K:\1a Power Points\Photography\Line In Photography
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K:\1a Power Points\Photography\Line In Photography
- 1. Line An element of art
- 13. Line Reflection Based on our discussion at the end of class yesterday, take a moment to reflect on how line can impact your photography. Minimum of 5 complete sentences in your binder
- 14. Shape an element of art
- 16. Organic Shapes
- 18. Geometric Shapes
- 23. Shape Examples For your binder, find eight photos. Two organic, two geometric, two positive, and two negative. Label each photo and point out what area of the photo the label refers to.
- 24. Color An element of design
- 32. Color Exercise Find two photos- one with mostly cool colors, and one with mostly warm Under each photo, list all the colors you see. Identify the subject of the photo. Then describe what colors are on, or around, the main subject.
- 38. Value An element of art
- 41. highlight shadow core light part shadow reflected light cast shadow
- 42. High Key Values
- 43. Low Key Values
- 49. Label them.
- 50. For the normal photo, identify the main subject.
- 51. Describe the values on the subject, and also the background.
- 52. Also answer the questions below:________________________________________ Where is the lightest part? Where is the darkest? How does this draw your eye to the main subject?
- 53. Space – the area in among and around objects. Space has height, width and depth. It can be deep, shallow, crowded and empty
- 54. Deep
- 55. Deep
- 56. Shallow
- 57. Shallow
- 58. Empty Space
- 59. Crowded Space
- 60. Elements Quiz Tomorrow Study your notes Binders will be graded Friday so if you missed a day make sure it gets done ASAP!
- 61. Elements Review Go to:http://masters-of-photography.com/summaries.html Choose one of the following photographers to complete your worksheet with: Bernice Abbott, AnselAdams, Eugene Atget, Karl Blossfield, Bill Brandt, Harry Callahan, Imogene Cunningham, Roy DeCarava, Lee Frielander, Dorthea Lange, and Clarence John Laughlin
Notas del editor
- Barnett Newman Broken Obelisk Here edges can be read as lines in a 3d work. The sharp edges where the flat planes meet, create contour lines that emphasize the form and define its three-dimentionality
- Some lines are not physically created; they are merely suggested by the artist. Our mind with its penchant for trying to read order into the messages from the senses, does the rest, perceiving lines where there are none. Part of the visual excitement of the ad for Harper’s Magazine by the Beggerstaff Brothers is the filling in of lines that have been left out. Just enough information is given for us to see the well-known figure of a Beefeater in his distinctive uniform. The illusion works particularly well along the right side of his lower tunic where an edge is suggested by very slight upward swings of the dark bands.
- Fox-Trot A; Lozenge Composition with Three Black Lines Mondrian, PietWhat do you all think of this piece? I could do that!Yes, I am sure you could do this, but the question is did you?Piet Mondrian created this piece because he understood lines, he thought about lines and as a result he created paintings like this one. It first gets a reaction from us, we think, that’s it? Or like you all thought a moments ago, I could do that but there is more to it than that. Why do you think Mondrian chose to put the frame set on an angle? Do the edges of the frame create even more lines and movement. Do they cut off the black lines in any interesting places?This painting is not about what happens inside the frame but what happens outside the frame. The artist asks us to make assumptions about what “happens” beyond the edges of the picture. For this we need to be given enough information based on our experiences of the physical world. Geometric figures are perhaps the easiest to predict. Shown part of a square or circle, we may automatically fill in the rest with our imagination. In Fox-Trot A Piet Mondrian shows us a cropped segment of a linear image that by all implication extends beyond the picture plane. The challenge he sets before us is to determine how much larger the uncropped original would be. We automatically assume that the left vertical and horizontal will continue as straight lines and intersect just beyond the frame. But what about the two verticals? Will they be joined by a crosspiece above? The only clue that the cropped segment shown may be part of a hypothetical series of rectangles- like a multi-paned window- is the crossing of two lines at the lower right. The suggestion that the figure doesn’t end here leads the mind outward to imagine a much larger series of lines that cannot be seen at all.
- Tina ModottiStaircase, Mexico1925
- Bronze sculpture of Spinario (Thorn-puller). 4th c. B.C. A high technical level seen in this free-standing bronze, and a naturalism that focuses on carefully rendered surfaces. A sophisticated treatment of formal composition that focuses on the injured foot. But in the Hellenistic bronze piece, Thorn Puller, we follow the “line” between the boy’s eye and his own foot, for his concentration is so clearly fixed on his own foot that our eyes go in the same direction. His limbs are also arranged to form lines that lead our eyes to the foot. Our attention is often drawn to points where many lines intersect. If our eye then strays to examine the figure as a whole, the lines of the body carry us around in a circle to arrive back at the same point.