For this journal, you will reflect on the layers of meaning of creative works. You will describe how the means of transmission affect the interpretation of a creative work. Specifically, you must address the following rubric criteria: Layers of Meaning: Define what is meant by layers of meaning in a creative work. How is the topic of the creative work a part of the layers of meaning? How do a creators individual perspectives and cultural values relate to a creative work? What ideas, values, and emotions that may be present in a work impact the layers of meaning? Means of Transmission: Describe how the means of transmission of a creative work affects its interpretation by an audience. How would experiencing the work be different depending on the means of transmission? What other interpretations of the work could exist if the work were transmitted in a different way? Value: Explain the value of layers of meaning in a creative work. Reflect on why the layers of meaning are important to interpreting a creative work. What to Submit Your submission should be a 1- to 2-page Microsoft Word document with 12-point Times New Roman font, double spacing, and one-inch margins. Use at least 1 source from the module resources or the Shapiro Library to support your journal. Sources should be cited according to APA style both throughout and at the end of your paper. Alternately, Brightspace allows the use of video notes. You may optionally use the Video Note tool to complete this assignment, but you must refer to your sources verbally throughout your video and submit a separate references page. If you use Video Note, your video should be 25 minutes long. If you need assistance using Video Note, please refer to the resources in the Start Here module. AI Usage If you use gen AI tools to support your work on this assignment, be sure to follow these AI usage guidelines. You must acknowledge your use of these tools in your work. Guidelines on how to cite AI tools can be found in this Shapiro Library guide. Module One Journal Rubric Criteria Meets Expectations (100%) Partially Meets Expectations (75%) Does Not Meet Expectations (0%) Value Layers of Meaning Defines what is meant by layers of meaning in a creative work Shows progress toward meeting expectations, but with errors or omissions; areas for improvement may include providing a clearer or more specific definition of what is meant by layers of meaning in a creative work Does not attempt criterion 30 Means of Transmission Describes how the means of transmission of a creative work affects its interpretation by an audience Shows progress toward meeting expectations, but with errors or omissions; areas for improvement may include providing more details or a clearer description of how the means of transmission of a creative work affects its interpretation by an audience Does not attempt criterion 30 Value Explains the value of layers of meaning in a creative work Shows progress toward meeting expectations, but with errors or omissions; areas for improvement may include providing a clearer or more thorough explanation of the value of layers of meaning in a creative work Does not attempt criterion 30 Clear Communication Consistently and effectively communicates in an organized way to a specific audience Shows progress toward meeting expectations, but communication is inconsistent or ineffective in a way that negatively impacts understanding Shows no evidence of consistent, effective, or organized communication 5 Citations and Attributions Uses citations for ideas requiring attribution, with consistent minor errors Uses citations for ideas requiring attribution, with major errors Does not use citations for ideas requiring attribution 5 Total:
Category: Art
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Art Question
Limiting reagent is an important concept in chemistry. I want a simple explanation of what a limiting reagent is and why it is important in a chemical reaction. Please explain it in easy words with a clear example and steps so that I can understand it easily.
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ART 120
PART 1
AssignmentCollage Assignment
Part I: Create a Collage (pasting flat materials with actual texture, like foil, yarn, sandpaper to a picture plane) or papier colle (pasting 2d papers with pattern to represent texture, like tickets, portions of newspapers, menus, photos, etc). You can create a collage with representational subject matter, like a landscape or figure, or it can be completely non-representational, just playing with the elements, like shapes and textures. Collage and Papier colle in art is created by fastening actual materials with textural interest to a flat working surface. These art forms may be used to simulate natural textures but are usually created for decorative purposes. Consider balance when applying the textures! 18 x 24
Part II: Critique at least 2 other students collages within 24 hours of the due date by replying to their post using the vocabulary terms. Remember you can like posts too. Refer to the critique guide if necessary.
Examples:
PART 2
Composition Exercises:
1. Use cut black and white paper, ink, paint or sharpie so you have high contrast. Create a thumbnail composition of the following words with a non-objective simple shapes only:
- gravity(sense of pulling down weight),
- flying or lightweight,
- unstable,
- Anchored,
- fast,
- slow,
- hard,
- soft,
- trapped or confined,
- free/open space.
2. Then create a second set for the same words using 2 or more non-objective shapes. You should finish with 20. Remember- Show me the essence of the words pertaining to that compositional space. DO NOT illustrate them.
Explanation on video:
Here are some examples of objective abstraction, where they reduce an object to its bare essence.
Constin Brancusi Bird in space:
Pablo Picasso- bull drawing:
Piet Mondrian- apple tree series:
3. Creative Exercise in Sketchbook: Copy 3 master drawings in tone only using only simple shapes of value-dissecting them for overall value pattern. It can help to make a Black and White copy first. Then you are simplifying. Be sure to include the master image you are using.
4. Make pencil rubbings (rubbing over things to create texture) all over the page then add lines, shapes, values, etc. to create a drawing from it.
Requirements: Please place each part in a different attachment. doc.
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ART 120
PART 1
AssignmentCollage Assignment
Part I: Create a Collage (pasting flat materials with actual texture, like foil, yarn, sandpaper to a picture plane) or papier colle (pasting 2d papers with pattern to represent texture, like tickets, portions of newspapers, menus, photos, etc). You can create a collage with representational subject matter, like a landscape or figure, or it can be completely non-representational, just playing with the elements, like shapes and textures. Collage and Papier colle in art is created by fastening actual materials with textural interest to a flat working surface. These art forms may be used to simulate natural textures but are usually created for decorative purposes. Consider balance when applying the textures! 18 x 24
Part II: Critique at least 2 other students collages within 24 hours of the due date by replying to their post using the vocabulary terms. Remember you can like posts too. Refer to the critique guide if necessary.
Examples:
PART 2
Composition Exercises:
1. Use cut black and white paper, ink, paint or sharpie so you have high contrast. Create a thumbnail composition of the following words with a non-objective simple shapes only:
- gravity(sense of pulling down weight),
- flying or lightweight,
- unstable,
- Anchored,
- fast,
- slow,
- hard,
- soft,
- trapped or confined,
- free/open space.
2. Then create a second set for the same words using 2 or more non-objective shapes. You should finish with 20. Remember- Show me the essence of the words pertaining to that compositional space. DO NOT illustrate them.
Explanation on video:
Here are some examples of objective abstraction, where they reduce an object to its bare essence.
Constin Brancusi Bird in space:
Pablo Picasso- bull drawing:
Piet Mondrian- apple tree series:
3. Creative Exercise in Sketchbook: Copy 3 master drawings in tone only using only simple shapes of value-dissecting them for overall value pattern. It can help to make a Black and White copy first. Then you are simplifying. Be sure to include the master image you are using.
4. Make pencil rubbings (rubbing over things to create texture) all over the page then add lines, shapes, values, etc. to create a drawing from it.
Requirements: Please place each part in a different attachment.
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Formal Analysis Essay
Formal Analysis Short Essay Guidelines *This scans for AI and plagiarism using Turnitin.com. Make sure to cite your sources and make any corrections if the scan shows errors or flags. Length: 3 pages minimum, 750 words minimum Formatting: Double-spaced, 12-point font Cite your source using MLA format on the last page. How to cite sources in MLA format link Instructions: Select a work of art you discussed in the lecture, mentioned in the reading, or researched. Answer the questions below, utilizing the vocabulary you learned to describe the work using the elements of art and design principles. Formal Analysis Formal analysis is an essential technique for organizing visual information. In other words, it is a strategy to translate what you see into written words. This strategy can be applied to any work of art from any historical period, whether a photograph, sculpture, painting, or cultural artifact. (Jeremy Glatstein) Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation class. Students in art history surveys and upper-level classes further develop this skill. Use this sheet as a guide when writing a formal analysis paper. Consider the following when analyzing a work of art. Not everything applies to every work of art, nor is it always useful to consider things in the order given. In any analysis, remember the following: HOW and WHY is this a significant work of art? For your paper, you will pick one work of art from the book. Pick something that interests you and will give you enough visual information to write about. 1. Which elements or principles are most significant or visible in the chosen work of art? 2. List at least five elements and/or principles of art and describe how they function within the work of art. It should be noted that a formal analysis is NOT merely a description. A description is just an inventory of the obvious that offers no in-depth reading or evaluation of the elements being used. While the content of a work is essential, it only constitutes a tiny part of what is involved in a formal analysis. A formal analysis analyzes the visual elements of a piece. It attempts to answer the questions why or how, for example – why would the artist use this technique? or How does this shape convey emotion? Make sure to include the following details at the top of your paper: For example: Formal Analysis Paper Artist: John Doe Year: 2020 Medium: Oil on canvas Dimensions: 18×24 inches Location: The Broad Museum Sample Paper-***It does not have to be this long. Rubric: A -All questions are answered using art terms. Five elements and principles are included. Thoughts and explanations are clear and well-developed. B- Most questions are answered. Four elements and principles are included. Some terms could be used more effectively, but the structure lacks flow. C- Some questions are answered. Three elements and principles are included. Minimal art terminology is used. D- A few questions were answered. Two elements and principles are included. Limited art terminology is present. Thought development and structure/grammar need improvement. F-Effort is minimal. The work appears rushed and must be revised for a better grade. Formal Analysis Sources Kennedy Center Art History Resources SJMUS Art Getty I submitted the art work I chose -
Prepare an approximately three-page double spaced 12 point f…
Prepare an approximately three-page double spaced 12 point font analysis of the selected movement. Movement III (Scherzo) from Beethovens Symphony No. 3 Eroica. Analyze it for structure, especially in how it deviates from expectations and how these unique traits are expressive of emotional content. Explicitly use the tools from the Meyer, Ratner, Kivy, and Walton articles in your paper (either using their terminology or through citing them). Are there striking moments that convey meaning? In what ways is the movement expressive of specific emotions? In what ways does the movement engage the imagination? Be sure to maintain objectivity in your discussion of meaning by grounding your assertions in specific musical details and assessment of the movement’s structure.
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Master of the Bigallo Crucifix
Paper has to explain your research about the work of art from several different perspectives. Researching information about your work of art should include the following areas:
- Artist–Since we usually dont know who the artist is before 1400 AD, what do we know of how artists in general worked in that culture?
- Patron–Was this work of art done for a specific patron? If we don’t know the exact patron, (we often dont) what kind of person or organization might have ordered and paid for this kind of object? What do we know about the person or organization?
- Iconography–what is the subject of the artwork and what would it have meant to the people in the society for which it was created? Is there a story told? Is there a theme explored or symbols used?
- Function–how was it used when it was first created? In what kind of place would it have been displayed? What kind of an audience would it have had? Was it made for exhibition? Who would have seen it?
- Materials–what is the work of art made out of and how was it made? What is the technique used to make it?
- Style–a visual analysis will help you understand how the artist worked. Relevant issues may include the use of color, space, human anatomy/pose/proportions, light and shadow, surface texture etc.
- Social Context–Discuss historical, social or religious factors that help explain the object more completely.
1. Colors–What kind of colors does the artist use? Are they all within one general range like golds and browns, or blues, greens and grays? Are they bright or are they subdued? Does the artist use a lot of colors or does he/she use a narrow range? How do they contribute to the underlying mood of the painting? Do the colors seem to create a rhythm within the painting? So some seem to push forward?
2. Light–How does the artist understand light? Some don’t think about it, there just seems to be enough to see everything clearly. Other artists have light coming from a specific place, so that one side of a body or a thing is well lit, while the other side is in shadow. Also, do some things cast shadows, and some colors change? Also remember that it is light and shadow that cause a body or an object to look round and three dimensional. Does the artist do this? Where and how?
3. Composition–The arrangement of forms on the surface of the work and also in the space the painter creates within the painting is its composition. Is there a focal point to the compositionsomething that demands you look at it first?
A. In the painting’s imaginary space, are all the objects arranged in a row an equal distance from the imaginary front of the canvas? Or do they go back into the background on a diagonal? How about a circle?
B. On the surface of the painting does the arrangement come out in a line? In a pyramid? Is the painting symmetrical, does there seem to be more on one side or another? Is there a strong central object or person? Or does it seem purposely unbalanced?
C. How might the composition reinforce the theme of the painting? Are chaotic subjects painted with chaotic compositions? Are calm subjects shown symmetrically (a very stable composition)?
4. Space–Space is related to composition. How does the artist create it? Does he overlap things? Are things further from us shown smaller (diminution), or are things foreshortened, which is seeing something coming out toward us in the painting. What about perspective? Is there atmospheric or linear perspective? What is our point of viewdo we see things from above, below or on the same level?
How much space is created by the artist? Does there seem to be enough? If the figures are crowded or have more space than they need, what effect does this have on your understanding of the painting?
How does the size of the figures (people or animals) compare to the size of the overall painting? Do the figures dominate the space or do they seem unimportant?
5. TechniqueHow skillfully does the artist use his materials? Can you see separate brushstrokes (painterly,) or is the painting worked to a smooth, seamless finish? Do things blend in with each other or are forms cleanly outlined?
6. Figure style–General concerns: How does the artist paint the human body? Is it stylized (reduced to essential shapes), or is it naturalistic (faithful to nature)? Is it idealized (improved by the artist) or realistic (revealing all the accidents and imperfections that make people distinctive)?
What about proportions? Do the figures seem massive or delicate? Are they tall and elongated? Short and stubby?
Does the artist seem interested in human anatomy? Does he understand it well? How much detail is given to the muscles and the structure of the body? What about the clothing (art historians call it drapery)? Are the folds shadowed so they seem natural, or do they form an interesting visual pattern that has nothing to do with the body beneath?
Papers should be 6 pages of text (minimum) in length, be typed and double spaced, with one inch margins, and also have a bibliography, a clear image of your work of art and detail. Please use a standard 12 point type face. For questions of bibliography format and citation. MLA format. Make sure to include the page numbers where the quotes were found.
Here is the MLA style quotation for the sources in the bibliography that way you don’t have to cite it.
Bynum, Caroline Walker. The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg. Renaissance Quarterly, vol. 39, no. 3, 1986, pp. 399439. JSTOR, https://doi.org/10.2307/2862038. Accessed 9 Mar. 2026.
Stubblebine, James H. Byzantine Influence in Thirteenth-Century Italian Panel Painting. Dumbarton Oaks Papers, vol. 20, 1966, pp. 85101. JSTOR, https://doi.org/10.2307/1291243. Accessed 9 Mar. 2026.
Attached Files (PDF/DOCX): Bynum-BodyChristLater-1986-2.pdf, Stubblebine-ByzantineInfluenceThirteenthCentury-1966.pdf
Note: Content extraction from these files is restricted, please review them manually.
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Writing Art
1. Length and Format
- The essay must be about 2 pages.
- It should be double-spaced.
- Use 12 pt font.
- Follow MLA style for formatting and citations.
2. Submission
The essay can be:
- Written directly in the Assignment section, or
- Submitted as a Word document.
3. Topic
Choose ONE artwork from:
- The course readings
or - Gardner Chapters 13
or - The Gardner PowerPoint presentations from those chapters.
4. Essay Content
A. Identify the Artwork
Include basic information about the artwork:
- What type of artwork it is (painting, sculpture, architecture, drawing, photography, etc.).
- What materials it is made of.
- Where it was made.
- When it was made.
- Where the artwork is located today.
B. Visual Analysis (Most Important Part)
Focus on how the artist created the visual experience, not just what the artwork shows.
Discuss elements such as:
- Lines
- Color
- Light
- Texture
- Composition
- Shape and form
- Materials and techniques used by the artist
Explain how these elements guide the viewer to see the artwork in a certain way.
C. Historical Context
Explain:
- What was happening in that place and time when the artwork was created.
- What the artwork meant to people during that historical period.
D. Personal Reflection
Include a short personal response:
- Why this artwork was chosen.
- What makes it interesting or appealing.
- What feelings or thoughts it creates.
- How seeing it in person in a museum might be different from seeing it on a screen or in a book.
5. Sources
- Use reliable sources such as museum or academic websites.
- The Metropolitan Museum of Art website is recommended.
- Wikipedia may be used only for general background information.
6. Citations
- If information is taken from a source, it must be cited in MLA style.
- Use quotation marks when copying exact words from a source.
- All borrowed information must be properly referenced.
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Creation myth
Answer the following questions about the Lakota creation myth
A) What is the most distinctive aspect/character/theme of the Lakota creation myth?
B) How is your creation myth different than the traditional
? (list at least 2)
C) Is it similar in any way? (list at least 2)
D) How would you classify this myth according to
[Please do not embed the questions in your post.]
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Art Question
300 words comparing two art lectures. I will provide link to the lectures. (Lectures not long at all) I will provide to rubric as well.