art app mid

8/20/2019 art app mid

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Hyperbole

Hyperbole (pronounced hi-per-boh-lee) is a figure of speech that uses extreme exaggeration. An example ofhyperbole is 'Flick won the !! metre race by a mile'. "f taken literally this sentence does not make any sense.Figurati#ely this sentence means that Flick won the race by a long way. Hyperbole is used by composers toemphasise a point. $ook at the following examples and decide whether the literal or the figurati#e has more

impact.

Hyperbole% '"t's been ages since lunch.'Literal: '"t's been two hours since lunch.'

Hyperbole: '"'m so hungry " could eat a horse.'Literal: '"'m so hungry " could eat a lot.'

Hyperbole: '&here are millions of people at the shopping centre.'Literal: '&here are lots of people at the shopping centre.'

Allusions and symbolism

Allusion and symbolism are #ery closely linked to connotation. An allusion is when a composer makes a

reference to another text or person within their own text for example%

'Her date was due to pick her up at any moment so achel rushed through her wardrobe like a white rabbit.'

Example one

&his allusion compares achel's rushing around to the tardy (late-running) white rabbit from $ewis arroll's'Alice's Ad#entures in *onderland'. "f you do not know the other text you may not understand the allusion sothe most effecti#e allusions are from well-known usually classic texts.

+ymbolism as well as being closely linked to connotation is also closely linked to context and culturalassumptions. "n e#ery cultural context there are symbols that ha#e meanings for people. "n a hristian culturefor example a cross represents spirituality in American culture the bald eagle represents American ,usticewhile the tiger might represent the courage and strength of the *ests ugby $eague lub or ichmond

Australian ules Football lub.

+ymbols can also change meaning according to context. &he 'golden arches' logo of conald's mightsymbolise a /uick way for a tra#elling family to ha#e some food. "t may symbolise corporate America orexploitation to a group of people concerned about the nutritional #alue of the food.

Synecdoche

(0ronounced si-123-doh-key) &his term is a figure of speech whereby the naming of an attribute of a sub,ectis a reference to the whole.

Synecdoche Explanation

All hands on deck! 'Hands' refers to the crew.

Check out my new wheels, bro. '*heels' refers to the entire car.

etonymy


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etonymy is a figure of speech whereby the naming of an attribute of a sub,ect is a reference to thewhole and a concept associated with that whole.

etonymy Explanation

he pen is mi"htier than the sword.&he 'pen' refers to acts written by pen and as suchis an attribute of diplomacy and the 'sword' is anattribute of military action.

his is a decision #rom Canberra.'anberra' refers to the capital city of Australia andthe concepts associated with it are the actions ofpoliticians.

Refer to the Practise hyperbole, allusions, symbolism, synechdoche, metonomy animation

Medium of the visual arts

1.1. MEDIUM OF THE VISUAL ARTS Prepared by: ERIC F. PAZZIUAGAN, RN, MAN

2.2. MEDIUMθ Refers to the materials which are used by an artist.θ A means by which he

communicates his ideas.θ Very essential to art.

3.3. Paintingθ The art of creating meaningful effects on a flat surface by the use of pigments.θ

Each medium exerts a pronounced effect on the finished product, is capable of varied

treatment, and determines its own stroke.θ The materials of the painter are pigments applied

to wet plaster, canvas, wood or paper.

4.4. Oilθ Pigments are mixed in oil.θ Surface: canvas, wood, paper, metalθ Most familiar type

of painting is done with oils on canvas.θ Surface most suitable: must receive oil freely and

yet not absorb it, can withstand temperature changes, and not crack the pigment on it.

5.5. θ Pigments mixed with oil provide a medium that gives richness in the opacity of light and

depth of shadow.θ Pigments can come from different sources: minerals, vegetable matter,

coal tars, and other chemical combinations.θ Ground by hand or machine then mixed with

oil.θ Painters usually depend upon those pigments which do not change through the years.

6.6. θ Oil painting: popular because there are many ways of handling oil pigments.θ It is

possible to get a wide range of separate effects.θ Pigment may be applied in a thick and

heavy manner or in washes of almost water color transparency.θ Oil color is the best method

for a convincing representation where reproduction of color is necessary.

7.7. θ Its ease of handling, the easy blending of tones, and the possibility of painting over and

covering any mistake are some of the reasons why oil painting is a very popular technique.θ

Two methods of painting in oil:θ Direct method- paints are opaque and are applied to the

surface just as they are to look in the finished product; more flexibleθ Indirect method: paint

is applied in many thin layers of transparent color

8.8. θ Disadvantages:θ Dries slowly and has a tendency to rise to the surface and form a film

over the picture, making it appear dull.θ Has a tendency to become yellow and crack so that

preservation usually becomes a problem.

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9.9. “Maria Makiling” by Carlos “Botong” Francisco

10.10. Temperaθ Mixture of ground pigments and an albuminous or colloidal vehicle, either egg,

gum, or glue, used by Egyptian, Medieval, and Renaissance painters.θ Special

characteristic: being an emulsionθ Watery, milk-like texture of oily and watery consistency.

11.11. θ Usually done on a wooden panel that has been smooth with a coating of plaster.θ The

colors are mixed with egg yolk.θ There is little blending or fusing of colors since paint dries

rapidly.θ Colors are laid on side by side or superimposed.θ Needs careful details.θ It is hard

to obtain rich, deep tones, and shadows.

12.12. θ Advantages:θ Dries readily with the evaporation of waterθ Great luminosity of toneθ

Colors are clear and beautiful.

13.13. “Madonna Enthroned with Four Saints”

14.14. Watercolorθ Pigments are mixed with water and applied to fine white paper.θ Good

watercolor paintings are not easy to make.θ Require a high degree of technical dexterity.θ In

pure watercolor painting, all the light comes from the ground.θ Paper is the most commonly

used ground.θ Other ground: parchment, ivory, silk, and cambric.

15.15. θ A medium familiar to every school child.θ Gouache: opaque water colorθ Made bygrinding opaque colors with water and mixing the product with a preparation of gum and

adding Chinese white to transparent watercolors.θ It differs from the brilliant quality of

translucent water color painting whose major effects are caused by the white paper.

16.16. Pastelθ The most recent medium.θ Possesses only surfaces of light, gives no glazed

effect, and most closely resembles dry pigment.θ Pigment is bound so as to form a crayon

which is applied directly to the surface, usually, paper.θ As support for pastel painting paper,

pasteboard or canvas is used.

17.17. θ As far as the technique is concerned, the painter is free to handle the material to suit

himself.θ It is a very flexible medium.θ Varied effects may be produced.θ Not a very popular

medium because no one has yet to discovered the way to preserve its original freshness.θ The chalk tends to rub off and the picture loses its brilliance.

18.18. Frescoθ The most popular type of painting.θ Colors are mixed with water and applied to

fresh plaster which absorbs the color.θ Since the pigment has been incorporated with the

plaster, it lasts until the wall is destroyed.θ Flourished during the 15th and 16th century.θ

Fresco means “fresh.”

19.19. θ The process begins with preliminary sketches, later enlarged to full-size cartoons which

are transferred to rough plaster.θ The coloring must be ready as soon as the plaster is put on

the wall.θ It is prepared by mixing a pigment with water or with water and lime.θ When this is

applied to the wet plaster, the lime binds the pigment to the plaster and makes the painting

part of the wall.20.20. θ Since fresco must be done quickly, it is a very exacting method.θ There is no changing

once the design is begun.θ Only earth pigments are used because of the chemical action of

the plaster on the paint.θ These colors have uniformity of tone and no glaring contrasts.

21.21. θ Disadvantages:θ Almost impossible to move a frescoθ Painting is subject to disasters

that may happen to the wall of which it has become a part.

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22.22. Acrylicθ The newest medium and one that is used widely by painters today.θ Synthetic

paints using acrylic emulsions as binder.θ Combine transparency and quick- drying qualities

of watercolor and are as flexible as oil.θ They are completely insoluble when dry and can be

used almost on any surface.θ They do not tend to crack, and tun yellow with age.

23.23. SCULPTUREθ In choosing a subject for the sculpture, the most important thing to

consider is the material.θ Substances available for sculpture are limitless.θ Different

materials require different methods of handling.

24.24. θ Soft medium: will lend itself to a modelling technique that uses squeezing and shaping

and continuously adding itself to it as the work goes on.θ Allows for the expansion of

gesture.θ Hard medium: requires the process of cutting and taking away from the block.θ

Confined to the limits of the piece of wood or stone.

25.25. Two Major Sculpture Processesθ Subtractive process:θ Unwanted material is cut awayθ

Carving of stone and woodθ Additive process:θ Example: Construction of figure by putting

together bits of clay, or by welding together parts of metal.θ Final result if putting together

smaller segments of the material.

26.26. Two types of Sculptureθ Relief: figures which are attached to the ground

27.27. θ Free standing: can be seen from all sides

28.28. Stone and Bronzeθ Stone:θ durable, resistant to the elements, fire, and other hazardsθ

Heavy and breaks easilyθ Marble- Favorite material in Greece and Italy; high gloss when

polished

29.29. θ Metals:θ Most commonly used is bronzeθ May be solid in small statuesθ Hallowed in

most large statues (heavy and expensive)θ Tendency to crack when cooledθ

Disadvantages: difficulty and intricacy in casting bronzeθ Rich color and texture: most

beautiful mediaθ Light and can support itself in many positionsθ Other metals: forged iron,

welded steel, and duraluminum

30.30. Woodθ Advantage: cheap, readily available, and easy to cutθ Polishes well and has asmooth shiny surface and beautiful color.θ Relatively light and can be easily made into a

variety of shapes.θ Popular in Paete, Pkil in Laguna and Betis, Pampanga,θ Drawback:

limited in size, burn easily, discolor and decay easily

31.31. Ivoryθ Intrinsic value of the material.θ Lends itself to technical mastery.θ Lacks the vigor

of wooden statuesθ Like wood, it also cracksθ Seldom used today.

32.32. Terra Cottaθ Plastic clayθ Yields to even the slightest pressure and can be worked and

re-worked until the artist has achieved what he wants to do.θ Unfired clay is a fragile material

and sculpture in this medium would have a short life.θ For a more durable work in clay, the

sculptor can fire the original in a kiln.

33.33. θ Result is terra cotta which means “cooked earth”θ Moderately coarse clay product firedat comparatively low temperature.θ Usually painted and coated with heavy glaze.θ Breaks

and chips easily.θ Not a strong material and it cannot stand strain or weight.θ Beautiful and

versatile medium.

34.34. Other Materialsθ Aluminumθ Chromiumθ Steelθ Plasticθ Less expensiveθ Less fragileθ

lightθ Chemically treated clayθ Stone for casting in liquid form

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35.35. Architectureθ Art of designing and constructing building.θ Functional definition: to fulfil a

need that leads to its creation.θ Materials used and the methods of assembling them are

among the factors contributing to architectural style.θ Materials: stone, wood, brick, concrete,

glass.

36.36. θ Wood:θ Common building materialθ Advantages: abundance, relative durability, and

high tensile and compressions strengthθ Disadvantages: Easily destroyed by moisture,

insects, and fireθ Plywood: improved the structural possibilities of wood; stronger than any

known material.

37.37. θ Stone:θ Material used when permanence is desiredθ Concrete:θ made of sand and

gravel mixed with cementθ high compressive strengthθ doesn’t crumble or break down

when subjected to heavy weightθ Does not corrode and is fire resistantθ Stronger: ferro-

concrete or reinforced concrete (reinforced with steel)

38.38. θ Steel:θ Tough alloy of iron in variable amountsθ Malleable under proper conditions

and greatly hardened by sudden coolingθ Tensile strengthθ Made possible the building of

the high-rise structures which are very popular this days.

39.39. Types of Constructionθ Post-and-lintel:θ Consists of two vertical posts for support (post)and horizontal one (lintel).θ Generally used for wooden buildings.

40.40. θ Archθ Dominant in Roman architectureθ Architectural forms built from pieces of wood

called voussoirs with joints between them and are arranged in semi-circle.θ All materials are

in compressionθ Typical for stone construction: can stand great pressureθ Dome is an

extension of the archθ Roof resembling an inverted cup or hemisphere, formed by round

arches or vaults rising from a round or many-sided base.

41.41. θ Cantileverθ Any structural part projecting horizontally and anchored at one end only.θ

Needs a beam with tensile strength, and does not crack or break easilyθ Largely utilized in

buildings with steel as medium θ Wood is also used but is limited since it has a tendency to

warp, sag or rot.θ Used in construction of skyscrapers which depends for support upon asteel skeleton.

HE $%S&AL A'S (0ainting +culpture and elated Arts)

The visual arts are called such because, being composed in space, they can be seen. Their

appreciation is experienced through the eyes, primarily, and through the sense of touch,

particularly in sculpture.

(A%)%)*

• &he medium of painting is color. olor is applied on surfaces such as can#ass cloth

wood paper and the likes to produce images and meanings.

• 0igment is that part of painting that pro#ides the color and pigment is taken from organic

sources like trees #egetables and other natural elements.

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Spolarium by +uan Luna.

&he painting was submitted by $una to the Exposición Nacional de Bellas rtes

in 445 where it garnered a gold medal.

Common Color edium%L. -eatures : olor pigments are ground and mixed with linseed oil to produce a li/uid-like

constituency whose #iscosity (thickness or fluidness) can be thinned by turpentine or any other

sol#ent. "t is a flexible medium. "t is slow to dry but it can be applied by any kind and si6e of

airbrush. "t can co#er or o#erlay pre#ious layers thus create translucent effects in the

combinations of colors or e#en erase what a painter may wish to change.

ona Lisa by Leonardo da $inci oil/


7/19

AC'0L%C. -eatures : &his is the most common medium easily accessible and inexpensi#e. "tis #ersatile as this synthetic paint may be mixed with water to tamper thickness or thinness. "t isflexible and can be applied to any space. "t is /uick to dry and does not crack or turn yellow withage.

iss Sasha Colette acrylic/

1AE'CL'. -eatures : 0igment in watercolor is mixed with water rather than with oil. "tdries /uickly hence it is a difficult medium to control. "t is characteri6ed by the transparency ofits texture which is controlled by the amount of water that the artist mixes with the paint.

1atercolor (aintin"

E(E'A. -eatures : 0igments are taken from organic pigments mixed with egg. "t is usuallyapplied on wooden panels surfaced with gesso (combination of gypsum and gelatine). "t dries/uickly.


8/19

E"" empera (aintin" by )iccolo Semiticolo tempera/

-'ESC. -eatures : Fresco painting is produced when organic pigments are mixed with waterand applied to a damp plaster wall. &his allows water to seep into the surface and become apart of the wall and remains so until the wall falls. &his was the process that ichelangelo usedin painting the ceiling of the +istine hapel in ome.

he Sistine Chapel Ceilin" by ichelan"elo #resco/

E)CA&S%C. -eatures : 2ncaustic process adds colored pigments to heated beeswax. &hemixture is then applied to porous surfaces like wood. &his is an ancient techni/ue used to paintportraits and other images on coffins.


9/19

Encaustic (aintin"

'ELAE2 $%S&AL A'S

2'A1%)*

rawings are the outlined designs of paintings. "t is the most fundamental of the skills in the

#isual arts and is the route artists take to ac/uire techni/ue. "t often sets the final designs in

paintings the rough draft of a proposed work.&he mediums used in drawing are pencil lead

ink pastel chalk charcoal crayons and sil#erpoint.


10/19

SA%C

osaic is the art of creating a picture by assembling pieces of colored glasses stones and

other materials. &hese small cubic pieces glued to a surface by glue or plaster to create images

are called tesserae. osaic art was important in the interiors of cathedrals which depicted thelife of hrist or the #arious e#ents in the 7ible.


11/19

SA%)E2 *LASS

+tained glass art uses assembled pieces of colored glass to create pictures. &he translucent

glass pieces allow light to produce #arious color #alues to affect a glorious atmosphere. &hese

pieces are assembled with strips of lead or iron placed in positions that will hold the glass

pieces. +ub,ects were religious personages and images complementing the teachings of thehurch.


12/19

A(ES'0

&apestries were the art forms of royalty as tapestry artists were usually members of royal

families who wo#e these from expensi#e silk and gold threads. &hese were hung on walls of

castles palaces and cathedrals. "t is produced by wea#ing two sets of interlaced threads on a

#ertica loom % one set running parallel to the length (called the !arp) and the other width(called !eft ).


13/19

('%)A3%)*

&his in#ol#es creating images from ink that is transferred to paper from another material either

wooden block or metal plate that are etched or car#ed with designs in the re#erse position. &his

is so when ink is applied o#er the surface and this mold is pressed o#er paper an image is

printed out. 0rints ha#e been produced in 5 different ways %

• 'elie# printin" woodcut/. &he ink sits on the top surface of a plate or block that hasbeen car#ed.

• %nta"lio printin" etchin" and en"ra4in"/.&he ink sits in the groo#es.

• (lano"raphic printin" litho"raphy/. &he matrix is flat and the printing part is treated

to hold ink the other parts to repel it.

• Stencil printin" silkscreen/. &here is a hole cut in the matrix and the ink is pushed

through it.


14/19

A'(A&L%)

&arpaulin (or tarp) is a durable plastic sheet that is water resistant and waterproof. "t is easy to

reproduce. A designer makes the art work using digital graphic design softwares (like

0hotoshop) and bring these files to shops for printing.

SC&L(&'E

"t is a 8-dimensional work of art made of material like stone metal glass wood bron6e clay

iron steel paper metal marble wood and e#en soap chocolate butter balloons ice snow

and sand. &hese are car#ed assembled constructed fired welded molded or cast and its final

forms are often painted. ost of these are called statues 8-dimensional images of persons or

animals shaped from solid substances.


15/19

edium. epending on ob,ecti#e of the sculptors they use medium such as bron6e and stone

(like marble limestone and granite) precious materials (like gold sil#er ,ade and i#ory) hard

wood (like narra mola#e) glass terracotta ceramics.


16/19

(H*'A(H0Photography (from the Greek 'phos' which means light and 'graphis' which

means representation by drawing) is the process of creating pictures using

light projected on a light-sensitive medium (the photographic lm) !t is the

art of recording light on a sensitive material called lm made from thin "

transparent base coated with light sensitive chemicals


17/19

Photography uses light as its prime source and the chemical processing of

light-sensitive materials" its medium" to produce its composition # the picture

Photography re$uires the manipulation of a camera that captures images

through the re%ection of light from a subject &he inventions of photography

allowed artists to faithfully copy images in the real world

&raditionally the images are reproduced in 'negati#es' (because these images are in their

re#ersed states % dark spots are light and light spots are dark) and processed to produce these

images' opposite ('positi#e') states on photographic paper.

&he art in photography does not solely reside on the camera but on the skills and techni/ues of

photographer in controlling the tool. +ome of the basic concepts that a photographer needs to

control%• -ocus. &he ad,ustment to place the sharpest focus where it is desired on the sub,ect.

• Exposure. &he amount of light that reaches the film.

• Aperture. &he aperture (or diaphragm) is like the iris of our eyes that controls the

amount of light passing through the lens.

• Shutter speed. "t controls the time during which the image is captured. &he shutter is

the mechanical de#ice in a camera that controls the amount of time light is allowed to exposethe film.


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-ore"round 5 6ack"round 'elationship

&he foreground contains the leading line that is the line that leads the eye into the photograph

and toward the point of interest. *hether this line is an ob,ect or series of ob,ects or shadows it

should be sharply focused. A fu66y out-of-focus foreground usually irritates the senses and

detracts from emphasis on the sub,ect matter.

&he background should be subordinate to the main sub,ect in both tone and interest. "t should

also make the sub,ect stand out and present it to best ad#antage. 9nsharpness and blur are

effecti#e ways for separating the sub,ect from the background.


19/19

'ules o# hird in (hoto"raphy

&he rule of thirds is an imaginary tic-tac-toe board is drawn across an image to break it into nine

e/ual s/uares. &he four points where these lines intersect are strongest focal points. &he lines

themsel#es are the second strongest focal points.

&o use the rule of thirds you need to imagine the grid on all of your images as you compose

them in the #iewfinder.*hich point or line you place your sub,ect on does matter. *hile any of

the points:lines will add emphasis to your sub,ect some are stronger than others. ;our sub,ect

should be placed on the opposite line of the direction your sub,ect is looking towards.

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