Foundations of Art and Design: An Enhanced Media Edition (with Art CourseMate with eBook Printed Access Card)

362 Pages·2011·101.3 MB·English

by  Lois Fichner-Rathus

Sign in today using the
access code* that came
with your new text!
It’s your gateway to CourseMate’s many resources:
Icons in the chapter Project boxes prompt you to Art Studio:
Through easy to use online submission, students can upload
project-based images for Instructor and Peer review and critique.
*If your instructor didn’t order website access with this book, you can purchase it separately at www.cengagebrain.com.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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P
R O J E C T
DEVELOPING A CRITICAL EYE
Welcome to Foundations of Art and Design! Dive right in.
As you acquire and perfect your skills as artists and designers in courses
like 2-D and 3-D design, color theory, and other foundations studios, a large part
of your learning process will revolve around the classroom critique—the crit. It is a
vehicle for putting your work out there—to your peers and your artist-instructor—to
gauge whether you have been successful in communicating your intent through
the concept and materials and processes you have chosen. It is also an
opportunity to develop your own critical eye and your own critical voice.
This book features a project in each chapter that you can work on and upload to our
own version of a classroom crit. By posting your work to our online Art Studio and
critiquing projects submitted by other students, you will begin to perfect your ways of
looking and learn to articulate in words what it is that you and others are doing visually.
Start here. The first page of your book arrays Chung Chak’s designs for the cover
of the new Enhanced Media Edition of Foundations of Art and Design—including the
“out-takes” and some of his notes on each version. Consider our options. What are
the strengths of each? The potential problems with each? Which do you like, and
why? Did we make the right choice? How might you work with the image and text to
design a cover? Let us see your version.
See the full Project description in your course’s Art Studioand upload your projectto the Crit Room
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Foundations of Art and Design: © 2012, 2008Wadsworth, Cengage Learning
An Enhanced Media Edition ALL RIGHTS RESERVED. No part of this work covered by the copyright herein
Lois Fichner-Rathus may be reproduced, transmitted, stored, or used in any form or by any means
graphic, electronic, or mechanical, including but not limited to photocopying,
Publisher/Acquisitions Editor: Clark Baxter
recording, scanning, digitizing, taping, Web distribution, information networks, or
Development Editor: Ashley Bargende
information storage and retrieval systems, except as permitted under Section 107
Editorial Assistant: Elizabeth Newell or 108of the 1976United States Copyright Act, without the prior written permission
Media Editor: Kimberly Apfelbaum of the publisher.
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PreMediaGlobal
Senior Art Director: Cate Rickard Barr Library of Congress Control Number: 2010940880
Print Buyer: Julio Esperas ISBN-13: 978-1-111-77145-4
Rights Acquisition Specialist, Image: ISBN-10: 1-111-77145-6
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Text Designer: Jerry Wilke USA
Chapter Opener Illustrator:
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Cover Designer: Chung Chak office locations around the globe, including Singapore, the United Kingdom,
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Cover Image: Franz Ackermann, Faceland,
international.cengage.com/region
2001mixed media on paper, 84.5x 64.5cm
(part of Wallpainting White Crossing).
Collection Martin and Rebecca Eisenberg, Cengage Learning products are represented in Canada by Nelson Education, Ltd.
Scarsdale. Copyright the artist. Courtesy
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For your course and learning solutions, visit www.cengage.com
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Printed in the United States of America
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Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed.
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience.
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please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Dedicated to the memory of my father Louis Fichner
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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C
O N T E N T S
1 The Creative Impulse 3 Shape
. . . . . . . . . 2 . . . . . . . . . . . . . . . . . . . . . . . 46
Looking at Life and Art 5 Coming to Terms with Shape 48
Nature 5 Shape 48
Culture 6 Form 49
Art History 7 Volume 49
Yourself 8 Mass 49
Thinking about Life and Art: Types of Shape 51
Recording and Communicating 10 Geometric Shapes 51
Understanding Art 12 Organic Shapes 53
Subject 12 COMPARE+CONTRAST Picasso’s Les Demoiselles
Form 13 d’Avignonwith Colescott’s Les Demoiselles
d’Alabama: Vestidas 54
Content 14
Abstract Shapes 55
Iconography 15
Amorphous Shapes 58
COMPARE+CONTRAST Art & Language, Joseph Stalin
Gazing . . . in the Style of Jackson Pollockwith Positive and Negative Shapes 59
Jackson Pollock’s Sea Change 16 Figure-Ground Reversals 62
Putting It All Together 17 The Shaped Canvas 64
Visual Elements 17 Shape as Icon 64
Principles of Design 17
Mediums 17 4 Value
. . . . . . . . . . . . . . . . . . . . . . . . 66
Style 17
Shades of Gray 68
2 Line Value Contrast 68
. . . . . . . . . . . . . . . . . . . . . . . . . 22
Value Pattern 69
Line,Communication,and the Impulse to Order 24 Low-Key and High-Key Values 70
Characteristics of Line 25 COMPARE+CONTRAST Rothko’s Number 22
The Measure of Line 26 with Rothko’s Black on Grey 72
Types and Qualities of Lines 26 Chiaroscuro 73
COMPARE+CONTRAST Van Gogh’s Self-Portrait Tenebrism 74
with Grey Felt Hatwith Van Gogh’s Self-Portrait 29 Highlights and Cast Shadows 75
Directionality of Line: Vertical, Horizontal, Silhouetting 77
and Diagonal 30 Descriptive and Expressive Properties of Value 78
Location of Line 31
Actual, Implied, and Psychological Lines 32 5 Color
. . . . . . . . . . . . . . . . . . . . . . . . 82
Line and Shape 35
Outline and Contour Line 35 Color and Light 84
Blurring the Boundaries between Outline and The Science of Light 84
Contour 38 Bringing Color Full Circle 85
Line and Value 39 Additive and Subtractive Colors 86
Line and Texture 41 Cool and Warm Colors 87
Interpretation of the Quality of Line 42 Properties of Color 88
Closure and Continuity 43 Hue 88
The Expressive Language of Line 44 Value 89
Intensity 91
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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Color Mixing 94 Transparency 149
Visual Color Mixing 94 Vertical Position 150
Color Mixing in Practice 95 Atmospheric Perspective 151
Color and Principles of Design 97 COMPARE+CONTRAST Hogarth’s False Perspective
Color and Emphasis 97 with Hockney’s Kerby (After Hogarth) Useful
Knowledge 154
Color and Balance 98
Linear Perspective 155
Color and Space 99
One-Point Perspective 156
COMPARE+CONTRAST Michelangelo’s David
with Keith Haring’s “Untitled” 101 Two-Point Perspective 158
Color Schemes 102 Three-Point Perspective 159
The Monochromatic Color Scheme 102 COMPARE+CONTRAST Degas’s The Absinthe Drinker
with Johnson’s Café 160
The Triadic Color Scheme 103
Multiple Perspective 162
The Analogous Color Scheme 105
Amplified Perspective 164
The Complementary Color Scheme 106
Parallel Perspective 165
The Split-Complementary Color Scheme 107
Isometric Projection 165
The Double-Complementary Color Scheme 108
Oblique Projection 166
Other Uses of Color 108
Color Discord and Vibrating Colors 108
Local, Optical, and Arbitrary Color 110 8 Time and Motion. . . . . . . . . . . . 168
Emotional Color 113
Color and Symbolism 114 Actual Motion 170
Kinetic Art 170
Recording Actual Motion 172
6 Texture
. . . . . . . . . . . . . . . . . . . . . 116
Implied Motion 174
Repetitive Imagery 175
Types of Texture 119
Illusion of Motion 177
Actual Texture 120
Multiple Exposures 178
COMPARE+CONTRAST Géricault’s The Raft of the
Medusawith Stella’s Raft of the Medusa 122–123 Blurred Outlines 179
Visual Texture 125 Optical Sensations 180
Abstract Texture 126 COMPARE+CONTRAST Giacomelli’s I Have No Hands
to Caress My Facewith Matisse’s Dance (I) 181
Invented Texture 128
Time and Motion 182
Subversive Texture 129
Figure Repetition and Elapsed Time 182
Texture and Design 132
Time and Motion in Film and Video 183
Texture and Pattern 132
Animation 184
Texture and Composition 135
Cinematography and Video Techniques 185
Texture and Space 136
Texture as Subject 137
9 Unity and Variety
. . . . . . . . . . . 188
7 Space
. . . . . . . . . . . . . . . . . . . . . . 138
Ways to Achieve Unity 190
Proximity 190
Actual Space 140
Repetition 191
Sculpture 140
Color and Value 192
Architecture 142
Line 193
Pictorial Space 144
Shape 194
Methods for Creating the Illusion of Depth 146
Texture 195
Relative Size 146
Continuity 195
Overlapping 147
The Grid 196
VIII
CONTENTS
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.