Friday, June 5, 2020

Friday, May 8, 2020

Terms for Formal Analysis

Refer to the following information when writing the Formal Analysis Section for the Image Analysis Assignment. I selected basic elements and principles that are easy to decipher when beginning to learn how to analyze a visual image.

Artists and designers utilize elements and principles as well as the principles of semiotics to skillfully construct meaning and content with a visual image.

An example of how you should prepare an Image Analysis for this class is attached (PDF document) to the assignment module in Canvas (Week #1, Image Analysis).

For further understanding, the link below gives an example of the information I am asking for. However, the format in the below link does not meet the requirements for my course. I am asking for you to organize info in bullet points and provide a certain number of points. Refer to guidelines and example document in Canvas assignment module, Week #1, Image Analysis.
http://www.artmuseums.com/goya.htm


ELEMENTS AND PRINCIPLES OF ART AND DESIGN. 

  • CHOOSE FROM THE CATEGORIES BELOW TO WRITE THE FORMAL ANALYSIS SECTION OF THE IMAGE ANALYSIS
  • VISUAL EXAMPLES FOLLOW THE DESCRIPTIONS. 



ELEMENTS

ACTUAL LINE
A mark on a surface. Can outline a shape. Can be thick or thin. Markings can simulate texture.

IMPLIED LINE
Visual sight lines that suggest a direction; vertical, horizontal, diagonal. Each line direction visually communicates a different idea. For instance, vertical lines are suggestive of power and stability. Think about skyscrapers, how people of power (or people who want to communicate power) pose - a vertical stance. Compare this to a horizontal pose that suggests seductiveness. For instance, how women pose in ads to sell perfume. Diagnoal lines suggest energy and movement. Think about a real time experience, in a room with 50 five years old, all running in different directions.

RECTILINEAR SHAPE
A closed form that has straight lines and points.


ORGANIC SHAPE
A closed shape that has curved lines, no points.


WARM COLOR
Reds, Yellows, Oranges. The visual spectrum of these pigments visually suggest a wider, open space.

COOL COLOR
Violet, Blue, Green. The visual spectrum of these pigments visually suggest a receding of space, closed in.

NEUTRAL COLOR
Browns and Grays. Colors of the natural world. Made by mixing a cool and warm color.

HARMONIOUS COLOR
When both cool and warm colors are used.

SPACE
Area around, within or between shapes. Can be visually represented as fore ground, middle ground and back ground.

TEXTURE
In a two-dimensional image, texture is simulated. This means marks are made on a surface to imitate the appearance of a texture. Marks can be made with a pencil, paint brush and even digital tools.


PRINCIPLES
REPITITION/PATTERN
A shape, color, line and/or texture that is repeated. These elements can be alternating to create a pattern. A shape could be in the form of a recognizable object. For example, the human figure.

EMPHASIS
One area in the image is more important. Artists and designers can use color, line, shape, texture to visually communicate this idea.


VISUAL EXAMPLES

.
Implied Line - horizontal (space between clouds, horizon, lake). This line direction dominates - visually emphasizing calmness. 
Implied Line - Diagonal (slight bend in palm trees). Not dominate, just a slight bend, perhaps suggesting a light wind. 
Implied Line - Vertical (palm tress not bending). Not dominate, suggests a bit of stability within the vast idea of a landscape. 

The Highway Men






Francisco Goya
The Executions of the Third of May, 1808
Oil on Canvas

Color is used to create an area of emphasis. The person being executed in depicted in bright, warm colors while the surrounding area contains cool colors; greens, violets. blues. 




Implied Line - Vertical

Abolitionist leader Frederick Douglass was born into slavery sometime around 1818 in Talbot County, Maryland. He became one of the most famous intellectuals of his time, advising presidents and lecturing to thousands on a range of causes, including women's rights and Irish home rule. Image source link below:




Implied Line - Vertical
Pyramids of Giza


Implied Line - Vertical
 Nidaros Cathedral, Trondheim, Scandinavia
This Cathedral hosts the relics of St. Olav, a Norwegian king and a national hero. Thus is became an important pilgrimage destination. Moreover, this church is the most important in Norway and the largest medieval building in Scandinavia.


Implied Line - Vertical
Skyscrapers, New York City






Examples of elements and principles found in the grocery store. 
Left - Sleep Aid Medication. Implied and actual horizontal lines are used - visually communicates calm. The text is carefully, evenly presented in horizontal format. Bans of color contain the text. Small dots are arranged to imply horizontal lines. Violet, blue and green are cool colors -  suggest darkness, depth (night time). The package design also utilizes semiotics - the moon is a symbol for night time.

Right - Children's Cereal. Diagonal line direction implied - energy. Both cool and warm colors are used - another visual tool to imply energy as cool and warm colors visually vibrate when used together. Semiotics - an animated figure, smiling bird swinging on vine, having fun, bird is neutral object - all kids can relate.

Monday, September 23, 2019

Sunday, June 9, 2019

The World Before Your Feet



Director:
 
Jeremy Workman
With:
 
Matt Green, Jason Eppink, Garnette Cadogan, Daniel Fleischer, Bill Helmreich, Miriam Green, Barry Green, Jonathan Green, Nicky Rodriguez, Carolyn Bricklin-Small.
Release Date:
 
Nov 21, 2018
1 hour 35 minutes


An engaging documentary about one man's quest to walk every block — and park, and bridge, et al. — of New York City’s five boroughs.

by Dennis Harvey


An engaging illustration of the difference between merely looking and really seeing, Jeremy Workman’s “The World Before Your Feet” profiles Matt Green, whose current occupation is walking every block (and park, and bridge, etc.) of New York City. It’s a labor of love that’s already consumed years, with no end yet in sight — but then, Green is most definitely an “It’s the journey, not the destination” type. This portrait of one man’s eccentric yet appealing, even enviable quest is a gently philosophical exercise in armchair travel that underlines how much of our own immediate “world” we take for granted.

The thirtysomething Green is a former civil engineer who at some point decided a desk job — or any conventional employment — was not for him, and for whom this isn’t his first such rodeo (in 2010 he walked across the United States, from Rockaway Beach, N.Y., to Rockaway Beach, Ore.). But that coast-to-coast journey took just five months. Green’s subsequent, ongoing task may end up covering three times that 3,000-mile length, despite being limited to New York City’s five boroughs. It’s further elongated by his compulsive research on the history and fascinating trivia behind each tiny slice of the Big Apple — some of which he posts on his walking blog/journal. But he’s running way behind on that, too.


This vocation no doubt conjures images of our protagonist chin-wagging with colorful, gregarious “melting pot” types on the teeming urban streets. And indeed, there’s a certain amount of that, not least because Green is an affable sort always happy to explain his purpose to curious passers-by. But as he pads across the farthest reaches of Governor’s Island, The Bronx, Brooklyn, Queens, Staten Island, et al. in weather both fair and very foul, one is struck by how much open, abandoned and just plain obscure space exists even in the nation’s most densely populated (8.5 million) city.

Workman (“Magical Kingdom,” “Who is Henry Jaglom?”) creates a sort of semi-bucolic “city symphony” film out of his subject’s very diverse days on foot. There are amusing digressive montages taking note of Green’s favorite recurrent details, including “churchogogues” (former synagogues converted into churches by shifting neighborhood demographics), hidden edible plantlife, barber shop signs spelled with Z’s (e.g. “Klassic Kutz”), 9/11 memorials, community gardens, and so forth.

We also get a wee fraction of the historical errata he digs up, much of which isn’t in the standard guidebooks. There’s the site of the city’s erstwhile Municipal Slave Market (which closed a full century before the Civil War), as well as Malcolm X’s assassination and the first U.S. birth control clinic. Exploration of cemeteries reveals graves for luminaries from Houdini to painter Basquiat and salsa queen Celia Cruz. Toward the end, he tracks down an approximately 400-year-old tree, the region’s oldest, which was “born” before the earliest Dutch settlement laid claim to what would later become New York.



As ingratiating as he is, Green is also something of a blank — less a deep well than an absorbent surface, like many people who obsessively devote themselves to a singular pursuit. He survives on about $15 a day, crashing on friends’ couches or occasionally cat-sitting. The question he most frequently has to fend off is why he does this — no one can believe there isn’t “some kind of revenue stream” as an end-goal, like becoming a paid guide or publishing a book. But such things don’t interest Green, who shrugs “The point of it all … Well, I don’t really know what the point is.” Like the concurrent “Free Solo,” this is a documentary about a protagonist whose devotion to one thing leaves very little room for anything (or anyone) else — as two politely disappointed ex-girlfriends confirm here.

“The World Before Your Feet” fully exploits the geographic, thematic, and human-interest variety of its subject’s grand project, while Workman’s cinematography and editing achieve impressive textural variations in themselves. His assembly echoes the observation that the “random pieces of a puzzle” Green assembles on his endless tour reveal “the parts are greater than the whole.” In other words, a city’s real depth of meaning lies in its accumulated minutiae, not in the surface glitter of imposing monuments, headline-making events, or even the oft-oblivious routine of everyday experience.

While some more skeptical strangers seem to think Green is wasting his time, “World” makes it easy to admire the logic of his explanation that “It’s just about the value of paying attention to something.”





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Thursday, May 9, 2019

Lucie Blissett



'Self Portraits of My Gendered Objects,' is a series developed during writing my dissertation this year. The photographs are examining my own material culture. The belongings I own display my female gender through colour, texture, and the relation it has to society's expectations of gender roles. The color pink represents the feminine. Each photograph shows my own objects taken from my home and placed in a studio environment. The investigation is to question how femininity is seen in our contemporary society and how it still hasn't changed. 

Source link here.