We use threes in art to define structures like primary, secondary and tertiary colors on a color wheel. Sir Isaac Newton developed the first color wheel in 1666. The three Greek column classifications are Doric, Ionic, and Corinthian.
Muse with barbiton, Paestan red-figure lekanis C4th B.C., Musée du Louvre
THE MOUSAI (Muses) were the goddesses of music, song and dance, and the source of inspiration to poets. They were also goddesses of knowledge, who remembered all things that had come to pass. Later the Mousai were assigned specific artistic spheres: Kalliope (Calliope), epic poetry; Kleio (Clio), history; Ourania (Urania), astronomy; Thaleia (Thalia), comedy; Melpomene, tragedy; Polymnia (Polyhymnia), religious hymns; Erato, erotic poetry; Euterpe, lyric poetry; and Terpsikhore (Terpsichore), choral song and dance.
An incredible and practical way of folding a t-shirt in less than 5 seconds! Using this method the best folders can do it in 3 seconds!
This technique for teeshirt folding, used widely in China, can be learnt in 2 minutes if you watch the video
Benoit Bodhuin-triangle-fontOn the roof of the Bauhaus building, Dessau, 1928. From left: Josef Albers, Marcel Breuer, Gunta Stölzl, Oskar Schlemmer, Wassily Kandinsky, Walter Gropius, Herbet Bayer, Lazslo Moholoy-Nagy, Hinnerk Scheper
The Bauhaus was the most influential modernist art school of the 20th century, one whose approach to teaching, and understanding art’s relationship to society and technology, had a major impact both in Europe and the United States long after it closed. It was shaped by the 19th and early 20th centuries trends such as Arts and Crafts movement, which had sought to level the distinction between fine and applied arts, and to reunite creativity and manufacturing.
2 Bauhaus Seals
This is reflected in the romantic medievalism of the school’s early years, in which it pictured itself as a kind of medieval crafts guild. But in the mid 1920s the medievalism gave way to a stress on uniting art and industrial design, and it was this which ultimately proved to be its most original and important achievement. The school is also renowned for its faculty, which included artists Wassily Kandinsky, Josef Albers,László Moholy-Nagy, Paul Klee and Johannes Itten, architects Walter Gropius andLudwig Mies van der Rohe, and designer Marcel Breuer.
SKYLLA Museum Collection: Musée du Louvre, Paris, France Catalogue Number: TBA Beazley Archive Number: N/A Ware: (Lucanian?) Red Figure Shape: Krater Painter: — Date: ca 450 – 425 BC Period: Classical
the names of two rocks between Italy and Sicily, and only a short distance from one another. In the midst of the one of these rocks which was nearest to Italy, there dwelt, according to Homer, Scylla, a daughter of Crataeis, a fearful monster, barking like a dog, with twelve feet, six long necks and mouths, each of which contained three rows of sharp teeth. The opposite rock, which was much lower, contained an immense fig-tree, under which there dwelt Charybdis, who thrice every day swallowed down the waters of the sea, and thrice threw them up again : both were formidable to the ships which had to pass between them (Hom. Od.xii. 73, &c., 235, &c.). Later traditions represent Scylla as a daughter of Phorcys or Phorbas, by Hecate Crataeis (Apollon. Rhod. iv. 828, &c., with the Scholiast), or by Lamia; while others make her a daughter of Triton, or Poseidon and Crataeis (Eustath.ad Hom. p. 1714), or of Typhon and Echidna (Hygin. Fab. praef.). Some, again, describe her as a monster with six heads of different animals, or with only three heads (Tzetz. ad Lycoph. 650 ; Eustath. l. c.). Continue reading SCYLLA (Skulla) and Charybdis
An important, but often overlooked, essential is lighting your subject independently of your set. This is important for two “key” reasons: shadows and reflections. Part of keeping your wall evenly lit is keeping your subject’s shadow from falling across it. To do this you need to position the talent at a distance of at least a few feet from the screen, and light him separately using three point lighting.
lighting
If you do not have a lot of distance to work with, position your key & fill lights slightly to the sides, not straight on, so any resulting shadows will fall outside the visible frame. Another advantage of moving your subject away from the wall is the reduction of reflected green spill light on your talent. Reflected spill light can rim your subject in a tinted halo that can be difficult to discern with the naked eye, but if your actor is too close to your wall, it will be there, and any green bouncing off your actor will mess up the cleanliness of your key. You can wash away a fair amount of reflected green using a bright backlight, but you will find that distance is your best friend.
1. Fill in these three forms with one of the the primary colors: red, yellow, or blue. The coloring is to fill the form entirely in each case. One color per shape.
2. If possible, provide an explanation for your choice of color.
In 1923 Wassily Kandinsky circulated a questionnaire at the Bauhaus, asking respondents to fill in a triangle, square, and circle witht he primary colors of red, yellow, and blue. He hoped to discover a universal correspondence between form and color, embodied in the equation red=square, yellow=triangle, blue=circle.
A giant tooth? A weirdly shaped bone or rock? Henry Moore’s chubby, one-ton bronze, poised on three delicate points, suggests different interpretations from different angles. Both prolific and highly respected, Moore has been called the most influential sculptor of the 20th century.
“Sculpture,” said Henry Moore, “should always at first sight have some obscurities, and further meanings.” His one-ton bronze on the Parkway is an example of such visual ambiguities. It may appear to be a massive, polished, three-pointed stone—and in fact Moore kept a similarly shaped pebble in his studio for years.
Henry Moore’s Three Way Piece
On the other hand, the bronze also looks like a weighty animal, with its three “points” like paws on which it delicately balances. Some have said that it resembles a hunched bird. From certain angles it even suggests a giant tooth or a gnawed bone. Whatever one’s first impression may be, the work changes as the viewer walks around it.
Philadelphia’s Three-Way Piece was purchased by the Fairmount Park Art Association in 1967 and installed in John F. Kennedy Plaza that year. In November 1990 the sculpture was relocated to a landscaped area along the Parkway.
Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992).
