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| Making Art: An Overview | |
| Processes and Purposes | |
| Subject Matter and Meanings | |
| Representational Works of Art | |
| Nonrepresentational Works of Art | |
| Simple and Complex Subject Matter | |
| Choice and Use of the Medium | |
| Medium as Material | |
| Medium as Artform | |
| Medium and Craftsmanship | |
| Aspects of Form | |
| Contexts | |
| Viewing Context | |
| Internal Context | |
| Artist's Context | |
| Social Context | |
| Art Historical Context | |
| Conclusion: The Components and Meanings | |
| Meanings and Interpretations | |
| Designing with a Purpose | |
| Architecture: Designing for a Small Space | |
| Product Design: Knowing How the Product Is Perceived | |
| Graphic Design: Integrating Purpose, Form, and Process | |
| Commissioned Art | |
| The Value of Knowing Your Own Intentions | |
| Writing an Artist's Statement | |
| The Process of Interpretation: Subject Matter + Medium + Form + Contexts = Meanings | |
| Martin Puryear's Ladder for Booker T. Washington | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Hannah Wilke's Intra-Venus Series | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Jacquie Steven's Double-Spouted Jar | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Annie Seidman's Untitled | |
| Subject Matter | |
| Medium | |
| Form | |
| Contexts | |
| Meanings | |
| Semiotic Interpretations: Denotations and Connotations | |
| "Right" Interpretations | |
| Deciding among Competing Interpretations | |
| The Value of Having Your Work Interpreted | |
| Conclusion: Principles for Interpreting Art | |
| Point, Line, Shape, Mass and Volume, Texture, and Value | |
| Point | |
| Line | |
| Line in Two-Dimensional Art | |
| Line in Three-Dimensional Art | |
| Shape | |
| Figure and Ground | |
| Positive and Negative Shape | |
| Amorphous Shape | |
| Three-Dimensional Shape | |
| Mass and Volume | |
| Texture | |
| Actual Texture | |
| Implied Texture | |
| Invented Texture | |
| Value | |
| Conclusion: The Power of Simple Elements | |
| Color | |
| Basic Color Physics | |
| Color and Light | |
| Additive Color and Subtractive Color | |
| Optical Mixing Processes | |
| Color Wheels | |
| Physical Traits of Color: Hue, Value, and Intensity | |
| Neutrals | |
| Pigments and Dyes | |
| Opaque and Transparent Colors | |
| Subtractive Color Mixing | |
| Color Schemes | |
| Monochromatic, Analogous, and Complementary | |
| Triads, Tetrads, and Hexads | |
| Warm and Cool Colors | |
| Earth Tones | |
| Polychromatic Schemes | |
| Color Interactions | |
| Simultaneous Contrast | |
| Afterimage | |
| Artists and Optical Mixing | |
| Local Color and Arbitrary Color | |
| Color and Meaning | |
| Mood and Emotion | |
| Colors and Cultures | |
| Conclusion: Beyond Color Theory | |
| Space | |
| Actual Space | |
| The Psychology of Space | |
| Architectural Space | |
| Interior Spaces | |
| Artifacts within Spaces | |
| Three-Dimensional Artifacts | |
| In the Round | |
| In Relief | |
| Positive and Negative Space | |
| Virtual Space | |
| Virtual Entertainment Spaces | |
| Simulated Spaces for Real-World Training | |
| Virtual Educational Spaces | |
| Illusional Space | |
| Indicators of Ilusional Space | |
| Foreground, Middle Ground, and Background | |
| Size | |
| Overlap | |
| Transparency | |
| Placement | |
| Types of Perspective | |
| Atmospheric Perspective | |
| Linear Perspective | |
| One-Point Perspective | |
| Two-Point Perspective | |
| Three-Point Perspective | |
| Points of View | |
| Bird's Eye View | |
| Worm's Eye View | |
| Foreshortening | |
| Isometric Perspective | |
| Multiple Perspective | |
| Denying Illusion | |
| Conclusion: Limitless Opportunities in Space | |
| Time and Motion | |
| Indicating Time in Art | |
| Dimensions of Time | |
| Actual Time | |
| Implied Time | |
| Recorded Time | |
| Indicting Motion in Art | |
| Actual Motion | |
| Implied Motion | |
| Implied Motion and Passage of Time | |
| Photographic Techniques in Implied Motion | |
| Recorded Motion | |
| Conclusion: Perspectives on Time and Motion | |
| Words and Sounds | |
| Words and Their Uses in Art | |
| Words as Images | |
| Words and Images | |
| Sounds: Adding a Sensory Dimension | |
| Audible Words | |
| Nonverbal Sounds | |
| Conclusion: Combining the Elements | |
| Directional Force, Size, Scale, and Proportion | |
| Design Principles | |
| Directional Force | |
| Vertical Force | |
| Horizontal Force | |
| Diagonal Force | |
| Circular Force | |
| Triangular Force | |
| Using Multiple Directional Forces | |
| Size, Scale, and Proportion | |
| Making a Statement with Size | |
| Playing with Scale | |
| Searching for Perfection in Proportion | |
| Classical Proportions | |
| The Spiral | |
| Conclusion: Effective Uses of Size, Scale, and Directional Force | |
| Balance and Contrast | |
| Balance and Weight: Actual and Implied | |
| Kinds of Balance | |
| Symmetrical Balance | |
| Approximate Symmetrical Balance | |
| Asymmetrical Balance | |
| Radial Balance | |
| Achieving Balance in Artifacts | |
| Contrast | |
| Visual Contrast | |
| Conceptual Contrast | |
| Conclusion: The Inherent Qualities of Balance and Contrast | |
| Repetition, Unity and Variety, Emphasis and Subordination | |
| Repetition | |
| Pattern | |
| Repetition and Rhythm | |
| Unity and Variety | |
| Principles that Unify | |
| Grids: Basic Structure for Unity or Variety | |
| Designing Works for Variety | |
| Emphasis and Subordination | |
| Emphasis: Focusing Viewers' Attention | |
| Subordination: Supporting a Larger Theme | |
| Conclusion: Reflecting on Design Principles | |
| Postmodernist Approaches to Making Art | |
| Modernism and Postmodernism in Culture | |
| Modern Art and Postmodern Art | |
| Postmodern Attitudes toward Art | |
| Challenging the Art World | |
| Escaping the Confines of Museums and Other Traditional Venues | |
| Collapsing Boundaries between “High” and “Low” Art | |
| "Texts" and "Works" | |
| Rejecting Originality | |
| Accepting the Abject | |
| Jouissance | |
| Postmodern Strategies for Making Art | |
| Working Collaboratively | |
| Appropriating What Already Exists | |
| Simulating the "Real" | |
| Hybridizing Cultural Influences | |
| Mixing Media | |
| Layering Images | |
| Mixing Codes | |
| Recontextualizing the Familiar | |
| Intertextualizing Signs | |
| Confronting the Gaze | |
| Using Dissonance | |
| Constructing New Identities | |
| Adapting Literary Devices to Visual Art | |
| Using Narratives | |
| Creating Metaphors | |
| Using Irony and Parody | |
| Conclusion: Are You a Postmodernist? | |
| Artists' Processes and Practices | |
| Artists' Motivations and Ideas for Making Art | |
| Artists' Practices of Making Art | |
| Conclusion: Keep Yourself Motivated | |
| Studio Critiques | |
| Critiques Defined | |
| Recommended Attitudes toward Critiques | |
| What Students Want and Do Not Want from a Critique | |
| Kinds of Critique | |
| Descriptive Critiques | |
| Intentionalist Critiques | |
| Interpretive Critiques | |
| Judgmental Critiques | |
| Theoretical Critiques | |
| Samples of Critiques | |
| Excerpts from an Interpretive Critique | |
| A Written Critique | |
| Assessing Your Own Art | |
| Conclusion: The Benefits of Critiques | |
| Notes | |
| Glossary | |
| Bibliography | |
| Photo Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
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