Tag Archives: proportion

Scale & Proportion

Scale and proportion in art are both concerned with size.

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Scale refers to the size of an object (a whole) in relationship to another object (another whole). In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies.

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Proportion refers to the relative size of parts of a whole (elements within an object). We often think of proportions in terms of size relationships within the human body.

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Scale

Scale in art

An artwork has a physical size; when referring to an artwork’s size, we use the term scale. Scale is more than simply the object’s size, however. It is the size of the art object in relation to another object. The relative size of the artwork is always compared to the size of the human body–life-sized, miniature, enormous–are all terms that use the human body as a size reference.

Larger-than-life scale

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Chuck Close is a photorealist painter. Photorealism, a movement that began as a reaction to minimalism and abstract expressionism–both of which eschewed realism as high art–involves the use of photography to create an image so realistic in detail that it can be mistaken for a photograph. Close revolutionized photorealism by expanding the scale of his work to an enormous size.

Close’s approach to portraiture was to not only make his subjects massive in size, but to represent them in an extremely realistic and forthright manner, including their flaws.

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Artists as quoted on Minneapolis Sculpture Garden website:

Claes Oldenburg: “Very often I am sitting at dinner and I take out my notebook. I get very inspired when I eat, for some reason.”

Coosje van Bruggen: “One of the things that sculptors who work in an urban surrounding think of is scale, the object in comparison to the other things in the surroundings–buildings, the highway, the Cathedral, lantern posts, anything.”–Claes Oldenburg and Coosje van Bruggen

Claes Oldenburg and Coosje van Bruggen create sculptures of ordinary objects–a clothespin and a tube of lipstick, for example–in a monumental scale, which causes us to see these ordinary objects in a completely different way. The sculptures also become iconic representations of the specific cities they were designed for. Consider how the enormous scale of both the Close portraits and the Oldenburg/van Bruggen sculptures changes the meaning of and our relationship to ordinary objects and people.

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Joseph Cornell combined and placed his objects in small scale box constructions. The effect is that of a miniature world full of magic and possibilities. Although the scale of the boxes is small, the world within the box is as large as the imagination makes it. In Cassiopeia 1, for example, one can imagine an entire solar system. Within the boxes the objects relate in some way but remain suggestions rather than narratives. Cornell leaves it to the viewer to fill in the gaps.

 

Proportion

Proportion in Art

Proportion is the relative size of parts within a whole. The human body is an effective example of the design principle.

Proportions of the human body as a reflection of cultural ideology

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http://en.wikipedia.org/wiki/File:Da_Vinci_Vitruve_Luc_Viatour.jpg

This famous drawing is based on the geometrically calculated ideal human proportions described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. According to Vitruvius the human figure was the primary source of proportion used in Classical orders of architecture.

Hannah Hoch in Weimar Germany:

purposeful alteration of human proportion to make a political statement

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Within this period Hannah Hoch created numerous artworks and developed the art of photomontage. Using this method she was able to piece together elements from different sources and alter the scale of objects in the composition as well as proportions within the human body. Consider how this alteration in proportion related to the historical period in which she was working.

Perfect Proportion: The Golden Ratio, the Golden Mean, or Fibonacci’s Spiral

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A Fibonacci spiral which approximates the golden spiral, using Fibonacci sequence square sizes up to 34. Image by user Dicklyon 17 March 2008

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Woodcut from the Divina Proportione, Luca Pacioli 1509, Venice, depicting the golden proportion as it applies to the human face.

http://en.wikipedia.org/wiki/File:Divina_proportione.png

The golden ratio is a mathematical proportion based on pi (1.618033988749895…) and is used to define aesthetically pleasing proportions in art and architecture.

It can be derived with a number of geometric constructions, each of which divides a line segment at the unique point where the ratio of the whole line to the large segment is the same as the ratio of the large segment to the small segment.

The ratio is found in within all of the natural world; and is clearly illustrated in the spiral of a chambered nautilus.

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http://en.wikipedia.org/wiki/File:NautilusCutawayLogarithmicSpiral.jpg

The ratio is found in all proportions of the human body, from the hands and feet, to the face, to the body as a whole. The ratio has been analyzed in terms of what is considered beautiful in human faces and found that the more closely proportions of the face follow this ratio, the more beautiful it is considered to be.

The ratio has been used for centuries, by the ancient Egyptians in the pyramids, ancient civilizations in the construction of temples, Renaissance artists (who called it the Divine Proportion), and is still used to create a sense of beauty, harmony and balance in art.

Art Foundations Journal Idea #2

1.  Drawing Practice

To boost your skill and practice of the self-portrait and shading techniques, draw the following:

  • Contour drawing of your face to include your hair and neck using a mirror
  • One page of a minimum of five drawings of your nose from various vantage points using shading techniques.
  • One page of a minimum of five drawings of sets of eyes including eyebrows from various vantage points and expressions using shading techniques.
  • One page of a minimum of five drawings of mouths to include the cleft (below the nose/ above the upper lip) from various vantage points and expressions using shading techniques.
  • One page of a minimum of five drawings of ears to include hair from your scalp from various vantage points using shading techniques.
  • One self-portrait of a ¾ view using color pencils

Note written comments regarding your experience and/or reflection of your work (strengths and weaknesses)

2.  Research the following artistCHUCK CLOSE
Answer the following about the artist:
Who is this artist?
Where is he/she from?
What time period did he/she live?
What style is he/she associated with?
What subject did this artist usually draw from?
What did this artist achieve in his/her work?
Paste sample of this artists work.
Draw all or part of the sample work.
What do you think of his/her work (Describe, Analyze, Interpret, Judge)?
What have you learned from looking at this artists drawing?
How will this research broaden your understanding of your own work?

3.  Using the artist research, create a self-portrait drawing influenced by Chuck Close’s work.  How did your new understanding affect your drawing?

Vocabulary; write the definitions into your journal:   Proportion, Grid Diagram Technique, Value Contrast, Pattern, Simulated texture, Image posterization (Be sure to use these terms within your comments from your drawings and in your research of Chuck Close)

Seeing the world differently

Find new meaning by drawing something small and making it big.

Draw anything that is small, even bordering on tiny (natural or man-made), and make it big. Magnify its detail in proportion to the enlargement. This enormous change of scale could make a 4′ x 4′ drawing of a wren’s skull have the impact of a landscape or the austere quality of a steel-gray winter’s sky. A 3′ x 5′ drawing of a portion of electric cord should have a serpentine mystery and the provocative nature of the unknown. The Pop artists’ play with transformations of scale and interest in everyday objects and images isolated, typified, and intensified their subject matter.

Allow the object you are drawing to fill your visual field and your whole consciousness. As you zoom in, you will notice surface details: small cracks, pocking, specks of dust, bumps, hair, and so on. Observe the highlights (glossy or matte), textures, and gradation of tones. While your drawing must be rendered in a representational and realistic manner, its completed state could very well border on abstraction. It must enable the viewer to identify the subject, but it should also hint at a metaphorical or symbolic reference.