1. Art fundamentals
USAD

2. Line, Shape and Form Line Shape Form
Most basic element of art
Can have different visual characteristics- thin, thick, dark, light
Implied line- a line created by perception of interrupted marks or edges
Shape
The two-dimensional area of an object, e.g. a square
Form
the three-dimensional area of an object, e.g. a cube
Organic vs. geometric shape and form
Geometric- precise, regular, hard-edged
Organic- rounded, irregular, based on nature, expressive of movement and rhythm
Space
Positive space- usually the objects represented in an artwork; the figure
Negative space- space around an object; also called the ground
Horizontal lines create feelings of stability and calm.
Vertical lines can be used to create feelings of dramatic height.
Diagonal lines create a feeling of movement.
In two-dimensional work, the use of shading, foreshortening and perspective are used to create the illusion of form.
Leonardo da Vinci, Self-Portrait, ca : an example of the use of line

3. Perspective
Creating the Illusion of Depth on a Two- dimensional Surface
Linear perspective
Aerial perspective
Overlapping of objects
Size of objects
Placement of objects in the picture plane
Use of detail
Linear Perspective
Based on the fact that parallel lines appear to converge and vanish at the horizon
Aerial Perspective
Based on the fact that objects further away appear lighter and less detailed
Creating the Illusion of Depth on a Two-dimensional Surface
Linear perspective
Aerial perspective
Overlapping of objects- objects behind other objects will appear farther away
Size of objects- larger objects will appear to be closer to the viewer
Placement of objects in the picture plane- objects placed lower in the picture plane will appear to be closer
Use of detail- more detailed objects appear to be closer
In a painting using linear perspective, the artist creates a vanishing point on the horizon toward which all the vertical lines in the painting will converge.
E.g., Pietro Perugino, Fresco from the Sistine Chapel,
Aerial perspective shows objects becoming vaguer and less colorful as space recedes.
E.g., Landscape in the Style of Yan Wengei, Early Ming Dynasty

4. Color and Texture Color Theory Texture
Hue: refers to the names of colors on the color wheel
Neutrals: black, white, and shades of gray
Value: lightness or darkness of a hue
Intensity: brightness of a color
Local color: the undistorted color of objects, e.g. a red apple
Arbitrary color: color unrelated to the actual color of the object being depicted
Optical color: the appearance of a color as distorted by human perception
Texture
Actual texture: three-dimensional texture
Visual texture: the illusion of texture on a two-dimensional surface
The color wheel was established in the 18th century, based on principles observed by Sir Isaac Newton in the 17th century.
Neutrals are not hues.
The most intense colors are the unmixed primary colors.
Relativity of color- a concept discovered in the 19th century that colors look different depending on adjacent colors.
Warm colors: red, orange, yellow- they appear to come toward the viewer.
Cool colors: blues, green, purple- they appear to recede.
Artists often use arbitrary color to create a certain mood.
Cordelia Wilson, Taos Mountain, Trail Home,
An example of the use of impasto, a thick application of paint that creates actual texture on a two-dimensional surface.

5. Composition Rhythm Repetition Balance Focal point Proportion Scale
Repetition of line, shape, color or texture that produces a sense of movement in the work
Repetition
Motif- a single element of a pattern
Pattern- repetition of motifs or elements such as line and color
Balance
Symmetry- balance around a central axis (horizontal or vertical)
Approximate symmetry- slight variations around a central axis
Asymmetrical balance- objects are not organized around a central axis but arranged to create balance through variations in color, density, texture
Focal point
Where the viewer’s eye tends to rest in a composition
Proportion
The relative sizes of objects in a composition
Scale
the relation between the size of the human body and the artwork
Proportion: classical Greek proportional system was based on the proportions of the human body.
Scale: When referring to relative sizes of objects within a work, scale may be a hierarchical device.
Wood’s American Gothic is an example of approximate symmetry. The pointed roof in the background and the symmetry of the windows below establish a vertical axis, around which the figures of the man and woman are organized. The use of approximate symmetry is one way that Wood imparted to the work an iconic aspect.

6. Drawing Drawing Techniques Stippling Drawing with ink Pastels
Shading- a technique used to create gradations of light and shadow
Hatching- using parallel lines in one diagonal direction to create light and shadow
Cross-hatching-Using parallel lines crossing each other
Stippling
Placing small marks close together or further apart to modulate light and shadow
Drawing with ink
Washes created by adding water to the ink can be used to make translucent layers
Pastels
Came into use in the 18th century; popular for portraiture
Must be sprayed with a fixative to prevent the fragile surface from being damaged
From left to right: hatching, cross-hatching, stippling
Edgar Degas, La Toilette (Woman Combing Her Hair), ca. 1885

7. Printmaking Printmaking Basics Relief printmaking Intaglio printmaking
Method for making multiple original works
“matrix”- surface upon which the image is created
Ink applied to the plate is transferred to paper to create an image
Relief printmaking
Ink is applied to the raised parts of the plate
Woodblock, lino-cut
Intaglio printmaking
Ink is worked into the incised parts of the plate
Engraving, etching
Lithography
A waxy crayon is used to draw on a the plate (stone, zinc, or aluminum)
Ink sticks to the drawing but not to the plate
Allows for a very spontaneous effect
Screen printmaking
A screen is treated to make some parts impervious to ink
Ink is pushed through the open areas of the screen
Top: Example of relief printmaking, in which the remaining raised surface takes the ink and transfers the image to the paper.
Bottom:

8. Painting Basic materials Fresco Tempera Oil Encaustic
Pigments- natural or synthetic grains of colored material
Binders- a medium that holds the pigment together and helps it adhere to the surface, e.g. linseed oil, egg yolks, wax
Solvents- a substance used to thin the paint
Fresco
Powdered pigments mixed with water are applied directly to a plaster wall
Tempera
Egg binder
Quick-drying, matte colors are not easily blendable
Oil
Slow-drying, workable surface can be applied thinly (glazes) or thickly (impasto)
Encaustic
Ancient wax-based paint applied to a surface with hot irons
Gouache and watercolor
Both water-based; gouache is opaque, while watercolor is transparent
Acrylic
Versatile quick-drying synthetic paint
buon fresco- wet plaster technique
fresco secco- dry plaster technique

9. Photography and Sculpture
Still photography, film, video
Sculpture
Relief- sculpture carved from a flat surface
Freestanding- sculpture in the round
Kinetic- sculpture that moves
Techniques
Additive- process of adding material to form a sculpture
Subtractive- process that begins with a hunk of material that is selectively removed to create the sculpture
Cast- process of making a mold into which molten metal is poured
Metal- variety of fabrication techniques, including welding, bending
Top: Auguste Rodin, The Thinker, 1902, cast bronze
Bottom: Alexander Calder mobile, an example of kinetic sculpture

10. Mixed Media, Performance, Folk Art and Craft
Artwork made from a variety of materials or media
Collage: two-dimensional mixed media work
Assemblage: three-dimensional mixed media work
Introduced to high art circa 1912 by Picasso and Braque
Performance
Live, movement-based art, usually preserved in documentary photographs or video
Folk art and craft
Pottery, jewelry, fibers, glass, wooden objects
Clay techniques: pinching, coiling, throwing, hand- building, slab construction
Fiber techniques: weaving, dyeing, quilting
Glass: glassblowing, stained glass
Wood: furniture, boxes, boats, homes
Viking ship figurehead

11. Architecture Construction Techniques
Post-and-lintel: simplest form of construction involving two supporting posts and a horizontal member
Arch: alternative to post and lintel construction that introduces a rounded or arched opening
Vault: use of an extended arch to form a roof covering a space
Dome: arched roof structure resembling half of a sphere
Iron: During the Industrial Revolution, used for the Crystal Palace (1851) and the Eiffel Tower ( )
Steel and concrete: modern building method characteristic of skyscrapers and other large buildings
Top: example of post and lintel construction at Stonehenge
Bottom: diagram of various arch and vault constructions