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2 SECONDARY EDUCATION www.anayaeducacion.es

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Suma Piezas is an educational project by Anaya for Secondary Education.

The following people have worked on this book: Editor: Susana del Cerro DIAGRAMS: Anaya Educación Design, technical drawings and maps: Patricia G. Serrano, Juan Carlos Quignon, Miguel Á. Castillejo, Miguel Á. Díaz-Rullo Illustrations: Inés Burgos Layout: Manuel Calvache Translation: Deborah Spencer Photographs: Archivo Anaya (Boé, O.; Candel, C; Cosano, P; García Pelayo, Á.; Leiva, Á.; Martin, J.; Martínez, C.; Marzin, Pierre-Ives; Steel, M.; Sánchez, J.; Valls, R.; Vázquez, A.), AGE Fotostock (Adam Hart-Davis/ SPL; Bridgeman Images; DEA / A DAGLI ORTI; Fine Art Images; Javier Larrea; Marco Brivio; The Granger Collection), Agencia EFE (Javier Cebollada; PHOTOPQR/L’’EST REPUBLICAIN; Ray Tang; Will Oliver; WOSTOK PRESS/MAXPPP), Alamy / Cordon Press (Archive PL; classicpaintings; Daniel Krasoń; Grant Smith-VIEW; Hayk Shalunts; Historical Images Archive; Javier Martínez Morán; Kevin Britland; Nathaniel Noir; Peter Horree; Philip Bishop; Rachel Megawhat; Randy Duchaine; Science History Images; Shakeyjon; The Advertising Archives), Album Archivo Fotográfico (Bernard Bonnefon / AKG-Images; Erich Lessing; Fine Art Images; Giacomo Balla; ImageBroker / Hermann Doble), Dreamstime / Quick images (Beatricesirinun; Bulat Silvia; Chernetskaya; Elena Philippe; Fernando Jose Vascocelos Soares; Janmarijs123; Matyas Rehak; Roman Kanin), Getty Images (Alfred Eisenstaedt; Bloomberg; Hugo Philpott; Vyacheslav Prokofyev), iStock / Getty Images (agencyby; AntonioGuillem; Arra Vais; Artystarty; bluejayphoto; CarmenMurillo; CMcvetkomitja; coward_lion; Dedy Setyawan; Fyletto; g-stockstudio; gpointstudio; Ilona Shorokhova; innovatedcaptures; laymul; Lukas Bischoff; master1305; mot1963; og-vision; OlgaKorica; Rawpixel; Tavo_Montoya; Wavebreakmedia), 123 RF and collaborators.

Commitment to Sustainable Development Goals Our publications contain carefully selected content, illustrations and language to comply with nondiscrimination on the grounds of gender, culture or opinion. Grupo Anaya considers social and environmental responsibility to be one of its fundamental values. For this reason, we are committed to: · continually improving our contents and materials related to the environment. · reducing our carbon emissions. · using natural resources responsibly. · making sure that our activity has no negative consequences for endangered forests. These commitments, among others, mean that 100% of the paper used in our books has the PEFC label.

Important information: The activities proposed in this book should be completed in a separate notebook or on sheets of paper, not in the book itself. The links to webpages which appear in this book have been checked before printing. The publisher cannot be liable for any changes or modifications which occur after the date of publication.

© GRUPO ANAYA, S.A., 2021 - Juan Ignacio Luca de Tena, 15 - 28027 Madrid - Printed in Spain. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publishers.

Index 1. Images in the media........................................................ 7 1 Intentionality and the meaning of images • 2 Personal image • The Final Challenge: Taking a scenographic photograph

2. Body and emotion.............................................................13 1 The face and expression • 2 The body and expression • The Final Challenge: Making a mask with papier-mâché

3. Another way of looking.......................................... 19 1 Points of view • 2 Under the spotlight • The Final Challenge: Do a photograph report at your education centre

4. Motion and composition..........................................25 1 Composing to create motion • 2 Geometric rhythm • The Final Challenge: Creating a commemorative kinetic sculpture

5. Arts and crafts and industry..........................31 1 Art as a profession • 2 Mass production • The Final Challenge: Performing an intervention on an object

6. The work of art................................................................37 1 Art throughout history • 2 Artistic creation • The Final Challenge: Create a visual map

7. Spaces......................................................................................... 43 1 Using space • 2 Transforming the environment • The Final Challenge: Design a ephemeral space

8. Designing to persuade............................................. 49 1 Advertising • 2 Advertising to change the world • The Final Challenge: Create a stencil ad

9. Multimedia and digital creation...................55 1 The audiovisual revolution • 2 From action art to multimedia art • The Final Challenge: Create a video clip

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VISUAL AND AUDIOVISUAL

ARTS

VISUAL AND AUDIOVISUAL ARTS

SECONDARY EDUCATION

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Scan this code to consult the glossary for this unit.

SPACES Spaces

Focus on English This section contains activities for practising and applying the key vocabulary in the unit.

Transforming the environment

Using space

Sort and project

Architecture and nature

Common spaces Indoor and outdoor space

The Final Challenge!

Innovate to transform

Architecture and sustainability

Urban design

Each unit ends with a task or challenge to help you develop your skills by applying your knowledge in a different context.

Ephemeral spaces The representation of spaces

Focus on English

Vocabulary The page that shows the key vocabulary you will encounter in the unit.

Listen and repeat.

2 Speaking. We use the word landscape to refer to the visible features of the countryside or a city. We also use it to refer to the position of a piece of paper or document, especially when printing. If we choose landscape, not portrait, the bottom of the paper is wider than the height.

Conical perspective

Dimensional drawing Dihedral system

Design a ephemeral space The final challenge

There are some famous British and American landscape

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To create a space, we must first draw it. For this, various representation systems can be used, which can be combined to achieve the desired objective.

Work in groups. Create an ephemeral solidarity space. Choose a cause that seems important to you and draw the project prior to its construction.

STEP

Choose a reason for the space you are going to create. Find the best location and the elements that will form part of that space.

STEP

Each group will present their final drawings and explain to the rest the cause they have chosen, how they have carried out the project and how their project solves the needs of the cause they have chosen.

TRANSFORM THE SPACE Le Corbusier (1887-1965) was an architect who changed the concept of architecture at the beginning of the last century. He proposed that houses be adapted to a human being’s way of life and measurements so that they were functional. His buildings are simple, with clean and geometric lines, large windows and gardens. One of his proposals was to leave the ground floors of the buildings open to allow community activities.

Urban design

Villa Saboya (1927), Le Corbusier.

rming projecting or transfo responsible for , the uses Urban design is Through this process our new needs. and spaces to meet ordered and public d, the streets are of spaces are assigne established. private areas are to visualise but useful, more spaces, a plan is To distribute the better. is drawing ctive the result, a perspe

The representation

Commitment to the SDGs

Representation systems

On the left, an aerial

view of Granada.

in an imaginary Divides the surface, l and equidistant way, into horizonta lines planes forming contour

Architecture and

ched houses in On the right, semi-deta

ONME NT

nature Architecture and

becoming many cities started the population of to Over a century ago, that architects needed dense. This meant in a more and more creating lots of homes of ground space, ion. maximise the use less space for vegetat This left less and such small amount of space. Patios, s. garden le be used as vegetab (which imitate Rooftops can also houses sian Andalu traditional for as those found in be used as a space houses) can also les, the style of Roman to grow vegetab spaces allow people . vegetation. Green ature of the building regulate the temper clean the air and

. Understand, think, apply..

chaotic, but es order appears

sometim found close by 1 Speaking. In nature, natural materials

logic. Use ral it actually follows to create an epheme wood and stones) (such as leaves, message. Get into with an ecological with. artistic composition a material to work group can choose spiral groups and each and colour, put into arranged by size you think Materials can be or any other design circles, tric and shapes or concen of your works take photographs of. Following this, ally the work will to take its toll. Eventu leave them for time ar. change or disappe

sustainability

10 20

The resource bank contains audiovisual material that focuses on the Sustainable Development Goals.

as reducing in Represents objects away Unit 7 size as they move

the extreme Projects the edges, contours on generatrices or the collapsible planes

ent with accurately consist Volumes can be sustainable and always d or not Used interprete to capture Architecture is search for original the landthe y ofOften, n. it is set in. the environment the orograph priority over beauty and functio ts takes and needs economic elemen t the characteristicsPV p accoun into ction to We need to take want its constru P′′ a building if we of need nts also occupa of the ns and the terrain (P) 30 Climate conditio possible use of be sustainable. the best 10 20 or We have to make 20 20 ls with little 30 to be considered. materia to use appropriate P′ 10 es and natural resourc PH no pollution. P′

project

Sort and complex. The . We must d and nature isdesigning houses mankin betweean town e or is not just about people we produc The relationship ing that of Organisingabsorb the place and the longer account everyth There the peculiarities it, basic we cause. Earth can no pollutionway take intocan you get around it absorb the the live in living space, we do notwaste throw away. Neither management. e, but who live in it:for everyon water) and space and ity and es electric a responsible , are resourc needs (power not act in community life. ment. We do facilitating the environ us. must lead to to harmony with nt e Everythingfuture is not importa car use and to promot the way. It seems that there is the tendency is to reduce spaces are Today, In addition, green lluting transport. and 30 public and non-po spacefunctions: they improve health , outdoor multiple and leisure 20 created which have Indoor space our areas provide ines ature, determ temper space outdoor modera an te ing, delimit well-be we 10 closed The way in which moreabeautif space.ul.They are define landsca s pe the Building makeit. function, relationship with 10 here with a certain Connecticut (United of atmosp an state the 20 in centre. 1. Glass House structures that create ce, or educational p architect Phillip Johnson. a home, workpla 1949) designed by while include in States, . House which space, th r of some think, apply..outdoo built the Farnswor (New York). Unders indoor space with tetand, 2. Mies Van der Rohe we) or Dragonfly farm contact with all (Zimba off Some aim to integra glass. Centre and cutting steel have windows, like: ‘Helen 1951 out of for them on the Internet. others don’t even le means to look Look resemb the To . world. analyse 1 Writing use the surroundings and nature and the outside ’. You can also 2 way 2 Observe your resembles her mother between up of. Think of a creative is no resemblance spaces they are made space. noun form: ‘There 1 are some t elements in the your drawing’. There to represent the differen the building and Eastgate le nature, like the buildings that resemb

Conical perspective

Dihedral system

Dimensional drawing

SFORM ING THE ENVIR TRAN Colmenar Viejo (Madrid).

n and gives Imitates our perceptio and volumes us an idea of spaces

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LT P′

Watch the video on Target 12.8 and complete the associated activities at anayaeducacion.es

of spaces

t drawings and differen our ideas we use To design and show ntation. systems of represe

Create an exhibition

Define the plan and elevation and define the perspective to get an idea of the whole. Then, accurately scale the materials and shapes. Make plans for the layout of the complex and the various elements. Ink or use a program to finish the drawing.

g n spaces and meetin we have had commo s, and Since ancient times squares, garden places are parks, ias are also private areas. Today, these ng centres or cafeter walking paths. Shoppi come together. ing and consuming socialis where spaces

such as indoor and ct all types of spaces, cting We design and constru nal spaces. Constru or physical and emotio them. outdoor spaces, for us to inhabit makes it possible our own spaces change. grow, their shapes structures. As they of styles unique have Cities modate a mixture urhoods aaccom common style a Different neighbo share ly ts of cities general quarters over time. The outskir res. Some historic all modern structu l or because they are e they had politica ed, perhaps becaus s are are very well preserv Sometimes old building nce in the past. or economic importa ction of more modern way for the constru destroyed to make functional ones.

STEP

Draw the project

Common spaces

USING SPACE

Decide the cause and location

You will need sheets of paper and pencils with hard lead or a mechanical pencil to carry out the technical drawing with precision. To add ink, you can use ink markers or specific computer programs.

Unit 7

STEP

Get the materials

Basic exercises The activities on these pages work on the basic unit content, as well as the different language skills.

Example of a plan of a street project.

p 10

. Understand, think, apply..

of a space that you

a floor Stadium built use. Draw Beijing Olympic

between

ements use2008. canand like. You 2003 3 Take real measur es structures ise it however you tic architecture reproduc scale and reorgan plan to es. or other digital resourc an online program

Biomime ility. greater sustainab from nature to achieve

Skills

Ephemeral space

permanent, As they are not ary installations. the They are tempor the durability allow the materials and imaginative the resistance of simpler and more transformed in a environment to be t purposes. built for very differen way. They can be

The suggested activities have been specially designed to gradually and continuously develop the four language skills. The main skill worked on in each activity is highlighted:

form Innovate to trans

and must be flexible to progress. They and city Cities must adapt architects, artists everyone. Many tion, welcoming to using their imagina t about this and, planners have though tural solutions. innovative architec have come up with

. Understand, think, apply.. n the

betwee is often confusion field 2 Speaking. There and country. A

side words field, country ed and of land, often cultivat is a specific area ‘Potatoes by a fence or wall: usually surrounded side is a rural field’. The country are grown in a countryside’. town: ‘I live in the area, not a city or political area: ‘I and phical geogra A country is a like Spain and ranean countries often visit Mediter each other: partner and ask Italy’. Talk to your Do you you like to visit? What country would side? Explain place in the country have a favourite why you like it.

end in -ture, many words that these words Can you pronounce like architecture. re, nature, , furniture, structu correctly? Picture texture, temperature. bottles garden. Use plastic 4 Build your own vertical upside down) and rope turned (cut in half and neck; tie strong knots the by r Make (join them togethe to hold them in place). equal distances apart aligned. Add that are vertically several containers water to your pots. In order compost and sow do is moisten , all you need to the whole garden

are 3 Speaking. There

the rope. 47

Speaking Listening

Reading Writing

DUAL FOCUS

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L ARTS

VISUAL AND AUDIOVISUA

VISUAL AND AUDIOVISUAL ARTS

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Key concepts

SECONDARY EDUCATION 9

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In this section of the book, the key information is presented graphically using diagrams and illustrations to help you learn each concept.

SUMA

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98-8285I S B N 978-84-6

unit

history of art The human body in the

BOD Y AND EMO TION

Drawing the face

From eyelids to hairline

MIDDLE AGES

PREHISTORY

Central

Lower

From nose to eyes

From nose to chin

Axes

Basic shape

Zones

Upper

MODERN AGE

ANCIENT HISTORY

In profile Head-on

Vertical

Inclined

Indicates the end of the face

Delimits the profile

a province, personification of ss Hathor and the between the godde onial knife or tumi original. 4. Cerem lithic). 2. Menkaure ues (Lower Palaeo copy of Myron’s Greek Claudel. 1. The Venus of Lespug century), a Roman 3. Discobolus (1st Clotho (1893), Camille of BCE). Torso 6. -2750 uez. Cynopolis (2900 X (1659), Diego Velázq 5. Pope Innocent (9th-11th centuries).

The Canon Canon define The characteristics that ul a body as being beautif

So their memory endures 2

Has been represented in different moments and cultures

It was developed in ancient Greece

Between adults and children

Between men and women

It depends on the ideal of each moment

It varies

It is different in each era

Has been captured using different materials

unit

To be recognised

Certain standards of modesty are required but there is more subjectivity

Greeks established a canon, and searched for perfection

The face in art

May have a greater or lesser degree of iconicity

CONTEMPORARY AGE

In Egypt the law of frontality prevailed

ory of art The face in the hist

Commissioned by powerful people

The limits of the body, its meaning and its relationship to the environment are explored. It is also the subject of revindication

In cultures like the Chimú, they caricatured the body

The body is represented with very emphasised reproductive organs

face How to represent a

Basic shape and symmetry

Each part should be harmonious with the whole

SPACES

the head gave the ideal height

Sustainable architecture

The design of spaces

Zac ii. 4. Elliot (2013), portrait from Pompe 3. Roman female (5th century BCE). o (1922), Paul Klee. man with a beard Anguissola. 2. Seneci n. 7. Head of a Greek II (1565), Sofonisba the One’ and Liliwen 1. Portrait of Felipe (2009), Ariane ‘Ya Mattic 6. 00). (700-16 Freeman. 5. Moais

The design of a space

activities in the s You can use the anayaeducacion.e of these fact files. review the content resource bank to

Sustainable architecture

It serves to

Facilitate community life

Organise the space

Use of non-polluting materials

Use of local materials

Biomimetic architecture

Use of natural resources

Adapts the architecture to the environment

Representation systems Challenges of architecture today

Representation systems

Challenges of architecture today Dimensional drawing

Dihedral system

Conical perspective

Divides the surface, in an imaginary way, into horizontal and equidistant planes forming contour lines

Projects the edges, the extreme generatrices or the contours on collapsible planes

Represents objects as reducing in size as they move away

Used to capture the orography of the land

Volumes can be accurately interpreted

Imitates our perception and gives us an idea of spaces and volumes

Activities

10 20 30

Interior

Integrate sustainability

Exterior

Innovation

Flexibility

P′′

The resource bank contains activities for you to practise what you have learnt.

(P)

Adaptability Include vegetation in the buildings

p P′′

30 20 10

Delimit the space

P′

20 10

10 20 30

1. Farnsworth House (1951), Mies Van der Rohe. 2. Regent’s Canal corridor, King’s Cross (2019), Townshed Landscape Architects (London). 3. Beijing Olympic Stadium (2003-2008). 4. Residential building Tao Zhu Yin Yuan (2018). Taipei.

anayaeducacion.es You can use the activities the resource bank to review the content of these fact files.

The

Resource bank www.anayaeducacion.es

Find resources, techniques and activities to help you consolidate your knowledge. Go to www.anayaeducacion.es, and follow the steps at the beginning of your Spanish book.

Your book contains references to the online resources you can use to learn more about each topic and to develop your English language skills.

Resources organised

by unit

Interactive activities

All the resources are clearly organised so you can find the ones related to your unit.

l Audiovoisuuarces

res

Glossary

QcoRde

MOTION AND COMPOSITION

Scan this code to consult the glossary for this unit.

Movement and composition

Rhythm

Composition

In composition

Optical art Movement

Movements on the plane

Polygons

• Increasing • Decreasing • Uniform • Alternating

Performing arts Traslation Dance

Tangents

Rotation Symmetry

A′

A A′ E

B′

C′

F′

E′

D C′

D′

E′

C D

D′

Geometrization

Axial

Balance

Between two circles

Radial

Between a line and a circle

A′ T1

A′

B′

C C′

Symmetry

C′

D′

D E

E′

Focus on English Sculptural groups

Listen and repeat.

2 Speaking. The performing arts are those related to drama, films, plays, the circus, mime, etc. Fine arts refer to a wide range of traditional art forms such as painting, sculpture, drawing, engraving, etc. At university, you can study the degrees of Fine Arts or Applied Arts. Usually the subjects in Applied Arts have more practical outcomes than just representing something or someone, such as weaving, fabric design, glass blowing, etc. What different skills do you need for each type of art? What do you feel you are better at?

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COMPOSING TO CREATE MOTION

In visual compositions, the position that each element occupies becomes more or less relevant depending on its relationship with adjacent elements. Colours change when their surroundings vary; the figures seem to move forward or backward according to the shapes that surround them.

Balancing the elements The images have gravity and symmetry. When we observe or compose them, we assign visual weight to the forms. An asymmetric image causes us tension and a symmetrical one directs our gaze to the centre of the composition. In addition, the elements can be grouped into geometric shapes or lines of tension, which will affect the meaning of the work. 1

The feeling of motion Sculptures, architecture, installations and other artistic works take into account the movement of the people who observe it. Therefore, there are many changes depending on the point of view of the observer. The composition must be considered from different points of view. 26

Understand, think, apply... 1 Speaking. Do you know what the butterfly effect is? It is said that a butterfly flapping its wings could cause a hurricane on the other side of the world. Do you think that such a small action could change the world? Discuss with your partner.

1. Symmetrical composition: Spring (15th century), Sandro Botticelli. 2. Asymmetric composition: Rain, steam and speed (1844), J. M. W. Turner. 3. Composition that forms a triangle: Pietà (1499), Michelangelo. St. Peter’s Basilica (Vatican City). 4. Composition that forms a circle: Miracle of Saint Anthony of Padua (1798), Francisco de Goya. Royal chapel of San Antonio de la Florida (Madrid).

Unit 4

Geometric bodies The structure of a body can be simplified into geometric shapes. This will help us to understand it better. Many artists have represented the human figure in this way (like Pablo Picasso or the sculptor Pablo Gargallo). This simplification can also be used to represent motion.

Compositions in motion In the performing arts, composition prioritises the point of view of the observer. The figures acquire relevance according to the place they occupy on stage. Lighting and scenography also play a role in the composition. In dance, the forms generated by the movement of the body interact with the rest of the dancers and with the space itself, generating new compositions and expressing various stories. The choreography designs the tensions that the bodies produce when they are grouped together or isolated.

Girl before the mirror (1932), Pablo Picasso.

On the left, classical Khmer dance at Angkor Wat, Cambodia. On the right, a group of dancers performing a choreography with movement.

Sculptural groups Sculptural groups are compositions made of various sculptures. Their location in space and the relationship between them are especially relevant in conveying intention. The observer can find different compositions, as in the performing arts, but in this case, it is he or she who moves and finds them.

Understand, think, apply... 2 Writing. Look at Giacomo Balla’s painting and answer the following questions: – What do you think it represents? Why? – Does it use geometric shapes? –W hat sensations do you feel when looking at this piece of art?

Car race (1913), Giacomo Balla.

GEOMETRIC RHYTHM

Everything is marked by rhythm: the seconds of a clock, the pumping of the heart, every step we take as we walk, the branches and leaves of plants, and so on. There is rhythm in music, literature, circus arts or visual compositions. In visual compositions, the rhythm is added by the repetition of shapes or colours, usually following an order or geometric pattern. This geometry evokes order and continuity.

Building polygons Polygons are flat geometric shapes enclosed with straight lines. To build them we just need to know their characteristics and some data.

Movement on a plane A movement is a geometric transformation in which the size and shape of the figure stays the same, but there is a change of position on the plane.

Movements on the plane

Symmetry Traslation

Axial

Rotation

Radial A′

A′

B′

A′ B B′

B′

C C′

C′

C F

D′

C′

D′

D D′

E′

D C′

E′

F′

E′

Understand, think, apply... 1 Create a pattern using pentagons. Remember that to create this polygon you have to follow these steps: D

–D raw the perpendicular bisector on the side AB to determine its midpoint, M. –F rom the end, B, draw the perpendicular of the measurement AB to obtain the segment BN. –D raw an arc with centre in M and radius MN that intersects the extension of the segment AB at point O.

–W ith radius AO and centre at A, draw another arc to obtain points C and D. –W ith the same radius but the centre in B the point E is obtained. – Join points A, B, C, D and E to get the pentagon.

Unit 4

Rhythm in composition Geometric shapes can be combined in space following a rhythm to create a harmonic modular composition. From one or more modules an order is established, a sequence of repetition. These are the various possibilities of organising a module:

How to organise a rhythm

Increasing

Uniform

Decreasing

Alternating

Optical art Optical art is a pictorial style that emerged around 1958. It is characterised by producing a sensation of movement on a flat and static surface of a painting to deceive the eye through optical illusions. In optical art, the viewer interacts with the work to capture the sensation of movement.

Understand, think, apply... 2 Draw an oval. To do this, follow these steps: –D raw a circle with a diameter equal to the axis of an oval.

Tangents

–D raw inside four perpendicular lines that intersect it at the points O1, O2, O3 and O4 (what will be the centres of the tangent).

Tangents occur when two figures have a point in common.

Tangents

–T he union of these in its extension will be the tangent points T1 T2, T3 and T4 when drawing an arc that, with its centre at O3, passes through O4, and vice versa.

Between a line and a circle

Between two circles

–S olve the rest of the path with arcs from O1 and O2. O3

Point aligned with the centres of the circle

Point perpendicular to the line that passes through the centre of the circle

T1 T5 T8

C′

C T6 T7

The final challenge

create a commemorative kinetic sculpture Kinetic sculpture is created to produce movement. In most cases, the movement is generated by the action of forces of nature or by energy applied by motors on the piece.

Work in groups. As a group, decide on a significant date or a fact that you want to commemorate. Then make a kinetic sculpture.

STEP

Fish (1944), Alexander Calder.

STEP

Decide what you want to commemorate

Collect the materials

Once you have decided the event or the date to commemorate, make a sketch in which you organise the pieces of the sculpture and the complete structure. Decide if the mobile will hang or if it will have a base attached to the ground.

Collect lightweight materials: foam, cardboard, acetates of different colours and thicknesses. For the joints you can use metal rods, wires, rope and eyebolts. However, the materials will depend on the type of force used for the movement.

STEP

Build the mobile parts

Set up the mobile

With a clear idea of the pieces that will make up the mobile, start shaping them with the chosen material. It’s a good idea to make pieces of different sizes.

Distribute the pieces on the rods, trying to balance the composition. Pay attention to this step because it can be complicated.

MOVEMENT IN ART Alexander Calder (1898-1976) is an American mechanical engineer and sculptor, the father of kinetic sculpture. He is considered the inventor of the mobile. He began making small sculptures with wires and wood, which he gave movement to thanks to his knowledge as an engineer. Over the years, he simplified the forms to the point of abstraction. In turn, he increased the size of his creations to occupy streets and squares with gigantic balanced sculptures, moved by the force of the wind. Stable-mobile (1965), Alexander Calder.

Watch the video on Target 4.6 and complete the associated activities at anayaeducacion.es

SECONDARY EDUCA TION

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VISUAL AND AUDIO VISUAL ARTS

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VISUAL AND AUDIOVISUAL ARTS

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MOTION AND COMPOSITION

Composition in art Composition

Visual arts

Dance

Choreography

Sculpture

Geometric shapes

Symmetry

Sculptural groups

1. Dancers performing a choreography. 2. Spring (15th century), Sandro Botticelli. 3. Girl before the mirror (1932), Pablo Picasso. 4. A room where it always rains (1992), Juan Muñoz (Barcelona).

Movements on the plane Movements on the plane

Symmetry

Traslation

Axial

Rotation

Radial A′

A′

B′

F′

C′

D′

D C′

E′

C′

A′

E′

D′

Rhythm in composition How to organise a rhythm

Increasing

Uniform

Decreasing

Alternating

The tangent Tangents

Between a line and a circle

Between two circles

Point perpendicular to the line that passes through the centre of the circle

Point aligned with the centres of the circle

T1 T5 T8

C′

C T6 T7

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