2 tasks both 1000 words and 15 hrs

The first document has all the writing requirements. Select a work in the first document. Do not check any information on the Internet. See the picture description. The description uses all the professional words in the second document to describe the selected work.  , There are notes of words.

second task is for the last 2 pictures 

FormalAnalysis

Spring, 2020

Due Dates:

· Submit in Class, (btw 800-1500 words): Feb 27th

· Choose one artwork from our selection

· Write a thoughtful, formal analysis paper about your choice.

This assignment’s design is to stimulate your observation skills and encourage you to express arguments clearly and concisely.

Write a formal analysis or “analytical description” of the artwork. Your paper should give a verbal account of what you see in the work. Your paper should follow the “Visual Elements of Design (according to the attached Pdf file in Canvas). In addition, when constructing your formal analysis, you should consider issues such as religion, function, symbolic meaning, techniques, as well as materials, and composition. You should think about how these aspects of the work affect your perception of it and shape its meaning.

Your paper should have an introduction that names and describe the work you will be discussing and that indicates the principal points you want to make about it. Your paper should also have well-organized paragraphs, a sense of development, and a conclusion. You should ensure that general claims you make about your chosen piece are backed up with specific evidence.

· This is not a research paper; therefore, research is not permitted.

· Make sure to add image/s of the artwork

Late Policy

Late papers will be penalized 1/3 of a letter grade per day late, include weekend. Extensions will only be granted in cases of legitimate excuse.

Thank you;

Good luck

Dr. Chwalkowski

The Prophet Muhammad sits with the Abrahamic prophets in Jerusalem, anonymous, Mi‘rajnama (Book of Ascension), Tabriz, ca. 1317-1330. TOPKAPI PALACE LIBRARY

Mihrab, 1354–55, just after the Ilkhanid period, Madrasa Imami, Isfahan, Iran, polychrome glazed tiles, 343.1 x 288.7 cm (Metropolitan Museum of Art)

Stand (rahla) for a Qur’an Manuscript

Maker: Zain Hasan Sulaiman Isfahani

Date: dated 1360

Geography: Made in Iran

Medium: Wood (teak); carved, painted, and inlaid

Dimensions: W. (when closed) 16 1/8 in. (41 cm)

H. (when closed) 51 1/4 in. (130.2 cm)

Bowl with Courtly and Astrological Motifs

late 12th–early 13th century, Attributed to Central or Northern Iran

Medium: Stonepaste; polychrome inglaze and overglaze painted and gilded on opaque monochrome glaze (mina’i)

Dimensions: H. 3 3/4 in. (9.5 cm), Diam. 7 3/8 in. (18.7 cm), Wt. 14 oz. (396.9 g)

“The Court of Gayumars”, attributed to Sultan Muhammad, circa 1522–1525, from the Tahmasp Shahnama, Tabriz

Prayer in the Mosque

Artist: Jean-Léon Gérôme (French, Vesoul 1824–1904 Paris)

Date: 1871

Medium: Oil on canvas

Dimensions: 35 x 29 1/2 in.

Akbar Inspecting the construction of Fatehpur Sikri, 1586

Artsist: Tulsi (artist, composition, maker)

Bandi (artist, colours and details, maker)

Madhav Khord (portraits, artist)

Buffaloes in Combat, Attributed to Miskin (1570–1604). Illustrated single work. late 16th century, India. Medium: Ink, watercolor, and gold on paper

Dimensions: 6 7/8 x 9 1/2in.

T h e V i s u a l E l e m e n t s o f D e s i g n

The following ten elements are intrinsic to all forms of design, whether they refer to image-based compositions, sculptural
forms, or time-based works.

1 . P O I N T : A position, place or spot that is defined by a specific and identifiable measurement in space. For example,
the corner of a cube can be identified specifically.

2 . L I N E : Line is a point that moves. Therefore, it functions as a mark that connects two points. Lines can be literal, (such

as a rule line), or implied (such as a linear force). Lines can organize, contain, separate, direct, connect, convey rhythm, or
suggest motion.

This painting by Paolo Uccello, Battle of San Romano, c. 1

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5

6, demonstrates the use of linear forces as opposed to actual rule
lines. The viewer reads the procession and convergence of lines as unifying elements of the composition.

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. P L A N E : A plane is the surface containing all the straight lines connecting any two points on it. When referring to a
drawing, the piece of paper on which the drawing is made is a plane, but it also contains illusory planes that
represent other objects in space. In the image (below, right), the front face of
the table represents one plane, and the wall behind the table represents
another plane.

4 . F O R M ( o r S H A P E ) : Form or shape is indicated by the ending of one
item or object as it is seen next to or inside of another item or object.
Geometric forms are good examples. We are able to designate a black circle
floating within the center of a piece of white paper because we can easily
define the end (or the silhouette) of the black form against the white paper.
Similarly, when we look at this image of Charles Sheeler’s painting,
entitled Interior, 1940 (right), we see triangles, rectangles, ovals, the curved
form of a pitcher, etc. There are also pronounced linear elements that help
us move throughout the composition. Note that the forms that are seen in
this painting are not restricted to the nameable objects that pertain to the
items in the still life painting (such as the pitcher). Some of the forms are
created by shadows (such as the triangle under the table). This brings us to
the next element of design…

5 . P O S I T I V E / N E G A T I V E S P A C E ( o r F I G U R E / G R O U N D R E L A T I O N S H I P ) : This is the relationship of what we
view as shapes against their surroundings. Referring back to Sheeler’s painting, the pitcher, dish, table, picture on the
wall, and piece of cropped furniture to the left of the composition are all positive shapes that refer to actual objects in
space. The wall is negative space. However, the shadows tend to function as both positive and negative spaces
simultaneously, since we know that they are “holes” in the air, but they are as visually tactile (and in some cases, even
more so) than what we know to be solid objects.

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Now, letʼs look at Richard Diebenkornʼs ink drawing from
1967, entitled Still Life with Cigarette Butts and Glasses,
(left). The sharp contrast in positive and negative shape
leads the viewerʼs eye through a repetition of similar
“holes” (such as the handles of the scissors and the
frames of the eyeglasses). The composition also
presents a sequence of rectangles, lines and circles that
create a rhythm of movement. (See The Principles of
Design on the next page.)

6 . S I Z E : This is the actual measurement of how big something is. For instance, on a piece of paper that measures 18 x
24 inches, there may be a drawing of a figure. The shape of the figure may measure 12 x 5 inches. This measurement has
nothing to do with the measurements of the subject in reality.

7 . S C A L E : Not to be confused with size, scale refers to the relationship of
one thing, object, or image to another. This sculpture (left), entitled Triune,
by Robert Engman, 1975, is situated in Philadelphia’s City Center.
Although the sculpture is considerably smaller than City Hall (the building
seen to the right of the sculpture in the image), the dynamic point-of-view
of this photograph causes the sculpture to dwarf the adjacent building.
Therefore, in this image, the Scale of the sculpture to the size of the
pictorial field is greater than the scale of the building to the size of the
pictorial field.

8 . T E X T U R E : Texture refers to the feel of a surface, and can be literal or
illusory. Patterns in images convey texture, as well. A drawing or
photograph can convey the feeling of furriness or of sharpness even though
the physical touch of the drawing or photograph is smooth.

9 . V A L U E : The relative lightness or darkness of an object or area is known as value. For image-based works such as
drawings and photographs, value gives illusory space (volume and distance) to the two-dimensional surface. In addition,
value variations help the viewer determine shapes, as well as positive and negative space within a pictorial field.

1 0 . C O L O R : Color is often included in the list of Visual Elements of Design, as it functions simultaneously with, but
also independently, from value. But, because of its psychological effects, and due to semiotic and cultural applications,
color is an element that tends to be nomadic and unpredictable, which does not adhere to the same kind of rational
analysis that the other nine elements provide. Therefore, it must be given its own category. We will cover that in the
second half of the semester.

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A p p l i c a t i o n s o f D e s i g n
These applications constitute the various configurations and behaviors of the Elements of Visual Design. In some cases,
these applications are defined differently when discussing image-based compositions, sculptural forms, or time-based
works.

A . R H Y T H M : The pattern of repeating design elements is known as rhythm. This repetition can imply a flow that leads
the viewer through a composition or around a sculpture, and can solidify otherwise disparate elements within an artwork,
design or installation.

In this 1920-21 linocut by
Vladimir Kozlinsky, entitled
ROST A Window Poster, the
black square that is repeated
in the windows, the opened
mouths, and the width of the
letterforms creates a sense of
unity in the composition. What
other repeated elements can
you identify that add to the
overall cohesiveness of this
diptych?

The procession of Nick Cave’s
Speak Louder, 2011, reads like a
piece of sheet music, with
repeating circular shapes
positioned in varying
orientations of high and low,
and the swag of connecting
fabric acting as a ribbon to tie
the shapes together.

B . B A L A N C E : Balance (in image-based compositions) refers to the VISUAL distribution of design elements. (Note that
this is not the same as balance when used in relation to physical forces involving weight and gravity in sculptural forms.)
In this regard, balance most frequently occurs across the vertical axis of a pictorial field (vertical symmetry). Horizontal
symmetry is rare, but visually compelling. Asymmetrical distribution of design elements can suggest dynamic movement or
visual emphasis as seen in the sample on the following page.

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Serbian artist Mrdjan Bajic´
evokes uneasiness with this
sculpture entitled Angel, 2007,
shown in the image on the left.
This work of art represents visual
asymmetry while it remarkably
maintains structural balance.

Kendell Geersʼ neon artwork
Seven Deadly Sins (Gluttony),
2007, seen at the far right,
illustrates both vertical and
horizontal symmetry.

C . M O V E M E N T : The placement of design elements in relation to one another or to the format of the pictorial field
itself, not only leads the viewer’s eye from one element to another, but can also imply motion from the elements being
depicted. The formats of compositional movement include (but are not limited to): radial movement (both converging
and expanding); gravitational movement (both falling and rising); and linear movement (either from one edge of the
pictorial field to another, or from the front to the back of the pictorial field). We tend to read symbolic representations as
directors of movement, such as arrows, a pointed finger, or the direction of the subject’s gaze. Speed of movement can
also be conveyed through the value, placement and shape of the visual elements. The two installations below imbue quite
different sensibilities of movement:

The installation above is Francis Alysʼ presentation at
the 2007 Venice Biennale. Consistently sized frames
placed in straight rows create horizontal, linear
movement and a pattern that mimics even footsteps
during a calm walk. (The drawings happen to
represent the repeated motions of shining a shoe.)

By contrast, at the right is Oyvind Fahlstromʼs
installation at the 2009 Venice Biennial. The
movement created by the placement of the
individual works in the gallery is unstructured and
erratic, with various scales and gravity-defying
suspension that moves viewers in and out of the
works like a racquetball in play.

D . P E R S P E C T I V E : Perhaps the most dynamic application of Visual Elements of Design is perspective. Perspective is
the translation of actual space into two-dimensional forms. The placement of elements along converging linear forces
simulates advancing and receding planes. Likewise, the shift in scale of objects mimics the way our vision interprets
distance. Perspective is most often associated with perceptive or image-based works of art and design, although some
sculptors and architects have used this visual device to achieve incredible results.

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E . P O I N T – O F – V I E W : The application of point-of-view is
unique to works of art that are image-based because it
represents the artist’s position in relation to the subject
when creating the work. (This should not be confused
with the viewer’s position when viewing the work, nor
does “point-of-view” mean “opinion.”) When working
with a stationary subject, an artist working in drawing,
painting, photography or film maintains a single point-of-
view (with the exception of the Cubists). However, an
artist working sculpturally, architecturally, or with
installation must circumnavigate all spatial possibilities of
her or his subject. It then follows that viewers of a
painting, drawing, photograph or film project themselves
into the work exactly as it was viewed or conceived by the
artist. The results are compelling, such as the bird’s-eye
composition seen at right, entitled The Midnight

Ride of Paul Revere, by Grant Wood, 1931. At the
bottom of the pictorial field, where we least expect to
see them, we find the chimneys and rooftops of houses. The road curls up to the top of the pictorial field as if it were the
smoke curling from one of these chimneys.

(Note: POINT-OF-VIEW, as it is discussed here, refers to a characteristic of the work of art or design, and describes the
position in space (high, low, near, far) from which the artist has depicted her or his subject.)

R E C A P :

T h e E l e m e n t s o f D e s i g n A p p l i c a t i o n s o f D e s i g n

1 . P O I N T A . R H Y T H M

2 . L I N E B . B A L A N C E

3 . P L A N E C . M O V E M E N T

4 . F O R M D . P E R S P E C T I V E

5 . P O S I T I V E / N E G A T I V E S P A C E E . P O I N T – O F – V I E W

6 . S I Z E

7 . S C A L E

8 . T E X T U R E

9 . V A L U E

1 0 . C O L O R

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