Allyn & Bacon, 2005-04-28. This listing is for (Emphasis Art: A Qualitative Art Program for Elementary and Middle Schools (8th Edition)). This edition is very similar to ISBN which is the most current updated edition. Please be sure to buy the earlier and much cheaper edition for your class and SAVE MONEY on your. COUPON: Rent Emphasis Art A Qualitative Art Program for Elementary and Middle Schools 9th edition (829) and save up to 80% on textbook rentals and 90% on used textbooks. Get FREE 7-day instant eTextbook access!

1. Emphasis Art Book
2. Emphasis Art Ninth Edition Table Of Contents
3. Area Of Emphasis Art

1. Megagoodtext.web.fc2.com› Emphasis Art Ninth Edition Warhammer The 9th Age is an rules update for the 8th edition of warhammer fantasy battles, intended to be considered a new version of the game, the 9th version.
2. Emphasis Art: A Qualitative Art Program for Elementary and Middle Schools (9th Edition) by Frank Wachowiak Robert D. Clements ISBN 13: 829 ISBN 10: Hardcover; U.s.a.: Pearson, 2009-03; ISBN-13: 9829.

Sometimes a painting or drawing is a story. All good stories have a hero or, at least, a main character. Visual art can have a main character too. The main character does not have to be a person. An object or area within the composition can serve as the main character in an artwork.

In a story, the main character, sometimes referred to as the protagonist, is not hard to identify. In a book, the protagonist usually has the most dialogue while in a movie, the most screen-time. However, there is no dialogue in a painting and every pictorial element gets the same amount of screen time, or rather, “canvas” time.

So how do we, as artists, designate the main character in a painting? How do we get our audience to look where we want them to look?

The answer to those questions is emphasis. Emphasis is the principle of art that helps the audience put the story of a painting together in their own minds.

Any object or area of emphasis is called a focal point. The focal point is meant to be the part of an artwork to which the viewer’s eyes are first attracted. Artworks can have multiple focal points. The degree to which the focal points stand out determines the order in which the viewer notices them.

In the remainder of this article, we’ll explore a variety of ways to create emphasis.

Contrast

Take a look at the image of tomatoes below. The green tomato is mixed into the red tomatoes but does not get lost in the group. It is clearly the focal point because of a strong contrast of color.

Three elements of art: color, value, and texture, are useful in creating emphasis through contrast. Using texture in only one spot or placing a light object in an otherwise dark environment will attract the attention of the viewer.

Let’s take a closer look a how color creates emphasis.

Bright color is usually attractive. Road signs and traffic lights are brightly colored for a reason – to get our attention. Below are three specific ways you can use contrast to add emphasize in your own art.

• Complementary Colors
• Isolated Color
• Absent Color

Complementary Colors

Complementary colors are arranged across from one another on the color wheel. They are far apart. Compliments are as different in hue as possible. Examples include red/green, blue/orange, and yellow/violet.

Often complementary colors are used to organize an entire composition. They can also attract the viewer’s eyes to a focal point when place alongside one other. Complementary color relationships are visually, the loudest color relationship. The expression, “the squeaky wheel gets the grease” indicates that loudness draws attention – even if the loud “noise” is visual in nature.

Isolated Color

Isolated color is a color found in only one spot in a composition. An object with isolated color stands out because it does not harmonize with the rest of the color palette. Since this color is only found in one location, it draws our eyes to it.

Absent color

Emphasis Art Book

Similar to isolated color but more severe, a single-color note in an otherwise colorless artwork draws our eyes to it. There will be no doubt in the audiences’ mind what the artist means to emphasize if only one object is in color.

Isolation

Isolation is a straight-forward way to ensure the “main character” of a picture is noticed. Place an object of emphasis outside of a grouping and you will force your audience to take notice of it.

Look at the drawing of coins below. The large pile of coins on the left may be worth more than the single coin on the right, but the coin on the right seems more important simply because it is isolated from the rest.

Location

Using a bulls-eye as an example, the location of a compositional element contributes to our feelings about emphasis as well. The bulls-eye on a dart board is in the center for good reason. All things being equal, a viewer will look at the center of a composition first. Placing important objects or people near the center of a canvas will add to their emphasis.

A word of caution – Important objects should be placed near, but not directly in the center. If your focal point is in the exact center of a composition you will greatly de-emphasis everything else in the composition such that the viewer may not consider the entirety of the image.

Convergence

Lines and edges can work like arrows to indicate a focal point. Not only obvious lines work but implied lines (invisible lines) as well. For example, the direction of a person’s gaze can indicate to the audience where to look next.

Try it yourself. The next time you are standing outside with other people, just stare intently into the sky for a moment and others will begin to follow your gaze with their own.

In the drawing below, the architectural features point towards, or converge, at the small figure in the road. Additionally, the figure is located near the center of the composition to help the audience find him.

The Unusual

A fun way to create emphasis in a composition is to have one element stand-out because it is so different – a round object among angular shapes, a line of people with one facing the wrong way. Think of it as the “twist” at the end of a movie. If you are changing what the audience expects to something unexpected, then you will create a striking point of emphasis.

Look at the line of people in the illustration below. See how the person with the head of a fly just pops-out and demands your attention.

Level of Rendering

In reality, any one thing is as undeniably real as any other thing. People, trees, cars and buildings all share the same level of “existence”, the same “completeness”. In a painting or drawing however, the artist decides the degree to which various pictorial elements are rendered. Think of it as finished vs. unfinished or tight vs. loose. A sharp/clear area in an otherwise loose composition acts as a focal point.

Conclusion

By using Contrast, Isolation, Location, Convergence, the Unusual and Level of Rendering in your own artwork, you will begin to control how your story unfolds and control how your viewers interact with your art.

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Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation-level class. Students in art history survey and upper-level classes further develop this skill. Use this sheet as a guide when writing a formal analysis paper.Consider the following when analyzing a work of art. Not everything applies to every work of art, nor is it always useful to consider things in the order given. In any analysis, keep in mind the following: HOW and WHY is this a significant work of art?

Part I – General Information

1. In many cases, this information can be found on a label or in a gallery guidebook. There may be an artist’s statement available in the gallery. If so, indicate in your text or by a footnote or endnote to your paper where you got the information.
2. Subject Matter (Who or What is Represented?)
3. Artist or Architect (What person or group made it? Often this is not known. If there is a name, refer to this person as the artist or architect, not “author.” Refer to this person by their last name, not familiarly by their first name.)
4. Date (When was it made? Is it a copy of something older? Was it made before or after other similar works?)
5. Provenance (Where was it made? For whom? Is it typical of the art of a geographical area?)
6. Location (Where is the work of art now? Where was it originally located? Does the viewer look up at it, or down at it? If it is not in its original location, does the viewer see it as the artist intended? Can it be seen on all sides, or just on one?)
7. Technique and Medium (What materials is it made of? How was it executed? How big or small is it?)

Part II – Brief Description

In a few sentences describe the work. What does it look like? Is it a representation of something? Tell what is shown. Is it an abstraction of something? Tell what the subject is and what aspects are emphasized. Is it a non-objective work? Tell what elements are dominant. This section is not an analysis of the work yet, though some terms used in Part III might be used here. This section is primarily a few sentences to give the reader a sense of what the work looks like.

Part III – Form

This is the key part of your paper. It should be the longest section of the paper. Be sure and think about whether the work of art selected is a two-dimensional or three-dimensional work.

Art Elements

1. Line (straight, curved, angular, flowing, horizontal, vertical, diagonal, contour, thick, thin, implied etc.)
2. Shape (what shapes are created and how)
3. Light and Value (source, flat, strong, contrasting, even, values, emphasis, shadows)
4. Color (primary, secondary, mixed, complimentary, warm, cool, decorative, values)
5. Texture and Pattern (real, implied, repeating)
6. Space (depth, overlapping, kinds of perspective)
7. Time and Motion

Principles of Design

1. Unity and Variety
2. Balance (symmetry, asymmetry)
3. Emphasis and Subordination
4. Scale and Proportion (weight, how objects or figures relate to each other and the setting)
5. Mass/Volume (three-dimensional art)
6. Rhythm
7. Function/Setting (architecture)
8. Interior/Exterior Relationship (architecture)

Part IV – Opinions and Conclusions

This is the part of the paper where you go beyond description and offer a conclusion and your own informed opinion about the work. Any statements you make about the work should be based on the analysis in Part III above.

1. In this section, discuss how and why the key elements and principles of art used by the artist create meaning.
2. Support your discussion of content with facts about the work.

General Suggestions

1. Pay attention to the date the paper is due.
2. Your instructor may have a list of “approved works” for you to write about, and you must be aware of when the UALR Galleries, or the Arkansas Arts Center Galleries, or other exhibition areas, are open to the public.
3. You should allow time to view the work you plan to write about and take notes.
4. Always italicize or underline titles of works of art. If the title is long, you must use the full title the first time you mention it, but may shorten the title for subsequent listings.
5. Use the present tense in describing works of art.
6. Be specific: don’t refer to a “picture” or “artwork” if “drawing” or “painting” or “photograph” is more exact.
7. Remember that any information you use from another source, whether it be your textbook, a wall panel, a museum catalogue, a dictionary of art, the internet, must be documented with a footnote. Failure to do so is considered plagiarism, and violates the behavioral standards of the university. If you do not understand what plagiarism is, refer to this link at the UALR Copyright Central web site: https://ualr.edu/copyright/articles/?ID=4
8. For proper footnote form, refer to the UALR Department of Art website, or to Barnet’s A Short Guide to Writing About Art, which is based on the Chicago Manual of Style. MLA style is not acceptable for papers in art history.
9. Allow time to proofread your paper. Read it out loud and see if it makes sense. If you need help on the technical aspects of writing, use the University Writing Center (569-8343) or On-Line Writing Lab. https://ualr.edu/writingcenter/
10. Ask your instructor for help if needed.

Further Information

For further information and more discussions about writing a formal analysis, see the following. Some of these sources also give a lot of information about writing a research paper in art history, that is, a paper more ambitious in scope than a formal analysis.

Emphasis Art Ninth Edition Table Of Contents

M. Getlein, Gilbert’s Living with Art (10th edition, 2013), pp. 136-139 is a very short analysis of one work.

M. Stokstad and M. W. Cothren, Art History (5th edition, 2014), “Starter Kit,” pp. xxii-xxv is a brief outline.

S. Barnet, A Short Guide to Writing About Art (9th edition, 2008), pp. 113-134 is about formal analysis; the entire book is excellent for all kinds of writing assignments.

Area Of Emphasis Art

R. J. Belton, Art History: A Preliminary Handbookhttp://www.ubc.ca/okanagan/fccs/about/links/resources/arthistory.html is probably more useful for a research paper in art history, but parts of this outline relate to discussing the form of a work of art.