9.6: Conclusion
- Page ID
- 344530
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Artists can enhance their work by using composition techniques like the Rule of Thirds, Golden Ratio, and focal points. These guide the placement of elements, resulting in balanced and engaging artwork. These principles also direct attention, communicate emotions and messages and distinguish professional from amateur work. By mastering composition, artists create impactful and resonant work that expresses their vision.
References and Further Reading
• Arnheim, Rudolf. "Art and Visual Perception: A Psychology of the Creative Eye." University of California Press, 2004.
• Lauer, David A., and Stephen Pentak. "Design Basics." Cengage Learning, 2017.
• Wucius Wong. "Principles of Two-Dimensional Design." Wiley, 1986.
• Loomis, Andrew. "Creative Illustration." Titan Books, 2012.
Practical Assessments
Discussions, exercises and projects are vital for developing observational skills, applying theoretical knowledge, and fostering creativity. They provide structure and challenge, helping students gain practical experience and confidence while building a unique personal style in their art.
Critical Analysis
Discussion Prompt: Critical analysis discussion of The Birth of Venus by Sandro Botticelli and Mona Lisa by Leonardo da Vinci
Instructions: Analyze "The Birth of Venus" by Sandro Botticelli, focusing on its composition and design elements, including balance, contrast, and focal points. Then, analyze the painting "Mona Lisa" by Leonardo da Vinci.
• Focus on the composition and design of the painting and examine how da Vinci strategically placed elements, used color, and employed geometric shapes to create a sense of mystery and engage the viewer.
• Your analysis should be supported by scholarly research and present a well-argued perspective that reflects a deep understanding of composition in art.
This assignment is an opportunity to enhance your analytical skills and deepen your appreciation for one of the most iconic works in art history
Sketchbook Exercises
Thumbnail Studies:
1. Divide your page into several 3x4 inch rectangles (vertical or horizontal formats).
2. Experiment with different compositions within each thumbnail.
3. Explore abstracts, landscapes, portraits, interiors, and still life.
Negative Space Exploration:
1. Focus on the empty spaces around objects.
2. Create sketches emphasizing negative space to understand its impact on composition.
Rule of Thirds Practice:
1. Divide your sketchbook page into thirds (both horizontally and vertically).
2. Position focal points or elements along these lines or at their intersections.
Focal Point Studies:
1. Create sketches with clear focal points.
2. Experiment with placing focal points in different areas of the page.
Drawing Project
Project Title: Art Museum Field Trip Composition
Overview: This project encourages students to explore and apply principles of composition by drawing inspiration from art museum visits. Through firsthand observation and study of art museum artworks, students will create a final drawing that integrates learned composition techniques with personal creative expression.
• Explore Composition Principles: Understand and apply various compositional frameworks such as symmetry, asymmetry, and the rule of thirds.
• Inspiration from Artworks: Gain insight into the balance, focal points, and visual elements used in professional artwork to inspire personal creations.
• Develop and Execute a Personal Artwork: Use sketches and studies to develop and create a refined artwork that reflects both the inspiration from museum pieces and personal artistic style.
Instructions
1. Art Research Field Trip:
• Choose an Art Museum, Art Gallery, or local art exhibition: Visit either physically or virtually.
• Study different Artworks: Focus on artworks that demonstrate strong composition, balance, and focal points. Take study sketches, notes, and photos of (7) different pieces that resonate with you.
2. Select a Theme or Subject: Based on your observations and sketches, choose a theme or subject for your final artwork (e.g., nature, portraits, abstract).
3. Compositional Arrangement:
Thumbnail Sketches (3x4-inch grid box) inspired by your study sketches.
• Experiment with different compositions, focusing on elements like negative space and visual weight or vertical format (portrait) vs. horizontal format (landscape).
4. Develop Your Composition: Utilize your sketchbook studies to refine your composition, considering techniques like the golden ratio and rule of thirds.
5. Create Your Final Drawing:
• Choose Your Medium: Select your preferred drawing medium (pencil, ink, charcoal, etc.).
• Transfer and Execute: Transfer your refined composition onto a larger format, paying close attention to detail and overall balance.
6. Rendering and Refinement: Enhance Your Drawing: Apply techniques such as hatching or stippling to add depth, value, and texture. Refine edges and adjust highlights and shadows.
7. Reflect and Revise: Assess your artwork to ensure it captures the essence of your museum inspiration. Make any necessary revisions.
8. Presentation: Prepare for Display by framing or mounting your finished artwork. Write a brief artist statement detailing your inspiration and creative process.
Submission Guidelines
• Artwork Submission: Submit the framed or mounted final artwork along with the artist statement.
• Due Date: [Insert specific date and time].
• Presentation: Ensure the submission is professionally presented and labeled with your name and project title. Include your artist statement for your viewers to evaluate.
Assessment Criteria
1. Accuracy of Observation (30%): Demonstrates the ability to observe and integrate elements from museum artworks into personal composition.
2. Technical Skill (30%): Proficiency in the chosen medium, effectively using drawing techniques to render the final piece.
3. Composition and Design (20%): Effective arrangement of visual elements to create a balanced and engaging artwork, showcasing the thoughtful application of learned composition techniques.
4. Creativity and Personal Interpretation (20%): The artwork reflects originality and personal style, demonstrating a creative integration of inspiration and individual artistic expression.
This project not only enhances technical skills and understanding of compositional principles but also encourages a deep personal connection with art, inspiring students to transform museum observations into unique artistic compositions.