The Three Components of Art Show
Objective images, which represent people or objects, look as close as possible to their real-world counterparts and can be clearly identified. These types of images are also called representational.  Oil on canvas, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999. Ceramic, 36 x 20 1/2 x 7 1/4 in. Gus Heinze, Expresso Cafe, 2003. Acrylic on gessoed panel, 32 x 35 1/2 in. Artists who explore the process of abstraction (simplification and rearrangement) create images that look less like the object on which they are based, although they may still be recognizable.Oil on canvas, 30 1/2 x 42 7/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995. Oil on canvas, 39 1/2 x 47 1/2 in. Oil on canvas, 58 x 35 in. Harold E. Edgerton, Baseball hit-fly ball, 1950s-1970s. Gelatin silver print Oil on canvas, 7 ft. 6 3/8 in. x 4 ft. 9 1/8 in. Regardless of the type of art, the most important consideration is what is done with the subject. After you recognize the subject in a work (whether it is obvious or not), ask yourself whether the artist has given it expression. Oil on canvas, 8 ft. 9 in. x 17 ft. 3 in. Charles Sheeler, Golden Gate, 1955. Oil on canvas, 25 1/8 in. x 34 7/8 in. Form As a component of art, the word form refers to the total overall arrangement or organization of an artwork. It results from using the elements of art, giving them order and meaning through the principles of organization. When studying a work's form, we are analyzing how the piece was created. More specifically, we are examing why the artist made certain choices and how those choices interact to form the artwork's final appearance. In this sense, the word form may actually be thought of as a verb rather than a noun.The elements of art, which include line, texture, color, shape, and value, are the most basic, indispensable, and immediate building blocks for expression. Their characteristics, determined by the artist's choice of media and techniques, can communicate a wide range of complex feelings. All artists must deal with the elements singularly or in combination, and their organization contributes to the aesthetic success or failure of a work. Based on the intended expression, each artist can arrange the elements in any manner that builds the desired character into the piece. However, the elements are given order and meaningful structure when arranged according to the principles of organization, which help integrate and organize the elements. These principles include harmony, variety, balance, proportion, dominance, movement, and economy. They help create spatial relationships and effectively convey the artist's intent. The principles of organization are flexible, not dogmatic, and can be combined and applied in numerous ways. Some artist arrange intuitively, and others are more calculating, but with experience, all of them develop an instinctive feeling for organizing their work. So important are these concepts of elements and principles that they are studied separately. Content The emotional or intellectual message of a work of art is its content - a statement, expression, or mood developed by the artist and interpreted by the observer. Of the three components of art, content may be the most difficult to identify, because the audience, without direct communication with the artist, must decipher the artist's thoughts by observing the work's subject and form. For example, in Young Girl in the Lap of Death, the striking emphasis of the left-to-right diagonals, the sharp contrasts of light and dark values, and the aggressive and powerful drawing strokes give us some insight into Kathe Kollwitz's concern for life, though we may not understand the depth of her passion.Kathe Kollwitz, Young Girl in the Lap of Death, 1934. Ideally, the viewer's interpretation is synchronized with the artist's intentions. However, the viewer's diversity of experiences can affect the communication between artist and viewer. For many people, content is determined by their familiarity with the subject; they are confined to feelings aroused by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the image but is reinforced by the form. This is especially so in more abstract works, in which the viewer may not recognize the image as a known object and must, thefore, interpret meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, can still deliver content if the observer knows how to interpert form. Occasionally, artists may be unaware of what motivates them to make certain choices of image or form. For them, the content of the piece may be subconscious instead of deliberate. For example, an artist who has had a violent confrontation with a neighbor might subconciously need to express anger (content) and is thus compelled to work wit sharp jagged shapes, bitter acrid reds, slashing agitated marks (form), and exploding images (subject). Sometimes the meaning of nonobjective shapes becomes clear in the artist's mind only after they evolve and mutate on the canvas. Although it is not a requirement for enjoying artwork, a little research about the artist's life, time period, or culture can help expand viewpoints and lead to a fuller interpretation of content. For example, a deeeper comprehension of Vincent van Gogh's specific and personal use of color may be gained by reading Van Gogh's letters to his brother Theo. His letters expressed an evolving belief that color conveyed specific feelings and attitudes and was more that a mere optical experience. He felt that his use of color could emit power like Wagner's music. The letters also revealed a developing personal color iconography, in which red and green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of heaven, and yellow symbolized love. For Van Gogh, color was not strictly a tool for visual imitation but an instrument to transmit his personal emotions. Color symbolism may not have been used in all his paintings, but an understanding of his intent helps explain some of his choices and the power in his work. Vincent van Gogh, The Night Cafe, 1888. Oil on canvas, 27 1/2 x 35 in. When designing for printed messages which key design elements should be considered to achieve effective graphic design?5 Key Components of Good Graphic Design. White Space. White space (or negative space) is often overlooked but is essential to creating clean, crisp communications. ... . Contrast. ... . Repetition. ... . Alignment. ... . Composition. ... . Using Words When an Image Will Do. ... . Alignment Chaos. ... . Long Sentences.. Which of the following can help a document's readability by adding white space to the document design?Lists, when used correctly, are powerful tools to enhance readability. Lists allow you to emphasize important ideas, simplify long sentences or paragraphs, and help you add white space to make reading more pleasant. Follow these guidelines when creating lists of any kind: Include between 2-8 items in a list.
Which of the following can improve the readability of a message?Four techniques that improve readability are varying sentence length, keeping paragraphs short, using lists and bullets, and adding headings and subheadings. Varying sentence length helps make your writing more dynamic while emphasizing the most important points.
Which of the following refers to any modification that lends contrast or emphasis to a text including boldface italic underlining and color?Type Styles Type style refers to any modification that lends contrast or emphasis to type, including boldface, italic, underlining, and color. For example, you can boldface individual words or phrases to draw more attention to them.
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Any space that is free of text or artwork in a message is considered __________.
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