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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

COMPOSITION: is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject of a work. It can also be thought of as the organization of the elements of art according to the principles of art.

BASIC ELEMENTS OF DESIGN Point, line, shape, texture and color are the building blocks that make up two-dimensional design. The visual elements operate individually and in combination. •

POINT– is a mark, such as a dot, a pixel, or a brushstroke. o FOCAL POINT– is the primary point of interest in a composition. By its size, compositional location, orientation, or color a focal point activates the design and thus attracts viewer attention. o ARRAY – a collection of points. We can create rich textures and entire images using an array. An array of points can create an entire image while retaining the energy of the individual parts.

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LINE – Line may be defined as: o o o o

A point in motion A series of adjacent points A connection between points An implied connection between points  Line Quality – Each line has its own distinct quality. This quality is largely determined by the line’s orientation, direction, and degree of continuity, and by the material used. • Orientation – refers to the line’s horizontal, vertical, or diagonal position. Note: Diagonal and curved lines are generally the most dynamic. They suggest energy, action, and movement. • Direction – refers to the implied movement of a line. Generally a swelling line suggests forward or outward movement, and a shrinking line suggests inward movement. • Continuity - , or linear flow, can enhance direction. A continuous line tends to generate a stronger sense of direction that a broken or jagged line. 1|Page

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

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Contour Lines - contour lines define the edges of a form and suggest three-dimensionality, as often seen in gesture drawing.

Gesture captures essential action and movement instead of describing every detail of an object or figure. • Cross-Contour – created using curving parallel lines, cross contours “map” surface variation across shapes and objects. o Implied Line – because implied lines simply “suggest” connections, the viewer becomes actively involved in compositions that use this type of line. o Linear Line – multiple lines can add detail to a design and create a convincing illusion of space.  Hatching– produces a range of grays through straight parallel lines.  Cross Hatching – many layers of lines at various angles are used in crosshatching and create a wider range of grays. •

SHAPE is a flat, enclosed area. You can create shape by: o o o o

Enclosing an area within a continuous line Surrounding an area with other shapes Filling an area with solid color or texture Filling an area with broken color or texture  Volume - a three-dimensional enclosure. A square is a shape, while a cube has volume. We use gradation, shading, tint, and tones to make a two-dimensional shapes appear three-dimensional, or volume.  Figure Ground Relationships– a shape that is distinguished from the background is called a positive shape or figure. The surrounding is called the negative shape or ground. • Figure Ground Reversal – occurs when first the positive and then the negative shapes command our attention. (Think Tessellations)  Geometric Shapes– Geometric shapes are distinguished by their crisp, precise edges and mathematically consistent curves.  Organic Shapes – are more commonly found in the natural world of plants, animals, sea /ocean, sky.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

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TEXTURE – the surface quality of a 2D shape or 3D volume (form). Texture engages our sense of touch as well as our vision, and can enhance the visual surface and conceptual meaning of a design. o Types of Texture  Physical Texture – creates variations in a surface. The woven texture of canvas, the bumpy texture of thickly applied paint, gesso, or other medium.  Visual Texture – is an illusion. We can create it by using multiple marks that simulate physical texture. [Cross -hatching, stippling, cross-contour. • Tromp L’Oeil – visual texture that so resembles reality that a deception occurs. We call this effect Trompe L’Oeil, from the French term meaning “to fool the eye.” It a dialogue between illusion and reality often found on wall murals or buildings.

• VALUE – refers to the relative lightness or darkness of a surface. The word relative is significant. The lightness or darkness of a shape is largely determined by its surroundings. o Value Contrast – the amount of difference in values. o Value Distribution – refers to the proportion and arrangement of lights and darks in a composition.

o Value and Space (Atmospheric Perspective) – When combined in a composition, very dark, crisp shapes tend to advance spatially, and gray, blurry shapes tend to recede. The dark values in the foreground gradually fade until the background becomes gray and indistinct (think mountain landscape). o Chiaroscuro [key-r-rus-cu –ro](literally, “light-dark”) – is another way to create the illusion of space. A primary light source is used to create six or more values. Highlighted areas are clearly delineated, where as the darker areas seem to dissolve into the background.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

ELEMENTS OF COLOR - Color immediately attracts attention. • • • • • • • • • • • • • • •

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Color interaction refers to the way colors influence one another. Simultaneous Contrast refers to the apparent change in a color when it is paired with another color. Hue is the name of a color. Primary Colors- red, blue, and yellow Secondary Colors – orange, green, and violet (purple) Intermediate or Tertiary Colors – color ranges created by mixing primary and secondary colors. Warm Colors – reds, oranges, and yellows Cool Colors – blues, violets, and greens Value- refers to the relative lightness or darkness of a color Intensity, Saturation, and Chroma - all refer to the purity of a color. Monochromatic Color Scheme – the use of a variation of a single hue. Analogous Color Scheme - The use of colors that are side-by-side on the color wheel. Complimentary Color Scheme - The use of colors that are opposite or across from one another on the color wheel. Split Complementary Color Scheme – The use of two colors on either side of one of the compliments. Triadic Color Scheme – The use of colors that are in a triangular position, equally spaced around the color wheel. This color scheme is used when artist want to variety and a strong visual impact. Chromatic Grays Scheme – A Chromatic Gray is made from a mixture of various hues, rather than a simple blend of black and white. The result is both subtle and vibrant. Earth Color Scheme - This color scheme includes raw and burnt sienna, raw and burnt umber, and yellow ochre, generally pigment found in soil and rock. Color Key - A dominant color in a composition for heightened impact. Symbolic Color Scheme - A color scheme that has symbolic meaning derived from cultural, societal, or religious belief. Tint – the addition of white to a color Tone – the addition to black or a compliment to a color Shade – the addition of gray to a color

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

PRINCIPLES OF 2D DESIGN

Our goal is to develop a composition, defined as the combination of multiple parts into a unified whole that is rich, complex and equally exhilarating. In a well composed design, point, line, shape, texture, value, and color work together, as team. The basis for all design is built from unity, variety, balance, scale, proportion, rhythm, and emphasis.

UNITY - similarity, oneness, togetherness, or cohesion. VARIETY – differences Unity and Variety are the cornerstones of composition. In the right combination, unity and variety can create compositions that are both cohesive and lively. GESTALT psychology theory states that we understand visual information holistically before we examine it separately. An image composed of units that are unrelated in size, style orientation, and color appears chaotic and unresolved. We will focus on six essential aspects of this theory. •

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Grouping – one of the first steps of this process. We group visual units by location, orientation, shape, and color. Orientation creates group cohesion. We mentally organize this set of units as circles, squares, and triangles in spite of their similarity in size and value. Containment – is a unifying force created by the outer edge of a composition or by a boundary within a composition. Repetition – repletion occurs when we use the same visual element over and over. Despite a variation in size, texture, color, or location a repeated element will create a cohesive design. Proximity – the distance between visual elements. Close proximity helps increase unity. Continuity – a fluid connection among compositional parts. This connection can be actual or implied. Closure – the mind’s inclination to connect fragmented information to produce a complete form. Closure makes it possible to communicate using implication. Freed of the necessity to produce every detail, the artist or designer can convey an idea through suggestion, rather than description. When the viewer completes the image in his or her mind, it is often more memorable than an image that leaves no room for participation.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

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Patterns and Grids – a patter is created when a visual element is systematically repeated over an extended area. A grid is created through a series of intersecting lines. Gaps in a grid create a more complex composition and variations in a grid density can add even more variety.

BALANCE In design, balance refers to the distribution of weight or force within a composition. • Weight and Gravity – We can divide visual weight in two ways. o First weight refers to the inclination of shapes to float or sink. o Second, weight can refer to the relative importance of a visual element within a design. • Symmetrical Balance – symmetrical balance occurs when shapes are mirrored on either side of an axis, as in a composition that vertically or horizontally divided down or across the center. o Approximate symmetry – is created when similar imagery appears on either side of a central axis. Example: actual and reflected forms/shadows. o Radial Symmetry – lines and shapes are mirrored both vertically and horizontally, with the center of the composition acting as a focal point. • Asymmetrical Balance – creates equilibrium among visual elements that do not mirror each other on either side of an axis, but are visually balanced by weight.

PROPORTION AND SCALE Proportion and scale create two types of size relationships. Both strongly affect compositional balance and emotional impact. •

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Proportion refers to the relative size of visual elements within and image or within a figure. Example: when we compare the width of the head with its height or divide a composition into thirds, we are establishing a proportional relationship (think foreground, middle ground, background.) Exaggerating proportions can be eye-catching, because the figure immediately stands out from the norm. Scale commonly refers to the relative size of a form when compared with our own human size. Expressive possibilities expand when scale is exaggerated.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

RHYTHM is a sense of movement that is created by repetition of multiple units in a deliberate pattern. Visual rhythm is similar to musical rhythm (accent, tempo, speed). In visual rhythm we use multiplication, fragmentation, and superimposition to propel the eye through the composition.

EMPHASIS gives prominence to a part of a design. As previously noted, a focal point can be used to create emphasis. Both emphasis and focal point attract attention and increase visual and conceptual impact. • •

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Emphasis by Isolation – an anomaly, or break from the norm, tends to stand out. A mismatched word or an isolated shape or form immediately attracts our attention. Emphasis by Placement – Every square inch of a composition has a distinctive power. As a result, placement alone can increase the importance of a selected shape or form. o The Power of the Center – centricity (compressive compositional force) and eccentricity (expansive compositional force). Both centricity and eccentricity activates flash point – central figures or forms, pull us into the composition, while deliberate forms, colors, lines, or other elements placed around a central figure, pull our eyes out to or beyond the boundaries of the figures or forms. Emphasis through Contrast – contrast is created when two or more forces operate in opposition. [Examples: static and dynamic contrast; small and large contrast; solid and textured contrast, etc…]. Note: devoting about 80 percent of the compositional space to one force and about 20 percent to the other is especially effective. The larger force sets the standard, while the small force creates the exception. Consider: contrast in scale; contrast in color; contrast in line quality.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

ILLUSION OF SPACE The illusion of space creates many conceptual implications in a composition. LINEAR PERSPECTIVE is a mathematical system for projecting the apparent dimensions of a three-dimensional object onto a flat surface. Developed during the Renaissance, perspective offered a methodical approach to depicting the rational reality perceived by artists in the fifteenth century. It soon gained wide acceptance as a means of systematically diminishing the size of objects as they recede into space. Linear perspective is based on five basic concepts: 1. Objects appear to diminish in size as they recede into the distance. Perspective is possible because the rate in which objects appear to diminish is regular and consistent. 2. The point at which objects disappear entirely is a called a vanishing-point. Sets of parallel lines (such as train tracks) converge to a vanishing point as they go into the distance, creating an illusion of space. 3. In basic one and two-point perspective, all vanishing-points are positioned on the eyelevel, or horizon line, which is level with the artist’s eyes. 4. Because all proportional relationships shift with each change in position, a fixed viewing position is an essential characteristic of linear perspective. 5. Only limited area is clearly visible from a fixed position. To accommodate a larger viewing area, you must move farther away from the object you are drawing or painting. This expands the cone of vision and increases the viewing area. • One-Point Perspective –represents a straight frontal view of a scene. The lines are angled to converge on a single point at eye level. • Two-Pont Perspective - effective for representing an object that is angled in space. A cube drawn in two-point perspective will not have any lines positioned parallel to the horizon line. Instead, the lines representing depth and width are angled to converge on two vanishing points. • Three-Point Perspective – in one and two-point perspective, the lines representing height are perpendicular to the horizon line. In three-point perspective, these lines are tilted so that they converge on a third vanishing point, high above (birds-eye view) and below eye level (worms-eye-view).

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

ILLUSION OF MOTION The illusion of motion creates many conceptual implications in a composition. The illusion of motion is best seen in animation. Animation films are constructed from thousands of tiny frames. When run through a film projector, they create fluid movement. Visual motion is possible in a composition because we have the perceptual ability to integrate sequential images into a continuous flow. Substantial audience involvement is also required to create an illusion of motion with a static drawing. •

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The Kinesthetic Response – the science of movement. Capturing the gesture of walking, running, dancing, an object bouncing or whirling through space, or any other movement is critical. The Decisive Moment – Photographer Henri Cartier-Bresson used his understanding of impending change to formulate a theory of photography he called “the decisive moment.” He worked involved capturing the most telling moments in time. [Examples: a man in mid-air jumping over a puddle of water; a leaping dancer; a car propelled over a over bridge or flipping in a car wreck; a splash of water as it hits a hard surface or drips down a wet back or arm; a ball player appearing to fly as he or she dunks a basket ball.] Before and After - The kinesthetic response and the perception of a decisive moment are based on our past experience and our ability to relate this experience to what we see. To create a story through single image, many illustrators deliberately plan a moment that takes place before and the moment that takes place after an actual event. [Examples may include: comic book panels, illustrated pages of a book.] Each series of drawings provides a clue in the image of what is about to happen and the visual communication of the result of what just happened.] Fragmentation – An object moves, it sequentially occupies various positions in space. We can use visual fragmentation to simulate this effect is art. [Examples may include: recording the multiple positions a person, animal, or object occupies during a physical event (running hurdles, dancing, jumping, gymnastics, bird landing on a branch, frog leaping, dog running or leaping to catch a Frisbee, etc…] Multiplication – multiplication of a scene or object can play a role in visual storytelling. [Examples may include: A character, object, or environment may unfold over a series of comic book panels; depicting different perspectives, expressions, points of view of the same character, scene, or object.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

DEVELOPING CRITICAL THINKING FOR CREATING AND CRITIQUING WORKS OF ART Critical thinking challenges us to: • • •

Analyze visual relationships Evaluate our conceptual and compositional choices Invent alternative solutions

Using critical thinking, we can determine what to keep and what to change in a composition. By enhancing the best aspects of a design and deleting the weak areas, we can dramatically increase both communication and expression. We learn through the process of creating art and critiquing art.

ARTISTIC PROCESS • • • • • • •

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Visualization / ideation / composition planning Recognizing and stating visual problem Creating thumbnail and rough-draft sketches Experimenting with media and determining best choice for solving the visual problem Revising rough draft sketches / thumbnails due as a result of media experimentation Executing plan Self , group, and teacher critiques o Stop, look, and listen - During a critique, your peers, a visiting artist, and/or your professor will analyze your work, and offer advice. They can identify compositional strengths and weaknesses, and reveal areas that need revision. You can use these insights to improve the current design or to generate possibilities for the next project. Revision or Journaling “lessons learned” Closure and Reflection

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

CRITIQUE STRATEGIES – for all courses, we will use the Edmund Feldman Method of Critiquing Art. • • •

DESCRIPTION INTERPRET/ANALYZE JUDGEMENT /EVALUATE

PRINCIPLES OF DESCRIPTION The following principles for describing art are offered as a summary of the important general points of describing art. Description is a means of gathering information about the art work. Describing is a kind of verbal pointing a critic does so that features of a work of art will be noticed and appreciated. •

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Describe Subject Matter: refers to the people, objects, places, and events in a work of art. The writer wants to give the reader her reactions to the work as well an objective description. Describe Medium: Example: “the painting covering the entire walls, the surface clotted with not only paint but also straw, sand, bits of metal, molten lead, gold leaf, copper wire, ceramic shards, photographs, and scraps of paper. Describe Content: The art work’s emotional or intellectual message provides content. All works of art have form, whether realistic or abstract, representational, meticulously planned or achieved spontaneously. When critics discuss the form of a work of art, they provide information about how the artist presents subject matter (or excludes it) by means of a chosen medium. They tell of the artwork’s implied theme, composition, arrangement, and visual construction. “Formal elements” of a work of art may include dot, line, shape, light and value, color, texture, mass, space, and volume. How formal elements are used is often referred to as “principles of design,” and these include scale, proportion, unity within variety, repetition and rhythm, balance, directional force, emphasis, and subordination. Describe Context: In what environment did the artist place the subject? The context can substantially affect the meaning of the work.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

PRINCIPLES OF INTERPRETATION / ANALYSIS Interpreting art is the most important activity of criticism and probably the most complex. Artworks have “aboutness” and demand interpretation. The principle of interpretation holds that a work of art is an expressive object made by a person and is always about something. Consider the following content when interpreting an artwork. 1.

Content that arises from the aspect of the artwork that is understood as representational. 2. Content arising from verbal supplements supplied by the artist. 3. Content arising from the medium of the artwork. 4. Content arising from the material of which the artwork is made. 5. Content arising from the scale of the work. 6. Content arising from the context of the work. 7. Content arising from the work’s relationship with art history. 8. Content arising from participation in a specific iconographic tradition. a. Iconography: symbolic representation, especially the conventional meanings attached to an image or images; the study or analysis of subject matter 9. Content arising from the formal principles of design within the art. 10. Content arising from attitudinal gestures (humor, irony, parody) that may appear as qualifiers of any of the categories already listed. 11. Content rooted in biological or physiological responses.

Characteristics of Interpretation 1. 2. 3. 4.

Interpretations are persuasive arguments. Feelings guide to interpretations. Interpretations can be different, competing, and contradictory. Interpretations should be reasonable, convincing, enlightening and provide information that can be verified by anyone that looks at the artwork. 5. Interpretations can be judged by coherence, coherence, correspondence, and inclusiveness. An interpretation of an artwork is not necessarily about what the artist wanted it to be about. Interpretations ought to present the work in its best rather than its weakest light. 12 | P a g e

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

PRINCIPLES OF JUDGING ART Making interpretations and judgments are both acts of making decisions, and formulating arguments for one’s conclusions. When critics interpret works of art, they seek to determine what the works are about. Judgments are not so much right or wrong as they are convincing or unconvincing. In matters of judging works of art, if one says that this is a “good” work of art, and that is a “bad” work of art, reasons are expected for such judgments and ought to be put forth by the one making them. A summarized guide of principles for formulating informed and responsible judgment of works of art includes the following: 1. 2. 3. 4.

A complete judgment consists of an appraisal, with reasons, that are based in criteria. Judgments are different than preferences. Judgments should be persuasive arguments. Judgments, interpretations, and descriptions are interdependent and interrelated. How one understands a work of art will influence how one judges it. 5. Judgments offered without reasons are irresponsible and irresponsive. If one hears a judgment, one expects to hear a reason for that judgment. 6. Solid judgments depend on accurate descriptions and informed interpretations. 7. Feelings guide judgments. 8. Artwork, not the artist, is the object of judgment. 9. Judgments, like interpretations, should be personal. 10. Judgments should tell us more about the artwork than they tell about the person judging. 11. Judgments should be tentative and open to revision. 12. Different judgments are beneficial because they highlight different aspects of works of art that we might otherwise overlook. 13. Negative judgments can be stated kindly. This principle is especially pertinent to studio critiques in art class. Judgments, like interpretations, should invite us to decide for ourselves and to think on our own. Ultimately we want to form our own judgments. However, if our own judgments are informed by the considered and thoughtful judgments offered by others, our judgments may become better informed and more clearly articulated. Our newly articulated judgments can contribute to the ongoing conversation about the value of works of art. 13 | P a g e

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

WRITING AN ARTIST STATEMENT AND DISCUSSING ART Artists are expected at some time in their studies to write about their own work. These are commonly referred to as an “artist’s statement” and are usually required for an exhibition. When well done, they open the door for the viewer of their work, inviting the viewer to walk in with an idea of what the work is about; but leaving room for the viewer to wander and wonder. APPRAISAL, REASONS, AND CRITERIA When discussing one’s work or the work of other artists, a judgment is always made. Complete critical judgments are composed of appraisals of the work in question, reasons for the appraisal, and criteria on which the appraisals and reasons are based. Criteria are rules for art making. They are “should.” They are “dos and don’ts.” Most of us carry around assumptions about what art should be. Art is judged by many different criteria, and, although it is an oversimplification, these criteria can be separated into five categories, or theories of art: realism, expressionism, formalism, instrumentalism, and originality. •

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Realism – An artist or critic advocating realism as the major criterion of art would hold that the world, or nature, is the standard of truth and beauty, and that the artist can do no better than try to accurately portray the universe in its infinite variety. Realist how the world as they see it, as it ought to be, or as it ought not to be. Realism is closely related to idealism, often showing how things should be. Expressionism – Expressionism (also called expressivism) is a popular and appealing theory of art, asserting that “artists are people inspired by emotional experiences who use their skill to embody their emotions in a work of art, with a view of stimulating the same emotion in its audience. Expressionism favors artists and their sensibilities rather than nature. They use medium and form and subject matter that express their inner lives. It is their business to express themselves vividly so the viewer may experience similar feelings. Intensity of expression is much more crucial than accuracy of representation. Formalism – Formalism is a theory of “art for art’s sake,” and the term formalism should not be confused with form. All art has form. The theory of formalism, however, asserts that form is the only criterion by which art should be judged. Formalists believe that the aesthetic value is independent of other values. According to them, art has nothing to do with morality, religion, politics, and any other human activity. Cubism is a great example for formalism, as well as artist Jackson Pollock.

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

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Instrumental – All art promotes values, and any artwork, whether it is realist, expressionist, or formalist, can be looked at to determine answers to these two questions: What is it for? What is it against? Art serves values larger than the aesthetic and issues bigger than art. For the instrumental art is used as a tool, a shaper of political attitudes, and its function is to communicate social issues. Originality – The term originality refers to an artist that has managed to do something new and different with a very used subject. Craftsmanship – How the art is made is an essential part of the work and its meaning. Craftsmanship looks for objects that are appropriately crafted, and the appropriateness is contingent upon the expressive purpose of the objects.

GATHER INFORMATION Make an Outline - Once you have gathered all the information and evidence for your writing, make an outline to organize your thoughts and formulate your argument. The outline should have three major sections: 1. The introduction, which clearly states your major claim 2. The body of the paper, in which you build support to back your claim 3. The conclusions, in which you forcefully draw your ideas together, conclude, and summarize your argument. Your outline should be built on logic and evidence. Your outline is not just a series of steps, but an ordered sequence of premises that lead to a conclusion backed by evidence. Without such a map, you and your reader may wander about without direction, ending up with a lot of information that may be true but does not lead to a conclusion based on premises. Once you have an outline, you can begin writing within the outline. You do not have to start at the beginning; you can start where you want, even with the conclusion. To build confidence and momentum, you might want to start with what you know best. An alternative strategy is to start with the hardest part; once you write it, the rest will be easy. WRITING AND REWRITING Create a first draft - Write logically and clearly so that one sentence leads to the next and one paragraph leads to the following paragraph. Let your reader know your point of view about your art. All sentences and paragraphs should lead to your conclusion. Consider your tone of your writing. Draw readers into the art and into your ideas by expressing them in an interesting, evocative way. Do not be dogmatic. Being inflexible will push your reader away. Your audience wants to be able to walk through your art and feel free to draw their own conclusions, based on your evidence. 15 | P a g e

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Resource: Launching the Imagination – A Comprehensive Guide to Basic Design, 5 Edition by Mary Stewart, 2015

Consider your first draft as just that and plan on improving it. Always leave yourself time to think about what you have written and to revise it. Never turn in a first draft. Leave yourself time to get away from your writing so you can return to it with a fresh outlook. Edit for grammar, spelling, and ask someone else to read it for clarity as well, before you turn it in for a grade.

Reminder: When writing your artist’s statement, remember to write in an expressive manner. Include a description (refer back to the handout “Principles of Description ;)” an interpretation (refer back to the handout “Principles of Interpretation ;)” a judgment (refer back to the handout “Principles of Judgment.)”

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