Chapter 1 othe use of malleable metals like

silver, pewter, and gold to make

Two-dimensional art
drawing marks
 Flat surfaces, paper, canvas, cave walls o surface must have a “tooth” or
 Categories: drawing painting, and printmaking roughness to hold the marks
 GRAPHITE
drawing o a crystalline form of carbon
 A visual object and activity o discovered in England
 To draw, is to observe o primary source for this drawing
 Combi of observation and mark making material
 Not always monochromatic media (charcoal,  PASTELS
conte’ crayon, metal point or graphite) o similar to compressed charcoal
 Colors can be introduced (pastels, free-flowing o instead of finely powdered carbon,
ink) finely ground colored pigment and
a binder are used
charcoal
o smudge easily, so the image created
 from wood or other organic material must be displayed under glass or
 burned in the absence of oxygen. covered with a fixative
 process leaves a relatively pure black carbon  OIL PASTEL
powder. o semi-solid sticks of high pigment oil
 Compress charcoal paint
o compress this dry powder o used like crayons
o with a binder, a sticky substance like o originally invented to mark
pine resin or glue made from the livestock
collagen of animal o show the “hand” of the artist in a
o is used to make very dark marks direct way
o challenging to erase.
 Willow or vine charcoal  INK
o leaves a very light mark o combination of a colored pigment
o simply burned twigs o a binder suspended in a liquid
o used for impermanent sketches o applied with a pen or brush
o not readily stick to paper or canvas o making inks
and is easily erased.  lamp black or soot, burned
 Both compressed and vine charcoal animal bones, gallnuts, and
drawings are easily smudged iron oxide
o the oldest ink drawings come from
 Conte’ crayons China (silk and paper)
o hand-held drawing material  COMMON MATERIALS USED IN
o similar to compressed charcoal DRAWING
o sticks of graphite or charcoal o CHARCOAL
combined with wax or clay that o METALPOINT
come in a variety of colors o PASTELS
o white to sanguine (deep red) to o CONTE’ CRAYON
black o INK
o Harder conte’ o GRAPHITE
 used for details  ARTISTS AND THEIR WORKS
o SOFTER CONTE’
 BROAD AREAS  EDMOND
 METALPOINT AMAN-JEAN
BY GEORGES-
PIERRE SEURAT
 head of a girl by Leonardo da vinci

 NACH DEM
BADE SICH

ABTROCKNENDE (AFTER THE

BATH, WOMAN DRYING HERSELF)
BY EDGAR DEGAS

 EAST
PALATKA
ONIONS BY
MARY ANN
CURRIER

 OVER THE
ELIXIR
TERRACE BY CHAPTER 2
LU GUANG
PAINTING
 a specialized form of drawing
 using BRUSHES
 to apply colored liquids to a SUPPORT (canvas
or paper, wooden panels, metal plates, and
walls)
PAINT
 three main ingredients: pigments, binders, and
solvents.
 colored pigments are suspended in a sticky
binder
 Solvents
o dissolve the binder in order to remove it
o make paint more fluid

DIFFERENT KINDS OF PAINTING

  Oil  TWO KINDS:
 Acrylic o buon fresco, or “good” fresco
 Watercolor  painting on wet plaster
 encaustiC  become part of the wall
 fresco  way to correct a buon fresco
 tempera painting is to chip it off the wall
and start over
OIL PAINTING
 must be done in sections
 uses vegetable oil  SECTIONS CALLED
 linseed oil and walnut oil, as the binding agent GIORNATE- “A DAY’S
 LINSEED OIL WORK”
o CLEAR COLOR ABILITY TO DRY o FRESCO SECCO OR DRY FRESCO
SLOW  done after the plaster has dried.
 TURPENTINE- SOLVENT FOR OIL  more forgiving, but also less
PAINTING permanent
 medium has strict rules
TEMPERA PAINTING
 , oil paint can oxidize and darken or yellow over
time if not properly crafted  most popular version of painting during the
 FUGITIVE- lose their color over time, Middle Ages was egg tempera
especially when exposed to direct sunlight.  dry colored pigments were mixed with egg yolk
ACRYLIC PAINTING ARTISTS AND ARTWORKS
 modern and uses water-soluble acrylic polymer MONALISA BY LEONARDO DA
as the binding agent VINCI
 WATER-SOLVENT
 Acrylic dries very quickly and can be used to
build up thick layers of paint
 less suitable for portraiture or other projects
where accurate color is vital
 is preferred over oil paint
WATERCOLOR PAINTING
THE SPONGE
 suspends colored pigments in water-soluble gum DIVER BY
arabic distilled from the Acacia tree as the WINSLOW
binder HOMER
 brushed onto an absorbent surface
 was used as an outdoor sketching medium
 was more portable than oil paint
 use watercolor as their primary medium.
THE
ENCAUSTIC PAINTING PORTRAIT OF THE BOY
EUTYCHES by roman artist
 uses melted beeswax as the binder
 applied to rigid supports
 remains fresh and vibrant over centuries
 paintings from ancient Egypt dating to the
period of Roman occupation are as brilliantly
colored as when they were first painted.
FRESCO PAINTING
 process of painting onto plaster
 long-lasting technique
 PRINT
 image made by transferring pigment from a
matrix to a final surface
The expulsion of adam and eve from
 allows multiple copies of an artwork
eden by Masaccio
 EDITION- Multiple copies of an individual
artwork
FOUR MAIN TYPES OF PRINTMAKING

RELIEF
 made by removing material from the matrix
 surface the image has been carved into, which is
often wood, linoleum, or metal
 remaining surface is covered with ink or
pigment
 paper is pressed onto the surface, picking up the
ink.
Nebamun tomb fresco dancers and musiciANS  LETTERPRESS- relief printing process that
transfers ink to paper
INTAGLIO
 scratched into a matrix
 Ink is wiped across the surface, and collects in
the scratches.
 picking up the ink from the scratches
PLANOGRAPHIC/ lithography
THE BIRTH OF VENUS BY SANDRO BOTTICELLI
 chemically altering a matrix to selectively accept
or reject water
 limestone was used
STENCILS/silkscreen
 by passing inks through a porous fine mesh
matrix.
 SILKSCREEN PRINTMAKING
o silk fabric is mounted tightly on a rigid
frame.
ORIGINAL PRINTS
 HANDMADE PRINTS

REPRODUCTION
 mechanically produced
GICLEE’
 digital inkjet print
 only acid-free paper and archival inks are used
CHAPTER 3
  modeling,
 casting,
 assembly
installation
 form of three-dimensional art that emerged in
the twentieth century
 the viewer is surrounded within a space ,
modified by the artist
sculpture
 either freestanding—“in the round”
 —or it can be relief—sculpture that projects
from a background surface.
 RELIEF SCULPTURE
o low relief
 AMOUNT OF PREJECTION,
LIMITED
o high relief
 more than half of the sculpted
form projects from the
background surface
 creates an effect called
undercut
 UNDERCUT
 projected surface is
separate from the
background surface
MODELING
 additive process
 easily shaped materials like clay or plaster are
built up
 begin with an armature, or rigid inner support
often made of wire
 method of sculpting includes most classical
portrait sculpture in terra cotta, or baked clay

Chapter 4
Three-dimensional art
 goes beyond the flat surface to encompass
height, width, and depth
four main methods
 carving,
  , a hard, brittle stone
 most commonly green, to indicate wisdom,
power, and wealth
wood
 prized for its flexibility and ease of forming,
 it reacts to changes in humidity
 lacks permanence
casting
 a process that replaces, or substitutes, an initial
sculptural material with another, usually more
permanent, material.
 process that makes it possible to create multiple
versions of the same object

lost wax casting process

 original sculpture is modeled
 covered in plaster to create a mold.
 the plaster dries, it is heated to melt the wax,
which is poured out of the mold
SECTIONAL CASTING
 separating a mold into several sections while the
original is being cast
 used to cast original objects that cannot be
CHAPTER 5 melted or otherwise removed from the mold

CARVING assembly

 removal of material  or assemblage

 subtractive process  fairly recent type of sculpture. Before the
 Tools—usually metal or metal tipped modern period
 be careful not to chip away too much material,  manually attaching objects and materials
as it cannot be replaced together.
 composed of mixed media, a process in which
marble disparate objects and substances are used in
order to achieve the desired effect.
 a form of limestone
 preferred by the ancient Greeks and Romans for Louise Nevelson
its softness and even color.
 she spent time near a cabinetry workshop
Diorite  retrieve wooden cut-offs and other discarded
objects to use in her sculpture
Schist (form of slate)
installation
Greywacke (form of granite)
 related to assembly
 preferred by Egyptian and Mesopotamian
 transform an interior or exterior space
cultures for their hardness and permanence.
 unscripted interaction with the environment
Jade
site-specific installation
 Chinese
  installation that is intended for a particular
location
kinetic art
 art that moves or appears to move.
 freely moving mobiles of Alexander Calder
o meant to change shape as part of their
design.
 Homage to New York was a work of kinetic art
by Jean Tinguely
o intended to self-destruct, although it
never completed its purpose because a
local fire department stepped in and
stopped the process.
 Reuben Margolin
o uses intersecting waves
o made a career of creating meditatively
flowing sculptures
Chapter 6
Four-dimensional art
 time-based art
 new mode of art practice
 includes:
o video
o projection mapping
o performance
o new media art

video art
 new technology
 projected moving images
 displayed on electronic motion
 light as medium
 nam June paik
o south Korean
o father of video art
o tv cello

projection mapping
 spatially mapped
 image conform to the surface
 evan roth
o American, France
o Creates graffiti as a video projection,
then photograph
 Cathedrale st jean illuminee
Performance art
 Action as artist’s medium
 Documented by photography
 Yoko ono
o Japanese multimedia artist
o Peace activist
o Performance art and filmmaking
o Cut piece

New media art

 Interactive works
 Digital art, computer animation, video games,
robotics, 3d printing
 Expressive potential of new creative
technologies Chapter 8
 Mark lee
o Swiss media artist Mass & volume
o Field of interactive installation
o 10,000 moving cities
Volume
  Have interior or exterior contours  Giotto
 Closed or open o Raises the horizon
Mass Different types of linear perspective
 Quantity of matter  One-point perspective
 Weight o One vp
 Two-point perspective
Closed form
o Two vp
 Volume that is not pierced or perforated  Three-point perspective
 Structurally robust, resistant to breakage o Adds third, vertical direction
 Prioritizes eternity
Limitation of linear perspective
Open form
 Not accurate representation of world
 Use lines and planes to replace solid volumes  Limited cone of perception, 60 degrees
 Highlight transparency
atmospheric perspective
Positive space
 Illusion of distance thru color and focus
 Space occupied by a given volume
Negative space
 Empty space within that volume
Chiaroscuro
 Italian, “clear dark”
 Varying shades of light and dark
 Illusion of light
Perspective CHAPTER 9
 Illusion of space on flat surface TEXTURE AND COLOR
Three main visual cues to the recession of space
 Height TEXTURE
 Scale
 Overlap  SURFACE QUALITY
 SENSE OF TOUCH
 ROUGH OR SMOOTH, WET OR DRY,
Linear perspective STICKY OR SLICK, HARD OR SOFT,
 Based on regular geometric recession of space BRITTLE OR FLEXI
 Uses vanishing point and horizon line  TWO MAIN APPROACHES TO TEXTURE
 Vanishing point o ACTUAL – NOT SCULPTURAL
o Spot, all receding lines converge on the o IMPLIED/SIMULATED- USED IN
horizon line TWO-DIMENSIONAL ART
 Horizon line  REMBRANDT VAN RIJN
o Set of all eye-level VP o USE OF IMPASTO
 Orthogonal lines o BELSHAZZAR’S FEAST
o Lines appear to meet at vp
COLOR
 intuitive perspective
o sees line converge but not at single point  MOST PROMINENT
 Cimabue  MOST POWERFUL
o Low horizon  SUBJECTIVE ELEMENT
THREE CATEGORIES
 HISTORY OF COLOR
o COLORING AGENTS FOUND IN
ENVIRONMENT
o LAPIZ LAZULI- DEEP BLUE
o GOD AMON (BLUE)
o OSIRIS (GREEN)
o GREEKS
o WHITE/LIGHT
o DARK/BLACK
o YELLOW
o RED
o CHINESE
o WATER (BLACK)
o METAL (WHITE)
o WOOD (GREEN)
o EARTH (YELLOW)
o FIRE (RED)
o ASIAN TRADITIONS
o WHITE (Death/mourn)
o Black (heaven)
Chapter 10
o Western
o Opposite of Asian Additive color
o Modern ideas of color (leon battista  transmission color
alberti)  light of diff colors if projected
 PHYSICS OF COLOR  primary hues (rgb)
 PERCEPTION OF COLOR  human retina – sheet of neurons
Color  rods and cones- specialized neurons
 rods – sensitive to light intensity
 Describes the sensation caused by variations in  cones- sensitive to rgb light
wavelength and intensity as it interacts with
human eye natural or local color
 Visible light- small portion of electromagnetic  body color of given object
spectrum
 hue- wavelength of given color (longer -red observed color
ends, shorter- violet end, color “name”
 perception of that local color changes as light
 saturation- purity of a color
shifts on objects
 brightness- lightness or darkness of color
 subtractive color – reflective color, white light intuitive color
(reflected),
o all colors absorbed, color temperature
o starts with primary colors  warm ( red, orange, yellow)
 cool (green, blue, purple)
MONOCHROMATIC
 uses single color
complementary color
 uses colors opposite to each other
analogous  Emphasis/movement
o Intentional use of direction
 one area of color wheel
o Color shifts, lines, arrows
o Imply movement
 Rhythm/ repetition
o Rhythm is created through repetition to
establish pattern
o Pattern highlights specific objects
 Contrast
o Juxtaposition of diff elements
o Create visual interest and emphasis
o Color contrast- use of diff colors
o Shape contrast- incorporating various
shapes with diff sizes
o Texture contrast- combi of smooth and
Chapter 11 rough to add tactile
o Size contrast- variations of size or scale
Principles of design – guidelines that govern elements to create hierarchy
of design
Elements of design- basic components, building blocks
Principles of design
 unity/ variety
o found in similarity, while variety is
found in difference
o unity is one in which the elements of the
work or relations between the elements
are similar or identical.
o variety is one in which the elements of
the work are varied in size, color, shape,
or some other attribute
o Visual unity may occur on a conceptual
level as well as a physical one
o An interval is the space between
elements, figures, or objects in a work of
art.
 Scale/proportion
o Size of elements
o Create visual effects
o Forced perspective- arrangement of
figure and ground, distort the scale of
objects
 Balance
o Distribution of visual weight
o Symmetrical balance
 Equal arrangement around
central line
o Asymmetrical balance
 Creates visual equilibrium
without mirroring