WHAT DO YOU SEE? Let’s ANALYZE Some PAINTINGS

1. WHAT DO YOU SEE?Let’s ANALYZE Some PAINTINGS

2. ‘Composition VIII’, 1923, Wassily Kandinsky Oil on canvas, 140 x 201 cm (55 1/8 x 79 1/8 in)

3. ‘Woman I’ Willem De Kooning Oil on Canvas

4. Pablo Picasso’s ‘Les Demoiselles d’ Avignon’

5. ‘Still Life with a Ginger Jar and Eggplants’, 1890-94, Paul Cezanneoil on canvas, 28 1/2 x 36 inches (72 x 91 cm)

6. DedeEriSupria‘Urban Class’,1977Oil on Canvas, 200x100cm

7. Cindy Sherman‘Untitled Film Stills’

8. BayuUtomoRadjikin ‘Lang Kacang’, 1991 Mixed media 141 x 104 x 120 cm

9. The 7 Principles of Design FELDMAN’s Approach to Reading a Painting The 7ELEMENTS OF DESIGN

10. 1. Line 5. Value 2. Shape 3. Form 6. Texture The 7ELEMENTS OF DESIGN 7. Space 4. Colour Complex Correlation

11. 1. LINE • A mark with length and direction. It refers to the continuous mark made on some surface by a moving point. • Tools used to create lines (materials/ approach) • Types of lines and what they say

12. LINE • Lines can be created using various tools. Lines can be created by drawing, painting, printing, incising etc. Possible Materials/Tools: Pencil (2B, 4B, 6B, H, etc) Colour Pencil (+ Water) 3. Pen (+ Ink & Water) 4. Chalk/ Oil Pastels 5. Paints (Watercolours/ Poster Colours, Acrylic, Oil, etc) 6. Brushes (Flat, Round, Big, Small, etc) 7. Others (Sticks, Lipsticks, Paper, Rust etc)

13. LINE Lines can be seen in some artworks as patterns or outline of objects. • There are various different types of line: Vertical, horizontal, diagonal, straight/ ruled, curved, bent, angular, thin, thick/ wide, interrupted (dotted, dashed, broken, etc.), blurred/fuzzy, controlled, freehand, parallel, hatching, meandering, spiraling etc. • Lines often define a space and may create an outline/ contour, define a silhouette; create patterns/ shape/ movement and the illusion of mass/ volume. 

14. Lines can be expressive! LINE It can convey messages. Certain kinds of lines create feelings of nervousness, weakness, strength, dominance/ power.

15. Materials/ Approach: • Use of bold thick brushes • Oil paint • Rub, scrap off & re-paint • Paint left to drip • Line quality: • Aggressive brushwork used to outline the shape of the figure. • Organic black lines which appears thick or thin based on the pressure and the ‘attack’ on the canvas. • Lines created from scraping of paint/ thin layers of paint. LINE ‘Woman I’ Willem De Kooning, Oil on Canvas

16. Materials/ Approach: • Dripping of Paint to create an ‘Action’ Painting • Enamel paint • Use of a stick/ fine brush • Canvas on floor. • Line quality: • Fluid and layers of paint dripped in a rhythmic formation of lines. • Organic curvy lines which appears thick or thin depending of the speed and energy exert by Pollock. • Overlapping of black, white and grey lines. LINE ‘Cathedral’, Jackson Pollock, 1947

17. DedeEriSupria, ‘Urban Class’,1977Oil on Canvas, 200x100cm LINE • Materials/ Approach: • Meticulous capturing of the illusion of depth, space and form. • Carefully composed image with no visible intention of presenting lines as lines. Rather, the lines (if any evident) are used to define a space, an outline, a implied form or for textural qualities. • Line quality: • No visible lines intended. Illusion of mass/ volume created with colours, tones and use of lines. • Objects that are linear in nature (Eg. The vertical stilts) create a sense of balance and perspective in the painting.

18. 2. SHAPE • it is an enclosed space defined and determined by other art elements such as line, colour, value and texture. • Geometric and Organic Shapes • Shapes as symbols • Shapes that evokes feelings

19. Geometric and Organic Shapes SHAPE • Examples of organic shapes include: • Anything that do not have a regular fixed shape. Anything from nature. • Examples of geometric/ inorganic shapes include: circle and oval; polygon such as triangle, square, rectangle, rhombus, trapezium, trapezoid, pentagon etc. Organic shapes are often described as amorphous and biomorphous.

20.  • Shapes as Symbols SHAPE • Simple shapes may be given contextual meanings and hence become recognizable symbols  

21. SHAPE • Shapes can evoke feelings by changing their colours.

22. SHAPE Wassily Kandinsky, ‘Composition VIII’, 1923, Oil on canvas, 140 x 201 cm • Materials/ Approach: • Detailed and mathematical approach to painting. • Appear to have used mathematical tools like rulers, compasses etc • Shape quality: • Geometric shapes of varying sizes. (eg. Circles, triangles, grids etc) • Gradual and mild colours used for individual shapes to create a sense of unity/ balance in the painting. • Patterns, Rhythm and sense of depth created with repeated use of certain shapes.

23. Materials/ Approach: • Oil Paint on Canvas • Carefully conceived composition and layout which shows multiple angles and viewpoint of objects. • Shape quality: • Angular shapes combined to form the figure, an organic form. • Nature of cubism. • Shapes that are suggestive of fruits. • Colours added in shapes to create illusion of form SHAPE Pablo Picasso ‘Les Demoiselles d’ Avignon’ Oil on Canvas

24. 3. FORM • Form also refers to an element of art that is three-dimensional (height, width and depth) and encloses volume. It is the total physical characteristics of an object. • For example, a triangle, which is two-dimensional, is a shape, but a pyramid, which is three-dimensional, is a form. • Cubes, spheres, ovoids, pyramids, cones and cylinders are examples of various forms. • Organic Vs Geometric Form

25. 4. COLOUR • Colour is produced by light of various wavelengths, and when light strikes an object and reflects back to the eyes. • When the spectrum is organized as a color wheel, the colors are divided into groups called primary, secondary and intermediate (or tertiary) colors; analogous and complementary, and also as warm and cool colors.

26. COLOUR • Colors can be objectivelydescribed as saturated, clear, cool, warm, deep, subdued, grayed, tawny, matt, glossy, monochrome, multicolored, particolored, or polychromed. • Some words used to describe colors are more subjective (subject to personal opinion or taste), such as: exciting, sweet, saccharine, brash, garish, ugly, beautiful, cute, fashionable, pretty, and sublime.

27. The Colour Wheel COLOUR

28. Warm Colours Vs Cool Colours

29. SYMBOLISM and EMOTIONS COLOUR • Color conveys meanings in two primary ways - natural associations and psychological symbolism. • It is not mind control. The truth of the matter is that people are comfortable when colors remind them of similar things. Eg. a soft shade of blue triggers associations with the sky and a psychological sense of calm.Successful design requires an awareness of how and why colors communicate meaning. The source of these meanings can be quite conspicuous, such as those found in nature — red is the color of blazing fire and blood, blue the color of cooling waters and the sky. Other meanings may be more complex and not universal.

30. COLOUR Natural AssociationsOccurrences of colors in nature are universal and timeless. For example, the fact that green is the color of vegetation can be considered a universal and timeless association.

31. Psychological/ Cultural Associations COLOUR • Color may generate another level of meaning in the mind. This symbolism arises from cultural and contemporary contexts. As such, it is not universal and may be unrelated to its natural associations. • Eg, green’s associations with nature communicate growth, fruitfulness, freshness and ecology. On the other hand, green may also be symbolic of good luck, seasickness, money and greed — all of which have nothing to do with green plants. These associations arise from a complex assortment of sources.

32. Psychological/ Cultural Associations COLOUR • Furthermore, color may have both positive and negative symbolism. • For example, although blue is the beautiful color of the sky on a sunny day, it can be symbolic of sadness or stability. Idiomatic American English reflects these traits in phrases such as “singing the blues” and “blue chip stocks.” • Red is another example of dual symbolism. On one hand, as the color of fire and blood, it is an energizing, aggressive and bold color. In direct contrast, red is used for “STOP” signs throughout the world today.

33. Although there are no absolutes, there are logical sources for the range of complex and sometimes contradictory psychological/cultural meanings of colors. These may arise from any of the following: COLOUR 1. Cultural associations: the color of currency, traditions, celebrations, geography, etc. (Eg, green is associated with heaven (Muslims) and luck (U.S. and Ireland)2. Political and historical associations: the color of flags, political parties, royalty, etc. (Eg, green is the color of Libya's flag; it’s the favorite color of Emperor Hirohito and the source of "Green Day" in Japan, and in the U.S., the Green Party.)

34. COLOUR 3. Religious and mythical associations: the colors associated with spiritual or magical beliefs (Eg, the green man was the God of fertility in Celtic myths, a symbolism that carries over into today’s associations of Green M&M candies with sexuality in the U.S. Also, in contemporary Western culture, green is associated with extraterrestrial beings.)4. Linguistic associations: color terminology within individual languages (Eg, South Pacific languages refer to shades of green by comparison to plants in various stages of growth. In Scottish Gaelic the word for blue ('gorm') is also the word used for the color of grass.5. Contemporary usage and fads: current color applications to objects, sports, and associations generated by modern conventions and trends. (Eg, green is used world wide for traffic lights signifying "go." In Scandinavia, green has been a popular color for many decades. In the U.S., “avocado green” was a popular color for appliances in the 1960s. Today, lime green has been a hip and trendy color in fashion and advertising in the US since the late 1990s.) • http://www.colormatters.com/brain.html

35. The bride in this Renaissance masterpiece wears green as a symbol of her fertility. She is slouching in imitation of pregnancy, thus indicating her willingness to bear children.

36. 5. VALUE (TONE) • Value refers to the lightness or darkness of a colour. This is important in any polychromatic image, but it can be more apparent when an image is monochromatic, as in many drawings, woodcuts, lithographs and photographs. This is commonly the case in much sculptures and architecture too. • Changes in value, whether sudden or gradual, can add greatly to the visual impact of art forms. Changes in value can also be used to help the artist express an idea.

37. A value scale employing a smoothly nuancedgradation of values. VALUE (TONE) A value scale — or gray scale — in eight stepped grades of values. And another stepped scale produced by hatching and cross-hatching.

38. VALUE (TONE) •  Below: another value scale — or gray scale — in which stepped grades of values are labeled for their percentages of black, and values used to give planarshapes greater solidity and depth.

39. VALUE (TONE) • A full range of values can also be produced by a variety of other means. These include hatching and stipple techniques, as well as with textures and patterns of other sorts. • The following illustration shows colors of various values. Value changes from pure hues are called shades and tints. On the right, pure hues are marked by dots. Notice how their values — their positions beside the gray scale — are varied.

40. 6. TEXTURE • Texture is the surfacequality or "feel" of an object, its smoothness, roughness, softness, etc. • Textures may be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are suggested by an artist in the painting of different areas of a picture — often in representingdrapery, metals, rocks, hair, etc. Samuel van Hoogstraten (Dutch, 1627-1678), Trompe-l'oeil, 1664, oil on canvas, 45.5 x 57.5 cm, ‘Woman I’, Willem De Kooning Oil on Canvas

41. Examples of textures: Words describing textures include: flat, smooth (third row, right), shiny, glossy, glittery, velvety, feathery, soft, wet, gooey, furry, sandy, leathery (second row, right), crackled (upper left), prickly, abrasive, rough (first row, right), furry, bumpy, corrugated (second row, left), puffy (second row, third), rusty (third row, second), slimey (third row, third). TEXTURE

42. 7. SPACE • An element of art that refers to the distance or area between, around, above, below, or within things. It can be described as two-dimensional or three-dimensional; as flat, shallow, or deep; as open or closed; as positive or negative; and as actual, ambiguous, or illusory.

43. two-dimensional space ‘Illusion of Depth’ flat, shallow, or deep “Workers in a Canteen” by Chua Mia Tee SPACE ‘Les Demoiselles d’ Avignon’ by Pablo Picasso ‘Cathedral’, Jackson Pollock, 1947

44. SPACE • Space is implied when perspective is used. Other methods used to suggest space include overlapping objects, scaling and shading. • perspective - The technique artists use to project an illusion of the three-dimensional world onto a two-dimensionalsurface. Perspective helps to create a sense of depth — of receding space. • Fundamental techniques used to achieve perspective are: controlling variation between sizes of depicted subjects, overlapping some of them, and placing those that are on the depicted ground as lower when nearer and higher when deeper. In addition, there are three major types of perspective: aerial perspective, atmospheric perspectiveand linear perspective. http://studiochalkboard.evansville.edu/draw.html

45. Three-dimensional space SPACE “A Thousand Years” by Damien Hirst “Temple of the Mind” by Montien Boonma “In Bed” by Ron Mueck

46. SPACE • In these images, negative spaces have been shaped and placed among positive spaces so that a viewer can make closure on a triangle, a square, and a cube.

47. When Analyzing Works Objectively….. The 7 PRINCIPLES OF DESIGN The 7ELEMENTS OF DESIGN FELDMAN’s Approach to Reading a Painting