Formal Analysis - A very specific type of Visual Analysis
1.
First step is being able to describe the work.
a.
Form:
i. The
literal shape and mass of an object, and
ii. The
elements that up the work.
1.
Line, light, color, texture, etc.
iii. Composition
is the arrangement of the elements.
b.
Picture Plane: the surface of a two dimensional
work.
i. If
you imagine the image as a three dimensional box, the picture plane is the
plane closet to you.
1.
Static: means the forms on the plane are
symmetrical and balanced.
2.
Dynamic: Usually has diagonals or asymmetrical
elements.
a.
Gives the image a sense of movement.
b.
Looks like the image is receding from the
picture plane.
c.
Line: Most basic formal element.
i. Three
basic types (many more are present)
1.
Implied
2.
Contour
3.
Kinetic.
ii. Expressive
line suggests the artist’s emotions and feelings.
iii. Analytical
is rationally organized, suggesting a system.
1.
Precise and orderly.
iv. Lines
help establish mood.
v. Interpretation
of lines shift over time and between cultures.
d.
Positive Space: Occupied by objects or forms.
e.
Negative Space: Empty space shaped by forms.
i. Takes
on volume and shape.
f.
Perspective: It is important to describe three
dimensional space as presented in two dimensional mediums.
i. Perspectives
and illusions shift among cultures and different systems.
ii. Angle,
depth and visual clues are added into perspective.
g.
Linear Perspective: Mathematical system for
representing space.
i. Used
often and still feels the most real as hit has been used for many centuries.
ii. Includes
a vanishing point/horizon.
h.
Two Point Linear Perspective: Two vanishing
points.
i. Note
– Good for buildings with keystoning.
i.
Space:
i. Interpretation
of Space is cultural.
ii. Multiple
ways to project space.
j.
Light and Shadow:
i. Light
is a way to render space.
ii. Shadows
can define volume and mass while creating color.
iii. Chiaroscuro:
The balance of light and shade in a picture.
iv. Modeling:
When light and shadow fall across a rounded surface.
v. Penumbra:
Provides transition from the highlight to the umbra: the core of the shadow.
vi. Cast
Shadow: the shadow made by the subject, rather than the shadows on the subject.
vii. Relative
value: the relative lightness and darkness of an area.
1.
Relative value of shadow is dark.
viii.
Tenebrism: Heightened form of chiaroscuro that
creates deep shadow areas and dramatic highlight areas.
k.
Color: creative when light strikes an object.
i. Hue:
the basic color.
ii. Tint:
Addition of White
iii. Shade:
When black is added.
iv. Color
Perception:
1.
Color only occurs where there is an object, a
light and a viewer.
2.
White is all colors reflected.
3.
Black is all light absorbed.
4.
Different colors will have different reactions.
a.
Color is cultural.
5.
Color can:
a.
Direct attention.
b.
Connect different parts of the image.
c.
Suggest mood or associations.
d.
Harmony or conflict
e.
Symbolic importance.
l.
Texture:
i. The
tactile sensations and feelings the work evokes.
ii. Can
be generated by materials.
iii. Can
be generated by light and shadow.
m.
Pattern:
i. A
formal element that is repeated in a composition.
ii. Can
be:
1.
Lines
2.
Shapes,
3.
Masses,
4.
Colors
5.
And textures.
6.
Anything that creates a visual rhythm.
7.
Directs the eyes through visual rhythms.
n.
Time:
i. Can
be represented as single or continuous movements.
ii. Energy
that extends to the viewer’s space.
iii. Continuous
Narrative, such as the Egyptian art.
o.
Symmetry:
i. Balance.
p.
Asymmetry:
i. Not
so balanced.
1.
An image can be imbalanced, but still hold the
same visual weight.
q.
Focal Points:
i. Specific
areas that the artist draws attention to.
1.
Any formal element can be used to create a focal
point.
r.
Scale:
i. Dimensions
of an object in relation to the original object, or the objects around it.
s.
All formal analysis identifies specific visual elements and discusses how they work together.
i. It explains how parts combine to create a whole and what effect that whole
has on the viewer.
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