A Critical Vocabulary (Use these words when analysing your own work and other artists or cultures work.)

Transcription

1 A Critical Vocabulary (Use these words when analysing your own work and other artists or cultures work.) Pattern Shape diamonds negative simple angular harmonious profile embellish order spiral body image rough-hewn flowing ornamental stamp conical knead sculpt fluid overlap stencil figure model sharp geometric plain structure form mould silhouette irregular positive symmetric frame outline uniform natural repeat uniform geometric precise vague Form and space Colour advance motif scale blend intense saturated angled natural scatter bright luminous secondary carve ornament solid clash mixed soft cast perspective stacked cold opaque tint decorate pointed structure deep pale translucent depth proportion tactile dull pastel transparent human recede volume glowing primary vibrant monumental rounded woven harmonious pure warm Line Tone angular flowing scribble bleach dark harsh broken fluent sweeping bright fade intense confident free tight contrast fair smooth faint hesitant woolly crisp gradation sombre Light Feeling artificial gentle natural alive exciting lonely dapple harsh night atmospheric expressive nostalgic dark haze shading cheeky fresh proud ethereal highlight shadow delicate humorous sad evening intense soft depressing imposing shocking fall of light light source dignified intimidating threatening fierce midday tone disturbing joyous uplifting

2 Composition! background distant middleground scale blurred eye-line near shape complex focus perspective sharp confused foreground plane space design form proportion symmetry Texture bobbly flat jagged sharp splatter coarse glaze matt shiny think cross-hatching hatching rough smooth thin fine impasto scumble soft wash Kind of art abstract fake mundane representational copied fantasy noble seascape derivative figurative non-representational sentimental distorted impressionistic pastiche still life emotional impressive pattern surreal exaggerated interior portrait symbolic exterior landscape religious twee What is it? aquatint ceramic etching model screen print assemblage collage fresco mural sculpture bas-relief design gouache painting sketch caricature diptych lithograph photograph stencil cartoon drawing logo print tempera carving easel painting miniature relief triptych

3 Artist Analysis Which artist are you analysing and why? Note some key facts about the artist that are relevant and /or interesting. How does it link to your work? Similarities and Differences. What genre is their work? (painting / sculpture / typography / print / drawing). What techniques, materials and processes have they used? Describe their work thoroughly in terms of composition, colour, tone, texture, form, line, shape, pattern, mood / atmosphere. You might want to talk about their work generally or choose a specific piece of work to describe. What do you think the meaning / purpose of the work is? Why do you think that? What do you think is successful about the work? What would you change? How? How will this work influence your own work further?

4 Harvard Referencing Book Format: FAMILY/SURNAME, Initials. (Year of publication - in brackets) Book Title - in italics or underlined. Series title and volume - if applicable. Edition - if not the first. Place of Publication: Publisher. Bibliography example: NEVILLE, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism. 2nd edition. Maidenhead: Open University Press. In-text examples: (Neville, 2010) Neville (2010) commented that Direct quotations are placed in double quotations marks (Author s Surname, Year of Publication, p. followed by page number in brackets) Exhibition catalogues Cite and reference Exhibition Catalogues in the same format as a book. However, if the exhibition catalogue has no author, use the title of the gallery or museum. Format: FAMILY/SURNAME, Initials. or Gallery/Museum name. (ed.) or (eds.) in brackets for editor(s) (Year of publication - in brackets) Catalogue Title - in italics or underlined. Series title and volume - if applicable. Edition - if not the first. Place of publication: Publisher. Bibliography example: REED, P. (2005) Groundswell: constructing the contemporary landscape: published on the occasion of the exhibition at the Museum of Modern Art, New York, 25 February 16 May New York: Museum of Modern Art. Museum of Modern Art. (2006). Edvard Munch: the modern life of the soul: published on the occasion of the exhibition at the Museum of Modern Art, New York 17 February 8 May 2006 with an introduction by Kynaston McShine. New York: Museum of Modern Art. In-text examples: (Reed, 2005) (Museum of Modern Art, 2006) As Reed (2005) suggests. As the Museum of Modern Art (2006) exhibition highlights... Direct quotations are placed in double quotations marks (Author s Surname, Year of Publication, p. followed by page number in brackets).

5 Image in a book Images, art work, graphs and charts from books are not referenced in the same way as book chapters. In-text you need to mention the image or art work and the page number, but in the Bibliography you will need to reference the source (book, etc.) where you found the image, art work, etc. Bibliography format: FAMILY/SURNAME, Initials. (ed.) or (eds.)-in brackets for editor(s) (Year of publication - in brackets) Book Title - in italics or underlined. Series title and volume - if applicable. Edition - if not the first. Place of Publication: Publisher. Bibliography example: If you refer to an image in your work from a book, for example a photograph from the following book, you will need to reference the source (book) where the item can be found: FISH, J. (2004) Photographs and Art. London: Brown and Sons. In-text: In-text references to works of art, images, etc. in a book are highlighted in the text by italics or underlining the title of the work and following it with the (surname of the author, Year of Publication, p. followed by page number where the image can be located in brackets): The photograph Night time by Bloggs in 2001 (Fish, 2004, p.67) shows... This was highlighted in Blogg s Night time (Fish, 2004, p. 67). Journal article (printed journal article) Printed article format: FAMILY/SURNAME, Initials. (Year of publication in brackets) Title of article. Title of journal - in italics or underlined. Volume number. (Part number/month in brackets). p. followed by page numbers. Bibliography examples: TEFTS, K. & BLAKSEE, S. (2000) Did you hear the one about Boolean operators? Incorporating comedy into library instruction. Reference Services Review. 28 (4). p In-text example: (Trefts & Blaksee, 2000) This supports Trefts & Blaksee s (2000) evidence that Direct quotations are placed in double quotations marks (Author s Surname, Year of Publication, p. followed by page number in brackets) Journal article (online/electronic journal article) Online article format: FAMILY/SURNAME, Initials. (Year of publication in brackets) Title of article. Title of journal - in italics or underlined. [Online in square brackets] Volume number. (Part number/month in brackets). p. - followed by page numbers. Available from - URL. [Accessed: followed by date in square brackets] Bibliography example: WILSON, J. (1995) Enter the cyberpunk librarian: future directions in cyberspace. Library Review. [Online] 44 (8). p Available from: [Accessed: 30 January 2012] In-text example: (Wilson,1995) According to Wilson (1995). Direct quotations are placed in double quotations marks (Author s Surname. Year of Publication, p. followed by page number in brackets).

6 Original works of Art Material types can include: paintings, photographs, illustrations, ceramics, cartoons, drawing, etchings, sculptures, woodcut and others. Your reference should state the artist s name, its title and where the item can be located or viewed. If no name is available, use the title of the piece in italics or underlined as the first element of the reference. Format: FAMILY/SURNAME, initials. (Year in brackets) Title of artwork in italics or underlined, [Material type in square brackets]. Title of Art Gallery, Museum etc, Location or City Bibliography example: BROOM, S. (2002) Daylight. [Photograph]. Manor Art Gallery, Manchester. CEDAR, M. (1938) Mars at Night. [Sculpture]. Manor Art Gallery, Manchester. In-text example: (Broom, 2002)...highlighted by Cedar s Mars at Night (1938) Website Format: FAMILY/SURNAME, Initials or name of website if no author is available. (Year - in brackets) Title of website in italics or underlined. Any numbers if website is part of a series if needed. [Online in square brackets] Available from - URL. [Accessed: followed by date in square brackets]. Bibliography format: BBC NEWS. (2008) Factory gloom worst since [Online] Available from: [Accessed: 10th June 2012] In-text example: (BBC News, 2008) as reported on BBC News (2008).

7 (C-B) Artist Analysis Which artist are you analysing? What is their work? (painting / sculpture / textiles piece / print / drawing). What techniques have they used? Why have you chosen this artist? (explain how it links to your project). Describe the work in terms of composition, colour, tone, texture, form, line, shape, pattern, mood / atmosphere. e.g. This painting has a flowing composition as all the shapes flow in one direction. The colours used are bright and vivid. Tone has been used to show the forms as threedimensional and show the lights and shadows. The lines used are strong and angular. the mood created is happy and lively. What do you think the work is about? What do you like about the work? What don t you like about the work? How could this work influence your own work?

8 (C-B) Analysing a Culture Which culture are you looking at? What examples of the culture s artefacts have you collected? (their masks / their artwork / their textiles / their designs etc). Describe the images in terms of composition, colour, tone, texture, form, line, shape, pattern, mood / atmosphere. e.g. This mask shows the traditional colours of the culture- red, white and black. It has a symmetrical composition. They have used wood and straw which have rough textures and rugged lines. Pattern has been created with simple dots and lines. What do you think the work is about? What do you like about the work? What don t you like about the work? How could this work influence your own work?

9 (D-) Artist Analysis This work is by artist, (name). It is a (painting-/-sculpture-/-textiles-piece-/-print-/-drawing). It was created using these techniques. I have chosen this work because -(explain-how-it-links-toyour-project). Describe the work in terms of composition, colour, tone, texture, form, line, shape, pattern, mood / atmosphere. e.g. This painting has a flowing composition as all the shapes flow in one direction. The colours used are bright and vivid. Tone has been used to show the forms as threedimensional and show the lights and shadows. The lines used are strong and angular. the mood created is happy and lively. I think the work is about, I like the way the artist. I don t like. I could use this work to influence my own work by using.

10 (D-) Analysing a Culture I am looking at- as-a-culture.- These are examples of- (their-masks-/-their-artwork-/-theirtextiles-/-their-designs-etc).describe-the-image-in-terms-of-composition,-colour,-tone,-texture,-form,-line,-shape,-pattern,-mood/-atmosphere.e.g.-this-mask-shows-the-traditional-colours-of-the-culturea-red,-white-and-black.-it-has-asymmetrical-composition.-they-have-used-wood-and-straw-which-have-rough-textures-and-ruggedlines.-pattern-has-been-created-with-simple-dots-and-lines.-- I think the work is about,- I like--.- I don t like-.- I could use this work to influence my own work by using.-

11 For Unit 2 (Btec First Diploma / Certificate) you must do the following three things WHAT IS UNIT 2? Identify the influences of historical and contemporary art and design developments In other words- Show which artists have influenced your work and designs. Unit 2- Contextual References in Art and Design - this basically means your showing your knowledge and understanding of artists. Present information about the work studied in an appropriate format In other words- present it in a creative way that suits the content. Explore historical and contemporary references in researching and developing own response In other words- Link your practical work to an artist and show how it relates.

12 Where do I start? 1. Decide which artist you want to research. 2. Collect your research- use websites and books to gather as much information about the artist as you can. 3. USE the research. Skim read the information and get rid of anything that is not relevant to what you need. Use highlighter to pick out the key information. The sort of info you need is - key facts- name, born, died, where from? - techniques and materials- how did they create their artwork, what s it made of? - inspirations- What inspires / inspired the artist? 4. First Draft- Read through the information that you highlighted and put it into your own words. Use thinking hats to help you to structure it. 5. Present your research- When presenting your research consider the following Background- add a colour, coffee stain or texture. Writing- use the computer or use neat handwriting (check your spellings) Colour images! Experiments- create some experiments or drawings based on the artist s work.

13 Since looking at the work of Zsofi Samu I have had new ideas for my own work - using a limited palette of strong colours. -using soft textiles- maybe a soft sculpture. -using more natural lines and edges. - unfinished edges - more use of line- see experiment with stitching. Create an experiment based on the artist s work. Remember to add notes explaining what you ve done. Green Hat- Creative How to create a research board! Here I have used hand and machine stitching to create an experiment based on Samu s work. I think the colours have worked really well as I kept to the earthy palette.

14 Get some good quality colour images of the artist s work. These are images of Zsofi Samu s work. I have chose to look at her work because I like the rich earthy colours and the textiles techniques (weaving, dyeing) are techniques that I have used in my work. Always explain why you chose this artist- talk about colours, techniques, shapes, textures etc. Red Hat- Emotions Zsofi Samu Born- 24 August 1973, Hungary. Qualifications- MA in Textiles Specialisms- woven textiles InspirationsTasmanian Environment Black HatImprovements (moved to Australia in 2002) White Hat- Facts Improvements- wider range of colour - different ways of using light - exhibit in location in Tasmania I really like Samu s work mainly because of the rich earthy colours but also because of what she does with the textiles- draping them, turning them into vessels, even making them into lamps. Good points- contemporary use of textiles - string colours - unique construction methods Yellow Hat- Positive

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18 TERMINOLOGY When analysing different forms of art you can use any term that describes art in terms of colour, composition and texture but there are some specific terms that can be used BTEC Nat PHOTOGRAPHY Monotone Enhanced colour saturation of colour Enhanced Depth of field Focus Macro Angles forward Contrast tones Montage together Composition together View point unusual Crop photo Texture Subject black and white manipulated to increase computer manipulation use of perspective clarity of image, crispness, hard/soft close up can be unusual or straight amount of difference between different images merged how the elements are put worms eye, aerial, looking up, a selection within a bigger is this exaggerated or ignored what it is portrait, landscape, still life PAINTING Primary Secondary mixed Complimentary Warm/Cool harmonic and B,G,P Tertiary Composition Texture Techniques Dry brush Sgraffito Impasto Blended Flat colour Subject matter Mood/emotion Symbolism Abstracted Realistic Blue Red Yellow, can not be mixed Green, Orange, purple, 2 primaries Opposites, show each other up most, B&O, Y&P, G&R Same half of colour wheel, R,Y,O Primary and secondary s mixed, Often produces muddy tones Arrangement, ascending, descending, linear, triangular, circular, foreground, middle ground, background, Surface qualities How it has been made/painted Dry layer of paint over painted gives texture Scratched into paint to reveal ground underneath, adds texture Thickly layered paint, often applied Applied with a pallet knife Colours and paint that are blend from Tone to tone Areas with colour but no tonal graduation Content, story Atmosphere created Use of colour, object or thing to Represent something hidden Fragmented, simplified, overlapped, Capturing likeness 3D/SCULPTURE Three dimensions 3D Relief areas built on the surface Incise carved detail Scale size Balance symmetry or not Weight how it balances, sits Form shape Exaggerated have parts been, stretched, curved, squared, rounded Simplified Has detail been removed Texture Has the texture been enhanced, smoothed, what is the texture Structure How has it made, modelled, cast, armature Materials What is it made from Affect Why has the sculptor done what he has done Kind of art abstract fake mundane representational copied fantasy noble seascape derivative figurative distorted impressionistic pastiche still life emotional impressive pattern surreal exaggerated interior portrait symbolic exterior landscape religious What is it? aquatint ceramic etching model screen print assemblage collage fresco mural sculpturebas-relief design gouache painting sketch caricature diptych lithograph photograph stencil drawing logo print tempera easel painting miniature relief triptych

19 Experimental/sample presentation PURPOSE To show initial ideas and processes in a professional manner to a client or for portfolio. To allow analysis and evaluation of materials, techniques and processes. To include discussion on formal elements using correct technical terms. PROCESS Select base colour and contrast mounts. Trim work to be presented ensuring neat and square or ripped. Layout presentation and plan space for written analysis Select and make best work stand out Add detail to presentation e.g. ripped papers, titles etc. Stick down using pritt stick/spray mount. WRITTEN WORK Analysis of the effects of the materials The effect of the techniques How experiments meet the needs of the brief/aim Potential of the process including mistakes and improvements Evaluative judgements on potential for production/future use. REMEMBER To make presentation professional It s your written analysis that is being marked for grading BTEC Nat Annotations to Artists/ Designers guide When annotating others work you are showing the understanding of the artist/designer in written terms. It is really important to do this thoroughly as your course requires you to acknowledge your understanding, links and opinion on the work. You should try to research not only the images but gain context information to understand why the artist produces work he did. You need not labour and go into detail of the artists life apart from what inspired him to produce and the times he worked in and the influence this had on their work. This information will help you understand the actual work more and give you the context. In your annotation you should include this overview and then look at the artists work with this in mind. You need to annotate what you see, the meaning and message including any symbolic use of colour or object, materials and techniques, visual language(mood and atmosphere), visual elements (how the artist has used line, tone, form, colour, composition, mark making etc) and to what effect. You should then reference the work to what you are looking at and areas or influence you can take forward. Ideas for structure Outline the artists influences and back ground information Write what you see, what message, atmosphere mood you observe Look at the techniques and materials use and analyse the effect of these Write about the artists use of visual elements, line, tone, colour, composition etc, and what effect this has Reference and write how this links to your area of study and what you could take forward to influence your own work. Evaluation Guidelines The purpose of an evaluation is to summarise your findings and demonstrate in written form your understanding of the work achieved and what you have learnt throughout the work you have done. It also gives the assessor/examiner an overview of your understanding and reinforces all your annotations giving evidence of brief, starting point, research, constraints, selection, refinement, judgements, links to the artists. You should also include skills learnt and how you view the work and what improvements/ new directions can be found. STATE WHAT THE PROJECT/BRIEF/STARTING POINT WAS WHAT WERE THE CONSTRAITS/AIM/ AREA OF INVESTIGATION BRIEFLY OUTLINE WHAT YOU DID AND WHY MOST IMPORTANTLY DOCUMENT THE DECISIONS YOU MADE AND HOW EACH OUTCOME MET THE CONSTRAITS/BRIEF/AIM WRITE ABOUT HOW ARTISTS/DESIGNERS ETC INFLUENCED YOUR WORK AND HOW WHAT SKILLS YOU HAVE LEARNT HOW YOUR WORK COULD HAVE BEEN IMPROVED TARGETS OR DIRECTIONS FOR THE FUTURE Try to write fluently and personally but quite formally. As you do through your annotations use descriptive and correct technical terms. For Pass 1 Pass-Identify, select, record, discuss, review 2 Pass-Explore, use, evaluate 3 Pass-Compare, investigate, generate, refine, communicate 4 Pass-Explain, create, describe, comm 5.Pass-Describe, relate, produce, review For Merit Merit-Research, independent, consistent, effective Merit-Understand, in depth, diverse Merit-Considered, purposeful, personal, sophisticated, fluent Merit-Evaluate, diverse, effective, clear, Merit-Organise, effective, link, coherent, supported For Dist Dist- independent, innovative, evaluate, in-depth Dist- Analyse, evaluate, perceptive Dist- Independent, interpret, personal, sophisticated, innovative Dist- Cogently, imaginative Dist-Extract, analyse, complex, independent, comprehensive, argued, fluent

20 TERMINOLOGY When analysing different forms of art you can use any term that describes art in terms of colour, composition and texture but there are some specific terms that can be used A-Level PHOTOGRAPHY Monotone Enhanced colour saturation of colour Enhanced Depth of field Focus Macro Angles forward Contrast tones Montage together Composition together View point unusual Crop photo Texture Subject black and white manipulated to increase computer manipulation use of perspective clarity of image, crispness, hard/soft close up can be unusual or straight amount of difference between different images merged how the elements are put worms eye, aerial, looking up, a selection within a bigger is this exaggerated or ignored what it is portrait, landscape, still life PAINTING Primary Secondary mixed Complimentary Warm/Cool harmonic and B,G,P Tertiary Composition Texture Techniques Dry brush Sgraffito Impasto Blended Flat colour Subject matter Mood/emotion Symbolism Abstracted Realistic Blue Red Yellow, can not be mixed Green, Orange, purple, 2 primaries Opposites, show each other up most, B&O, Y&P, G&R Same half of colour wheel, R,Y,O Primary and secondary s mixed, Often produces muddy tones Arrangement, ascending, descending, linear, triangular, circular, foreground, middle ground, background, Surface qualities How it has been made/painted Dry layer of paint over painted gives texture Scratched into paint to reveal ground underneath, adds texture Thickly layered paint, often applied Applied with a pallet knife Colours and paint that are blend from Tone to tone Areas with colour but no tonal graduation Content, story Atmosphere created Use of colour, object or thing to Represent something hidden Fragmented, simplified, overlapped, Capturing likeness 3D/SCULPTURE Three dimensions 3D Relief areas built on the surface Incise carved detail Scale size Balance symmetry or not Weight how it balances, sits Form shape Exaggerated have parts been, stretched, curved, squared, rounded Simplified Has detail been removed Texture Has the texture been enhanced, smoothed, what is the texture Structure How has it made, modelled, cast, armature Materials What is it made from Affect Why has the sculptor done what he has done Kind of art abstract fake mundane representational copied fantasy noble seascape derivative figurative distorted impressionistic pastiche still life emotional impressive pattern surreal exaggerated interior portrait symbolic exterior landscape religious What is it? aquatint ceramic etching model screen print assemblage collage fresco mural sculpturebas-relief design gouache painting sketch caricature diptych lithograph photograph stencil drawing logo print tempera easel painting miniature relief triptych

21 Experimental/sample presentation PURPOSE To show initial ideas and processes in a professional manner to a client or for portfolio. To allow analysis and evaluation of materials, techniques and processes. To include discussion on formal elements using correct technical terms. PROCESS Select base colour and contrast mounts. Trim work to be presented ensuring neat and square or ripped. Layout presentation and plan space for written analysis Select and make best work stand out Add detail to presentation e.g. ripped papers, titles etc. Stick down using pritt stick/spray mount. WRITTEN WORK Analysis of the effects of the materials The effect of the techniques How experiments meet the needs of the brief/aim Potential of the process including mistakes and improvements Evaluative judgements on potential for production/future use. REMEMBER To make presentation professional It s your written analysis that is being marked for grading A-Level Annotations to Artists/ Designers guide When annotating others work you are showing the understanding of the artist/designer in written terms. It is really important to do this thoroughly as your course requires you to acknowledge your understanding, links and opinion on the work. You should try to research not only the images but gain context information to understand why the artist produces work he did. You need not labour and go into detail of the artists life apart from what inspired him to produce and the times he worked in and the influence this had on their work. This information will help you understand the actual work more and give you the context. In your annotation you should include this overview and then look at the artists work with this in mind. You need to annotate what you see, the meaning and message including any symbolic use of colour or object, materials and techniques, visual language(mood and atmosphere), visual elements (how the artist has used line, tone, form, colour, composition, mark making etc) and to what effect. You should then reference the work to what you are looking at and areas or influence you can take forward. Ideas for structure Outline the artists influences and back ground information Write what you see, what message, atmosphere mood you observe Look at the techniques and materials use and analyse the effect of these Write about the artists use of visual elements, line, tone, colour, composition etc, and what effect this has Reference and write how this links to your area of study and what you could take forward to influence your own work. Evaluation Guidelines The purpose of an evaluation is to summarise your findings and demonstrate in written form your understanding of the work achieved and what you have learnt throughout the work you have done. It also gives the assessor/examiner an overview of your understanding and reinforces all your annotations giving evidence of brief, starting point, research, constraints, selection, refinement, judgements, links to the artists. You should also include skills learnt and how you view the work and what improvements/ new directions can be found. STATE WHAT THE PROJECT/BRIEF/STARTING POINT WAS WHAT WERE THE CONSTRAITS/AIM/ AREA OF INVESTIGATION BRIEFLY OUTLINE WHAT YOU DID AND WHY MOST IMPORTANTLY DOCUMENT THE DECISIONS YOU MADE AND HOW EACH OUTCOME MET THE CONSTRAITS/BRIEF/AIM WRITE ABOUT HOW ARTISTS/DESIGNERS ETC INFLUENCED YOUR WORK AND HOW WHAT SKILLS YOU HAVE LEARNT HOW YOUR WORK COULD HAVE BEEN IMPROVED TARGETS OR DIRECTIONS FOR THE FUTURE Try to write fluently and personally but quite formally. As you do through your annotations use descriptive and correct technical terms. For Pass 1 Pass-Identify, select, record, discuss, review 2 Pass-Explore, use, evaluate 3 Pass-Compare, investigate, generate, refine, communicate 4 Pass-Explain, create, describe, comm 5.Pass-Describe, relate, produce, review For Merit Merit-Research, independent, consistent, effective Merit-Understand, in depth, diverse Merit-Considered, purposeful, personal, sophisticated, fluent Merit-Evaluate, diverse, effective, clear, Merit-Organise, effective, link, coherent, supported For Dist Dist- independent, innovative, evaluate, in-depth Dist- Analyse, evaluate, perceptive Dist- Independent, interpret, personal, sophisticated, innovative Dist- Cogently, imaginative Dist-Extract, analyse, complex, independent, comprehensive, argued, fluent

22 A Critical Vocabulary Pattern Shape diamonds negative simple angular harmonious profile embellish order spiral body image rough-hewn flowing ornamental stamp conical knead sculpt fluid overlap stencil figure model sharp geometric plain structure form mould silhouette irregular positive symmetric frame outline uniform natural repeat uniform geometric precise vague Form and space Colour advance motif scale blend intense saturated angled natural scatter bright luminous secondary carve ornament solid clash mixed soft cast perspective stacked cold opaque tint decorate pointed structure deep pale translucent depth proportion tactile dull pastel transparent human recede volume glowing primary vibrant monumental rounded woven harmonious pure warm Line Tone angular flowing scribble bleach dark harsh broken fluent sweeping bright fade intense confident free tight contrast fair smooth faint hesitant woolly crisp gradation sombre Light Feeling artificial gentle natural alive exciting lonely dapple harsh night atmospheric expressive nostalgic dark haze shading cheeky fresh proud ethereal highlight shadow delicate humorous sad evening intense soft depressing imposing shocking fall of light light source dignified intimidating threatening fierce midday tone disturbing joyous uplifting Composition Texture background distant middleground course glaze matt blurred eye-line near cross hatched rough smooth complex focus perspective fine impasto scumble confused foreground plane shiny thin wash design form proportion scale shape sharp

23 Artist 1 Similarities Artist 2

24 ! 1!Thing!I!knew!already! 2!Things!I!need!to! do!next!lesson! 3!things!I ve! learned!how!to! do!this!lesson!