ART

APPRECIATION
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PREPARED BY: RITCHELL SALAMAÑA, LPT
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 Objectives:
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� Identify and describe the difference between form and content as
used in art
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� Identify and define the elements of design
� Identify and distinguish how the principles of design are used to
visually organize the elements of design
� Distinguish between representational (realistic), abstract, and
nonrepresentational (or non-objective)
imagery
Prepared by: Ronna Alidon, LPT
 Introduction
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�medium like painting, or
Whether an artist creates two-dimensional or three-dimensional
art, works in a traditional
makes art using the latest technology, all artists use the same
basic visual building blocks of form (elements) and
strategies of visual organization (principles) to achieve visual
unity.

Prepared by: Ronna Alidon, LPT

 FORMALISM AND CONTENT
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� This is an overview of some important terms related to

�from critical art theory, which

writing about and discussing art.
� The term formalism comes
resembles “aesthetics discussion.”
� Content is one aspect of the artwork. This will also touch
on point of view (POV), which is an important factor as
we look at and discuss artworks.

Prepared by: Ronna Alidon, LPT

 Viewing Art:
Personal Level
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� When we are looking at art, when we find or “run into” an
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artwork or exhibition, we typically have an initial response or
impression.
� The expression “Beauty lies in the eye of the beholder” gets at the
subjective and personal nature of perception—and of the “first
impression,” in particular.
� There’s nothing wrong with one’s first impression or response—it
is, after all, a personal response. It’s your point of view.
Prepared by: Ronna Alidon, LPT
 Viewing Art:
Formal Analysis
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� Formal analysis is a close and analytical way of looking at and
discussing a work of art.
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� It includes describing the work in terms of various design
elements, such as color, shape, texture, line, etc. as well as a
discussion of how those elements have been used (the design
principles).
� Formal analysis uses art terminology to consider the effects of an
artwork the viewer (you), and it’s a process that enables us to think
Prepared by: Ronna Alidon, LPT
about and consider the overall meaning of the artwork.
 Viewing Art:
Content
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� Content is simply the the subject matter of an artwork.
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� It’s the images you see—like the trees in a painting of a
forest, or the town, the sky, and the moon in Van Gogh’s
Starry Night. Content can play a role in formal analysis,
but the content aspect is less important than the “artwork”
aspect.

Prepared by: Ronna Alidon, LPT

ARTISTIC ELEMENTS
🙢

Prepared by: Ronna Alidon, LPT

 Point
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� A point is the visual element � Pointillism is a style of
upon which all others are painting made famous by
based. When an artist marks the French artist Georges
a simple point on a surface, Seurat in the late nineteenth
century. He created
(also referred to as the paintings by juxtaposing
ground), they immediately points—or dots—of color
create a figure-ground that optically mixed to form
relationship. lines, shapes and forms
within a composition.
Prepared by: Ronna Alidon, LPT
Look at a detail from Seurat’s
La Parade de Cirque to see
how this works. His large
canvas Sunday Afternoon on
the Grande Jatte is a
testament to the pointillist
style and aesthetic. Its
creation was a painstaking
process but one that generated
new ways of thinking about
color and form.
Prepared by: Ronna Alidon, LPT
 Line
� Essentially, when you put
🙢� They help determine the
two or more points together motion, direction and
you create a line. energy in a work of art. We
� A line can be lyrically see line all around us in our
defined as a point in motion. daily lives; telephone wires,
Lines can be static or
tree
dynamic depending on how
the artist chooses to use branches, jet contrails and
them. winding roads are just a few
examples.
Prepared by: Ronna Alidon, LPT
 Straight or classic lines provide
structure to a composition. They can
be oriented to the horizontal,
vertical, or diagonal axis of a
surface. Straight lines are by nature
visually stable, while still giving
direction to a composition.

Prepared by: Ronna Alidon, LPT

Expressive lines are curved, adding
an organic, more dynamic character
to a work of art. Expressive lines
are often rounded and follow
undetermined paths.

Prepared by: Ronna Alidon, LPT

 Outline, or contour line is the
simplest of these. They create a path
around the edge of a shape. In fact,
outlines
define shape.

Prepared by: Ronna Alidon, LPT

 Hatch lines are repeated at short
intervals in generally one direction.
They give shading and visual
texture to the surface of an object.

Prepared by: Ronna Alidon, LPT

Crosshatch lines provide additional
tone and texture. They can be
oriented in any direction. Multiple
layers of crosshatch lines can give
rich and varied shading to objects
by manipulating the pressure of the
drawing tool to create a large range
of values.

Prepared by: Ronna Alidon, LPT

Crosshatch lines provide additional
tone and texture. They can be
oriented in any direction. Multiple
layers of crosshatch lines can give
rich and varied shading to objects
by manipulating the pressure of the
drawing tool to create a large range
of values.

Prepared by: Ronna Alidon, LPT

 Shape
� A shape is defined as an enclosed🙢
area in two dimensions.
� They can be created in many
ways, the simplest by enclosing
an area with an outline.
� Because they are more complex
than lines, shapes do
much of the heavy lifting in
arranging compositions.
Prepared by: Ronna Alidon, LPT
 Plane
� A plane is defined as any 🙢
surface area in space. In two-
dimensional art, the picture
plane is the flat surface an
image is created upon; a piece
of paper, stretched canvas,
wood panel, etc.

Prepared by: Ronna Alidon, LPT

 Value (Tone)
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� Value is the relative lightness or darkness of a shape in
relation to another.
� Values near the lighter end of the spectrum are termed
high-keyed, those on the darker end are low-keyed.

Prepared by: Ronna Alidon, LPT

 In two dimensions, the use of value gives a shape the illusion of mass and
lends an entire composition a sense of light and shadow. The two examples
below show the effect value has on changing a shape to a form.
🙢

Prepared by: Ronna Alidon, LPT

 The use of high contrast,
placing lighter areas of value
against much darker ones,
creates a dramatic effect, while
low contrast gives more subtle
results. These differences in
effect are evident in ‘Guiditta
and Oloferne’ by the Italian
painter Caravaggio, and Robert
Adams’ photograph Untitled,
Denver from 1970-74.
Prepared by: Ronna Alidon, LPT
 Caravaggio uses a
high contrast palette to an already
dramatic scene to increase the
visual tension for the viewer, while
Adams deliberately makes use of
low contrast to underscore the
drabness of the landscape
surrounding the figure on the
bicycle. Robert Adams’ Untitled, Denver
from 1970-74.

Prepared by: Ronna Alidon, LPT

 Activity
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In a short bond paper draw 2 objects each
with different drawing technique.
1. Hatching
2. Pointillism
Take a picture of your artworks and send it
on our Class’ Group Page.
Prepared by: Ronna Alidon, LPT
Hatching Pointillism

Prepared by: Ronna Alidon, LPT

That’s it for today! ☺

Prepared by: Ritchell Salamaῇa, LPT