Assignment #11

April 28, 2009 at 3:22 am (Uncategorized)


Untitled from Luke Taylor on Vimeo.”>

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Assignment #8

March 30, 2009 at 1:25 am (Uncategorized)

What Once Was - Luke Taylor

What Once Was - Luke Taylor

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Blisspop revision

March 23, 2009 at 1:04 am (Uncategorized)

Blisspop Poster Revision

Blisspop Poster Revision

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Assignment #7

March 17, 2009 at 10:48 pm (Uncategorized)

I took two separate berries from my first picture, some twigs from the second and fourth and made it look like the twigs were enclosing around the berries. I then added some flowers from my last picture. I used the burn tool to add shadows on the berries where the twigs touched so it would look like they were actually on the berries.  I couldn’t get the twigs to wrap around the berries like I wanted so I had to distort them and compile bits of twigs from different pictures into one twig. Then I took flowers from the last picture and I changed the color of the flowers so they wouldn’t harshly clash with the berry.

I wanted to make a picture that could at first just seem to be a real picture from nature, but after a second one realizes that plants don’t grow like that and then becomes interested in this semi-fantastical image. That’s why I added the text in the bottom right which is also a reference to my original comment on the first essay. I also thought it was cool because the twigs sort of look like hands.

Clutching - Luke Taylor

Clutching - Luke Taylor

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Assignment #6

March 1, 2009 at 11:40 pm (Uncategorized)

AU is a city campus – there is not an abundance of beautiful nature like I am used to in rural Virginia. To find that beauty you have to look closely.

Berries #1 by Luke Taylor February 2009

Berries #1 by Luke Taylor February 2009

Berries #2 by Luke Taylor February 2009

Berries #2 by Luke Taylor February 2009

Twig and Berries by Luke Taylor February 2009

Twig and Berries by Luke Taylor February 2009

Twig #1 By Luke Taylor February 2009

Twig By Luke Taylor February 2009

Twsited Vines by Luke Taylor February 2009

Twsited Vines by Luke Taylor February 2009

Vines on Fence by Luke Taylor February 2009

Vines on Fence by Luke Taylor February 2009

Explosive Vegetation by Luke Taylor February 2009

Explosive Vegetation by Luke Taylor February 2009

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Assignment #5

February 23, 2009 at 2:52 am (Uncategorized)

his website can be seen here: http://www.artwolfe.com/

Art Wolfe was born in 1951in Seattle. He went to the University of Washington and graduated with a degree in fine arts and education. He began his own publishing company, Wildlands Press, under which he published his work The Living Wild among others. His books have garnered many independent awards. He quickly became a premiere photographer of wildlife and native cultures and won many awards for that work as well. He would also explore television with his PBS series “Art Wolfe’s Travels to the Edge.” To continue the pattern he again won awards for that show on its very first season. He continues to travel and work while living out of Seattle where he was born. His website can be seen here: http://www.artwolfe.com/

I could not find titles for the following pieces so here they will all be called untitled, although I am not sure that that is the case.

Art Wolfe

Art Wolfe C2009

This picture is stunning. The composition clearly follows the rule of thirds. The emphasis on the seal in the bottom left portion of the picture is created because it breaks the pattern made by the rocks, ocean, and sky. by using a smaller aperture he gets everything in great focus. Beyond that the colors are breathtaking which I would say, after looking at his work, is one of his hallmarks. He uses color to show us the beauty of the natural world, and his hope is after getting us to appreciate that beauty that we will try harder not to destroy it.

Art Wolf C2009

Art Wolf C2009

This photo is very different in that there is a larger aperture so  there is a smaller depth of field. This focuses us on the man in the center of the frame who is in crisp focus. Because he is staring strait at us he seems to be questioning us, speaking to us, he seems as aware of us as we are of him. The focus is in the center of the picture, however because of the figure out of focus on our left there is still informal balance, and our eyes slide quickly from that figure to the center.

Art Wolfe C2009

Art Wolfe C2009

Here again we see a larger aperture and smaller depth of field. Despite the fact that she is off to the side of the frame I would say the focal point is her eyes. This makes the focal point again in the center. Art Wolfe uses this sort of central composition a lot. Despite the rules we discussed in class he often has an even more clearly center focused composition than this one. His figures seem to confront us and make us deal with them, this makes some of his portraiture photography very powerful. Here we follow the two figures eye-lines out of frame and down following the lines create by their necklaces. This left me wondering what they were looking at and what existed beyond the frame.

This is the image I chose to attempt to imitate, and I would like to thank Kyoko and Toji for helping me out.

Kyoko and Toji

Kyoko and Toji

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Assignment #4

February 15, 2009 at 10:41 pm (Uncategorized)

Blisspop Digital Image by Luke Taylor

Blisspop Digital Image by Luke Taylor

The picture of the figure was purchased from Istockphoto.com.

Some of what was talked about in class was due I think to how the image looked projected compared to how it looked on my computer. The flames were darker projected while the letter seemed to remain the same color, so there seemed to be a difference in color there compared to on my screen where they were similar. Secondly the second S which was so visible on the projecter is no visible on my computer. I think this was caused because there was different contrast on the projector.

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Assignment #3

February 8, 2009 at 8:51 pm (Uncategorized)

Let’s start off by saying the task of succinctly summarizing all of Japanese art from its earliest history to the end of its feudal age is an almost impossible task. Thinking that Japanese art did not go through changes in style or subject throughout a thousand year history is equivalent to saying that European art was equally stagnant over that same period. However there are some commonalities that run throughout that cultures broad history of design which we will attempt to highlight.

First though we will answer the questions of when, where, who, what, how, and why.

WHEN: Japanese art went through many stages of development. Often these coincide with Japanese periods of cultural openness when they absorbed Buddhist and Chinese culture and then periods of isolationism when Japan innovated on those styles and created their own unique art. Although different forms of design went through different periods of change we will discuss briefly six periods of Japanese design.

Nara period (710–794) This period was defined by the introduction of Buddhism and the addition of its religious and historical figures into Japanese art.

Grave Murals by Takamatsuzuka Tumulus c700

Grave Murals by Takamatsuzuka Tumulus c700

Heian Period (794-1185)This period marks a time when Japan was closed to continental Asia and thus innovated upon its mainland influences

Kamakura Period (1185-1333) During this period a new military shogunate was established and secular military history art became a much larger part of Japanese design.

Portrait of Minamoto no Yoritomo possibly by Fujiwara Takanobu

Portrait of Minamoto no Yoritomo possibly by Fujiwara Takanobu

Muromachi Period (1333-1568 ) During this period Japan reopened itself to the mainland and was again influenced by Chinese art.

Painting of Amanohashidate by Sesshu 1501

Painting of Amanohashidate by Sesshu 1501

Azuchi-Momoyama Period (1568-1600 ) This period saw the evolution of decorative painting on new surfaces like walls and panels.

Edo Period (1600-1868 ) In this period the shoganate ruled supreme and a key theme was his repressive policies. Art became the most secular here. Japan would remain isolated until American Admiral Perry forced Japan to open trade.

Beauty Looking Back by Hishikawa Moronobu 17th century

Beauty Looking Back by Hishikawa Moronobu 17th century

WHERE: Japan was relatively culturally homogenous especially during times of isolationism. Design throughout the periods was seen everywhere – in isolated Buddhist temples to castle fortresses.

WHO: Professional artists in Japan, especially during the early periods were on the lower end of a strict social hierarchy. In the latter periods famous artists would emerge and could be given higher status by being given a name by a feudal lord. However art was also produced by nobles, monks, and samurai as a leisurely pursuit. What follows are some famous Japanese artists.

Itchiku Kubota – famous designer of Kimonos

Katsushika Hokusai – famous Ukiyoeshi painter during the Edo period.

Utagawa Hiroshige – another famous pained during Edo period. Famous for “Fifty-Three Stations of the Tokaido”

WHAT and WHY: What and why are very interrelated questions. What was depicted and why it was depicted go hand in hand. What was depicted in the early periods after the introduction of Buddhism to the Japanese mainland were pictures of a religious nature. This later evolved as secular shoganates began to take over into more purely historical or militaristic paintings. Later still artists began to depict scenes from everyday life and events. Throughout landscapes and depictions of beautiful women were present. The reasons for these changing subjects can be seen in changing cultural values and dominating historical events.

Another way to classify Japanese painting would be flower-and-bird paintings (kachoga), landscape paintings (sansuiga), and paintings of people (jimbutsuga).

Scuplture was predominantly figures.

Architecture was varied between temples, shrines, castles, private dwellings, and teahouses.

Fashion changed dramatically over time but was generally made from silk or hemp or other fabrics. Much of Japanese fashion was colorful and expressive.

A key difference between European art and Japanese art is that in European art there has been a continual evolution towards realism. We see basic paintings in the pre-greco Mediterranean which only rudimentarily understand form or perspective which evolve to the idealized and realistic forms of Greek and Roman sculpture. After the fall of Rome the process restarts and painting slowly evolves towards the Renaissance in which realism again becomes close to perfected.

In Japanese art the evolution of their artwork does not necessarily lead towards greater realism. Instead Japanese art has a tendency to express the core of the subject through design. Expression is valued over realism.

How: Japanese art is produced from a variety of materials in a variety of mediums. As opposed to European painting which was generally done on canvass Japanese art might be made on scrolls, screens, walls, or woodblocks with ink or paint. Sculpture was made from bronze, wood, stone, clay or lacquer.

From here we will discuss four different types of Japanese design – painting, sculpture, fashion, and architecture.

Painting

The Great Wave off Kanagawa Katsushika Hokusai

The Great Wave off Kanagawa by Katsushika Hokusai 19th century

Hikone Screen by Unknown Artist

Hikone Screen by Unknown Artist 17th century

One of the distinctive things we will see throughout each type of Japanese art is the use of line. Here we see line used in relation to color. Look at “The Wave” – notice how there is no shading, rather there are set hues and values of color juxtaposed and often outlined. This creates strong implications of lines. Also notice the folds in the clothes of the above figures. In reality folds are not lines but changes in value. However the folds are created by the use of line. This use of line will lend itself naturally to a sense of movement and rhythm in the paintings. Because we have tendency to follow lines across their trajectory our eye is given a clear path to follow – quite obviously in the first painting but also more subtly in the second. In the first movement is created by the precarious curve of the wave, we all know what will happen next. Our eye starts from the base of the wave and curves upward to its dangerous tip. In the screen painting we see that the figures are in dynamic positions, they are not depicted rigidly. We follow the curves of their bodies and their eye-lines across the screen. 

Architecture

Himeji Castle constructed 1614

Himeji Castle constructed 1614Todaiji Temple constructed 745

Todaiji Temple constructed 745

Todaiji Temple constructed 745

In much of Japanese architecture and especially in the two buildings depicted here line, form, and rhythm combine to create powerful emphasis. Take for instance the temple, here the vertical and horizontal lines created by the columns and floors respectfully generally counteract each other leaving the gracefully upward curving lines of the roofs dominating the structure. These distinctive lines form stacked triangular forms which our eyes follow upwards – even in a relatively short structure. This creates upwards moving emphasis. This can clearly be seen in the picture of the castle. Our eye is immediately drawn to the peak of the tower because all the lines and forms force our eye to that point.

Fashion

Kosode with Autumn Flower Patterns Design by Ogata Korin 18th Century

Kosode with Autumn Flower Patterns Design by Ogata Korin 18th Century

Dobuku with Paulownia and Arrow Patterns 16th century

Dobuku with Paulownia and Arrow Patterns 16th century

What we see in the design of these clothes is that the clothes themselves could be used as an artistic palate. This was obviously more true for the upper classes who could afford these types of designs. The use of color here is what makes them stand out. The bright colors (though faded here with time) in both designs would cause the individual wearing them to stand out. Because these patterns are layered over white strong contrast is created.  Emphasis would be created on the forms and thus on the individual wearing the clothes.

Sculpture

Gakko Bosatsu (Sangatsudo Hall at Todaiji Temple) 8th century

Gakko Bosatsu (Sangatsudo Hall at Todaiji Temple) 8th century

Seated Image of Hachiman in the Guise of a Buddhist Monk by Kaikei 1201

Seated Image of Hachiman in the Guise of a Buddhist Monk by Kaikei 1201

Here again we see lines as a dominant feature of the artwork. The graceful lines of the figure’s robes create a sort of elegance and peacefulness. This fits because these figures are Buddhist in nature which puts forth a philosphy of calmness and peace. In Japan sculpture is largely associated with Buddhism so as secular leaders took power and secular art became more prominant sculpure became less popular as time went on.

Works Cited
“Fine Arts.” The Virtual Museum for Japanese Arts. 5 Feb. 2009 http://web-japan.org/museum/menu.html.
Jirousek, Charlotte. “Japan: Historic Background.” Art, Design, and Visual Thinking. 1995. Cornell. 5 Feb. 2009 http://char.txa.cornell.edu/nonwest/japan/japanhis.htm.
Mason, Penelope. History of Japanese Art. Upper Saddle River: Pearson Education, Limited, 1993.
Paine, Robert T., and Alexander Soper. The Art and Architecture of Japan. Baltimore, Maryland: Penguin Books, 1995.

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Critique Picture

January 27, 2009 at 5:09 pm (Uncategorized) (, , )

Deconstruction by Anthony Goicolea

Deconstruction by Anthony Goicolea

This is the picture that I saw at the Hirshhorn which I will by writing my critque on.

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Assignment #2

January 27, 2009 at 4:57 pm (Principles of Design) (, )

This work exemplifies balance

This work exemplifies balance

This work shows balance. It does this by contrasting different objects with opposite visual properties across the sides of the painting. On the left is a dark bottle which extends upwards. This is contrasted on the right with a white cloth which extends downward. Additionally on the left are fruits and onions which are complex in terms of shape. This is contrasted with the plain wall on the right side. Thus balance is created.

This work exemplifies proportion

This work exemplifies proportion

This work uses proportion to create an impressive and imposing piece. In person this sculpture is huge, as it sits a man might come up to its shoulder, its fists are the size of watermelons. When one approaches it they are struck by its size which constrasts with the huddled pouting appearance and hairless features which creepily resemble a baby. These aspects make for a very interesting sculpture.

This piece exemplifies rythm

This piece exemplifies rythm

Rythm here is created by pattern and line. The petals create a pattern and the naturally occuring lines in the flower gives us an easy path to follow with our eyes, either from the edge of the piece into the center of the flower or reversing that from the center of the flower outward.

This picture exemplifies emphasis

This picture exemplifies emphasis

This picture uses emphasis by creating pattern and then breaking it. The tanks in a line clearly form a pattern. However the pattern is stopped by a lone student. Our eyes are immediately drawn to this breakage in pattern. Proportion is also visibly at work here.

This work exemplifies unity

This work exemplifies unity

Since unity can be defined as the synchronistic use of all the elements and principles of design it is hard to summarize however pattern plays a key role. Pattern is developed by the regular spheres. This pattern is broken and manipulated to create emphasis and the implication of a face. Many elements of design can be observed here to especially changes in value which help create the women’s face from apparently disseperate objects.

P.S. if you put your mouse over each picture it will give the author and title of the piece.

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