Making Art: Form and Meaning
ISBN: 9780072521788 | 0072521783
Edition: 1stFormat: Paperback
Publisher: McGraw-Hill Humanities/Social Sciences/Languages
Pub. Date: 1/15/2010
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This comprehensive introduction to the elements and principles of design explores the process of making art as the process of making meaning.Making Art: Form and Meaningoffers a framework for understanding how all the aspects of an artwork--subject matter, medium, form, process, and contexts--interact. The text's wide array of examples and its emphasis on late-modernism and postmodern art give students a thorough look at the expressive possibilities of traditional design elements and principles and contemporary practices, including the use of c... MORE
| Making Art: An Overview | |
| Processes and Purposes | |
| Subject Matter and Meanings | |
| Representational Works of Art | |
| Nonrepresentational Works of Art | |
| Simple and Complex Subject Matter | |
| Choice and Use of the Medium | |
| Medium as Material | |
| Medium as Artform | |
| Medium and Craftsmanship | |
| Aspects of F... MORE | |
| Contexts | |
| Viewing Context | |
| Internal Context | |
| Artist's Context | |
| Social Context | |
| Art Historical Context | |
| Conclusion: The Components and Meanings | |
| Meanings and Interpretations | |
| Designing with a Purpose | |
| Architecture: Designing for a Small Space | |
| Product Design: Knowing How the Product Is Perceived | |
| Graphic Design: Integrating Purpose, Form, and Process | |
| Commissioned Art | |
| The Value of Knowing Your Own Intentions | |
| Writing an Artist's Statement | |
| The Process of Interpretation: Subject Matter + Medium + Form + Contexts = Meanings | |
| Martin Puryear's Ladder for Booker T. Washington | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Hannah Wilke's Intra-Venus Series | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Jacquie Steven's Double-Spouted Jar | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Annie Seidman's Untitled | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Semiotic Interpretations: Denotations and Connotations | |
| "Right" Interpretations | |
| Deciding among Competing Interpretations | |
| The Value of Having Your Work Interpreted | |
| Conclusion: Principles for Interpreting Art | |
| Point, Line, Shape, Mass and Volume, Texture, and Value | |
| Point | |
| Line | |
| Line in Two-Dimensional Art | |
| Line in Three-Dimensional Art | |
| Shape | |
| Figure and Ground | |
| Positive and Negative Shape | |
| Amorphous Shape | |
| Three-Dimensional Shape | |
| Mass and Volume | |
| Texture | |
| Actual Texture | |
| Implied Texture | |
| Invented Texture | |
| Value | |
| Conclusion: The Power of Simple Elements | |
| Color | |
| Basic Color Physics | |
| Color and Light | |
| Additive Color and Subtractive Color | |
| Optical Mixing Processes | |
| Color Wheels | |
| Physical Traits of Color: Hue, Value, and Intensity | |
| Neutrals | |
| Pigments and Dyes | |
| Opaque and Transparent Colors | |
| Subtractive Color Mixing | |
| Color Schemes | |
| Monochromatic, Analogous, and Complementary | |
| Triads, Tetrads, and Hexads | |
| Warm and Cool Colors | |
| Earth Tones | |
| Polychromatic Schemes | |
| Color Interactions | |
| Simultaneous Contrast | |
| Afterimage | |
| Artists and Optical Mixing | |
| Local Color and Arbitrary Color | |
| Color and Meaning | |
| Mood and Emotion | |
| Colors and Cultures | |
| Conclusion: Beyond Color Theory | |
| Space | |
| Actual Space | |
| The Psychology of Space | |
| Architectural Space | |
| Interior Spaces | |
| Artifacts within Spaces | |
| Three-Dimensional Artifacts | |
| In the Round | |
| In Relief | |
| Positive and Negative Space | |
| Virtual Space | |
| Virtual Entertainment Spaces | |
| Simulated Spaces for Real-World Training | |
| Virtual Educational Spaces | |
| Illusional Space | |
| Indicators of Ilusional Space | |
| Foreground, Middle Ground, and Background | |
| Size | |
| Overlap | |
| Transparency | |
| Placement | |
| Types of Perspective | |
| Atmospheric Perspective | |
| Linear Perspective | |
| One-Point Perspective | |
| Two-Point Perspective | |
| Three-Point Perspective | |
| Points of View | |
| Bird's Eye View | |
| Worm's Eye View | |
| Foreshortening | |
| Isometric Perspective | |
| Multiple Perspective | |
| Denying Illusion | |
| Conclusion: Limitless Opportunities in Space | |
| Time and Motion | |
| Indicating Time in Art | |
| Dimensions of Time | |
| Actual Time | |
| Implied Time | |
| Recorded Time | |
| Indicting Motion in Art | |
| Actual Motion | |
| Implied Motion | |
| Implied Motion and Passage of Time | |
| Photographic Techniques in Implied Motion | |
| Recorded Motion | |
| Conclusion: Perspectives on Time and Motion | |
| Words and Sounds | |
| Words and Their Uses in Art | |
| Words as Images | |
| Words and Images | |
| Sounds: Adding a Sensory Dimension | |
| Audible Words | |
| Nonverbal Sounds | |
| Conclusion: Combining the Elements | |
| Directional Force, Size, Scale, and Proportion | |
| Design Principles | |
| Directional Force | |
| Vertical Force | |
| Horizontal Force | |
| Diagonal Force | |
| Circular Force | |
| Triangular Force | |
| Using Multiple Directional Forces | |
| Size, Scale, and Proportion | |
| Making a Statement with Size | |
| Playing with Scale | |
| Searching for Perfection in Proportion | |
| Classical Proportions | |
| The Spiral | |
| Conclusion: Effective Uses of Size, Scale, and Directional Force | |
| Balance and Contrast | |
| Balance and Weight: Actual and Implied | |
| Kinds of Balance | |
| Symmetrical Balance | |
| Approximate Symmetrical Balance | |
| Asymmetrical Balance | |
| Radial Balance | |
| Achieving Balance in Artifacts | |
| Contrast | |
| Visual Contrast | |
| Conceptual Contrast | |
| Conclusion: The Inherent Qualities of Balance and Contrast | |
| Repetition, Unity and Variety, Emphasis and Subordination | |
| Repetition | |
| Pattern | |
| Repetition and Rhythm | |
| Unity and Variety | |
| Principles that Unify | |
| Grids: Basic Structure for Unity or Variety | |
| Designing Works for Variety | |
| Emphasis and Subordination | |
| Emphasis: Focusing Viewers' Attention | |
| Subordination: Supporting a Larger Theme | |
| Conclusion: Reflecting on Design Principles | |
| Postmodernist Approaches to Making Art | |
| Modernism and Postmodernism in Culture | |
| Modern Art and Postmodern Art | |
| Postmodern Attitudes toward Art | |
| Challenging the Art World | |
| Escaping the Confines of Museums and Other Traditional Venues | |
| Collapsing Boundaries between “High” and “Low” Art | |
| "Texts" and "Works" | |
| Rejecting Originality | |
| Accepting the Abject | |
| Jouissance | |
| Postmodern Strategies for Making Art | |
| Working Collaboratively | |
| Appropriating What Already Exists | |
| Simulating the "Real" | |
| Hybridizing Cultural Influences | |
| Mixing Media | |
| Layering Images | |
| Mixing Codes | |
| Recontextualizing the Familiar | |
| Intertextualizing Signs | |
| Confronting the Gaze | |
| Using Dissonance | |
| Constructing New Identities | |
| Adapting Literary Devices to Visual Art | |
| Using Narratives | |
| Creating Metaphors | |
| Using Irony and Parody | |
| Conclusion: Are You a Postmodernist? | |
| Artists' Processes and Practices | |
| Artists' Motivations and Ideas for Making Art | |
| Artists' Practices of Making Art | |
| Conclusion: Keep Yourself Motivated | |
| Studio Critiques | |
| Critiques Defined | |
| Recommended Attitudes toward Critiques | |
| What Students Want and Do Not Want from a Critique | |
| Kinds of Critique | |
| Descriptive Critiques | |
| Intentionalist Critiques | |
| Interpretive Critiques | |
| Judgmental Critiques | |
| Theoretical Critiques | |
| Samples of Critiques | |
| Excerpts from an Interpretive Critique | |
| A Written Critique | |
| Assessing Your Own Art | |
| Conclusion: The Benefits of Critiques | |
| Notes | |
| Glossary | |
| Bibliography | |
| Photo Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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