Saturday, November 30, 2013

Definition of Education of art.. PsV

1.0 Introduction

Education of visual art actually provides opportunities for students to develop interest of students in awareness and sensitivity to the values of art and their surroundings. Education of visual arts it’s a part of fundamental in formation student to create their imagination and student thinking more creative. Student actually can develop their idea to express and expression themselves in the form of visual art.

Visual Arts Education schools are related with fine arts, visual communication and craft traditional, that can trained students look at things with a other perspective either broad or aesthetic aspect based on element and principle art to applied in their artwork. Art subject its basic teach for fine arts (drawing, painting, sculpture and print), design (industrial design and interiors design environment and landscape) visual communication (graphic arts and multimedia), as well for traditional arts is (pottery / ceramics, batik, weaving and embroidery wood carving).

Visual art actually is a product / invention the artwork that can be seen through the eye sight. Results / work force is derived absolute mind and art in one's mind and translated into tangible objects, and can be seen as a picture, sculpture, model etc.

friendship

Friendship Pictures - Quotes - Photobucket

Friday, November 29, 2013

SUKATAN PELAJARAN KURIKULUM BERSEPADU SEKOLAH MENENGAH PENDIDIKAN SENI VISUAL

http://www.moe.gov.my/bpk/sp_hsp/seni/kbsm/sp_pseni_kbsm.pdf

Thursday, November 28, 2013

Correlational and Survey Research

http://www.slideshare.net/zuraiberahim/slide-presentation-28715671

What is Collage and Cubism?

What is collage?

Ans)A collage is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole. It is a technique in art consisting of cutting and pasting natural or manufactured materials to a painted or unpainted surface.

Research 2 of the above collage techniques on google. Which one appeals to you the most and why?

Ans) There are two collage techniques, which is the Cubomania and Inimage. Cubomania is one of the collage techniques. It is a collage that is put together by images or pictures that are cut into squares. Which it creates a random and automatically appearance. Inimage is the kind of the collage which parts of the image is been cut off and another image is being reveal through that space. I like the Inimage technique, because is more clean and organize, where different images are being overlap or on top of each other and create texture.

What is cubism? Give a general definition.

Ans)Cubism is a style of painting that developed in the early 20th century. It involves different forms of shapes, colours and objects being pull apart or put together with different graphics. There are two types of Cubism- Analytic Cubism and Synthetic Cubism.

How did it start?
Ans) It started in 20th Century and was influenced by the I5th Century Italian Renaissance and the I6th Century Italian High Renaissance. It was the invention of Picasso and Braque, since they started to exclude all but the formal elements of art: line, shape, and color to create a new movement of art.

What is analytical cubism? Name a piece of analytical cubist artwork.
Ans) Colours was almost non-existent in the Analytic Cubism where only colours like grey, blue and ochre are used. Instead of an emphasis on colours, Analytic cubists are base on shapes like cylinder, sphere and cone to represent the natural world.A piece of analytical cubist artwork would be “Portrait of Daniel- Henry Kahnweiler” by Pablo Picasso.

What is synthetic cubism? Name a piece of synthetic cubist artwork.
Ans) On the other hand, Synthetic Cubism is having several objects together than having objects separating from each other like the Analytic Cubism. Often, artists use more than one type of medium in the same piece, where there are less shading and more of flatter space. A piece of synthetic cubist artwork would be “Still Life with Fruit Dish and Mandolin” by Juan Gris.

Do you like cubism? Why or why not explain using the vocabulary of the elements and principles of design. Ans) I like cubism, because is a very unique style that there is no focal point, it shows the use of dull and bright colours, and various ideas are presented in one piece of work.

This info from: http://www.google.com.my/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1qB25J8eLzXgBUAcGEqrOkSXQy7Q9L-6sOryMgZ9u5DEiIXgsfmrg_151gw3R12o6MHHL7pimi61m6ZPD6eYMoB3RiAhm99odKTJUIRWpkfnGMbNJb463QSHcZJboPqlenxBiye_yIh7/s1600/stacy-alexander.jpg&imgrefurl=http://hassan000-mediaarts.blogspot.com/2010/10/what-is-collage-and-cubism.html&usg=__0CNFGF_saXPtI-LFnJTDOHAE

Creative Collage

The student should be encouraged to use their eyes and imagination and to handle the materials in order to developed an appreciated of their qualities. The student should and think for themselves in order to produce personal artwork and to exercise their own creative power.

Haley, I. (1971). Creative Collage. London: Branford SBN.

Monday, November 25, 2013

Collage

collage

"Ready to Crow"

Rooster

Painted Paper Mixed Media Collage

by Nancy Standlee

"Feed the Birds"

A bird collage with hand painted papers

"Hight Heel Shoe"

Collage

study on shape

STUDY ON SHAPE

Shape is a two-dimensional area that is defined by a change in value or some other form of contrast.

All shapes are two-dimensional, meaning that they have only length and width.

All shapes will fall into one of two categories. Geometric shapes or regular shapes are easy to recognize. Math can be used to find information about these shapes and these shapes generally have a specific name associated with them. Examples include: circle, triangle, square, and trapezoid.

Organic or freeform shapes are shapes that seem to follow no rules. Organic shapes generally do not have a name associated with them and are typically not man-made.

We can learn to see the world around us as shapes. Recognizing the shapes that we see will lead to improved drawing and painting.

Shapes defined by objects are positive shapes (space). Shapes defined around objects are negative shapes (space).

The relationships between the positive and negative shapes help the brain of our viewers understand what they are seeing. Our brains are even capable of making sense of complex relationships between positive and negative shapes.

By organizing geometric and organic shapes, we can draw anything. Even complicated objects become easy to draw when we isolate basic geometric and organic shapes.

Terms
Shape- an element of art that is a two-dimensional area that is defined in some way. A shape may have an outline around it or you may recognize it by its area.

Geometric shapes- precise shapes that can be described using mathematical formulas. Ex. Circle, square, triangle, oval, rectangle, parallelogram, trapezoid, pentagon, pentagram, hexagon, and octagon.

Freeform Shapes- also called organic shapes, are irregular and uneven shapes. Their outlines may be curved, angular, or a combination of both

Form- an element of art, means objects that have three dimensions. I like to think of form as a 3-D shape

Form and Shape are related. You can turn a shape into the illusion of form by adding value and you can simplify a form from life into a shape.

DEFINITION OF SHAPE

Shapes are limited to two dimensions: length and width. Geometric shapes -- circles, rectangles, squares, triangles and so on -- have the clear edges one achieves when using tools to create them. Organic shapes have natural, less well-defined edges

SHAPE ON CUBISM
Picasso's Woman with Mandolin (1910) further illustrates the groundwork that was being laid by these two artists. Picasso, always the sculptor, fragments the girl's body into facets that are modeled to simulate their projection out of the flat picture plane toward the viewer and that portray her in movement as she strums her mandolin. What Picasso is trying to depict here is the fourth dimension, the space/time continuum. In his Introduction to Metaphysics of 1903, Henri Bergson argues that human consciousness experiences space and time as ever-changing and heterogeneous. With the passage of time, an observer accumulates in his memory a store of perceptual information about a given object in the external visible world, and this accumulated experience becomes the basis for the observer’s conceptual knowledge of that object. By contrast, the intellect or reasoning faculty always represents time and space as homogenous. Bergson argued that intellectual perception led to a fundamentally false representation of the nature of things, that in nature nothing is ever absolutely still. Instead the universe is in a constant state of change or flux. An observer views an object and its surrounding environment as a continuum, fusing into one another. The task of metaphysics, according to Bergson, is to find ways to capture this flux, especially as it is expressed in consciousness. To represent this flux of reality, Picasso began to make references to the fourth dimension by "sticking together" several three-dimensional spaces in a row.

Girl with Mandolin (1910)

Pablo Picasso cubism

cubism by Pablo Picasso

Pablo Picasso cubism
During the early days of cubism historians attributed the creation of cubism to one man: Pablo Picasso. Now we know that he has to share to honor with Georges Braque. Braque had studied Cézanne's method of representing three dimensions as seen from several viewpoints, in the same year (1907) that Picasso created his Les Demoiselles d'Avignon. In this painting Picasso depicts human figures by making use of several viewpoints, which became one of the characteristic features of cubism. Arriving at the concept of depicting an object as seen from different viewpoints independently, Pablo Picasso and Georges Braque soon became good friends and went on to develop the visual language of cubism in close cooperation, an alliance that Picasso would sometimes call a marriage. Les Demoiselles d'Avignon represents Picasso's époque negre which was inspired by African art and overlaps the first phase in cubism, which is called analytical cubism. Analytical cubism lasted until 1911 and is characterized by monochrome, relatively unemotional paintings that depict rather uneventful subjects, such as still lives. Many paintings of analytical cubism are faceted (see for instance Georges Braque's "Mandola", below), a technique that allows the artist to disect and reconstruct his subject in a way that depicts its essence rather than its appearance. Although largely abstract, the faceted technique still produces a recognizable image of the subject. The technique of faceting originated from Georges Braques - it was his way to depict a natural object. Picasso didn't so much facet natural objects, but used the geometry of Braques' faceted paintings to create a style that was abstract in essence, almost pure abstract art. So cubism refers to the styles of both Braques and Picasso, although Braques' cubism has a recognizable figurative objective, while Picasso's cubism served as the link between Braques' style and pure the abstract art that followed from cubism (such as Piet Mondrian and suprematism).
From 1911 on cubism moved in a direction which is now known as synthetic cubism. In both analytical and synthetic cubism the subject would be fragmented, in analytical cubism giving rise to a crystalline geometry, while in synthetic cubism the fragmentation would be somewhat reduced in size, making the subject more recognizable and less formal. In both styles a subject would be reconstructed in intersecting, sometimes transparent planes. A faisionable object of speculation and intellectualization at the end of the 19th century was the so-called fourth dimension, in which it would be possible to simultaneously discern all sides of a three-dimensional object¹. It seems evident that cubism was a product of the intellectual climate of its time and this may have been of influence on Picasso aiming to depict three dimensional objects in a two dimensional plane. Cubism: origin of the term To understand where the term cubism comes from, we have to digress on the rivalry that existed between Picasso and Matisse. The latter's Blue Nude painting had caused a public scandal at the Salons des Indépendent (annual Paris art show of contemporary French art) and had caused art critic Louis Vauxcelles to refer to Matisse and his followers as Les Fauves (the wild animals), which led to Fauvism and made Matisse's reputation as the leading avant-garde artist, something he was very fond of. Matisse's reputation had grown to the point that he had been allowed to become one of the Salon's jury members. When Picasso had produced his Demoiselles, many young artists that had previously followed Matisse, began to follow Picasso is his radical new style of painting. One of the converts was Georges Braque and when he submitted a series of paintings to the Salon, Matisse, who was infuriated by Braque's defection, was instrumental in the Salon's rejection of all of Braques' works. When explaining to Vauxcelles (him again), Matisse made a drawing after one of Braque's landscapes, to show how they were made out of 'little cubes' and from there on "cubism" was a no-brainer for Vauxcelles. This however, had little to do with the technique of faceting that Braque and Picasso went on to develop. Braque's paintings were just a prelude to a very different style, but the term cubism would stick.
Noteworthy is the work of Piet Mondrian, who linearized cubism in his 1912 "Apple Tree" painting, a process which ultimately led to the first really non-figurative paintings (or pure abstract art), from 1914 on. An important difference between Picasso and the cubist Mondrian was that Picasso never really gave up the third dimension. He played with dimensions, flirted with removing the third, but never became a pure abstract painter. So deeply his figurative upbringing was engrained (he was an artistic prodigy and well-rounded figurative painter at 15), that one of the main creators of abstract art never made it to this development's ultimate consequence: pure abstract art. In that sense Picasso wasn't the radical and revolutionary that, during his cubist period he appeared to become; his cubist period was followed (leaving his cubist converts bewildered) by his neo-classicism, a return to tradition. From there on his recognition and wealth grew and his role as a bringer of fundamental change in the art of painting was over.
Cubism and Picasso's Style It is important to fully realize the importance of cubism. It isn't just "Picasso's style" but marks the real beginning of abstract art. Picasso's predecessors, such as the impressionists, the fauvists and Cezanne were still principally tied to nature as a model to elaborate on. With Les Demoiselles d'Avignon Picasso reached a level of abstraction that was a radical enough break with the classical dominance of content over form, a hierarchy which is reversed in Les Demoiselles d'Avignon and the style which followed from it: Cubism.
Speaking of "Picasso's style", it is natural to associate Picasso with Cubism, which leads to people thinking that paintings such as "Femme en pleurs" are cubist. However, Picasso's cubist period ended in 1915 and paintings such as Femme en pleurs (1937, see below) certainly aren't cubist, although there are elements of cubism visible, as well as fauvism and many other styles. There is no -ism that characterizes paintings such as Femme en pleurs and its style is commonly known as, indeed, Picasso's style. Picasso's career is in fact a patchwork of different styles and in his classicist nudes for instance there are hardly any cubist influences visible. Maybe ironically or maybe typically, when Picasso's work could be captured in an -ism, during his cubist period, his influence on art transcended the Picasso style and marked the beginning of a new era in modern art. Picasso's style in its full form is a patchwork of ideas borrowed from classical artists and contempories like and El Greco, Matisse, Modigliani, Gauguin and Toulouse-Lautrec. However, a key-element of the Picasso style is the cubist geometry, which is Picasso's own creation. After his cubist period, Picasso would come to depend on the work of his contempories, from which he would distill the essence, create his own version and incorporate it in his style. After the second world war the School of Paris would not be replaced with an artistic movement of comparable quality, denying Picasso the opportunity to be inspired by, and borrow from contemporary artists, and although he would go on to paint successfully in the Picasso style, he would never again be able to substantially innovate his style. Abstract art may be a 20th century creation, but it also marks the end of a process that started in the 18th century. Long before the invention of photography, philosophers began to question the narrative role of the art of painting, in which naturalism served to create an illusion of reality. Paintings would tell stories and depict actions and emotions; the content of a painting was its central feature, not the painting itself, with its form and color. This would be reversed by the influence of theoreticians like Denis Diderot, Georg Wilhelm Friedrich Hegel, Gotthold Ephraim Lessing, Immanuel Kant and Arthur Schoppenhauer. They felt that the art of painting should not copy nature, but should be an independent art form; the purpose of a painting became the painting itself. This created the ideal philosophical climate for avant garde artists, such as Picasso and Braque, who aimed to move towards abstract art; while the general public doubted their sanity, the cubists could refer to the above-mentioned philosophical tradition.