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Developing Critical Thinking

Developing Critical Thinking. Form, Subject, Content. Form may be defined as the physical manifestation of an idea or emotion. Two dimensional forms are created using line, shape, texture, and color. Form, Subject, Content.

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Developing Critical Thinking

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  1. Developing Critical Thinking

  2. Form, Subject, Content • Form may be defined as the physical manifestation of an idea or emotion. Two dimensional forms are created using line, shape, texture, and color

  3. Form, Subject, Content • The subject, or topic, of an artwork is most apparent when a person, an object, an event, or a setting is clearly represented. For example, the conflict between the rebels and the Empire provides the subject for Star Wars.

  4. Form, Subject, Content • The emotional or intellectual message of an artwork provides its content, or underlying theme. The theme/content of Star Wars is the journey into the self.

  5. Stop, Look, Listen, Learn • Objective criticism is used to assess how well a work of art or design utilizes the elements and principles of design.

  6. Stop, Look, Listen, Learn • Subjective criticism is used to describe the personal impact of an image, the narrative implications of an idea, or the cultural ramifications of an action.

  7. Types of Critiques • Description • A descriptive critique is a critique in which the viewer carefully describes what he or she sees when observing a design.

  8. Gustave Caillebotte, Place de l’Europe on a Rainy Day, 1877

  9. Types of Critiques • Cause and Effect • A cause and effect critique is a critique in which the viewer seeks to determine the cause for each visual or emotional effect in a design. For example, the dynamism in a design may be caused by the diagonal lines and asymmetrical balance used. Also known as formal analysis.

  10. Gustave Caillebotte, Place de l’Europe on a Rainy Day, Compositional Diagram

  11. Types of Critiques • Compare and Contrast • A compare/contrast critique is a critique in which similarities and differences between two designs are analyzed. Often used in art history classes to demonstrate differences in approach between artists.

  12. Raphael, The School of Athens, 1509-1511

  13. Cally Iden, Transforming Crouse College into a Labyrinth, Student Work

  14. Tricia Tripp, Transforming Crouse College into a Labyrinth, Student Work

  15. Initial Design and Design variation

  16. Developing a Long Term Project • Week One Assessment • Determine Essential Concept • Explore Polarities • Move from General to Specific • Move from Personal to Universal

  17. Developing a Long Term Project • Week Two Assessment • Develop Alternatives • Edit Out Nonessentials • Amplify Essentials

  18. Jason Chin, A is for Apollo (left) and U is for Urania (right), Student Work

  19. Turn up the Heat: Pushing your Project’s Potential

  20. Should anything be added to the design?

  21. Should anything be subtracted?

  22. What happens when any component is multiplied?

  23. Can the design be divided into two or more separate compositions?

  24. Claes Oldenberg and Coosje van Bruggen, Shuttlecocks, 1994

  25. Blocks

  26. Reorganization • In time based work, changing the organization of the parts of the puzzle can completely alter the meaning of the piece.

  27. Angela contemplates entering the building.

  28. Angela now wonders what will happen when she opens the door at the top of the stairs.

  29. By repeating the image of Angela, we can present a dilemma: she is now in a labyrinth—which route should she take?

  30. Concept and Composition

  31. Robert Rauschenberg, Monogram, 1955-59

  32. Robert Rauschenberg, Monogram, 1st state, c. 1955

  33. Robert Rauschenberg, Monogram, 2nd state, c. 1956

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