Formal analysis tutorial 2 d

Editor's Notes

• #2: Learning to look at and write about what you see is a key component to visual literacy. Not only does this allow you to effectively communicate what you see to others, but it also helps you gather more sophisticated observations, developing a greater understanding of a work of art. The result of this is called visual analysis.
• #3: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #4: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #5: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #12: There are many ways to describe an image. In Western art history, there are 8 key terms that are major components to most visual analyses: Composition, Shape, Form, Space, Line, Light, Color, Texture. These terms are particularly useful in analyses of works that are representational and two dimensional.
• #14: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #15: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #16: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.
• #17: Shape is defined as an element of art that creates an enclosed space. Most shapes can be considered either geometric—like this window—or organic—like Christ and his disciples.
• #19: Space can be referred to as the area—implied or actual—around shapes. Because this is a two-dimensional work, the space is considered implied. In this painting, notice how there is a lot of space around the figures of Christ and his disciples. Related to space is the notion of depth. A lot of space usually means there is greater depth. Here depth is largely implied by the use of linear perspective and the overlapping of figures.
• #22: Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
• #23: Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
• #24: Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
• #25: Composition is how shapes are arranged in space. In a way, shape plus space equals composition. Let’s look at the composition of this painting. The main group of figures—Christ and his disciples are arranged along a horizontal axis behind the table. An equal amount of disciples are placed on either side of Christ. While this give the composition a sense of balance, the balance is asymmetrical. None of the disciples are identical in appearance or placement. They overlap in a haphazard (and naturalistic) manner. This contributes to a sense of chaos appropriate to the moment in this narrative—Christ has just revealed that one among their numbers will betray him—but the asymmetry does not undermine the overall sense of formal balance and harmony of the composition. The placement of the disciples also emphases Christ position in the center of the composition. Furthermore, Christ is framed by the central window and the lines of the room point to Christ. All of these elements of the composition make the eye travel directly to Christ. This makes him the focal point of this painting.
• #27: Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
• #28: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #29: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #30: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #34: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #35: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #36: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #37: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #38: Line is a continuous mark made between two points. Line can either be contour or implied. Here the line is implied through subtle gradations between different colors and shades. In other words, the shapes in the Last Supper are not defined by a harsh contours as they are in this Roy Lichtenstein painting. Implied line can be used to different effects. Some can be sharp and precise, like those around the entry ways, or they can be more fluid and soft, like the lines of the garments. In your analysis, be sure to describe the quality of the line. It can greatly affect your overall interpretation of a work’s mood. The element of line is closely related to following terms.
• #39: Light is a term that is almost exclusive to representative art. It is the effect of light falling on the shapes represented in the painting. The source of the light can represented in the painting via lamps or windows, but often light comes from a source outside of the picture plane. Light can come from a single source, or it can come from multiple location. In this painting, you can see light coming from at least two locations on and off the picture plane. First, light seems to be coming from the left hitting the right wall. The second major source of light appears to be emanating from either the window behind Christ or from Christ himself. DaVinci’s Last Supper shows us how light can be used in both a practical and symbolic ways. In one sense, the use of light can be naturalistic providing a means of creating highlights, shadows, and varying degrees of contrast among shapes. Symbolically, the light coming from Christ can be seen as a manifestation of his holy nature, underscoring his position as the focal point of this composition.
• #47: Light is a term that is almost exclusive to representative art. It is the effect of light falling on the shapes represented in the painting. The source of the light can represented in the painting via lamps or windows, but often light comes from a source outside of the picture plane. Light can come from a single source, or it can come from multiple location. In this painting, you can see light coming from at least two locations on and off the picture plane. First, light seems to be coming from the left hitting the right wall. The second major source of light appears to be emanating from either the window behind Christ or from Christ himself. DaVinci’s Last Supper shows us how light can be used in both a practical and symbolic ways. In one sense, the use of light can be naturalistic providing a means of creating highlights, shadows, and varying degrees of contrast among shapes. Symbolically, the light coming from Christ can be seen as a manifestation of his holy nature, underscoring his position as the focal point of this composition.
• #48: Also called form or visual weight
• #53: Also called form or visual weight
• #54: Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
• #55: Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
• #56: Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
• #57: Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
• #58: Photoreceptors: Rods (no color, sensitive to light) and Cones (color, less sensitive to light) 6 to 7 million totalTypes of Cones: Red (64%), Green (32%), Blue (2%). Blue cones are more sensitive to light, but blue is perceived less vividly than Green or Red.
• #75: Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
• #76: Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
• #78: Once you have laid out the basic components of the “big picture,” you can move to how those components are rendered. This rendering can be analyzed by the remaining terms of visual analysis: line, light, color, form, and texture.
• #79: Leonardo DaVinci’s last supper is a good example of a work that can be described by these terms. In describing what you see, it is sometimes best to start with the big picture. To do this, you can start with the 3 terms: Shape, Space, and Composition.