Journal Entry 1

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Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Art is a form of visual language

Artists use a visual vocabulary (the elements of art) and rules similar to grammar (the principles of design)

An artwork can be analyzed using the elements of art and principles of design

Introduction

Elements of art

The basic vocabulary of art

Principles of art

How the elements of art are organized (the “grammar”)

Two-dimensional art

Has height and width, but not depth

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Line and shape are basic elements of any kind of artwork

Two dimensional arts include: drawing, painting, printmaking, graphic design, and photography

Elements of art: line, form, shape, volume, mass, color, texture, space, time and motion, and value (lightness/darkness)

Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, scale, proportion, and focal point

Line

Lines are the most fundamental element artists use

Lines organize the visible world

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Spider

1.1.1 Spider,

c. 500 bce–500 ce. Width 150'. Nazca, Peru

Spider

The artwork is 150 feet long

Created by scraping off dark gravel, revealing white gypsum underneath

The lines define the outline of the shape

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Known as the Nazca Lines

Located on the high desert plains of Peru

Can be seen only from the sky (the Nazca lines were first discovered by commercial aircraft)

Designs resemble symbolic decorations found on local pottery made at least 1,300 years ago

Possibly made using string attached to posts as guidelines

Definition of Line

A line connects two points

Defines the boundaries between planes

Defines shapes

Directs the viewer’s eye

Conveys a sense of movement and energy

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Definition of Line

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Giovanni Antonio Dosio, Church of Santo Spirito at Florence

1.1.2a Giovanni Antonio Dosio, Church of Santo Spirito at Florence, (n. 6746 Ar), c. 1576–90. Pen and watercolor on yellowish paper, traces of black chalk, 14⅜ × 18". Department of Prints and Drawings, Uffizi Gallery, Florence, Italy

Giovanni Antonio Dosio, Church of Santo Spirito at Florence

Dosio uses line to define where the ceiling ends and the walls begin

Creates an illusion of three dimensions

Converging lines help viewer visualize the architectural space

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The drawing and the church are both the work of Italian artist and architect Giovanni Antonio

Line is a tool for describing, in two dimensions, the boundaries and edges of three-dimensional surfaces

Accentuates the patterned surface of the ceiling using lines

Artwork: Filippo Brunelleschi, Santo Spirito

1.1.2b Filippo Brunelleschi, Santo Spirito, 1436–82, inside view toward the apse. Florence, Italy

Filippo Brunelleschi, Santo Spirito

We see the division between ceiling and walls because of the changes in lightness, darkness, and texture

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

If you compare the drawing with the photo, you can see how accurately the artist was able to conceive and communicate, with line, how the building actually looks.

Portal Artwork: Leonardo da Vinci, Drawing for a wing of a flying machine

2.1.1 Leonardo da Vinci, ,Drawing for a wing of a flying machine, from the Codice Atlantico, fol. 858r. Pen and ink. Biblioteca Ambrosiana, Milan, Italy

Leonardo da Vinci’s Drawing for a wing of a flying machine is an example of lines that organize and illustrate an idea.

Types and Functions of Line

Contour Line as a Type of Line

A contour is an edge or profile of an object, but is not necessarily the complete outline of a shape

Contour lines can suggest a volume in space by providing clues about the changing character of a surface

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

This type of drawing helps to develop eye–hand coordination and reveal subtle changes in a subject.

Contour Line

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Henri Matisse, Woman Seated in an Armchair

1.1.3 Henri Matisse, Themes and Variations, series P, Woman Seated in an Armchair, pl. 2, 1942. Pen and ink, 19¾ × 15¾". Musée des Beaux-Arts, Lyons, France

Henri Matisse, Woman Seated in an Armchair

The drawing was created by almost entirely using contour lines

Solid continuous lines represent complex three-dimensional shapes and surfaces

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Henri Matisse, Red Studio

To learn about another artwork by Henri Matisse, listen to a MoMA lecturer talk about Red Studio:

MoMA Video

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

MoMA Video

Artwork: Pablo Picasso, Blonde Woman in Profile

1.1.4 Pablo Picasso, Blonde Woman in Profile, plate, folio 16 from the illustrated book Vingt poëmes, 1947. Lift ground aquatint, 11⅞ × 6½". MoMA, New York

Pablo Picasso, Blonde Woman in Profile

A profile is created by using a continuous line that follows the contours of the subject

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Picasso was famous for his ability to describe the shapes and planes that make up an object

He is often associated with the Cubist style, a way of representing all aspects of a three-dimensional object on a flat, two-dimensional surface

Types and Functions of Line

Implied Line

Line that can be implied by a series of marks

An illusion that gives the impression of line where there is no continuous mark

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Diagram of Actual and Implied Lines

1.1.5 Actual and implied lines

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Actual lines can be clearly seen as a continuous, uninterrupted line

Implied lines are not actually drawn but suggested by elements in the work

Artwork: Pentateuch with Prophetical Readings […]

1.1.6a Franco-German hand, Pentateuch with Prophetical Readings and the Five Scrolls, 13th–14th century. Illustrated manuscript. British Library, London, England

Detail of Pentateuch with Prophetical Readings […]

1.1.6b Detail of Pentateuch with Prophetical Readings and the Five Scrolls

Pentateuch with Prophetical Readings and the Five Scrolls

This illustrated manuscript shows how line is important in the Jewish art of micrography

Text border appears to be an ornate line drawing

It is in fact an implied line created from tiny Hebrew letters and words

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Jewish art of micrography involves the creation of designs using very small writing

The “microscopic” text has been added as a guide (called a masorah) that provides advice about pronunciation and intonation

Artwork: Sauerkids, The Devil Made Me Do It

1.1.7 Sauerkids, The Devil Made Me Do It, 2006. Digital image, 16½ × 8¼"

Sauerkids, The Devil Made Me Do It

The use of dashes and grids of dots imply horizontal and vertical lines

Title of work is spelled out using implied lines

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Implied line influences the visual rhythms and adds to the excitement of the design

Sauerkids is the name used by a pair of Dutch designers: Mark Moget (b. 1970) and Taco Sipma (b. 1966)

Types and Functions of Line

Directional Line

Artists can use line to direct a viewer’s attention to a particular part of a work

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: James Allen, The Connectors

1.1.8 James Allen, The Connectors, 1934. Etching, 12⅞ × 9⅞". British Museum, London, England

James Allen, The Connectors

The viewer’s attention is directed downward

The lines of the girders narrow toward the bottom of the image, accentuating great height

Background buildings reinforce the same effect

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

This is an etching by American artist James Allen (1894–1964)

Depicts Depression-era construction workers building the Empire State Building

Tallest building in the world when completed

Artwork: CLAMP, Tsubasa RESERVoir CHRoNiCLE

1.1.9 CLAMP, page from the Tsubasa RESERVoir CHRoNiCLE, volume 21, page 47, 2007

CLAMP, Tsubasa RESERVoir CHRoNiCLE

Line can communicate direction and movement

Directional lines focus our attention on different sections

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

CLAMP is a mangaka (group of manga artists)

Directional lines converge in the upper section of the image

Then our attention is directed to the figure at the left who is being blasted by an explosion

Artwork: Frida Kahlo, The Two Fridas

1.1.11 Frida Kahlo, The Two Fridas, 1939. Oil on canvas, 5'8" x 5'8". Museo de Arte Moderno, Mexico City, Mexico

Frida Kahlo: Using Line to Connect and Direct a Viewer’s Attention

A line is created by the vein that connects the two images of Frida

European and Spanish-Native Mexican identities connected by vein

Red line becomes the main element in expressing the story of Frida’s life

PART 1

FUNDAMENTALS

Gateway to Art:

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The artist’s connections to her family lineage, to her husband, and to her history of physical suffering are all encapsulated in this work

Other lines that contribute to the overall composition are the strong crisp outlines of the figures and the soft irregular lines of the clouds

Types and Functions of Line

Communicative Line

Vertical lines tend to communicate strength and energy

Horizontal lines can suggest calmness and passivity

Diagonal lines are associated with action, motion, and change

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Communicative Qualities of Line

1.1.10 Communicative qualities of line

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Graphic designers use the communicative qualities of directional line when creating logos

To convey the strength of government or the stability of a financial institution, they may choose verticals

Logos for vacation resorts often have horizontal lines to communicate peaceful repose

Artwork: Carolyn Davidson, Nike Company logo

1.1.12 Carolyn Davidson, Nike Company logo, 1971

Carolyn Davidson, Nike Company logo

Diagonal lines express the excitement of athletic activity

This stylized, diagonal line conveys action

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Vincent van Gogh, The Bedroom

1.1.13 Vincent van Gogh, The Bedroom, 1889. Oil on canvas, 28¾ × 36¼". Art Institute of Chicago, Illinois

Vincent van Gogh, The Bedroom

Van Gogh's use of line gives an unsettling energy

Most lines are strong verticals, suggesting it was not a calm place of rest

Unease is also communicated through the emphatic diagonals and changes in color and value

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Dutch artist Vincent van Gogh (1853–1890)

The painting may communicate the anxiety the artist felt in the months leading up to his suicide the following year (1890)

He may also have been trying to ground himself by painting the simple room in which he slept

Communicative Line

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Vincent van Gogh in His Own Words

Video

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Vincent van Gogh, Starry Night

To learn about another artwork by Vincent van Gogh, listen to a MoMA lecturer talk about Starry Night:

MoMA Video

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

MoMA Video

Types and Functions of Line

Lines to Regulate and Control

Regular lines express control and planning

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Mel Bochner, Vertigo

1.1.14 Mel Bochner, Vertigo, 1982. Charcoal, Conté crayon, and pastel on canvas, 9' × 6'2". Albright-Knox Art Gallery, Buffalo, New York

Mel Bochner, Vertigo

Bochner uses regular, ruled lines drawn with a straightedge

The repetition and overlapping impart a feeling of disarray

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American Mel Bochner (b. 1940) is a conceptual artist.

Artwork: Barbara Hepworth, Drawing for Sculpture

1.1.15 Barbara Hepworth, Drawing for Sculpture (with color), 1941. Pencil and gouache on paper mounted on board, 14 × 16". Private collection

Barbara Hepworth, Drawing for Sculpture

Hepworth created four views of a planned sculpture

The lines are crisp and clear

They combine to translate Hepworth's feelings and sensations into drawings and sculptures

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Barbara Hepworth (1903–1975) was a British sculptor

Hepworth said, “I rarely draw what I see. I draw what I feel in my body.”

Types and Functions of Line

Lines to Express Freedom and Passion

Lines can be irregular

Such lines—free and unrestrained—seem passionate and full of feelings that are otherwise hard to express

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: André Masson, Automatic Drawing

1.1.16 André Masson, Automatic Drawing, 1925–26. Ink on paper, 12 × 9½". Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

André Masson, Automatic Drawing

Masson wanted to express the depths of his subconscious

Automatic drawings look spontaneous and free

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Masson (1899–1987) would go for days without food or sleep

He believed this would allow him to explore deep-rooted sources of creativity and truth

Artwork: Georgiana Houghton, Glory be to God

1.1.17 Georgiana Houghton, Glory be to God, 1864. Pencil, watercolor, and ink on paper, 9⅜ × 12⅞". Victorian Spiritualists Union, Melbourne

Georgiana Houghton, Glory be to God

Houghton uses an uninhibited style

Lines are irregular and loose

Overall composition is systematically organized by spiritual forces

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

British nineteenth-century artist and spiritualist Georgiana Houghton (1814–1884)

Houghton was one of the first artists to derive her ideas and images from non-visual sources and depict them in a non-representational way

Types and Functions of Line

Regular and Irregular Lines

Most artworks use both regular and irregular lines

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: George Bellows, Woodstock Road

1.1.18 George Bellows, Woodstock Road, Woodstock, New York, 1924, 1924. Black crayon on wove paper, image 6⅛ × 8⅞", sheet 9¼ × 12⅜". National Gallery of Art, Washington, D.C.

George Bellows, Woodstock Road

Bellows contrasts the organic lines of the landscape and sky with the regular lines of the man-made architectural features

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist George Bellows (1882–1925) created this as a preliminary sketch for another work

The center bottom inscription reads: “all lights as high as possible / get color out of shadows”

Shape

A shape is a two-dimensional area the boundaries of which are defined by lines or suggested by changes in color or value

1.1.19 Two-dimensional circular shapes

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Two-dimensional figures have height and width, but no depth

They can be seen as simple shapes (circles, squares, triangles)

A three-dimensional object, such as a sphere, is drawn using a circle shape, then shading is applied to suggest depth

Geometric and Organic Shapes

Shapes can be classified into two types:

Organic shapes are made up of unpredictable, irregular lines

Geometric shapes are mathematically regular and precise

1.1.20 Geometric and organic shapes

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Organic shapes may seem unrestrained and chaotic, reflecting the never-ending change characteristic of living things

The simple shapes we know—circle, square, triangle—are all examples of geometric shapes

Artists often use tools, such as rulers or computer graphics applications, to create the clean, controlled line of geometric shapes

Portal Artwork: Gerrit Rietveld, Schröder House

3.9.31 Gerrit Rietveld, Schröder House, 1924–25. Utrecht, Netherlands

This is an example of how geometric shapes can be found in architecture

Gerrit Rietveld’s Schröder House is made up of rectangles

Definition of Shape

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Geometric and Organic Shapes

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Miriam Schapiro, Baby Blocks

1.1.21 Miriam Schapiro, Baby Blocks, 1983. Collage on paper, 29⅞ × 30". University of South Florida Collection, Tampa

Miriam Schapiro, Baby Blocks

The organic shapes of the flowers are clearly distinct from the hard geometric shapes of the “blocks” and red frame

Schapiro calls these works “femmages” (homages to the artistry of traditional “women’s work”)

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

This work is a collage by Canadian-born feminist artist Miriam Schapiro

She incorporates doll clothes, home decorations, and sewing materials

The title comes from a popular quilting pattern

The geometric regularity of the diamond-shaped pattern acts as a foil to the stylized organic floral shapes

Implied Shape

Implied shapes are shapes we can see where no continuous boundary exists

1.1.22 Implied shapes

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Just as line can be implied, so too can shape.

Artwork: Saul Bass, AT&T Logo

1.1.23 Saul Bass, Bass & Yager, AT&T logo, 1984

Saul Bass, AT&T logo

Bass uses twelve horizontal lines to imply a sphere or globe

A simple, recognizable symbol for a global company

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The AT&T logo was created in the 1980s by the American graphic designer Saul Bass

By constricting the width of nine of these lines, a highlight appears

Contrast

When an artist uses two noticeably different states of an element, he or she is applying the principle of contrast

Examples include:

Regular and irregular lines

Geometric and organic shapes

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Carrie Mae Weems, “Untitled (Woman and Daughter with Makeup)”

1.1.24 Carrie Mae Weems, “Untitled (Woman and Daughter with Makeup)” from Kitchen Table Series, 1989–90. Inkjet print, 41¼ × 41¼ × 2¼" (framed)

Carrie Mae Weems: The Principle of Contrast and Dramatic Effect

Weems exploits contrast in the image by balancing opposite shapes and values

The monochromatic palette, along with the spotlight above the table, adds a level of drama

PART 1

FUNDAMENTALS

Gateway to Art:

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

African American artist Carrie Mae Weems (b. 1953) concentrates on personal, cultural, and racial identity in her work

In her photograph series Kitchen Table, Weems poses an invented family in real life situations that highlight interpersonal relationships

Positive and Negative Shapes

A positive shape is defined by its surrounding empty space (the negative space)

In visual form, positive and negative are often represented by black and white, but any color combination can work

Chapter 1.1 Line, Shape, and the Principle of Contrast

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

An example would be the words on this screen

The words are the positive shapes that we can see on the negative space of the background

Sometimes the lighter color becomes the positive shape

Positive and Negative Shapes

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Shepard Fairey, Obey

1.1.25a Shepard Fairey, Obey, 1996. Campaign poster

Artwork: Shepard Fairey, Obey (installation)

1.1.25b Shepard Fairey, Obey, 1996. View of the posters as they were installed in public

Shepard Fairey, Obey

Fairey's use of interlocking positive and negative shapes creates a strong visual impact

As a street artist, he needs to catch his audience’s attention quickly as they pass by

Image is based on Andre the Giant, a professional wrestler

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The black features and blank white space contrast and complement each other

Andre the Giant was also Fessick in the movie The Princess Bride

Captioned with the word “Obey”

Without seeking prior permission, Fairey posted these images in public spaces as an act of street theater and guerrilla marketing

Artwork: Georgia O’Keeffe, Music—Pink and Blue II

1.1.26 Georgia O’Keeffe, Music—Pink and Blue II, 1919. Oil on canvas, 35 × 29⅛". Whitney Museum of American Art, New York

Georgia O’Keeffe, Music—Pink and Blue II

O’Keeffe’s abstract shapes derive from a close observation of organic objects

Emphasis on the negative blue shape in the bottom right of the picture

Positive shape is the pink arc above

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Georgia O’Keeffe (1887–1986) often used organic shapes found in natural landscapes and flora.

Artwork: Noma Bar, Gun Crime

1.1.27 Noma Bar, Gun Crime, 2009. Digital, dimensions variable

Noma Bar, Gun Crime

The silhouette of the handgun is the positive shape; the tan background is the negative space

Area around trigger becomes a simple image of a head with blood running from its mouth

Communicates gun crime

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Israel-born illustrator and designer Noma Bar (b. 1973) cleverly combined complementary symbols to superimpose two connected ideas.

Artwork: M. C. Escher, Sky and Water I

1.1.28 M. C. Escher, Sky and Water I, 1938. Woodcut, 17⅛ × 17⅜". The M. C. Escher Company, The Netherlands

M. C. Escher, Sky and Water I

The negative shape changes from white in the upper part of the picture to black in the lower

Strong geometric patterns change into organic shapes of animals

Uses figure–ground reversal technique

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

M.C. Escher (1898–1972) was a Dutch artist

The refined version of each animal becomes more vague until it transforms into the negative ground of the other

Figure–ground reversal is the reversal of the relationship between one shape (the figure) and its background (the ground)

The figure becomes background and the ground becomes the figure

Kazimir Malevich, Suprematist Composition: Airplane Flying

To learn more about another artist, Kazimir Malevich, whose work uses line, shape, and contrast, watch this video of MoMA lecturers talking about artworks from the MoMA collection:

MoMA Video

MoMA Video:

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.1 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.1

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 1

FUNDAMENTALS

Chapter 1.1 Line, Shape, and the Principle of Contrast

PowerPoints developed by CreativeMyndz Multimedia Studios

Picture Credits for Chapter 1.1

1.1.1 Photo Jarno Gonzalez Zarraonandia/iStockphoto.com

1.1.2a Photo Scala, Florence - courtesy the Ministero Beni e Att. Culturali

1.1.2b Photo Scala, Florence/Fondo Edifici di Culto - Min. dell’Interno

1.1.4 The Museum of Modern Art, New York, The Louis E. Stern Collection, 988.1964.6. Digital image, The Museum of Modern Art, New York/Scala, Florence. © Succession Picasso/DACS, London 2018

1.1.5 Ralph Larmann

1.1.6a British Library, London

1.1.6b British Library, London

1.1.8 British Museum, London

1.1.10 Ralph Larmann

1.1.11 Museo de Arte Moderno, Mexico City. © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./DACS 2018

1.1.12 © Nike

1.1.13 Art Institute of Chicago, Illinois/Helen Birch Bartlett Memorial Collection/Bridgeman Images

1.1.14 Image courtesy Peter Freeman, Inc., New York

1.1.17 Courtesy the Victorian Spiritualists’ Union, Melbourne

1.1.18 National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1983.1.81

1.1.19 Ralph Larmann

1.1.20 Ralph Larmann

1.1.21 Courtesy Flomenhaft Gallery, New York

1.1.22 Ralph Larmann

PART 1

FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.1 Line, Shape, and the Principle of Contrast

Picture Credits for Chapter 1.1 (contd.)

1.1.23 Courtesy AT&T Archives and History Center

1.1.27 Noma Bar/Dutch Uncle

PART 1

FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.1 Line, Shape, and the Principle of Contrast