foundations of art and design chapter 11: balance and rhythm
TRANSCRIPT
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Foundations of Art and Design
Chapter 11: Balance and Rhythm
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Fig. 11.1 Doryphoros by Polykleitos of Argos
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Fig. 11.1 Doryphoros by Polykleitos of Argos demonstrates a weight shift depicting:
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25% 25%25%25%1. Actual Balance
2. Compositional Balance
3. Symmetry
4. Asymmetry
Fig. 11.1 Doryphoros
by Polykleitos of Argos
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Fig. 11.2Emile d’Erlanger, La Baronne
by Romaine Brooks
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The composition of Fig. 11.2 Emile d’Erlanger, La Baronne by Romaine Brooks utilizes:
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25% 25%25%25%1. Horizontal Balance
2. Vertical Balance
3. Diagonal Balance
4. Radial Balance
Fig. 11.2 Emile d’Erlanger, La Baronne by Romaine Brooks
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Fig. 11.3 I Saw Three Citiesby Kay Sage
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Fig. 11.3 I Saw Three Cities by Kay Sage is used as an example of:
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1. Horizontal Balance
2. Vertical Balance
3. Diagonal Balance
4. Radial Balance
Fig. 11.3 I Saw Three Cities by Kay Sage
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Fig. 11.4 London Portraitby Adil Jain
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Fig. 11.4 London Portrait by Adil Jain is an example of:
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25% 25%25%25%1. Horizontal Balance
2. Vertical Balance
3. Diagonal Balance
4. Radial Balance
Fig. 11.4 London Portrait by Adil Jain
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Fig. 11.6 The Great Ladies Transforming Themselves into Butterflies by Judy Chicago
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Fig. 11.6 The Great Ladies Transforming Themselves into Butterflies by Judy Chicago demonstrates the use of:
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Fig. 11.6 The Great Ladies Transforming Themselves into Butterflies by Judy Chicago
1. Horizontal Balance
2. Vertical Balance
3. Diagonal Balance
4. Radial Balance
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Types of Balance
Fig. 11.10 Four Quad Cinema by Philip Taaffe
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Types of Balance
1 2 3
33% 33%33%Fig. 11.10 Four Quad Cinema by Philip Taaffe is an example of:
1. Symmetry
2. Bilateral Symmetry
3. Approximate Symmetry
Fig. 11.10 Four Quad Cinema by Philip Taaffe
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Approximate Symmetry
In Fig. 11.14 Mestizo by Cesar Martinez
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Approximate Symmetry
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In Fig. 11.14 Mestizo, Cesar Martinez uses approximate symmetry for:
In Fig. 11.14 Mestizo by Cesar Martinez
1. Symbolic reasons
2. Compositional reasons
3. Both of these
4. Neither of these
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Fig. 11.15 Pedestrian’s Foot by Otto Steinert
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Fig. 11.15 Pedestrian’s Foot by Otto Steinert demonstrates the use of:
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Fig. 11.15 Pedestrian’s Foot by Otto Steinert
1. Symmetrical Balance
2. Asymmetrical Balance
3. Diagonal Balance
4. Radial Balance
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Achieving Balance in Asymmetry
Fig. 11.22 Verde by Deborah Butterfield
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Achieving Balance in Asymmetry
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1. High Value and Color Contrast
2. Shape and Texture
3. Position
4. All of these
Fig. 11.22 Verde by Deborah Butterfield
Ways to achieve Balance in Asymmetry include using:
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Allover Pattern
Fig. 11.23 Double Wedding Ring by Emma Hall
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When a composition is balanced in that there is equal visual weight in every part of the work this is referred to as:
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Fig. 11.23 Double Wedding Ring by Emma Hall
1. Symmetrical balance
2. Asymmetrical balance
3. Allover Pattern
4. Rhythm
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Fig. 11.25 Death of a Loyalist Soldier by Robert Capa
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Fig. 11.25 Death of a Loyalist Soldier by Robert Capa demonstrates the use of:
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Fig. 11.25 Death of a Loyalist Soldier by Robert Capa
1. Symmetry
2. Asymmetry
3. Allover Pattern
4. Imbalance
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Types of Rhythm
Fig. 11.29 North Artillery Shed by Donald Judd
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Types of Rhythm
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Fig. 11.29 North Artillery Shed by Donald Judd
1. Regular Repetition
2. Alternating Rhythm
3. Progressive Rhythm
4. None of these
Fig. 11.29 North Artillery Shed by Donald Judd demonstrates
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Fig. 11.30 Untitled by DingYi
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Fig. 11.30 Untitled by DingYi utilizes different elements which repeat themselves in a predictable order. This is an example of:
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25% 25%25%25%1. Regular Repetition
2. Alternating Rhythm
3. Progressive Rhythm
4. None of these
Fig. 11.30 Untitled by DingYi
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Fig. 11.32 A207 Recall by Jackie Ferrara
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When the rhythm of a piece seems to increase as in Fig. 11.32 A207 Recall by Jackie Ferrara it is called:
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25% 25%25%25%1. Regular Repetition
2. Alternating Rhythm
3. Progressive Rhythm
4. None of these
Fig. 11.32 A207 Recall by Jackie Ferrara