigation Workbook

At least 4 QUALITY pages every week

Studio Work

At least one quality finished piece per month.

Self-Assessment

Every month!

2: Getting Started

Equipment:

During the school day, you will have open access to the Art Studio and equipment. However, much of your work will also be done outside school, during the evenings, weekends, and holidays. Due to this, you must collect as wide a range of art media as possible, to help you develop and practice your skills in your own time. A suggested starter list would be: 2B, 4B and 6B sketching pencils Good quality eraser Glue Stick

Essential items

Pack 12 x color pencils (preferably watercolor pencils) Markers and drawing (ink) pens - Black, blue and red Acrylic paints (primaries, secondaries, white, black) A small range of quality brushes in a variety of sizes (e.g. No. 5, No. 9 and No. 20) Art supply case (for storing and transporting supplies)

Recommended items

Try to get as many of these items as you can, and add to your supply of art materials when you are able to. The first three items on the list are urgent purchases – please buy these as quickly as possible! Collect as many ‘free’ items as you can to build up your art supplies, such as different papers, tissues, magazines etc.

Work Space Setting up a workspace at home is not absolutely essential but it would be highly advantageous if you were able to create a ‘mini-studio’. It is much easier for you to work if your have a space and your art equipment is out and ready, also wet work can be left to dry overnight etc. A basic workspace should include: A large flat table and comfortable chair.

A good source of natural light. Working at night can be troublesome if you do not have good lighting, as overhead lights can cast annoying shadows on work and alter perceived colors.

You may wish to purchase daylight bulbs or additional lamps to prevent directional shadows when working at night.

A 12” mirror, if you’re interested in producing self-portraits. A full-length mirror would be ideal for figure drawing.

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3: IB Visual Arts Assessment

Criteria:

Studio Work Studio work will be developed and evaluated according to several key criteria.

Some of them overlap and should be considered parts of a holistic approach.

They are:

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A

Understanding

This refers to the degree to which the artwork reflects an understanding of how one can express concepts and ideas in the visual image, as well as how well the student grasps the technical and formal methods through which these can be conveyed.

B

Relevance

This refers to the degree to which the artwork reflects or conveys personal elements (Where are YOU in the work?); the degree to which it shows an awareness and an understanding of socio-cultural issues and concerns; and the degree to which it shows evidence of well-developed, complex ideas and approaches to given theme(s).

C

Development

This refers to the level of development of both ideas and technical competence with chosen media or mode of expression.

D

Sensitivity to materials

This criterion concerns the ability to use and in some cases develop novel uses for materials. It refers most importantly to the ability to review and modify use of materials, so that work shows evidence of increasingly well-informed resolutions of concepts and the ideas that can be conveyed.

E

Technique

This is related to criterion A and D. It refers to the mastery and understanding of the media chosen to explore. A student in the IB Art program can choose whatever medium they wish, but must be able to demonstrate competence in the handling, potential and limits of that medium.

F

Confidence

This criterion refers to the degree to which work shows evidence of a confident, inventive and wholly personal approach to image-making, one that does not rely heavily on existing art, historical precedent or teacher guidance.

G

Independence

This criterion looks at the degree to which work shows selfdirection and use of the student’s own judgment. Ultimately, artwork must be entirely one’s own and should show the arrival of the visual statement it makes on one’s own accord. This has a great deal to do with criterion F.

Investigation Work The Investigation Workbook will be developed and evaluated according to several key criteria. Some of them overlap and should be considered parts of a holistic approach. They are: A

Cultural / Contextural Research

This refers to the degree to which the workbook shows that the student has analyzed, considered, compared and reflected upon art from other cultures and time periods, especially its function and significance, both within its original context and today. All art is interrelated.

B

Technical / Process

This criterion references ability to display careful records of skill development and awareness of techniques and processes that led to the creation of studio pieces. It also refers to work that shows that the ability to understand and discuss the techniques and methodologies of other artists.

C

Investigation

This refers to evidence in the workbook that develops clear, coherent strategies for investigating the visual qualities, ideas and their contexts, and various approaches to ways of formulating art. It also shows evidence of connections between all these things.

D

Depth and Breadth

This refers to the degree to which the workbook shows evidence that research and investigations took in a broad range of influences, ideas and inspirations that helped formulate a successful synthesis of these in the studio work.

E

Vocabulary

This criterion examines the evidence in the workbook that indicates the student has learned and became familiar with an effective and accurate specialist vocabulary in the visual arts. A good artist uses the proper terminology to refer to his or her work and the work of others.

F

Acknowledgement

This criterion considers the degree to which the student accurately and consistently cites the sources used in the workbook.

G

Presentation

This criterion looks at how work is presented in the workbook. It considers effective and creative writing regarding work and the degree to which the student demonstrates thoughtful, critical evaluations of work.

H

Integration

This criterion refers to the workbook’s relevance to studio work.

All workbook entries should reference studio work. This criterion evaluates the level to which studio work is emphatically evolved, supported, justified and explained in the workbook. It is imperative that this be seen as a developmental process – it should be continuously taking place as work is developed, not simply after the fact.

of sources

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4: Investigation Workbooks

A closer look:

Essential Information You will be provided with an A4 sketchbook for use as an IWB. Clearly write ‘If found please return to:’ and follow with all information listed in the box below on the inside front cover of your IWB – in the event that your IWB is ever misplaced you must provide as many details as possible in order for it to be returned.

Full name, address (or school address), home or mobile number, school phone number, email address, class, teacher name, classroom number.

Investigation Workbook Guidelines You are to record the date of each entry you make in your IWB, including the year. This is so that your progress throughout the course can be clearly seen.

Your work should be neat, show good craftsmanship and a sense of good art aesthetics. Use only black pen when writing in your IWB and write clearly and legibly. Your teacher will need to read your IWB and scanned pages will sent to the IB examiners. Your IWB should be visually interesting; you must also be aware of clarity. Writing in colored pens is distracting they do not copy well.

You will use both sides of all pages and all pages are to be numbered. Go through your workbook numbering pages in advance, with black pen, placing numbers on the bottom right of each A4 page. Numbering pages allows you to easily refer back to an idea, though or work. Ideas will keep recurring, but also developing. Sometimes the development can be stimulated by an exhibition or another piece of work you are doing, or something you have been researching.

On page 60 you might sketch an idea and remember you did something similar before and write - “The idea/sketch on page 25 has possibilities for a painting, see notes of ‘x’ exhibition on page 57.” Also remember to cross-reference on pages 25 and 57. In addition, if ideas or concepts change from page to page, make connecting statements.

Sources of information must always be acknowledged, always write down the full reference in your IWB – you may need to find the information again at a later date. This also applies to magazine articles, television programmes, films and postcards from exhibitions. When using the Internet, the format for referencing is the full web address and the date you accessed it. For books, the author, title, publisher and edition date and page numbers. For periodicals, the name of the magazine, issue number and date, page number, author and 6

title of the article. The same idea goes for television programmes and films.

When you sketch an idea, or when out drawing from observation, always sign or initial your sketch/drawing and date it. This is for copyright/provenance reasons.

When drawing from observation include as much information as possible for future reference. Write down where the subject is and why you have chosen to draw your subject. Make notes on the weather, light, sounds, surrounding environment, your thoughts etc. Photographs of the subject you are drawing are essential for development of an idea or sketch. Always take your camera with you and record images, scenes, textures and colours, etc that you think are interesting. Place these into your ‘image bank’ for possible development in your IWB. Good Working Practices Work in your IWB every day and make this a habit. Several good IWB sessions spread throughout the week are always better than hours of rushed work late at night – and the difference is noticeable in both your IWB and your studio work.

Never cut or rip pages out of your IWB. Don’t stick pages together even if you believe you have made a mistake or a terrible drawing. Your IWB has to show mistakes as well as your good work and most importantly it must show your development as an artist over a period of time.

If you are using pencil, colored pencil or charcoal to draw with, always “fix” it – ‘firm hold’ hair spray works for this and is a cheaper alternative to purchasing artist fixative. Watercolour or acrylic paints do not need fixing as the paints contain an adhesive.

If you are using oil pastels, glue in a sheet of tracing paper, greaseproof or OHT along the bound edge of the page to cover it, protecting your artwork and the facing page. When in doubt – use a cover sheet!

Writing in your Investigation Workbook There should be written comments on every page of your IWB, even if you just write the date. Think about a visually interesting balance between images and text and do not fill a page with only image or only text.

Make comments on your feelings, how your work is progressing and what successes you have had. You should also write about any difficulties and research or technical problems you have encountered and how you have solved these.

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Make notes on which materials you have used in your studio work experiments. The type of paper, the type of medium, what type of glue gives the best results, which clay you used and how wet it was, etc. This will also save you time later when you need a specific result.

When trying out any new medium, experiment with it, find out what you can do with it (by drawing in your IWB) and make notes about what you discover.

Write about any connections you might see between Art and your other IB subjects. Make links across the curriculum and follow up your ideas, for instance, studying blood cells in Biology might inspire prints of tiny natural objects, contour lines or grids in maps from Geography might be combined into landscape drawings etc.

Make comments on your attitudes about life, social, cultural and political concerns. Think about the world outside school and IB. The IWB is yours, so it should reflect your thoughts and beliefs. These comments can be related to art you are researching or artwork that you are producing.

Language and writing style When you are writing in your IWB you must be aware that IB is an academic course and that your written notes should reflect that. Describe your feelings, successes and failures, comment on your progress, and your ideas about life etc but do not use slang or informal English. Your writing must be clear, concise and grammatically correct.

Although this is your Investigation Workbook, it is not being written as your personal diary or for your friends – remember an IB examiner will be reading and grading it.

Read and learn Art vocabulary and always incorporate this into your writing in your IWB. You should have access to a good dictionary as well as an Artspecific dictionary (Section 9 – Page 12 of this booklet for further information).

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Investigation Workbooks

Quick tips:

Revised from Subject Guide IB Visual Arts, April 1996, 2002, 2009 The purpose of the Investigation Workbooks (IWBs) is to encourage adventurous and critical research. During the course, workbooks will be produced as a highly personal record of the student's research in the appreciation and history of art and design. The IWBs will contain both visual and verbal information and will have the appearance of working journals. Equal space should be given to illustrating the thought or creative processes and to the research conclusions.

The IWBs should reflect the student's personal interests. It is not necessary to follow a particular theme. The IWBs can be a wide-ranging personal investigation into many fields- critical, historical or aesthetic. They should also include the student's own original work in the form of sketches, diagrams et cetera.

Photographs and cut-outs from magazines are acceptable only if they are relevant and accompanied by an explanation or critical comment. Information may be recorded by any means such as photocopies and reproductions.

Sources, however, must always be attributed.

Personal reports of visits to museums and galleries, local artists and designers should be included.

Relevant material from other disciplines (mathematics, music, theatre arts, literature, et cetera) is suitable.

Unedited coursework should not be included, and material should never be added merely to fill space.

Workbooks should look like working journals; they are neither scrapbooks nor sketchbooks. Students should not spend time on elaborate or complicated layouts.

IWBs are intended to record the student’s progress since the beginning of the course.

5: Monthly Tasks

Planning & producing Studio work 9

Set the challenge The artistic challenge is set – you decide what you want to achieve with your next piece of Studio Work. This can be entirely your own idea, but should be agreed with your teacher, who may make suggestions.

Research and explore ideas related to the challenge or idea. This should take at least 1-2 weeks and is an intensive period of work.

Research your subject visually through sketches and taking photographs.

Look for examples of other artists who use similar ideas in their own work.

Generate possible solutions to the challenge. This should not take more than one or two hours, but needs to be done in some depth.

Consider composition (the arrangement of shapes and objects in the image or sculpture), colour, texture, technique, tone, shape etc.

Come up with several visual ideas and sketch them in your IWB. Test possible solutions, experiment with media, techniques, color etc. This should be an intensive period of work.

Develop your possible ideas in depth. This should take several IWB pages – not just one or two.

Make small sized versions (IWB sized), using the correct media, color etc. This will allow you to accurately assess your ideas and will let you know about any problems you might face making the final piece.

Evaluate your tests and decide upon the best solution. State clearly the reasons for your choice in your IWB. Produce the piece of studio work, making improvements and documenting progress.

Evaluate the piece – was it as successful as you hoped? Did you encounter any unexpected problems along the way? How did you solve those problems? How will this piece of work lead into your next piece of work?

Research

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Generate Ideas

Trials

Evaluation Production Visual Test Final Evaluation

Monthly Tasks

and self assessment checklists:

The following pages are assessment sheets and guidelines for your monthly self assessment of work. Use them as guidelines to check you are producing the required amount of work in the correct way – addressing all criteria.

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Each month you will do the following: 1.

Write your main subject idea/theme title at the start of the next piece of work.

2.

Define what you will take from the last piece and what you will change (based on analysis).

3.

Brainstorm (from wide to narrow) idea for next piece.

4.

Write your statement for this work (10-15 words on what you will communicate).

5.

Art reference using the analysis/critique handouts in the handbook (with function and significance), include images of artists work.

6.

Broaden the idea visually with more thought and related research.

7.

Produce at least 3 sketches (preferably 5).

8.

Produce a range of media tests, at least 3 (preferably 5).

9.

Produce thumbnail sketches (different compositions of your intended final).

10. Final page sketch (or maquette), using actual media, to show what the piece will look like.

11. Produce final piece of studio work.

12. Evaluation of final piece (refer to analysis handouts in handbook), including photograph.

13. Update CRB and write information tag for final piece.

Reminders: 1. Date each entry and number each page.

2.

Leave a space top right on each page to write your candidate number.

3.

Use and site a variety or sources (preferably primary sources).

4.

Annotate all entries to explain the work and your thoughts.

5.

Take photos/screenshots to track to the progress of the work.

Investigation Workbook – Self-Assessment Checklist: -

Complete the checklist each month to determine your skill level. Where deficiencies exist use resources in the IB Art handbook to improve your skills in these areas.

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Annotation - Do you use a black pen to write in your workbook? write in your workbook within 12 hrs. of exploring or making art? number and record the date on every page? (on the date you work on it) use primary sources and books for all research? have approximately 50% images and 50% writing on your pages? convey a progression of ideas towards a completed art piece? use art vocabulary to describe your work? Formal elements? make comparisons to other art that you have seen or researched? include references to other art or artists that have inspired you during this art piece? include descriptions of ideas/techniques learned from visits to museums, galleries, and artists in your community? describe meaning and your connection to the art that you are making? describe cultural connections within your art? assess what you have learned in recent projects? Describe what has worked for you and how you can build upon it. have a type written copy of your artist statement in your workbook? Revised & re-edited twice a term! have 20 workbook pages completed per month? 16 is the absolute minimum, however 20 is the recommended minimum!

Visuals - Do you use thumbnail sketches/drawings to work through design and composition? include material samples / brush strokes/ experiments with medium and technique/ that you intend to use? include drawings from observation? practice skills that need improvement? show evidence of trying new art forms, media and techniques? show samples of artist's work that have influenced your ideas and art making? demonstrate an exploration of interesting and challenging ideas? include ticket stubs, flyers, brochures from art galleries that you have visited? include photographs of your completed art pieces? convey a close relationship between your workbook and your studio work?

TOTAL: DATE OF ASSESSMENT:

6: Writing

Do’s and Don’ts: 13

Don’t……

Do……

Write essays on the artist’s life history – (D.O.B, favourite sports team etc..) A few biographical details are useful, but not essential.

Make notes on why you’re looking at this artist – what you admire, what you don’t, how this artist’s work relates to your Studio Work. Make your research personal to your particular project.

Photocopy loads of artworks – and stick them into your IWB with no written analysis or other information.

– and forget to write the titles down!

Choose one or two good artworks – annotate them and make copies of them (to practice brush technique, color mixing or something similar).

– include the artist’s name, title of work, year, style, medium and where you found it (web address or book title/page).

Treat your IWB like an exercise book – producing large blocks of writing, underlined, with no interest or visual consideration.

Think about research in a visual way – use colour, headings and images to complement your notes. Compose the pages so that they look interesting and varied.

Write without checking the facts – make sure that you are accurate about dates, media used and essential information about your chosen artist.

Use the correct vocabulary – i.e. ‘tone’ is more accurate that ‘light and shadow’. Remember that at IB level, you will be assessed on the quality of your written work. Don’t be afraid to use adjectives, especially when evaluating an artwork (giving your opinion).

Plagiarize – use or include quotations from other writers as if they are your own words. This is always obvious to the reader.

Include one or two relevant quotations – e.g. the artist writing about his / her ideas OR a well-known critic. Always use quotation marks and include the name of the person who you are quoting and where you found it.

Terms and Techniques- Tasks you will be asked to complete: 14

To record

To make brief notes on basic information – i.e. credit line with artist name, title and size of work, style and historical facts.

To annotate and describe

To make short notes explaining or clarifying a point or drawing the viewer’s attention to something of relevance (e.g. ‘the wide range of tones adds drama and interest’).

To analyze (Section 10 / Page 21)

To look closely and in detail at an artwork, noting down as many points as you can about the piece. These points might cover things like composition, use of colour/tone, medium used, mood/emotion created, content/narrative, issues etc.

To compare and contrast

To analyse two or more artworks at once, focusing on the similarities and differences between them. This is often easier than analyzing a single artwork.

To evaluate

To make personal judgments about the artwork and to give your reasons i.e. Do you like the artwork? Why? What is good about it? What is not so good? The reasons for this will come from your analysis.

7: Glossary of terms

Be familiar with: 15

The IB Glossary: Action verb

Compare Consider Contrast Demonstrate Describe Discuss Evaluate Examine Explain Explore Identify

Students are to asked dothe the following: Definition Analyze Break down in order bringto out essential elements, structure, underlying assumptions and any interrelationships involved.

Describe two (or more) situations and present the similarities between them.

Contemplate carefully and reflectively with regard to taking some action or forming an opinion.

Describe two (or more) situations and present the differences between Prove or make clear them. by reasoning or evidence, illustrating and explaining with examples or practical application.

Present the characteristics of a particular topic.

Offer a considered and balanced review of a particular topic. Opinions or conclusions should be presented clearly and supported by research evidence and sound argument.

Make an appraisal by weighing up the strengths and limitations of different evidence and arguments.

Consider an argument or concept in a way that uncovers the assumptions and interrelationships of the issue.

Describe, giving reasons.

Study, analyze or examine systematically through a process of discovery.

Recognize and state briefly a distinguishing fact or feature.

Interpret

Use knowledge and understanding to explain, represent symbolically and where appropriate, draw inferences and create meaning.

Investigate

Observe, study, or make a detailed and systematic examination, in order to establish facts and reach new conclusions.

Offer for observation, examination or consideration, to show or display a creative art.

Present

Language of Art: General Art abstract Art that looks as if it contains little or no recognizable or realistic forms from the physical world. Focus on formal elements such as colors, lines, or shapes. Artists 16

often "abstract" objects by changing, simplifying, or exaggerating what they see. The term is also used to describe art that is nonrepresentational.

Abstract Expressionism An art movement, primarily in painting, that originated in the United States in the 1940s and remained strong through the 1950s. Art that rejects true visual representation. It has few recognizable images with great emphasis on line, color, shape, texture, value; putting the expression of the feelings or emotions of the artist above all else. action painting A style of nonrepresentational painting that relies on the physical movement of the artist in using such gestural techniques as vigorous brushwork, dripping, and pouring. Dynamism is often created through the interlaced directions of the paint. A subcategory of Abstract Expressionism. aerial view Viewing a subject from above, looking downward. allegory A work of art created to represent something else but disguised by use of symbols and symbolic ideas. analogous colors Any set of three or five adjacent or neighboring colors of the color wheel. An example of such a set would include blue, blue-green, green - or- blue, blue-green, green, yellow-green, yellow. Because each set of colors shares similar colors, there is a harmony to analogous colors. Also known as harmonious colors. analysis The second stage in the art critiquing process focusing on identifying how an artist uses the elements of art and principles of design. armature In sculpture, a skeleton-like framework to support material being modeled.

Art Nouveau A style that originated in the late 1880s, based on the sinuous curves of plant forms, used primarily in architectural detailing and the applied arts. assemblage A three-dimensional collage created from a group of everyday objects, many times pre-made and put together in a specific way. avant-garde French for advance guard" or "vanguard." Those considered the leaders (and often regarded as radicals) in the invention and application of new concepts in a given field. background In a painting or drawing, the area that seem most distant, as if in the back of the picture. Often this is referred to as negative space. balance An equal arrangements of specific elements within a composition deliberately organized by the artist. Elements could include color, line, shape, or texture etc. for example. Major types are symmetrical and asymmetrical. See symmetry.

Baroque The seventeenth-century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated emotional expression.

Bauhaus German art school in existence from 1919 to 1933, best known for its influence on design, leadership in art education, and a radically innovative philosophy of applying design principles to machine technology and mass production. canvas A cotton-like cloth stretched over a wooden frame. Usually primed with gesso, the fabric surface is ideal for painting with oils and acrylics. carving A subtractive process in which a sculpture is formed by removing material from a block or mass of wood, stone, or other material, using sharpened tools. ceramics The art of making objects such as pottery out of clay. This term is used to decribe these objects as well. charcoal Compressed, burned wood used for drawing. chiaroscuro Italian for "light-dark." In drawing or painting, the treatment and use of light and dark, especially the strong contrasting of light and shade to produce the 17

effect of modeling. Highly developed by Renaissance painters. classical The art of ancient Greece and Rome. More specifically, Classical refers to the style of Greek art that flourished during the fifth century B.C. 2. Any art based on a clear, rational, and regular structure, emphasizing horizontal and vertical directions, and organizing its parts with special emphasis on balance and proportion. The term classic is also used to indicate recognized excellence. collaboration To work together in an artistic undertaking. collage From the French word "coller" which means "to paste". A collage is any artistic composition made by gluing assorted materials to a flat surface. color The element of art that is derived from reflected light. color field painting A movement that grew out of Abstract Expressionism, in which large stained or painted areas or "fields of color evoke aesthetic and emotional responses. color wheel A circular arrangement of contiguous spectral hues used in some color systems. Also called a color circle. complementary colors Colors which appear opposite one another on a color wheel.

When placed next to one another, complementary colors are intensified and often appear to vibrate. When mixed, brown or grey is created. composition The bringing together of parts or elements to form a whole; the structure, organization, or total form of a work of art. See also design.

Conceptual art Art that focuses on the idea expressed and the process of creating the work. This trend developed in the late 1960s, in part as a way to avoid the commercialization of art. content Meaning or message contained and communicated by a work of art, including its emotional, intellectual, symbolic, thematic, and narrative connotations. contour A visible border of a shape or figure. An outline that creates the illusion of mass and volume in space. contrast The amount of darkness or brightness between colors. cool colors On one half of the color wheel are the cool colors, from yellow-green to violet. Psychologically, cool colors are calming.

Cubism The most influential style of the twentieth century, developed in Paris by Picasso and Braque, beginning in 1907. The early mature phase of the style, called Analytical Cubism, lasted from 1909 through 1911. Cubism is based on the simultaneous presentation of multiple views. It was an attempt to capture , on a flat, two-dimensional surface, all aspects, points of view, and angles of what the artist sees in three dimensions. Color is limited to neutrals. By 1912 the more decorative phase called Synthetic (or Collage) Cubism, began to appear; it was characterized by fewer, more solid forms, conceptual rather than observed subject matter, and richer color and texture. criticism The process of describing, analyzing, interpreting, and judging works of art.

Dada A movement in art and literature, founded in Switzerland in the early twentieth century, which ridiculed contemporary culture and conventional art. A movement which often tried to shock the public into realizing the destruction and inhumanity so apparent during WWI. The anarchic spirit of Dada can be seen in the works of Duchamp, Man Ray, Hoch, Miro, and Picasso. Many Dadaists later explored Surrealism.

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design Both the process and the result of structuring the elements of visual form; composition.

De Stijl Dutch for "the style," a purist art movement begun in the Netherlands during World War I by Mondrian and others. It involved painters, sculptors, designers, and architects whose works and ideas were expressed in De Stijl magazine. De Stijl was aimed at creating a universal language of form that would be independent of individual emotion. Visual form was pared down to primary colors, plus black and white, and rectangular shapes. The movement was influential primarily in architecture. diagonal Any straight edge or line that is not parallel to the horizon line and is not truly vertical. dimensions A means of measuring the amount of space an object occupies. Usually these are measured in height, width and depth. diptych A two paneled art structure (often a religious painting) joined at the center like a screen. distort To deliberately exaggerate or manipulate an image to the extreme. This is often done to draw attention to a feeling or mood of the work of art. dominant An area, element of art or principle of design that is a main focal point in a work of art. drawing Representing an image on a surface by means of adding lines and shades, as with a pencil, crayon, pen, chalk, pastels, etc. dry brush Lightly touching the surface with a brush coated in ink, paint or other medium. This lends itself to a scratchy, textured effect.

Earth Art; Earthworks Sculptural forms of earth, rocks, or sometimes plants, often on a vast scale and in remote locations. Some are deliberately impermanent. earth colors Those colors obtained naturally from the earth including many shades of tans, browns and reds. These colors are often used in the works of indigenous artists. edition In printmaking, the total number of prints made and approved by an artist, usually numbered consecutively. Also, a limited number of multiple originals of a single design in any medium.

Elements of Art The language of art of the basic elements used when producing works of art. Those elements are color, value, line, shape, form, texture, and space.

They can be used to descrbe a work of art. elongate Stylizing an image by stretching it to distort the overall image. emboss A decorative technique usually used with paper that creates raised patterns or lines by pressing the underside of the paper. This creates an interesting visual and tactile texture. emphasis The principle of design that appears to be the dominant, or the most noticeable quality of a work of art. Artist deliberately manipulate the elements of art to create such emphasis. engraving A printing process in which a metal plate is coated. Images are scratched into the coating revealing the metal surface. An acid is used to cut into the metal surface revealed by the scratches. The coating is removed. These grooves are then filled with ink, the excess removed, and paper is pressed into the grooves. Each print pulls up a drawing of the lines and scratches.

Environment Art Refers to art which involves the creation or manipulation of a large or enclosed space, many effectively surrounding its audience. Architectural 19

(including landscape architectural) design might be said to qualify as environment art, although the term usually refers to artworks which do not function as either of these kinds of environmental design typically do. etching An etching is a print produced by the printing method known by the same name. It is done by coating a copper or zinc plate with a wax or similar protective shield and then the drawing is produced on the surface with a needle. Only the coating is cut, not the plate. When the drawing is complete, the plate is submerged in an acid bath and the areas that were exposed by the needle are cut by the acid.

Then the plate is cleaned and inked and then wiped so ink is only in the recesses.

The plate is then put in a press where it is pressed hard against a damp print paper.

The resulting print is a reverse of the original drawing on the plate. exhibit and exhibition Displaying pieces of art to an audience.

Expressionism An art style that focuses on the emotions of the personal feelings of an artist, not on formal composition, most often boldly executed and making free use of distortion and symbolic or invented color. The broad term that describes emotional art, More specifically, Expressionism refers to individual and group styles originating in Europe in the late nineteenth and early twentieth centuries. See also Abstract Expressionism. façade The front of a building. This area is often more detailed. fantasy Fanciful or grotesque images and scenes of pure imagination such as those of dreams, hallucinations, daydreams, etc.

Fauvism A twentieth century painting style emphasizing brilliant, often unnatural, colors and the forms created by this. figurative Artwork representing the human form or an animal. focal point A specific area, element or principle that dominates a work of srt. The viewer's eye is usually drawn there first. foreground The area of a painting or drawing, usually located near the bottom third of a work, that represents the space "closest" to the viewer. foreshortening A drafting illusion in which, depending on the viewer's point of view, an object, or part of an object is distorted to imply the compacting of space. form An element of art that is represented by three-dimensions (height, width, and depth) and encloses space. For example, a triangle, which is two-dimensional, is a shape, but a pyramid, which is three-dimensional, is a form. Cubes, spheres, pyramids, cone, and cylinders are examples of various forms. formal balance A work of art that when optically divided in half , each side is arranged almost exactly as the other. formalism One of the three theories of art, this one emphasizes the design qualities of a work. freehand Drawing without the use of any mechanical devices. fresco A painting in which the artist applies pigments directly into wet or dry plaster usually applied to a wall. As the plaster dries, the pigments are absorbed and become permanently bonded with the plaster. frontal The visual perspective of looking directly at the front of a person or object and representing it as such. genre A style or category of art characterized by representing scenes of everyday images of life. gesso A mixture of glue and either chalk or plaster of Paris applied as a ground or coating to surfaces in order to give them the correct properties to receive paint.

Gesso can also be built up or molded into relief designs, or carved. gestural A loose, energetic application of paint which relies on the artist’s 20

movements to make expressive marks on the canvas. This is supposed to be a very personal and unique way of working - almost like handwriting. Look at artists like Cy Twombly or Antoni Tapies for examples. geometric shapes Recognizably named areas based on straight lines, angles and curves such as square, circle, triangle, etc. glaze In ceramics, a glassy coating applied to seal and decorate surfaces. Glaze may be colored, transparent, or opaque. In painting, a thin transparent or translucent layer brushed over another layer of paint, allowing the first layer to show through but altering its color slightly, also known as a wash. Many traditional painters like Michaelangelo made use of this technique to create the subtle tones of skin or fabric.

For a more modern use of the glazing technique, look at the abstract, gestural paintings of Helen Frankenthaler.

Golden Mean Rooted in Greek mathematics, the Golden Mean is a study of perfect ratio of one area in proportion to another. This would meam 1 to 1.6.

Gothic A style attributed to the 12th - 16th centuries of architecture. The style is recognizable by such architectural elements as flying buttresses, pointed arched windows, stained glass, and the humanization of people in sculpture. gouache An opaque watercolor paint. graphic design Commercial reproduction of artworks such as printing, including text, decorative techniques and illustration. grotesque Description of art images and sculptures that often use human and animal images. These forms are distorted proportionately to produce ugly or fanciful representations. ground The background in two-dimensional works-the area around and between figures. Also, the surface onto which paint is applied.

Harlem Renaissance In the 1920s, the Harlem, NY community became the economic, political, and cultural center of black America. Various literary and artistic works were created celebrating the African-American experience. hard-edge A term first used in the 1950s to distinguish styles of painting in which shapes are precisely defined by sharp edges, in contrast to the usually blurred or soft edges in Abstract Expressionist paintings. harmonious colors see analogous colors harmony The principle of design that creates unity and harmony by stressing separate but related parts. Repetition is one example of a way that harmony is achieved. hatching and cross-hatching Lines drawn with consistent, parallel strokes used to emphasize shading. Often these lines would be drawn crossing as well as parallel. hierarchal proportion The distortion of the sizes of things according to their importance, rather than how they actually exist. horizontal A straight line parallel to the horizon line. horizon line The ever changing line that separates the sky from the land or sea.

This line changes depending on the line of vision of the viewer. hue Another word for color. humanities The study of the manmade arts such as art, literacy, music that convey the cultural aspects of humanity. icon A pictorial representation of a person. Originally referring to the images of adoration of saints and religious leaders, the term has now become a pop culture term referring to anyone or thing recognizable by the public masses. illusion A misleading image visually represented . illustrate The creation of images and designs for commercial reproduction such as 21

in magazines, newspapers and books. impasto In painting, thick paint applied to a surface in a heavy manner, having the appearance and consistency of buttery paste, often applied in several layers with a brush or palette knife. Look at the dense, textural brushwork of paintings by artists like Gillian Ayres or Frank Auerbach. implied To express an intended meaning through suggestions or inferences.

Impressionism A style of painting that started in France during the 1860s. Artists focused on everyday scenes and the effect of sunlight on objects. installation An artistically designed environment constructed in a gallery. Often these are photographed and archived, as the original structures are usually only temporary. intaglio Any printmaking technique in which lines and areas to be inked and transferred to paper are recessed below the surface of the printing plate. Etching, engraving, drypoint, and aquatint are all intaglio processes. See also print. intensity A term referencing the brightness or dullness of a color. The purity of a color is affected by adding other colors to the original, changing its intensity. intermediate colors Intermediate (tertiary) colors are located between the primary and secondary colors on a color wheel. When neighboring primary and secondary color are mixed, an intermediate color is produces. If you mix red with orange, the color red-orange is created. judgment The final step in the Art Critiquing Process in which the viewer determines the merit or success of a particular work of art. juxtaposition The conscious positioning or arranging of objects.

Kinetic Art art that utilizes movement. landscape A work of art that represents a view of natural scenery. life drawing drawing from a live model. line A mark created by moving a point along in one direction. logo Short for "logotype." Sign, name, or trademark of an institution, firm, or publication, consisting of letter forms borne on one printing plate or piece of type.

Mannerism a style that developed in the sixteenth century as a reaction to the classical rationality and balanced harmony of the High Renaissance; characterized by the dramatic use of space and light, exaggerated color, elongation of figures, and distortions of perspective, scale, and proportion. mannequin a wooden or plastic jointed doll capable of very natural poses. These are used by artists instead of live models when study of human movement is necessary. mask an art form designed to cover the face. Masks have a long history and many styles can be indigenous to specific cultural groups mass Three-dimensional form having physical bulk. Also, the illusion of such a form on a two-dimensional surface. matte A dull finish or surface, especially in painting, photography, and ceramics.

Media/medium The plural form of medium - the material used to create a work of art.

Middle Ages The period of European history placed roughly between 1000s and the 1500s. This period is often referred to as the Dark Ages or the Medieval period. middle ground The section of a drawing or painting that exists between the foreground and the background. It is usually found in or near the middle third of a picture. miniature A work of art on a much smaller scale than is typical.

Minimalism--A style of art in which the artist reduces the work to a minimum of 22

elements. mixed media A work of art utilizing more than one medium and/or material. mobile A moving sculpture, usually suspended. The shapes and areas are balanced. modeling Shaping or molding a three-dimensional form from a malleable medium such as clay. Modeling can also be used to describe the degrees of tinting and shading used to achieve a three-dimensional look on a two-dimensional surface.

Modernism Theory and practice in late nineteenth- and twentieth-century art, which holds that each new generation must build on past styles in new ways or break with the past in order to make the next major historical contribution. Characterized by idealism; seen as "high art," as differentiated from popular art. In painting, most clearly seen in the work of the Post-Impressionists, beginning in 1885; in architecture, most evident in the work of Bauhaus and International Style architects, beginning about 1920. monochromatic Different shades and tints of a single color. montage 1. A composition made up of pictures or parts of pictures previously drawn, painted, or photographed. 2. In motion pictures, the combining of separate bits of film to portray the character of a single event through multiple views. mood A feeling inferred by an artist and felt by the viewer. mosaic An artform consisting of patterns of small pieces of tile or glass inlaid in cement or grout. motif A design or designed image that is repeated over and over with little to no differences. movement An illusion created by the artist to convey action in a piece of stationery art. This can be achieved by repetition, adding lines, or careful placement of objects. mural A large painted picture extending over a wall or other monumental surface. museum An organized space devoted to preserving, viewing and studying works of art and other manmade elements. narrative art Art which visually tells a story or relays information about an important event. naturalism Representational art in which the artist presents a subjective interpretation of visual reality while retaining something of the natural appearance or look of the objects depicted. Naturalism varies greatly from artist to artist, depending on the degree and kind of subjective interpretation. negative space The empty space or seemingly unimportant background space, in an artwork.

Neoclassicism New classicism. A revival of classical Greek and Roman forms in art, music, and literature, particularly during the eighteenth and nineteenth centuries in Europe and America. It was part of a reaction to the excesses of Baroque and Rococo art. neutral colors This color category encompasses whites, grays, blacks and browns. non-objective art Art that has no recognizable subject matter. nonrepresentational Art without reference to anything outside itself-without representation. Also called nonobjective-without recognizable objects. objectivity The ability to view something without influence of feelings or emotions. oil paint A medium created in the 1500s. Ground powdered pigment was mixed with linseed oil and compressed into a container (eventually this container became the familiar tube of paint). These paints had a long drying time which meant that the artist could rework the piece over a period of days. one-point perspective A devised drafting technique using straight lines that 23

converge to a single vanishing point on the horizon line. This gave the illusion of three dimensional space on a two dimensional surface. opaque Impenetrable by light; not transparent or translucent.

Op Art Optical Art is a style in which visual illusions, usually of vibrational movement, are created by careful placement of lines and colors. optical color mixture Apparent rather than actual color mixture, produced by interspersing brush strokes or dots of color instead of physically mixing them. The implied mixing occurs in the eye of the viewer and produces a lively color sensation. organic An shape having none of the geometric angularity associated with other shapes such as squares, triangles, rectangles, etc.. Organic shapes are fluid and often are associated with things that occur in nature. overlap An important technique to achieving a sense of depth in a flat, twodimensional work. The objects appear to lie slightly on top of one another object.

This layering makes some objects look like they are behind others or placed further back in the picture. painterly Painting characterized by openness of form, in which shapes are defined by loose brushwork in light and dark color areas rather than by outline or contour. palette 1. A wooden or plastic tray, used for mixing colors when making a painting and a tool used by painters which affords them a surface they can hold from which to apply and mix paints before stroking the canvas or painting surface. 2. The choice of colors in a painting i.e. ‘van Gogh uses a pure and vivid palette in his Arles landscapes’. panel Traditionally used before the invention of stretched canvas, these flat, wooden surfaces of various sizes where sealed and then used for painting. panorama A sweeping, unbroken view of an expansive scene, usually referring to landscapes. parallel Lines or edges on the same plane that travel equidistant, in the same direction. pastels 1. Sticks of powdered pigment held together with a gum-binding agent. 2.

Pale colors or tints.

Performance art Art that employs live theatrical performances as an important element of the work. perspective A system for creating an illusion of depth or three-dimensional space on a two-dimensional surface. Usually refers to linear perspective, which is based on the fact that parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases. Atmospheric perspective (aerial perspective) creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects. Isometric perspective is not a visual or optical interpretation, but a mechanical means to show space and volume in rectangular forms. Parallel lines remain parallel; there is no convergence.

Photography The art of mechanically capturing images on a light sensitive plate.

These images can be reproduced over and over from this plate. photorealism A style of painting that became prominent in the 1970s, based on the cool objectivity of photographs as records of subjects. pictorial space In a painting or other two-dimensional art, illusionary space which appears to recede backward into depth from the picture plane. picture plane The drawing or painting surface of a flat, two dimensional picture. pigment Various minerals and matter ground up and mixed with a fluid medium to create paints and colorants. Pigments can come from mined stones, plants or even 24

from clays.

Plein-aire a painting which has been made outside, often quite quickly, to cope with changing weather, light effects etc. The Impressionists were the first artists to paint outdoors, rather than in their studios. Before this, however, many artists had sketched outdoors in preparation for painting; the oil sketches of Constable are an excellent example. plane A flat and level surface that can stretch out in any direction.

Pointillism A painting technique in which pure dots of color are dabbed onto the canvas surface. The viewer's eye, when at a distance, is then expected to see these dots merge as cohesive areas of different colors and color ranges when seen at a distance. The system of painting using tiny dots or "points" of color was developed

by French artist Georges Seurat in the 1880s. Seurat systematized the divided brushwork and optical color mixture of the Impressionists and called this technique divisionism. Georges Seurat’s work is the most famous example of this almostscientific technique. Look also at the paintings of his pupil, Paul Signac. point of view The angle from which the viewer's eye is looking at, up or down on an object or setting. polychromatic Having many colors; random or intuitive use of color combinations as opposed to color selection based on a specific color scheme.

Pop Art An art movement in which artists frequently incorporated the mass media advertising images into their works. It developed in the late 1950s and early 1960s, in Britain and the United States. portfolio A collection of works done by a single artist. Usually organized in a flat cloth or leather case for protection. These works often display the abilities and range of an artist and are necessary when a student is considering entering an art program in college. portrait A rendering of a person in any medium. positive space The area(s) of a work of art that are filled with meaningful intentions.

Often, it is the positive space that contains the image the viewer is expected to recognize.

Post-Impressionism An art movement that relied on the impact of the paintings to express feelings and ideas.

Post-Modern An attitude or trend of the 1970s, 1980s, and 1990s, in which artists and architects accept all that modernism rejects. Post-Modern is characterized by an acceptance of all periods and styles, including modernism, and a willingness to combine elements of all styles and periods. primary colors The three colors, blue, red and yellow, from which most other colors can be made. Primary colors cannot be mixed from other colors. print (artist's print) A multiple-original impression made from a plate, stone, wood block, or screen by an artist or made under the artist's supervision. Prints are usually made in editions, with each print numbered and signed by the artist.

Principles of Design The rules by which an artist organizes the Elements of Art to create a work of art.

Printmaking The process by which a work of art can be recreated in great quantity from a single image usually prepared from a plate. profile The side view of an object or person. propaganda Psychological images and rhetoric developed to specifically persuade the masses to a particular point of view. Propaganda is usually seen as a form of political and/or religious advertisement. proportion The size relationship of parts to a whole and to one another.

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radial balance An organized pattern or design emanating from the center of a circular format. This design usually has some symmetrical properties.

Realism An art style popular in the mid 1800's in which artists painted ordinary objects, people and scenes as they actually were. The artists made no attempt to romanticize the figures or add drama to the settings. registration In color printmaking or machine printing, the process of aligning the impressions of blocks or plates on the same sheet of paper. relief printing A printing technique in which the parts of the printing surface that carry ink are left raised, while the remaining areas are cut away. Woodcuts and linoleum prints (linocuts) are relief prints. relief sculpture A sculptural art form in which the top surface of the art work demonstrates some carving or three dimensional qualities.

Renaissance Period in Europe from the late fourteenth through the sixteenth centuries, characterized by a renewed interest in human-centered classical art, literature, and learning. See also humanism. repetition A series of repeated elements. reproduction A mechanically produced copy of an original work of art; not to be confused with an original print or art print. rhythm The regular or ordered repetition of dominant and subordinate elements or units within a design.

Romanticism 1. A literary and artistic movement of late eighteenth- and nineteenthcentury Europe, aimed at asserting the validity of subjective experience as a countermovement to the often cold formulas of Neoclassicism; characterized by intense emotional excitement and depictions of powerful forces in nature, exotic lifestyles, danger, suffering, and nostalgia. 2. Art of any period based on spontaneity, intuition, and emotion rather than carefully organized rational approaches to form. rhythm A Principle of Design that refers to the visual movement created by repeating specific Elements of Art. right brain A theory in which the two different sides, or hemispheres, of the brain are responsible for different manners of thinking. The right side of the brain is believed to be the creative side, responsible for producing art and making spatial decisions as well as holistic thinking, while the left side is responsible for analyzing verbal tasks and logical thinking. scale The size of an object as compared to other objects or to its environment, or as compared to the human figure. screenprinting (serigraphy) A printmaking technique in which stencils are applied to fabric stretched across a frame. Paint or ink is forced with a squeegee through the unblocked portions of the screen onto paper or other surface beneath.

Sculpture A three-dimensional work of art made by carving (cutting in wood, stone, etc.) modeling (a building up of a soft material such as clay or wax), or making a construction or arrangement of material such as an assemblage. scumbling A thin glaze of paint dragged over a different color, so that both layers of paint can be seen, giving a luminous, glowing effect. Abstract painters like Mark Rothko made use of this technique. secondary colors The colors obtained by mixing equal amounts of two primary colors. The secondary colors are orange, green, and violet. Yellow and red create orange. Yellow and blue create green. Blue and red create violet. self-portrait A portrait an artist makes using himself or herself using a mirror.

Sfumato literally means ‘smoked’ in Italian; the use of heavy, dark tones to suggest mystery and atmosphere. Rembrandt’s late self portraits are a superb example of 26

this technique in practice. shade Adding black (or other dark color) to a pure color to darken it. More black creates darker shades. shading Creating a wide range of lights and darks to visually create a modeling effect mimicking three dimensional attributes. shape An object represented in two dimensions. sketch A rough drawing capturing the most important features of a chosen subject and is usually used as a preliminary study, often made in preparation for the ‘final version’. See also ‘plein-aire’. space As an Element of Art, space is created by the emptiness between, around, behind or within a given object or group of objects. Space defines shapes. split complements One color plus the two colors that are on either side of its complement on the color wheel. For example, the complement of orange is blue, and the two colors on either side of blue are blue-green and blue-violet. Therefore the split complements of orange are blue-green and blue-violet. style An artist's personal way of using the Elements of Art and Principles of Design to convey his/her feelings and ideas. Style is also used to classify groups of artists who shared similar artist expressions. stylized Simplified or exaggerated visual form which emphasizes particular or contrived design qualities. still life A grouping of inanimate objects usually in a pleasing composition. Most often we associate still lifes with bowls of fruit, vases of flowers or an arrangement of personal effects on a table top. subdue To make less intense. subject The image that viewers can easily recognize in a work of art. subtractive sculpture A sculptural form in which material is removed from the whole to achieve a finished product. support The physical material that provides the base for and sustains a twodimensional work of art. Paper is the usual support for drawings and prints; canvas and panels are supports in painting.

Surrealism A movement in literature and the visual arts that developed in the mid1920s and remained strong until the mid1940s, growing out of Dada and automatism. Based upon revealing the unconscious mind in dream images, the irrational, and the fantastic, Surrealism took two directions: representational and abstract. Dali's and Magritte's paintings, with their uses of impossible combinations of objects depicted in realistic detail, typify representational Surrealism. symbol Something that stands for or represents something else. symmetry A special type of formal balance in which a work of art can be mentally or visually divided into two identical halves, a mirror image. tactile Having the ability to be explored with the sense of touch. technique The way in which an artist uses a material to achieve a desired effect. template A pattern or guide used in making a specific design. tessellation A design achieved through the repetition of at least one exact shapes that occupy all existing positive space. texture An element of art which refers to how a surface feels or looks like it would feel. three-quarter view A view of a face which is half-way between full and profile view. tint Adding white to a color to lighten the value of that color. The more white that is added, the lighter the tint. tondo A painting in the shape of a circle.

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translucent A surface that lets light pass through it, but one cannot see through it. transparent Light passes through the surface and one can see through it as well. trompe l'oeil A type of painting, usually referring to examples painted on wall with such realism that the viewer actually believes the objects in the painting exist. two-dimensional Any object or area having height and width, but no depth; flat. two-point perspective Another perspective guide using two vanishing points as references on the horizon line. three-dimensional Having height, width, and depth. tint A hue with white added. two-dimensional Having the dimensions of height and width only. typography The art and technique of composing printed materials from type. unity The quality of wholeness achieved by such manipulation of the Elements of Art to achieve simplicity and repetition. value The lightness or darkness of tones or colors. White is the lightest value; black is the darkest. The value halfway between these extremes is called middle gray. vanishing point In linear perspective, the point on the horizon line at which lines or edges that are parallel appear to converge. variety A principle of design that refers to the way an artist uses differences and various contrasts to add visual interests to a work. volume 1. Space enclosed or filled by a three-dimensional object or figure. 2. The implied space filled by a painted or drawn object or figure. Synonym: mass. warm colors Colors whose relative visual temperature makes them seem warm.

Warm colors or hues include red-violet, red, red-orange, orange, yellow-orange, and yellow. See also cool colors. wash A thin, transparent layer of paint or ink. watercolor Paint that uses water-soluble gum as the binder and water as the vehicle. Characterized by transparency. Also, the resulting painting. weight The psychological or visual importance of an area or element. woodcut A type of relief print made from an image that is left raised on a block of wood.

Useful terms when writing about Color Primary colors, Secondary colors, Tertiary colors, Complementary colors, Analogous, Hue, Tones, Tints, Intensity, Palette, Limited palette, Broad palette, Tonal range, Opacity, Transparency.

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Useful adjectives when writing about Color Saturated, bright, pure, vivid, strong, harsh, dramatic, vibrant, brilliant, intense, powerful, muted, subtle, gentle, dull, soft, watery, subdued, delicate, gloomy, tertiary, faded, limited, clear, cool, warm, deep, grayed, tawny, matte, glossy, monochrome, multicoloured, parti-coloured, variegated, polychromed, iridescent

Useful terms when writing about Painting

Alla Prima, Brushwork, Gestural, Glaze (or Wash), Impasto, Plein-aire, Pointillist, Palette, Tonal, Scumbling, Sfumato, Sketch, Support.

Useful terms when writing about Sculpture Three-dimensional, Carving, Cast, Mobile, Modelling, Conceptual Art, Construction, Constructivism, Assemblage sculpture, In the round, Relief, Basrelief, Mould, Plastic art and plastic arts.

Writing about Cultural values attached to the Arts When the arts of the past are seen in museums, they are effectively detached from the life of the culture within which they originated. If you only see these art objects in books or photographs, it is very difficult to see them as a ‘real’ part of a living culture.

To begin to understand the meanings various arts had for the societies they came from, consider the following values: 29

Religious values: Arts were often essential to the belief systems of many cultures; for example: statues of gods/deities, temples, icons, altarpieces, masks, music, dances etc.

Social values: Arts often symbolised group identity and pride; for example: banners, headdresses, tattooing, flags, chants, anthems etc.

Psycho-emotional: Arts sometimes provided assurance of the continuity of life; for example: portraits, epic poetry, mythological tales, hymns etc.

Useful or practical values: Art was often an integral aspect of functional objects, both in shape and decoration; for example: knives, pottery, lamps, buildings etc.

Sensual value: Arts provided a direct source of sensual pleasure and perhaps an intrinsically aesthetic response; for example: textiles, clothing, sculpture, music etc.

Educational values: Arts were frequently a means of transmitting the values, attitudes and history of a culture; for example: cave painting, frescoes, illuminated manuscripts, epic poetry, historic drama, tribal dance etc.

Decorative values: Arts were used to enhance people’s appearance or to beautify the environment; for example: jewellery, wall-hangings, tapestries, clothing etc.

Communication values: Arts reached the illiterate for whom the written word was meaningless; for example: friezes, stained glass windows, mosaics etc.

An example: Medieval cathedrals integrated most of the values above The cathedrals were the focus of the religious life of the community even as they were being built by hundreds of ordinary people and skilled craftsmen over long periods of time. The towers symbolically rose high above the town and, within the walls, the sculpture and stained glass windows stirred the emotions of the faithful.

Processions with banners, chants and the Mass, with its music, poetry and drama, integrated the arts and values of the culture. All of this gave meaning and continuity to the otherwise impoverished lives of the common people.

8: The Elements and Principles The elements of art are components of a work of art that can be isolated and defined. They are the building blocks used to create a work of art. The principles of art are combinations of two or more of the elements of art. The elements and principles of art help artists to plan their compositions to have an impact on the expressive content, meaning, and viewer’s reaction to the image. Understanding the elements and principles of art will help you to better understand the purpose of an artist’s choices.

Elements of Art

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Line

is a mark with greater length than width. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin.

Shape

is a closed line. Shapes can be geometric, like squares and circles; or organic, like free-form or natural shapes. Shapes are flat and can express length and width.

Form

are three-dimensional shapes, expressing length, width, and depth.

Balls, cylinders, boxes, and pyramids are forms.

Space

is the area between and around objects. The space around objects is often called negative space; negative space has shape. Space can also refer to the feeling of depth. Real space is three-dimensional; in visual art, when we can create the feeling or illusion of depth, we call it space.

Color

is light reflected off objects. Color has three main characteristics: hue or its name (red, green, blue, etc.); value (how light or dark it is); and intensity (how bright or dull it is). White is pure light and black is absence of light. Primary colors are the only true colors (red, blue, and yellow). All other colors are mixes of primary colors. A color made up of two primary colors is called a secondary color. The color wheel is a useful tool to help group colors – complementary (opposite pairs: red and green, blue and orange, yellow and purple) and analogous/harmonious (similar colors next to each other on the color wheel eg yellow, orange and red). Colors can be divided into warm (red, orange, yellow) and cool (blue, purple, green).

Texture

is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way they look; for example, a drawing of a porcupine may look prickly, but if you touch the drawing, the paper is still smooth.

Principles of Design Balance

is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable.

Emphasis

is the part of the design that catches the viewer’s attention. Usually the artist will make one area stand out by contrasting it with other areas. The area will be different in size, color, texture, shape, etc.

Movement

is the path the viewer’s eye takes through the artwork, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the artwork.

Pattern

is the repeating of an object, symbol, or shape all over the artwork.

Repetition

works with pattern to make the artwork seem active. The repetition of elements of design creates unity within the artwork.

Proportion

is the feeling of unity created when all parts (sizes, amounts, or number) relate harmoniously to each other. When drawing the 31

human figure, proportion can refer to the size of the head compared to the rest of the body.

Rhythm

is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Variety is essential to keep rhythm exciting and active and to move the viewer around the artwork. Rhythm creates a mood like music or dancing.

Variety

is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through the artwork.

Unity

is the feeling of harmony between all parts of the artwork, creating a sense of completeness.

Dominance

is the importance of the emphasis of one aspect in relation to all other aspects of a design. Subordination is making an element appear to hold secondary or lesser importance within a design or work of art.

9: Analyzing Artworks

Step by step guide: ONE

On the following pages are sample formats for analysing artworks using the description, Analysis, Interpretation and evaluation methods – use all and find the method you prefer or is most appropriate to specific tasks.

Your own drawings/copies of the artwork should accompany ALL written analysis.

ARTWORK ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE:

Information 1.

What kind of an artwork is it?

2.

What medium is it made from?

3.

What is the name of the artwork?

4.

When was this artwork created?

Description 5.

List all the literal objects you see in the composition (trees, people, animals, shapes, mountains, etc.).

6.

Consider the significant art elements that are present in this artwork and describe them: a. Line b. Shape c. Form d. Space 32

e. Texture g. Value

f. Color h. Pattern

Analysis 7.

Discuss how the artist manipulated the art elements to create the following principles: a. Balance b. Harmony c. Unity d. Contrast e. Variety f. Emphasis g. Rhythm h. Movement Interpretation 8.

What do you think the artist was trying to say though this art piece?

9.

Why do you think the artist created this artwork?

10. Describe any additional meanings you think the artists might have intended.

11. What feelings do you have when looking at this artwork?

12. Do you think there are things in the artwork that represent other things - symbols?

Colors? Objects? What?

Evaluation - Make sure to justify your opinions.

13.

Do you like this artwork? Why? 14.

Do you think this artwork is “good” or “bad”? Why? 15.

Do think this is an important work? To whom do you think it would be important?

Why? 16.

Is there something about this work of art that you think should have been done differently? What and Why?

ARTWORK ANALYSIS GUIDE TWO GUIDE ONEONEOPTION ONE: Follow these steps, answering all questions when analyzing artworks. The more you do this the more accomplished at it you will become and eventually you will be able to do it without this guide.

1: First Reaction – Write down your responses to the artwork Do you like it? How does it make you feel? Does it remind you of anything you have seen before?

2: Description – List what you can see in the artwork Figures, colors, shapes, objects, background etc. Imagine you are describing it to a blind person, do this in as much detail as possible.

3: Formal Analysis – Write down observations in detail, looking at specific aspects Colors: Which type of palette has the artist used: bright or dull, strong or weak? Are the colors mostly complementary, primary, secondary or tertiary? Which color(s) are used most/least in this artwork? How have colors been applied?

Tones: Is there a use of light/shadow? Where is the light coming from? Where are the shadows? Is there a wide range of tonal contrast (very light highlights and very dark shadows) or is the tonal range quite narrow (ie mostly similar tones)?

Use of media: What medium has been used (oil paint, acrylic, charcoal etc)? How has the artist used the medium – i.e. paint applied thick or thin? Was it painted, drawn, sculpted quickly, or slowly and painstakingly? What makes you think this?

Composition (organization of shapes): What type of shapes are used in this artwork (i.e. rounded, curved, straight-edged or geometric shapes)? Is there a mixture of different types of shapes or are all the shapes similar? Does the whole composition look full of energy and movement, or does it look still and peaceful? What is the centre of interest in the composition? How does the artist draw your attention to it?

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Mood / Emotion: What do you think the artist wanted you to feel when you look at this artwork? What has he/she used to create a mood? (think about color, shape, tone etc.)

How has he/she succeeded in creating this mood? (For example, strong vivid colors might be used to create a joyful or angry mood in an artwork, depending upon how the artist has used them).

4: Interpretation – Write down your personal thoughts about the work What do you think the artist is trying to say in this artwork? What does it mean? What is the main theme or idea behind this piece? If you were inside this artwork, what would you be feeling / thinking? Does the artwork have a narrative (tell a story)? Is it a religious artwork? Is it abstract? Is it realistic? Why? How would you explain this artwork to someone else?

5: Evaluation – Based on observation write your own opinions of the work You must give reasons to support your opinions. E.g.: “The overall mood of this drawing could be improved if Kathe Kollowitz had used strong, dramatic shadows, instead of just pale tones. Dark tones would develop the feeling of fear and loneliness in this image.”

“Picasso has used sharp, stabbing, geometric shapes in some areas of his composition to create a sense of violence and distress within ‘Guernica’. These make the figures and animals seem more vulnerable, as if in pain and suffering while under attack.”

ARTWORK ANALYSIS GUIDE THREE GUIDE ONEONEOPTION ONE: FORMAL ART CRITIQUE. This critique must include a picture of the artwork with sources and essential information.

DESCRIBE (What do you see?) This stage is like taking inventory.

• BASIC INFORMATION: Name of artist, title of work, year, and gallery or location of artwork.

• LIST EVERYTHING YOU SEE Stick to the facts. Imagine that you are describing the artwork to someone over the telephone. For Example: It is a still life of five apples on a white cloth in front of a dirty window.

• NOTE FIRST IMPRESSION Make a note of your first spontaneous reaction to the artwork. What grabs your attention in the work? Refer to your first impression. By the end of the critique you may understand your first impression better or you may even change you mind. There are no wrong answers.

ANALYZE (What do you know?) Try to figure out what the artist has done to achieve certain effects.

• VOCABULARY: Use the vocabulary you learned in class/from handouts For example, if looking at a black and white image and you learned about the value scale, you can talk about the shades of light and dark or areas of chiaroscuro.

• ELEMENTS/PRINCIPLES: How are the elements of art (color, shape, line, texture, space, form, value) and the principles of design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork? For example: The colors are monochromatic and create a sense of balance between the objects in the background and foreground.

• MATERIALS: For example: The artist used oil paint in thick, textured strokes.

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INTERPRET (What can you interpret?) Try to figure out what the artwork is about.

Your own perspectives, associations and experiences meet with THE ANALYSIS of the work of art. All art works are about something. Some art works are about color, their subject matter, and social or cultural issues. Some art works are very accessible — that is, relatively easy for the viewer to understand what the artist was doing. Other works are highly intellectual, and might not be as easy for us to readily know what the artist was thinking about.

• THEME: What is the theme or subject of the work? What mood or emotions does the artwork communicate?

• MEANING: What is the work about; what do you think it means?

• WHY: Why do you think that artist created this work?

• ARTIST'S VIEW: What do you think the artist's view of the world is?

EVALUATE (What does this mean to you?) This is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.

•BACK TO YOUR FIRST IMPRESSION: Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind? If not, can you now explain your first reaction to the work?

•LEARN: What have you seen or learned from this work that you might apply to your own art work or your own thinking? For example: I realized by using warm colors I can create a sense of energy in my own work. The warm colors are active.

PAINTING ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE:

If you follow the order and aspects given on this sheet you will have comprehensively analysed a painting.

Note that not all the aspects are suitable to comment on for every painting. Select the aspects that seem most appropriate.

Recording the painting details (your notes should always state artist, title and date) Name of Painter: (e.g. Monet) Title of the Work: (e.g. Rouen Cathedral in Full Sunlight) Date it was painted: (e.g. 1874) Size : (e.g. 84 x 63 cm) Medium : (e.g. oil on canvas) Stylistic Period: (e.g. Impressionism) Subject and Theme Describe the subject: (e.g. the artist Courbet meets his patron Monsieur Bruyas) and/or Describe the content: (e.g. the stone facade of a Gothic Cathedral) and/or Explain any ideas that the painting is expressing (political, social, personal) :(e.g.Courbet depicts himself as of equal status to his wealthy patron) Identify underlying themes: (e.g. self-sacrifice, loyalty to nation) Explain any background known about the work (using research to find out): (e.g. the format derives from a popular print called The Wandering Jew) Composition (means the organisation of objects and/or figures within the painting) (select only the most relevant of these) Main organisational features: Focal Point: Geometrical shapes: Symmetry?/Asymmetry?: Methods used to lead the eye around the work: Effects created by compositional devices: (e.g. stability, order, randomness, effect of drawing attention to particular parts of the work) Space/Depth (how is the illusion of depth created?)

Linear perspective: (e.g. Pissarro uses a row of trees which recede and lead the eye into the distance. The trees vanish at a point on the horizon) Aerial perspective: (the gradual lightening, haziness and bluish tinge that appears towards the horizon) Overlapping of objects: Distance from the picture plane : (sense of distance from the actual surface of the painting)

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Effects created: (e.g. to create a sense of naturalism, to give an illusion of great distance, to limit picture space - in cases where recession is restricted) Color Main Colors used : Cool and Warm Colors: Effects colour creates: Range of the palette : (means the number of colors used - a wide range or a limited palette) Light Direction of the Light : Atmospheric Light (to create mood): Chiaroscuro (contrasts of light and shadow) or Even Lighting : Form and Effects Use of outline to define form: Use of tonal modeling to create 3-D forms: Static or moving forms: Technique Smooth finish or Thickly applied paint (impasto): Effects: (e.g. implies texture of objects and garments such as marble, satin, creates energetic effects) Context (known through research and knowledge of style) Social/Historical: Geographical/Cultural: Ideological: Artistic: Fits the artists’ personal style: Fits the style of the art period: Subject and/or style are dependent on the commission:

PAINTING ANALYSIS GUIDE TWO GUIDE ONEONEOPTION ONE: 1. Identification - Who is the artist? What is the subject or title? Where and when was the work painted?

2. Subject Matter • What type of painting is it? a. religious, b. historical, c. allegorical, d. genre (scene of everyday life), e. still life, f. portrait, g. landscape, h. architectural view • If the painting seems to belong to two categories, does one dominate?

3. Frame and Pictorial Area • What is the actual size of the picture (height precedes width)?

• What is the relationship of the shapes to the frame? Are they harmonious or discordant?

4. Technique • What materials are used for support: wood, canvas, cardboard, paper?

• What kinds of colors are used: oil, tempura, watercolor, pastel?

• How is the paint applied: thickly or thinly, with a fine or coarse brush, or by other means?

• Are colors transparent or opaque?

• Have other materials been used, as in a collage?

5. Composition (arrangement of the parts that form the whole) • Organization: Is it simple or complex? Geometrically ordered or free and seemingly accidental? Do some forms dominate others? Is there symmetry? Is the painting crowded or spacious? Do the shapes vary or do they repeat?

• Individual units: Are there many or few? Are they large or small (in relation to both the 36

• • • •

outside world and to the picture area)? What kinds of patterns do they form? What are the proportions of solid and broken areas? Is the emphasis on central or marginal areas? Are forms multi-dimensional or flat?

Lines: Are lines clear or obscure? Angular or curved?

Colors: Are they bright or subdued (‘saturated’ or ‘low-key’)? Are there many colors or few (is the palette ‘wide’ or ‘limited’)? Are the dominant colors warm or cool? Are there moderate or extreme contrasts? Large areas or small patches? Repetitions or echoes?

Light: Is there a consistent source? Is the source inside or outside the picture? Is light used to emphasize parts of the picture, to create mood?

Space: Is the space shallow or deep, open or screened? Is the emphasis on solids or voids (intervals)? What kind of perspective is used (linear or aerial)? Is the main interest near or far? Is space suggested by in-depth or recessed planes? Is there any overlap?

What is the degree of illusion?

5. Function • Is the painting an altar piece, a devotional image, a cabinet picture, etc? How might function affect form?

Considerations for different types of subject matter:

1. Portraits • How much of the figure is shown?

• How much pictorial space does the figure occupy?

• What is the background or setting?

• Is the figure in action?

• Is there any indication of the figure’s trade, profession, class, etc?

• What is the figure’s relationship to the spectator (intimate, aloof, etc.)?

• What kind of clothing is the figure wearing: tight or loose fitting, formal or casual etc?

• What is the proportion of face to figure?

2. Figural Scenes • What kind of story is depicted (religious, mythological, historical, allegorical, scene from everyday life)?

• Is the action calm or dramatic?

• Are there many figures or few?

• Are the figures small or large in relation to the size of the picture?

• What is the setting (indoors or outdoors)?

• What role does the setting play?

3. Landscape • What is the size of the area shown?

• What is the spectator’s viewpoint?

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• • • • •

How far can we see into the picture?

What kind of place is shown: cultivated fields, woods, riverbank?

Can the season or time of day be determined?

What kind of human activity is shown, if any?

What kind of architectural elements appear and what are their thematic and spatial relationships to the site?

What is the proportion of cloud to sky? Plane to elevation? Water to land?

What is the general character of the scene: attractive, forbidding, calm, turbulent, spectacular, intimate? What elements determine the effect: lighting, color scheme, spatial organization?

• •

4. General Observations • Does the work seem spontaneous or calculated?

• How do the formal elements convey theme, mood, visual interest?

• What was the original function of the picture? Was it done for a public or private place?

• Is it possible to make a reasoned statement about the artist’s aim? Does the artist wish to elevate the spirit, instruct, moralize, entertain, or satisfy her/his own need for expression?

SCULPTURE ANALYSIS GUIDE GUIDE ONEONEOPTION ONE:

1. Identification • What is the title or subject?

• When and where was it made?

• What medium was used?

2. Subject Matter • What is shown?

• Does the subject come from Old or New Testament, classical literature, the lives of the saints, Renaissance literature, everyday life?

3. Formal Analysis • Technical means: Carved from stone (what kind?), wood? Modeled in clay and then cast in bronze or glazed? Welded metal? Other?

• Volumes: What kind of three-dimensional forms are basic to the sculpture: geometric (conic, cubic, pyramidal), irregular (jagged, smooth, organic)? How are these forms organized?

• Line: Are the dominant linear elements seen in the forms themselves, or are they incised onto the surfaces of the forms? What is the relationship between linear and volumetric elements?

• Space: To what degree does the figure displace space? Do the forms and space interpenetrate? Is the piece a relief that creates the illusion of space within it? Is the sculpture frontal? Does it turn in space? Was it meant to be seen from one point of view only, or from many?

• Color: Is color or gilding added to the sculpture? Is the color of the material of special importance? Does the color have a thematic significance? Does it have a descriptive or expressive function?

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•

Light: Has the artist considered the effect of light upon his work? Are the forms arranged so that a particular effect of light and shade will be attained?

4. Iconographic Analysis • Is the subject treated the same way in several contemporary works?

• Is the figure or pose traditional? Has the tradition been constant or varied over time?

• Is the subject new or is there a new treatment of an old subject?

5. Function • Was the work part of a larger decorative program, such as a facade?

• Was it intended for public or private viewing?

• How might function have affected the form?

6. Content • How do the subject, theme, and/or form convey ideas, values, sentiments, perceptions?

• What does the work of art say about the period and culture in which it was created?

ARCHITECTURE ANALYSIS GUIDE GUIDE ONEONEOPTION ONE: 1. Identification • Name of building? Location? Date built? (Many buildings are built over a long period of time; what parts were built at what dates?) Name of architect?

2. Purpose • Temple, church, tomb, house, palace, meeting hall, office building?

• Further distinctions: cathedral, chapel, etc.?

3. Importance of the Building • Who uses the building? Is the site important?

4. Structure • What forms help hold the building up?

• What materials were used? Were they easily available?

• How is the building lit?

• What is the size of the windows and doors?

• Does the shape of the site affect the building?

• What is the form of the ceiling?

• Are there columns? Where? What kind? What is their function?

• Is there sculpture on the building?

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• •

How is exterior related to interior?

Are different sections of the building meant for different functions?

5. History and Geography • Are the forms of the building similar to those of other buildings?

• What elements reflect local tradition?

• Are traditional elements practical or customary?

• Are forms related to foreign models? Why? • Are forms related to older, historical models? Why? 6. Meaning • What statement does the building make about human values, ideas, beliefs, sentiments?

GALLERY ANALYSIS GUIDE ONE GUIDE ONEONEOPTION ONE: Viewing a visual image should be more than just looking and reacting without much thought. Viewing is an interaction between the viewer and the art object. Although most art works are constant, the interaction varies with each viewer because of the viewer's own varied perspectives and associations. NOTE: Complete each section in order and answer in paragraph form. Use the questions provided as a guide to provide information for your paragraph.

1. Preparation - list name of artist, title of work, and gallery visited or location of artwork.

2. First Impression - record your first spontaneous reaction to the artwork.

• What is your immediate reaction to the work?

• List any words that come to mind 3. Description – List and describe everything you can see in the artwork. Imagine you are describing it to a blind person, do this in as much detail as possible. Refer to the elements of art and use specific art vocabulary.

4. Analysis - Figure out what the artist has done to achieve certain effects. You should refer to your first impressions and try to explain how the artwork achieves that reaction.

• How are the Elements of Art (color, shape, line, texture, space, form, value) and the Principles of Design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork?

• What do you notice about the artist's choice of materials?

• What grabs your attention in the work?

• At what do you think this artist worked particularly hard at while he/she did this work?

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• • •

Do you see any relationship between the things you listed during the description stage?

What mood or feeling do you get when you look at this work of art?

What "qualities" do you see in this work?

5. Interpretation – Try to figure out what the artwork is about. Your own perspectives, associations and experiences meet with "the evidence" found in the work of art.

• What is the theme or subject of the work?

• What is the work about; what so you think it means?

• Why do you think that artist created this work?

• What do you think the artist's view of the world is?

6. Background Information - find out as much about the work and the artist as you can. It is important to complete this stage after having completed the other five. Research information in the library about the artist. Art Galleries and gallery educators are good sources of information about art and artists.

7. Informed Judgment - this is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.

• Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind?

• If not, can you now explain your first reaction to the work?

• What have you seen or learned from this work that you might apply to your own art work or your own thinking?

8. Visual Research – Complete visual research – take photographs and make sketches of the work. Demonstrate your understanding visually.

Descriptive words to use in an analysis of art: ONEONEOPTION ONE:

ELEMENTS OF ART: Line blurred broken controlled curved diagonal freehand horizontal interrupted geometric meandering ruled short straight thick thin vertical wide

Value dark light medium Shape/Form amorphous biomorphic closed distorted flat free-form full of spaces geometric heavy light linear massive nebulous open

Space ambiguous deep flat negative/positive open shallow ART PRINCIPLES balance contrast emphasis harmony pattern repetition rhythm unity variety

processions religion seascape storytelling theater war MEDIA (MATERIALS) 2D: chalk colored pencil conte egg tempera found materials gouache ink oil pastel

TECHNIQUE/ FORM architecture batik carving ceramics collage crafts glassblowing jewelry making metalwork modeling mosaics painting photography printmaking repousse sculpture weaving 41

organic Texture actual bumpy corrugated flat furry gooey leathery prickly rough sandy shiny simulated smooth soft sticky tacky velvet

Colors bright calm clear cool dull exciting garish grayed multicolored muted pale poly-chromed primary secondary subdued sweet warm

THEMES IN ART adoration children circus cityscape earth, air, fire, water farming festivals gardens grief history hunting landscape love music mythology of historic occasions portraiture

pencil photograph print tempera vine charcoal watercolor 3D: bronze clay fibers found materials marble metal mixed media papier-mâché plaster stone wood

STYLE OR PERIOD abstract classical genre historical literary naïve narrative nonobjective primitive realistic romantic Renaissance

10: How do I do….

Idea/Development pages: dodo..toWorkbooks ONEONEOPTION ONE:

Using a systematic investigation as described below, develop ideas into well designed pages. Annotate (write notes) for all images.

1. Conceptual – Brainstorm initial ideas with words: a web diagram/mindmap, starting wide then narrowing down. Define your idea with one word, expand into a sentence and then a paragraph clearly explaining your idea (this can be added to towards the end of the project to include artist, materials etc) 2. Critical – Initial Artist research: research a range of artist that have possible links to your work, this could be a similar theme, idea, style or technique. Paste images of the artists work and brief overview of why you have selected their work to research and brief notes on the artwork. Artist reference: stick in one picture of selected artist work with details, dates and, in your own words, noting your sources, write your analysis and comments using art related vocabulary. Include:  what you think the work is about,  why you chose it  how/why the medium is used in the way it is.  Visual analysis (what you see in the picture, elements and principles). Analyse and draw conclusions rather than just describing the work.

3. Depth - Broaden your final idea by gaining as much information about it as possible. A fish might be beautiful, stimulating, ugly, frightening. Feel its texture and weight, know in detail how it looks, feels, smells, tastes.

4. Breadth – Expand your ideas beyond the obvious. How do the scales protect, move, reflect light?

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What other meanings? (eg. Christianity) 5. Personal Expression – Use subject related images from direct observation where possible (primary sources). Write notes to say how the image inspired you or how you will use this idea/image in your work.

Be original, don’t just copy work. Always quote the source (not a search engine) 6. Technical - Test images or techniques (including color choices, media, etc.). For example, if it's graphic design, test different typefaces, opacity levels etc. If you decide to do a watercolor you should have pages investigating watercolor techniques and trials with the medium.

7. Aesthetic - present several ideas, annotate and decide on the best using thumbnail sketches to explore the final composition.

8. Review, modify and refine – produce a detailed annotated sketch (whole image approximately A5 or a select only a portion of the final piece to allow room for annotation) of the final using the actual medium.

Write an analysis of strengths and weaknesses to inform your final work.

(This is not as extensive as required and is intended as a small sample of the process only)

14: Candidate Record Booklet Your Candidate Record Booklet (CRB) is the tool by which the IB Office will evaluate your recommended exam marks and, eventually, award you a grade for your efforts in this course. It is very important that it is filled out correctly, that it contains as much accurate information as allowable and that it looks good! Well not just good but GREAT! You will work on mock CRBs as the course progresses. A completed Mock CRB will be due as your final grade at the end of year 1. Before April 1 of your second year, before your interview/exam, you will produce your final CRB. The CRB will have:

A 300 word candidate statement.

Up to 18 photos of your best studio work Scanned pages of your IWB (approx 30)

You will produce THREE IDENTICAL copies of your completed CRB 43

The Candidate Statement: At the completion of your second year, you will produce a final candidate statement, after multiple drafts throughout the 2 year course. You must keep to the 300 word limit (IB is rigid about this). Read over your statement and ask the seven questions below: • • • • • • •

What are you trying to achieve in your work?

What strengths do you see in your work?

What problems have you faced?

How have you attempted to overcome perceived weaknesses?

Who/what has influenced you and why?

How have you researched your work?

How have you experimented with media and techniques?

Your Candidate Statement should address some, if not all, of these questions.

It should also be very well written – poorly written statements suggest sloppiness, apathy or worse. Your statement is your only chance to speak directly to the people who are actually giving you a final grade for your work and your final version will be reviewed and amendments suggested by teachers.

The photos of your work: The photographs of your work are crucial because they are the only visual examples of your studio efforts that the IB Office will use to generate your exam marks. They have to be clear, focused, neatly cropped, with good contrast and accurate colors to convey an accurate sense of what your work actually looks like.

You may submit up to 18 photos in total. Some of the 18 photos may be different images of the same studio work (or detail/extract images of one studio work). You may also use one slot for a short (no sound) video to show a sculpture piece in the round.

When photographing your work you must make certain that your work is well lit, that the photo is cropped to show only the artwork (no background) and that the contrast and brightness of your photos are well adjusted to give a clear and well defined image of your work. Any substandard photos that you make will not be acceptable and you will have to do them again.

The photos will be submitted in order in which the studio works were produced.

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Investigation Pages: Your pages need to be scanned at high quality and saved in jpeg format.

Scanning allows you to manipulate (contrast and color) your images, so make certain they look good without allowing your manipulation to change the content or originality of your work. Scanned pages should represent your IWB accurately or the image will be considered cheating.

The IB asks for A4-sized pages. Ensure that your image size is accurate.

Signing off your CRB: The IBO asks you to sign off on your completed CRB. Once you have signed this you can no longer make any changes as the CRB will be submitted electronically and cannot be revised once submitted.

Sample CRB pages: On the following pages are samples of relevant sections of the CRB. Look over these and familiarize yourself with requirements and dimensions.

Section 3: Candidate statement (300 words maximum) Write below a short critical analysis of your visual art works.

Consider some or all of the following key words to help you with your statement.

Concerns Skills Purpose

Sources Techniques Process

Influences Media Achievements

Context Scale Focus

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Studio Work These photographs will serve as a record of part of your final exhibition or presentation.

Discuss with your teacher the selection for the booklet. It is important that the selected photographs show your work as well as possible.

•

Prepare photographic color prints of the works selected. Please provide photos of good quality.

•

If you have opted for photography as part or all of your studio exhibition or presentation, you must provide evidence in the record booklet of the total amount of work undertaken.

This may be achieved by such means as: - A carefully worded candidate statement that outlines the darkroom experiments.

- The inclusion of two to three contact sheets - The inclusion of photographs that reflect the totality of your exhibition.

- The inclusion of appropriate evidence in the investigation workbooks.

•

It is essential that works in digital media, animations or installations are thoroughly documented to show how they reflect your own efforts. In the case of digital artwork for example, print-outs showing stages between the starting points and final products must be included.

Section 4: Studio – photographic record

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Below is an example of the format that has been used previously for hard-copy CRB’s. The new digital upload of CRB’s may be in a similar format.

Size of original:

Title: Medium:

Month of completion:

cm Year:

Section 5: Investigation Workbook 30 pages will be scanned and uploaded to this booklet and will serve as a record of part of your visual arts investigation. Discuss with your teacher the selection of pages from your investigation workbook.

The selection must give some evidence of: • All the assessment criteria • The development of some of the studio works presented in the booklet.

Make sure copies are: • Legible • Of good quality • Show each page in its entirety • A4/Letter-size Put your candidate session number on the top right-hand corner of every page, number the pages, and submit pages in the order that they were created.

15: AIS IB Grade Scale 47

This is the grade scale used by AIS for all IB classes. The IB grade of 1-7 will be given along side each major submission (IWB or Studio Work) to give you an idea of what mark you may receive from an IB Examiner.

These IB Marks will not effect your AIS grade and merely reflect your possible current standing within the IB mark band as you progress through the program.

All work done in this course will effect your grade, including, but not limited to: IWB, Studio Work, Final Exhibition, studio participation, meeting deadlines, gallery visits, and critiques.

Percentage 98-100 88-97 85-87 82-84 78-81 75-77 72-74 68-71 65-67 62-64 58-61 55-57 Below 55

Letter A+ A AB+ B BC+ C CD+ D DF

16: Galleries Gallery visits: Gallery visits are required each term. In your first year the your are required to visit at least 5 – one per term, with the additional visit taking place in the term of your choice. In your second year you will be required to visit two galleries per term. This is the absolute minimum however more often is encouraged.

Gallery visits will be graded and additional visits will be for extra credit.

You must document each visit to an actual gallery or museum (on-line galleries are NOT acceptable). If you plan to travel, take advantage of visiting a gallery or museum outside of Cairo or Egypt. In your Investigation Workbook you will reflect on what you have seen in the gallery.

Include the following information: • Name of gallery, location/address, and date of visit.

• The name of the artist or the title of the show and overview of the exhibition e.g. solo or group show, theme etc.

• Media of artwork.

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• • • • •

Your impressions of the exhibition (artworks as a group/series).

Focused study of one piece of artwork, title, media, a description of the piece and analysis – your personal thoughts, impressions and interpretations.

What the artwork make you think about or feel.

Potential influence on your work.

Sketch of the artwork (as realistic as possible and done onsite), plus additional photos of the exhibition and any collected images/material (flyers, postcards etc).

Gallery visits should take up 2-3 pages in your IWB. More is ok, less is unacceptable.

There may not be a lot of contextual information to gather on a piece, so just include what you can. Ask someone at the gallery if they have further information, such as an artist statement on the selected artist. When analyzing the work, use proper art terms (see handbook for guidance) and focus on the physical elements. When discussing your personal thoughts on each piece be honest and offer your own interpretation

Galleries in Cairo: Almasar Gallery Address: Behler's Mansion,157 b. 26 July St, Ground Floor, Zamalek, Tel: +2 02 2736 8537 Website: www.almasargallery.com Darb 1718 Contemporary Art and Culture Center Address: Kasr El Sham3 Street, Al Fakhareen - Old Cairo (Behind the Hanging Church and Amr Mosque) Tel: +2 23 610 511 Website: www.darb1718.com El Sawy Culturewheel (occasional art exhibitions along with performances) Address: End of 26th of July St, Zamalek, Cairo Tel: 0124400100, 27368881 Website: www.culturewheel.com Mashrabia Gallery Address: 8 Champollion Street, Cairo 49

Tel: 25784494 Website: www.mashrabiagallery.org Tache Art Gallery Address: S-139 El Sahara District, Designopolis ŘŒKm 38 Cairo/ Alexandria Road Tel: 0122168420 Website: Coming soon Blog: www.tacheart.com/blog/ Townhouse Gallery Address: 10 El Nabarawy St. Downtown Cairo Tel: 25768086 Website: www.thetownhousegallery.com/

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