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Reading and listening

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We read and listen about creators and their contribution to art, providing students with activities to reinforce language and content.

MOTION AND COMPOSITIO

SDG. Reflection on and analysis of SDGs, such as gender equality, climate action, reducing inequalities, etc.

Reading and listenin

Oskar Schlemmer

painter and was a German er (1888-1943) school. Theatre Oskar Schlemm theatre at the Bauhaus sculptor who taught it combined several class there because was was a fundamental theatrical work es. His most famous artistic disciplin an anti-ballet. the Triadic Ballet, ed the position the artist way in which es In this work, the ments. He establish is based on measure elements in the figures in space on tension between interact or tion relationships based the viewer’s imagina scene or that capture these figures move? you imagine how e with them. Can . We try to structur space is selective perceive looking we are The way space we appear in the iously the elements that our mind unconsc s understand it, at. To help us ments and simplifie hips, takes measure their forms relations Many artists base lines and shapes. nature the geometric structures from using shapes, ric shapes or artwork on geomet any geometric you recognise as inspiration. Do this image? visual rhythm in er Schlemm Oskar what your own words 1 Summarise in did.

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b) Is the relations Why?

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‘Triadic Ballet’ (1922), Models for the er collection. Recreation of Seven er. C. Raman Schlemm Oskar Schlemm

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the SDG resource

LANG

The audios of each unit’s content are available at www.anayaeducacion.es Speaking We speak about issues that are related to the unit and the UN Sustainable Development Goals.

CONTENT DEVELOPMENT Highly structured content with important concepts highlighted in bold.

1 COMPOSING TO CREATE MOTION

Wide variety of pictures to aid your understanding.

Unit 4

When we move our bodies, we modify the space; we don’t only change our position, but also the relationship among the rest of the elements. We are energy, we emit heat and we express ourselves with our appearance, with the volume we occupy and with the air that we move. In visual compositions, the position that each element occupies is important depending on its relationship to adjacent elements. Colours change when the colours around them change; figures appear to move forwards or backwards depending on the shapes around them. If we add motion, the possibilities increase.

ã 1.1 Balancing the elements When creating images, we add gravity and symmetry to them, giving visual weight to the shapes. As such, an asymmetrical image creates tension, while a symmetrical shape directs our sight to the centre of the image. The elements of an image can be grouped in such a way that we can associate them with geometric shapes (circles, triangles) or they can be put in order to create tension lines. In these cases, the symbolism of these lines and shapes will affect the meaning of the work.

ã 1.2 The feeling of motion When motion is added to a composition, the relationship among the elements changes. In a sculpture, artistic installation, or even in architecture, motion is perceived by the viewer when they walk past or around it. As such, we must consider the composition from different perspectives.

Rain, Steam and Speed (1844), J. M. W. Turner, National Gallery (London). The visual weight of this artwork is on the train, in the lower right corner of the picture, but it is balanced by the bridge seen on the left.

Spring (15th century), Sandro Botticelli, Uffizi Gallery

Domino effect

Competency tasks, split into sections to work on sub-skills.

Do you know what the ‘domino effect’ is? It is a chain reaction in which one small movement produces another similar movement, and this happens over and over in a sequence that can be highly complex and which can end in a spectacular way. Do you think that a small action can change the world?

(Florence, Italy).

In dance, the forms the body traces as it moves interact with the forms of the rest of the dancers and with the space itself, generating new compositions and expressing multiple stories. The music marks the rhythm, activates emotions and helps form relationships.

Understand, think and apply… Reflect and respond

1 a) Does the relationship among people in a group change if someone new enters the group? b) When looking at an interesting object, do you move it or walk around it to look at it from different perspectives?

The sculptures by Julio Le Parc sometimes incorporate motion and other times seem to be moving only when the viewer changes their position with respect to the sculpture. Red Sphere (2013), Julio Le Parc. Exhibition at Art Basel, 2014 (Basel, Switzerland).

c) Do you think of the patterns your feet trace when you dance? Explore light and motion

1, 2, 4

2 Create a light performance following these steps: — Get together in groups in your class. Each person will take one or two torches or lights from their phones (if the teacher agrees). You can cover them with different coloured cellophane paper. Tie the torch(es) or light(s) to your legs or carry it/them in your hand. — Organise dance sequences consisting of eight movements and teach them to the rest of the group. — Then, perform all of the illuminated choreographies in a dark room while someone takes pictures or records a video. — Lastly, make a presentation and show it to the class.

The icons included with some activities indicate the keys to the project.

Understand, think and apply… Focus

A camera can capture an image of a body in motion in two different ways: with a fast shutter speed, in this case the image is seen clearly and still; with a slow shutter speed, in this case motion blur is achieved. Find pictures by Étienne Jules Marey (1830-1904) and see how he used photography to scientifically investigate the motion of bodies.

KEYS

PROJECT

SDG

SDG Commitment Discover the Sustainable Development Goals and be an active part of our commitment to make a more equal and liveable world.

Developing thinking Work on strategies for thinking: reflect on the content you are learning, generate ideas, organise them, debate them, explain them…

Cooperative learning Get involved in your learning and participate in the group’s learning; you will find that cooperating improves performance and harmony in the class.

Emotional education Get to know yourself; identify the situations that bring up complicated emotions and manage them with constructive, self-affirming experiences.

NEW SECTIONS

Focus on English

Unit 4

1 COMPOSING TO CREATE MOTION

1. Pablo Picasso painted works in which, in addition to making the forms geometric, he represented several points of view at the same time. Girl before a Mirror (1932), Pablo Ruiz Picasso, Museum of Modern Art, MoMA (New York, U.S.).

ã 1.3 Geometric bodies

ã 1.5 Exploring art to understand it

Our bodies are always in motion. When representing the body in a drawing or painting, it is easier to understand its structure through geometric shapes. Many artists have interpreted and represented the human figure this way.

Sculpture groups are compositions made with several sculptures. Their placement in space and the relationships among them are important for expressing an intention. When looking at them, a viewer can see different compositions, like in performing arts, but in this case it is the viewer who moves and finds them.

Two views of the sculpture group A Room Where It Always Rains (1992), Juan Muñoz, Barcelona.

2. Pablo Gargallo played with gaps and holes to achieve a greater feeling of motion. Great Prophet (1933), Pablo Gargallo, Reina Sofía National Museum (Madrid).

Additional information to broaden content in an original and appealing way.

ã 1.4 Compositions in motion

Understand, think and apply…

Futurist Manifesto At the beginning of the 20th century, the futurist movement laid the foundation for other avant-garde art forms. These artists were interested in representing motion and speed. In doing so, they broke objects and bodies up into geometric fragments or repeated them several times in a small space.

Find out about rocks that tell stories

In dance, the motion is fast. The choreography* establishes tensions that are produced by the dancers when they are grouped together or isolated.

Many sculptures in public squares, gardens or other significant places depict wars, battles and victories. Find some sculpture groups and investigate the stories they tell or who they depict.

Learn words in families. People who design a dance are called choreographers. They design the choreography. There is also a verb, to choreograph: ‘A famous choreographer choreographed the dance. It was an excellent piece of choreography.’

Memorial to the Children Victims of the War, Lidice (1995-2000), M. Uchytilová and J. V. Hamplen, Czech Republic.

Sift through history

5 Find information on sculpture groups located in temples or

Car Race (1913), Giacomo Balla, Stedelijk Museum (Amsterdam).

gardens that are from ancient cultures or previous eras.

Dancers performing street dance.

Artistic workshop

KINETIC SCULPTURE

Kinetic sculptures are created to give the feeling of motion. In the majority of cases, the motion is real, and is carried out by the action of natural forces, such as wind or water, or by the energy applied to them by motors or lighting.

Materials

• If we want to make a mobile sculpture that is rocked

Let’s create

Reference to checking skills from the ‘Developing thinking’ section to carry out the task correctly.

by the wind, we will use light materials: foam board, expanded polystyrene, acetates of different colours and thickness, etc.

• We will need different sized metal rods (or thick wire), fishing line, and eye bolts (or rubber bands) to join the pieces of the sculpture to the rods (or to the wire). However, the materials used will depend on the type of force used for the motion.

Process

➜ Start drawing or making sketches of the pieces of the mobile sculpture and the complete structure.

Unit 4

Create mutant sculptures 1

MOTION IN ART

The mirror. In a group of figures —whether it is a visual composition, a sculpture group or a group in performing arts—, the position of each element is important for the narration.

Sergei Diaghilev (1872-1929)

Alexander Calder (1898-1976) Alexander Calder was an American mechanical engineer and sculptor who is considered the father of the kinetic sculpture and the creator of the mobile. He began by making small sculptures with wire and wood that he later changed into mobiles, thanks to his engineering skills. As the years passed, he simplified the forms and began to make abstract shapes. At the same time, he began to increase the size of his creations, placing gigantic balanced sculptures in the streets and public squares, which moved by the force of the wind.

In groups, we are going to build pieces for sculptures that will change or mutate when the public interacts with them. To do so, we are going to use sheets of foam board that are two centimetres thick and we will cut them into polygonal shapes of different sizes: squares, triangles, circles, ovals, etc. Make slots on some of the sides of the pieces so that they will fit together. Paint each one of the shapes with bright coloured acrylic paint and use abstract motifs. They can be placed on the floor or in drawers in a common area. Make a banner to hang in that area with a slogan that invites people to play around with the pieces and start creating a sculpture.

Sergei Diaghilev was the founder of the Ballets Russes and changed the course of dance in the early 20th century, in spite of the fact that he was not a dancer or a choreographer. He had a holistic and visionary perspective on dance, in which the music, motion, wardrobe and stage set would blend together. He knew how to surround himself with the most talented artists of his time: painters like Picasso and Matisse; musicians like Stravinsky and Debussy; and choreographers like Massine in order to create a spectacle that renewed ballet in the 20th century.

have a base attached to the ground.

1917, Picasso collaborated with Sergei Diaghilev, the founder of the Ballets Russes, and made Cubist costumes for the ballet Parade, with music composed by Erik Satie. Design an original set of clothing that is fun and based on geometric shapes. You can make sketches first and then make costumes using different textured coloured paper. Paste them on photographs of real dancers in the form of a collage.

make up the mobile, start making them with the materials you have chosen. It would be helpful to make different sized pieces with different weights.

➜ Distribute the pieces and the rods, trying to balance the composition. This will be the most complicated task.

Stabile-Mobile (1965), Alexander Calder, Sculpture Park, Foundation Pierre Gianadda (Martigny, Switzerland).

Portrait of Sergei Diaghilev (1904), Valentin Serov.

Daniel Rozin (1961) Daniel Rozin is an Israeli artist who works in New York and focuses on interactive art. His works interact with the motion of humans and change according to what they detect. Many of his sculptures and installations l work materia of are made of mirrors that respond to the presence to select Remember portfolio. unit for your a person by turning aroundfrom thethisimages or reflecting them in different ways, inviting the viewer to interact and play with the works.

check your prog

Suit for the ‘American Manager’ of the ballet Parade (1917), Pablo Picasso. Exhibition at the Royal Academy of Arts (London, United Kingdom).

PomPom Mirror (2015). Exhibition at the Saatchi Gallery (London, Look carefully United Kingdom). The work reflects the movements the viewer makes.

MOTION AND COMPOSIT ION Composing to create motion

Visual maps with the unit’s content.

Balancing the elements

Geometric drawings

The feeling of motion

Regular polygons

1 Do you think this artwork has curvy lines? The optical

3 We can easily repeat modules with digital images.

illusion is produced by the alternating black and white pattern and its rotation and reduction in size as the lines get closer to the centre. This is an example of geometric transformation. Find other examples or create your own.

Furthermore, some programs allow us to add 63the images or turn colour, different shades, rotate them over. Create a module based on curves and straight lines that are linked together.

Rhythm in composition

Movement on a plane

Complementary activities to manage diversity in the classroom.

Translation Rotation Symmetry

General method: Thales’s Theorem

Surface of the rooftop of Casa de Les Punxes (1905), Josep Puig i Cadafalch, Barcelona.

Geometric bodies Ovals and ovoids Exploring art to understand it

Products of motion

Let’s reflect together 4 Answer the following questions. You can discuss

Futurist Manifesto

them with your classmates. Then, evaluate your learning on a scale of 1 to 5.

Tangents

Optical art

Arabic lattice patterns

A-L

M-Z

Fishing line The line of a fishing rod.

Rotation Movement in which the points move around a centre of rotation according to an angle and direction.

Gravity Visual weight of shapes as we look at them or compose them. Holistic When the total sum is different than the sum of its parts. Latticework Ornamentation formed by interlaced strips that follow a pattern. Lighting technology Lighting technique for industrial or artistic purposes.

Optical illusion based on Vasarely’s work.

Create your own work of art with fractals

a) Have I learned new strategies to make visual compositions?

2 Find information on artist Javier Barrallo and explain

b) Have I practised visual composition?

how he uses mathematics and digital images to create sophisticated shapes based on other simple fractal shapes. Then, create your own work based on his artwork.

glossary

We learn the relevant terms that are underlined in the units with a clear definition.

Build a module with curves and straight lines

Geometric rhythm

Compositions in motion

Glossary

Unit 4

ress

review

Unit outline

Trust your skills and knowledge, develop creativity, adapt to changing situations and have a proactive and responsible attitude.

We learn new techniques for artistic and visual expression and we put them into practice. We get to know artistic movements and artists that have made used of these techniques.

2 In

➜ Once you have a clear idea of the figures that will

Enterprising culture

Artistic workshop

Design a set of clothing based on geometric shapes

➜ Decide whether the mobile will be hanging or will

Activities with different cognitive levels to check learning.

Do you think visual and audiovisual arts and English have anything in common? Discover how language and visual and audiovisual arts are linked so you can learn both. Learn linguistic and cultural curiosities while you are learning the unit’s content.

Stage set Set of elements (decoration, lighting, sound, wardrobe, etc.) that is used in theatre plays or films.

j ) Am I able to build a simple figure based on its views, and vice versa? k) Have I learned about new artists, artistic movements or styles?

Symmetry Correspondence of position, shape and size of the elements of a set with respect to a point, line or plane.

l ) Have I learned new techniques for artistic/visual expression?

Translation Movement in which all of the points are moved the same distance in the same direction. Example of a fractal in a cactus.

m) Am I able to design taking space and motion into consideration?

ICT

Academic and professional orientation

Learn how to obtain information, select it and apply it to plan, manage and work on projects; to collaborate online in an ethical and safe manner.

Evaluate your personal skills, discover and awaken your calling, train yourself to make decisions and learn to choose between different options.

A guided summary of the unit’s content through questions to be asked in class which will help students reflect on their learning.

Assessment

Linguistic Plan

Discover different strategies to analyse what you have learnt and how you learnt it; train yourself to take responsibility or overcome difficulties.

Use your communication skills in the different types of text that you will see. Language is always present, communicate!

The digital project www.anayaeducacion.es DIGITAL BOOK RESOURCE BANK

Register at www.anayaeducacion.es to access your resource bank or download your digital book. You just need an email address, the code from the inside cover of this book and permission from your parent or legal guardian.

A digital version of your book to be used online or offline. It offers access to your digital resources which are grouped by type and linked to unit content.

A space with resources, techniques and activities, designed to strengthen your knowledge.

More about the keys

resources related to the project keys SDG

SDG Commitment with short videos that will help you understand the targets for reaching the Sustainable Development Goals worked on in this project.

Linguistic Plan with infographics that will give you models to work with the four linguistic skills, using different text types (descriptive, narrative, explanatory, etc.). Developing thinking with explanations on how to apply the different thinking techniques proposed in the project.

Cooperative learning which includes descriptions of the cooperative learning techniques proposed in the project. Emotional education with resources to help you overcome any worries that may arise in different situations at school (beginning the school year, taking a test, etc.).

ICT resources to help you use information and communication technology in a healthy, correct and safe way.

Academic and professional orientation with information on different professions linked to the subject content.

Assessment which includes resources for your portfolio, as well as rubrics and targets that will help with your self-assessment.

RESOURCES

SUBJECT KEY CONCEPTS Additional content Videos Image gallery Audiovisual and artistic techniques Artistic movements Infographics Language bank

resources classified

by unit

All the los resources are classified by unit sopuethat Todos recursos clasificados para que you can find them more easily. das localizar fácilmente los relacionados con cada apartado de tu unidad.

COURSE CONTENTS

IMAGES IN THE MEDIA

Page 8

1. The intention and meaning of images............................ 10 Instant global communication The purpose behind an image The relationship between signified and signifier 2. Personal images...................................................................... 14 Technology at your service Identity in the media From self-portraits to selfies The phenomenon of the influencer Artistic workshop. Staged or dramatic photography. Staged photography in art........................................................18 Review and Check your progress.........................................20

BODY AND EMOTION

Page 22

1. Faces and expression............................................................ 24 Faces that tell stories Drawing faces: front and profile Faces in art Self-portrait: our perception of ourselves Emphasising features: caricatures 2. Corporal expression............................................................... 28 The human body in art Different proportions: the canons The skeleton and musculature Dynamic aspects of the body The beauty of diversity Artistic workshop. Working with paper mache. Paper mache and the body in art. The self-portrait............................................................................ 32 Review and Check your progress......................................... 34

OTHER PERSPECTIVES

Page 36

1. Points of view........................................................................... 38 Our way of seeing things A particular point of view Images in different cultures Images and globalisation Art, tradition and cultural diversity Recognising and accepting differences 2. In Focus...................................................................................... 42 The origin, materials and concepts of photography Composition in photography Light and colour in photography Photographic genres and uses Photography in the press Artistic workshop. The photoreport. Individual and collective stories in photography..........................................46 Review and Check your progress......................................... 48

MOTION AND COMPOSITION

Page 50

1. Composing to create motion............................................. 52 Balancing the elements The feeling of motion Geometric bodies Compositions in motion Exploring art to understand it 2. Geometric rhythm.................................................................. 56 Building polygons Movement on a plane Rhythm in composition Optical art Tangents Artistic workshop. Kinetic sculpture. Motion in art........ 62 Review and Check your progress.........................................64

DESIGNING SPACES

Page 94

1. Using space............................................................................... 96 Ordering and projecting Urban design The representation of spaces Shared spaces 2. Transforming the environment........................................100 Interior and exterior space Arquitecture and nature Arquitecture and sustainability Ephemeral spaces Innovating to transform Artistic workshop. Designing a spatial project. The art of projecting and transforming space................ 104 Review and Check your progress....................................... 106

ARTS AND CRAFTS AND INDUSTRY

Page 66

1. Art as a profession................................................................. 68 Artisans Arts and crafts and identity Methods and techniques Moulds and templates 2. Mass production...................................................................... 72 Creativity in the design process Drawing the object Scale and dimensions: a common language Ecology in design Artistic workshop. Artistic interventions of objects. Craftsmanship and art................................................................ 76 Review and Check your progress......................................... 78

WORKS OF ART

Page 80

1. Art throughout history.......................................................... 82 The mystery of objects Classical beauty The Middle Ages The Modern Age 2. Artistic creations..................................................................... 86 Reality and romanticism: individual art New means New concepts Multidisciplinary art Art with meaning Artistic workshop. Mind maps. Art to express concepts......................................................................................... 90 Review and Check your progress......................................... 92

DESIGN TO PERSUADE

Page 108

1. Advertising............................................................................... 110 The goals of advertising: AIDA Advertising and consumption Advertising strategies Means and ways to promote advertisements. Channels and media Elements used in advertising The advertising spot 2. Advertising as a way to change the world................... 114 Identity and advertising Artivism Counter-advertising: social advertising and activism Raising awareness using the Internet Artistic workshop. The stencil. The art of projecting... 118 Review and Check your progress........................................ 120

NEW DIGITAL CREATIONS

Page 122

1. Audiovisual revolution ...................................................... 124 From images and sound to multimedia Awakening your emotions New devices: cross-platform connectivity Production and editing From 2D to 4DX 2. From action art to multimedia art.................................. 128 New media and new ways of expression Digital art: from mail art to net art Video installations Video games Artistic workshop. The video clip. Audiovisual and multimedia elements in art..................................................... 132 Review and Check your progress....................................... 134

MOTION AND COMPOSITION Reading and listening

Oskar Schlemmer Oskar Schlemmer (1888-1943) was a German painter and sculptor who taught theatre at the Bauhaus school. Theatre was a fundamental class there because it combined several artistic disciplines. His most famous theatrical work was the Triadic Ballet, an anti-ballet. In this work, the way in which the artist positioned the figures in space is based on measurements. He establishes relationships based on tension between elements in the scene or that capture the viewer’s imagination or interact with them. Can you imagine how these figures move? The way we perceive space is selective. We try to structure the elements that appear in the space we are looking at. To help us understand it, our mind unconsciously forms relationships, takes measurements and simplifies the geometric lines and shapes. Many artists base their artwork on geometric shapes, using structures from nature as inspiration. Do you recognise any geometric shapes or visual rhythm in this image?

1 Summarise in your own words what Oskar Schlemmer did.

2 Answer the questions posed at the end of paragraphs 2 and 3 of the text.

Speaking

3 In pairs, compare how you think the bodies dressed in these costumes would move. a) Why would the artist have wanted this?

If our bodies cannot move easily, we can express emotions with our faces.

b) I s the relationship between the characters important? Why?

Can we express emotions easily if we have reduced mobility in our bodies? anayaeducacion.es Go to the SDG resource 4.6.

ANK GE BANK B E G A U ANG GUA K L N A L AN ANK GE BANK B B E E G G A A U U G A NGU NK LAN LANG A L K BAN AGE BANK GUAGE BA AGE BANK 51 E G A U G LAN LAN LANGU LANGU Recreation of Seven Models for the ‘Triadic Ballet’ (1922), Oskar Schlemmer. C. Raman Schlemmer collection.

1 COMPOSING TO CREATE MOTION

Spring (15th century), Sandro Botticelli, Uffizi Gallery

Domino effect Do you know what the ‘domino effect’ is? It is a chain reaction in which one small movement produces another similar movement, and this happens over and over in a sequence that can be highly complex and which can end in a spectacular way. Do you think that a small action can change the world?

(Florence, Italy).

Understand, think and apply… Reflect and respond

1, 2, 4

2 Create a light performance following these steps: —G et together in groups in your class. Each person will take one or two torches or lights from their phones (if the teacher agrees). You can cover them with different coloured cellophane paper. Tie the torch(es) or light(s) to your legs or carry it/them in your hand. —O rganise dance sequences consisting of eight movements and teach them to the rest of the group. —T hen, perform all of the illuminated choreographies in a dark room while someone takes pictures or records a video. — Lastly, make a presentation and show it to the class.

Unit 4

ãã1.1 Balancing the elements When creating images, we add gravity and symmetry to them, giving visual weight to the shapes. As such, an asymmetrical image creates tension, while a symmetrical shape directs our sight to the centre of the image. The elements of an image can be grouped in such a way that we can associate them with geometric shapes (circles, triangles) or they can be put in order to create tension lines. In these cases, the symbolism of these lines and shapes will affect the meaning of the work.

ãã1.2 The feeling of motion When motion is added to a composition, the relationship among the elements changes. In a sculpture, artistic installation, or even in architecture, motion is perceived by the viewer when they walk past or around it. As such, we must consider the composition from different perspectives.

Understand, think and apply… Focus

1 COMPOSING

TO CREATE MOTION

1. P ablo Picasso painted works in which, in addition to making the forms geometric, he represented several points of view at the same time. Girl before a Mirror (1932), Pablo Ruiz Picasso, Museum of Modern Art, MoMA (New York, U.S.).

ãã1.3 Geometric bodies Our bodies are always in motion. When representing the body in a drawing or painting, it is easier to understand its structure through geometric shapes. Many artists have interpreted and represented the human figure this way. 1

2. P ablo Gargallo played with gaps and holes to achieve a greater feeling of motion. Great Prophet (1933), Pablo Gargallo, Reina Sofía National Museum (Madrid).

ãã1.4 Compositions in motion Futurist Manifesto At the beginning of the 20th century, the futurist movement laid the foundation for other avant-garde art forms. These artists were interested in representing motion and speed. In doing so, they broke objects and bodies up into geometric fragments or repeated them several times in a small space.

Car Race (1913), Giacomo Balla, Stedelijk Museum (Amsterdam).

In performing arts, the composition prioritises the viewer’s point of view. Figures gain relevance according to the place they occupy and this changes when they move around the stage. The lighting technology and stage set also affect the composition. In dance, the motion is fast. The choreography* establishes tensions that are produced by the dancers when they are grouped together or isolated.

Dancers performing street dance.

Unit 4

ãã1.5 Exploring art to understand it Sculpture groups are compositions made with several sculptures. Their placement in space and the relationships among them are important for expressing an intention. When looking at them, a viewer can see different compositions, like in performing arts, but in this case it is the viewer who moves and finds them.

Two views of the sculpture group A Room Where It Always Rains (1992), Juan Muñoz, Barcelona.

Understand, think and apply… Find out about rocks that tell stories

Many sculptures in public squares, gardens or other significant places depict wars, battles and victories. Find some sculpture groups and investigate the stories they tell or who they depict.

Memorial to the Children Victims of the War, Lidice (1995-2000), M. Uchytilová and J. V. Hamplen, Czech Republic.

Sift through history

5 Find information on sculpture groups located in temples or gardens that are from ancient cultures or previous eras.

2 GEOMETRIC RHYTHM

Everything has rhythm: the seconds on a clock, the heartbeat, every step we take while walking, the branches of a tree, the leaves of a plant, etc. As flowers grow, the rhythm is shown in the petals, in the sunflower seeds shaped in a spiral, or in the shape of the leaves of an artichoke. Rhythm is present in music, with sounds that can be fast or slow. In literature, poetry uses rhythm through rhymes and the repetition of phonemes, through the length of the verses and with techniques such as alliteration or anaphora. It is also present in some disciplines that are less well-known, such as the circus arts. In these performances, it is of the utmost importance to focus on the sequence and rhythm. In visual compositions, rhythm is created by the repetition of shapes or colours, generally following an order or geometric pattern. This geometry creates order and continuity, evoking the continuous stream of time and life.

The growth of a fern.

Understand, think and apply… Reflect and respond

1 a) What is the relationship between rhythm and repetition? b) What types of rhythms are you familiar with? c) Do you know what geometric rhythm is? d) Can you identify visual rhythms in objects around you? Kaleidoscope factory

Looking at repeated images in motion can be hypnotising or can make us feel like we are in a trance. This is what can happen when we look into a kaleidoscope, because of the colours and shapes and the way they are combined. Nowadays, it is easy to reproduce this effect using digital applications. Find out how to make a kaleidoscope with recycled materials.

Create an animated greeting

Create an animated image, or GIF. Combine images to make an animation that conveys an emotion. —T ake a series of pictures of yourself performing your greeting. You can make a gesture with your face or combine the movements of your face with the motion of your hands. — Digitise the images with an application.

Image of a kaleidoscope.

— Send your personalised greeting to your friends.

Unit 4

ãã2.1 Building polygons

D’

Polygons are flat geometric shapes that are closed by straight lines.

C’

To build a polygon, you must know its characteristics. We know through Thales’s Theorem that if you draw a line parallel to one of the sides of a triangle and join it to the extensions of the other two sides, you get a triangle that is similar to the first one.

B’

Thales’s Theorem.

Understand, think and apply… Build an equilateral triangle

Build an isosceles triangle

4 Draw an equilateral triangle knowing only one side.

6 Draw an isosceles triangle knowing the unequal

—G iven the straight line AB and using a compass, draw an arc with the centre at B and the radius AB.

side and the angle formed by this side and the equal sides. —E xtend the segment. Place the protractor at both ends, and copy the angle. Extend the lines until they intersect, which will be at point C.

—R epeat the process using A as the centre point. Both arcs intersect at point C.

— I f instead of knowing the angle we knew the height, we would only have to draw the perpendicular bisector of the unequal side.

—T he equilateral triangle is made by joining points A, B and C. C

Build a right triangle

5 Draw a right triangle knowing the hypotenuse and a cathetus. —D raw the length of cathetus b as one of the sides of a right angle. This measurement is limited by points A and C. —W ith the centre at C and using length a (hypotenuse), draw point B on the other side of the angle. — Close the triangle by joining B and C. a b

a b

Build a regular pentagon

7 Draw a regular pentagon knowing the length of a side. —D raw the perpendicular bisector of side AB to determine its midpoint, M. —F rom end B, draw a perpendicular line with a length of AB to obtain the segment BN. — Draw an arc with the centre point at M and radius MN that intersects the extension of AB at point O. —W ith the radius AO and the centre at A, draw another arc to get points C and D. —L astly, with the same radius but with the centre point at B, you get point E. — The pentagon is formed by joining points A, B, C, D and E.

2 GEOMETRIC RHYTHM

ãã2.2 Movement on a plane A movement is a geometric transformation in which both the size and shape of the figure remain the same but in which the figure changes position in space. These movements can be:

➜➜Translation: all points are moved in the same

➜➜Rotation: the points move around a centre of

direction and the same distance. For example, a Greek fret.

rotation at an angle and in a direction. For example, a flower.

A′

A A′ E

B′

C′

F′

E′

D C′

D′

E′

C D

D′

➜➜Axial symmetry or symmetry with respect to an

➜➜Radial symmetry or symmetry with respect to a

axis: the points are at the same distance from the axis, on the same perpendicular line but in opposite directions. The shape of the figure does not change, but the direction of it does. For example, the shape of an insect.

point: the points are at the same distance from the centre of symmetry on a line that passes through the centre, but in opposite directions. For example, a rose window.

A′

B′

A′

B′

C C′

C′

D′

E′

Unit 4

ãã2.3 Rhythm in composition We can combine shapes following a rhythm to cover a space and create a harmonious modular composition. For example, the tiles* in the patios of some palaces and houses have a pattern, a rhythm. An order or a sequence of repetition can be established based on one or several modules. There are different possibilities when organising a specific rhythm: it can grow or shrink (the figure maintains its shape but its size varies) or it can be uniform or alternating (depending on whether we use one repeated figure or several).

Tiles are usually rectangular or square and are made of clay or porcelain. A tiler is a person who tiles a room with tiles. The word tile is both a noun and a verb.

Another possibility for establishing rhythm is by modifying the colour or texture of the repeating shape. In modular compositions, we usually combine several rhythms and include rotational movements and symmetry.

Tiles in Casa de Pilatos (15th century), Seville.

ãã2.4 Optical art Optical art (also known as op art) is a visual art style that began in 1958. It is characterised by the unreal feeling of motion on the flat and stationary surface of a painting. Optical art tricks the eye with optical illusions. These paintings combine the laws of physics and geometry with the perceptive qualities of colour. In optical art, the viewer interacts with the artwork and gets the feeling of motion, everything moves up and down or from side to side. In this type of artwork, emotional qualities are left out.

Hesitate (1964), Bridget Riley, Tate Gallery (London).

2 GEOMETRIC RHYTHM

ãã2.5 Tangents We can create modules by mixing straight lines and curves, or by just using curves. To do so, it is necessary to know the rules of tangents, which occur when two figures have one point in common. When a tangent is located between two circumferences, the point is always aligned with the two centres of the two circumferences.

When the tangent is found between lines and circumferences, the points of tangency are always perpendicular to the line that passes through the centre of the circumferences.

T1 T5 T8

C′

C T6 T7

Interior and exterior tangents of two circumferences.

Frank Stella sometimes makes three-dimensional works with his colourful curvy compositions. In the picture, Harran II (1967), Solomon R. Guggenheim Museum (New York).

Unit 4

Understand, think and apply… Design an Arabic lattice pattern

You may find it impossible to do intricate latticework designs. However, you only need to learn the pattern of the geometric drawings. All of them follow a pattern on a grid of squares or triangles. Look online for an image of a tile with a lattice design and draw its hidden pattern.

Build an oval

9 Draw an oval by following these steps:

—D raw a circumference with a diameter that is the same length as that of the axis of the oval you want to create. — I nside the circumference, draw four perpendicular straight lines that intersect at points O1, O2, O3 and O4 (which will be the centres of tangency). —W hen these lines extend past the circumference, they will become the points of tangency T1, T2, T3 and T4. You have to draw an arc that has its centre at O3 and passes through O4, and vice versa.

Lattice pattern from the Alhambra. O3

—C omplete the rest of the drawing with arcs from O1 and O2. O4

Build an ovoid

10 Draw an ovoid by following these steps:

— Draw the major axis and divide it into six equal parts.

— Put the centre at the second division (O1) and draw:

A 1 O3

a) A perpendicular line.

b) A circumference with radius O1A (T1 and T2 will be points of tangency).

c) A semi-circumference with radius O1B (you will get centres O3 and O4).

— With the centre at the fifth division (O2), draw a circumference with radius O2B.

— Draw a straight line that joins O3 to O2 and another that joins O4 to O2. Extend the straight lines to obtain the points of tangency T3 and T4.

— Complete the ovoid by drawing an arc from O3 with radius O3T4 and another from O4 with radius O4T3 that pass through T3 and T4, respectively.

T4 B

KINETIC SCULPTURE

Materials

• If we want to make a mobile sculpture that is rocked by the wind, we will use light materials: foam board, expanded polystyrene, acetates of different colours and thickness, etc.

Process

➜➜Start drawing or making sketches of the pieces of the mobile sculpture and the complete structure.

➜➜Decide whether the mobile will be hanging or will have a base attached to the ground.

➜➜Once you have a clear idea of the figures that will make up the mobile, start making them with the materials you have chosen. It would be helpful to make different sized pieces with different weights.

➜➜Distribute the pieces and the rods, trying to balance the composition. This will be the most complicated task.

Let’s create

Artistic workshop Create mutant sculptures 1

The mirror. In a group of figures —whether it is a visual composition, a sculpture group or a group in performing arts—, the position of each element is important for the narration. In groups, we are going to build pieces for sculptures that will change or mutate when the public interacts with them. To do so, we are going to use sheets of foam board that are two centimetres thick and we will cut them into polygonal shapes of different sizes: squares, triangles, circles, ovals, etc. Make slots on some of the sides of the pieces so that they will fit together. Paint each one of the shapes with bright coloured acrylic paint and use abstract motifs. They can be placed on the floor or in drawers in a common area. Make a banner to hang in that area with a slogan that invites people to play around with the pieces and start creating a sculpture.

Design a set of clothing based on geometric shapes 2 In

Suit for the ‘American Manager’ of the ballet Parade (1917), Pablo Picasso. Exhibition at the Royal Academy of Arts (London, United Kingdom).

Unit 4

MOTION IN ART Alexander Calder (1898-1976) Alexander Calder was an American mechanical engineer and sculptor who is considered the father of the kinetic sculpture and the creator of the mobile. He began by making small sculptures with wire and wood that he later changed into mobiles, thanks to his engineering skills. As the years passed, he simplified the forms and began to make abstract shapes. At the same time, he began to increase the size of his creations, placing gigantic balanced sculptures in the streets and public squares, which moved by the force of the wind.

Stabile-Mobile (1965), Alexander Calder, Sculpture Park, Foundation Pierre Gianadda (Martigny, Switzerland).

Sergei Diaghilev (1872-1929) Sergei Diaghilev was the founder of the Ballets Russes and changed the course of dance in the early 20th century, in spite of the fact that he was not a dancer or a choreographer. He had a holistic and visionary perspective on dance, in which the music, motion, wardrobe and stage set would blend together. He knew how to surround himself with the most talented artists of his time: painters like Picasso and Matisse; musicians like Stravinsky and Debussy; and choreographers like Massine in order to create a spectacle that renewed ballet in the 20th century.

Portrait of Sergei Diaghilev (1904), Valentin Serov.

Daniel Rozin (1961) Daniel Rozin is an Israeli artist who works in New York and focuses on interactive art. His works interact with the motion of humans and change according to what they detect. Many of his sculptures and installations are made of mirrors that respond to the presence of a person by turning around the images or reflecting them in different ways, inviting the viewer to interact and play with the works. PomPom Mirror (2015). Exhibition at the Saatchi Gallery (London, United Kingdom). The work reflects the movements the viewer makes.

review

Unit outline MOTION AND COMPOSIT ION Composing to create motion

Balancing the elements

Geometric drawings

The feeling of motion

Regular polygons

Geometric rhythm

Rhythm in composition

Movement on a plane

Compositions in motion

Translation Rotation Symmetry

General method: Thales’s Theorem Geometric bodies Ovals and ovoids Exploring art to understand it Futurist Manifesto

Tangents

Products of motion

Optical art

Arabic lattice patterns

glossary A-L

M-Z

Fishing line The line of a fishing rod.

Rotation Movement in which the points move around a centre of rotation according to an angle and direction.

Stage set Set of elements (decoration, lighting, sound, wardrobe, etc.) that is used in theatre plays or films. Symmetry Correspondence of position, shape and size of the elements of a set with respect to a point, line or plane. Translation Movement in which all of the points are moved the same distance in the same direction.

ial work mater r to select lio. fo rt emembe R po ur it for yo from this un

Unit 4

ogress r p r u o y k c e h c Look carefully

Build a module with curves and straight lines

1 Do you think this artwork has curvy lines? The optical

3 We can easily repeat modules with digital images.

Furthermore, some programs allow us to add colour, different shades, rotate the images or turn them over. Create a module based on curves and straight lines that are linked together.

Surface of the rooftop of Casa de Les Punxes (1905), Josep Puig i Cadafalch, Barcelona.

Let’s reflect together 4 Answer the following questions. You can discuss them with your classmates. Then, evaluate your learning on a scale of 1 to 5. Optical illusion based on Vasarely’s work.

Create your own work of art with fractals

a) Have I learned new strategies to make visual compositions?

2 Find information on artist Javier Barrallo and explain

b) Have I practised visual composition?

how he uses mathematics and digital images to create sophisticated shapes based on other simple fractal shapes. Then, create your own work based on his artwork.

c) Have I practised visual rhythm? d) Do I know what optical art is? e) Am I able to create the feeling of motion in an image? f ) Do I know the key features of futurism? g) Am I able to create a kinetic work of art? h) Am I able to build a polygon? i ) Am I able to move polygons on a plane? j ) Am I able to build a simple figure based on its views, and vice versa? k) Have I learned about new artists, artistic movements or styles? l ) Have I learned new techniques for artistic/visual expression?

Example of a fractal in a cactus.

m) Am I able to design taking space and motion into consideration?

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