Arodelementsofart 101009211334-phpapp01


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Arodelementsofart 101009211334-phpapp01

  1. 1. Art A visual statement that represents the world around you, communicates an idea, expresses a feeling or present an interesting design.
  2. 2. Artist A person who uses imagination and skill to communicate ideas in visual form.
  3. 3. What is applied art? Applied art refers to art that is made to be functional as well as visually pleasing.
  4. 4. Visual Culture The visual statements you find in your environment every day. Paintings , books, chairs, videogames advertisements everything one sees, has seen or may imagine.  The internet, movies, toys, fashion and cars as well as fine arts are all part of one’s visual culture.
  5. 5. Perceive To be come aware through the senses fo the special nature of objects. Using sight hearing touch smell and taste to perceive an object increases your understanding of it.  Artists must strengthen their perception to interpret what they see in the world around them.
  6. 6. •The fundamentals or vocabulary of the artist’s language. •The basic visual components that an artist uses to create visual art. •Line, color, value, shape, form, space, and texture
  7. 7. A mark with length and direction. A continuous mark made on a surface by a moving point. Ansel Adams Gustave Caillebotte
  8. 8. LineLines can be described as having/being length and width  short/long, thick/thin, dark/light, blurred/uneven, sharp/clear. The style where lines are emphasized is called “linear”. Self Portrait of Pablo Picasso
  9. 9. Kinds of lines Horizontal,  vertical,  diagonal, curved  zigzag.
  10. 10. Pablo Picasso
  11. 11. COLOR •Consists of •Hue (name for the color) •Intensity (brightness) •Value (lightness or darkness). Henri Matisse Venice Twilight by Claude Monet
  12. 12. Color Theory • HueHue : name for the color • Intensity:Intensity: brightness or dullness of a hue. • Bright pure hues are called high-intensityhigh-intensity colors • Dull hues are called low-intensitylow-intensity colors. • ValueValue :: lightness or darkness of a hue. • When white is added to a hue the result is a tint.tint. • When black is added to a hue the result is a shade.shade.
  13. 13. Color Primary colors are basic colors that can not be obtained by mixing. They are red, yellow, and blue. Secondary colors: are obtained by mixing primary colors. They are orange, green, and purple. Tertiary or Intermediate Colors: in between primary and secondary colors on the color wheel, have more of a primary color in them. They are: red-orange, yellow-green, blue-green etc.
  14. 14. The Color Wheel The color wheel is a tool to help you organize colors, mix colors and compare colors. Colors across from each other on the wheel are complementary colors. Colors next to each other within the same family are analogous colors.
  15. 15. The lightness or darkness of a color. MC Escher Pablo Picasso
  16. 16. An area clearly set off by one or more of the other six visual elements of art. They have height and width but not depth. Shapes are flat, 2 dimensional. Joan Miro
  17. 17. Shape Shape is an a element that artists use to convey their message or visual statement. Geometric shapes:Geometric shapes: precise mathematical shapes ex; circle, square, triangle. Free-form or organicFree-form or organic shapesshapes ex: outline/contour of a lake. Balancement by Wassily Kandinsky
  18. 18. FORM A 3-dimensional object; or something in a 2-dimensional artwork that appears to be 3-dimensional Cylinder, cube, cone, pyramid, free-form form Jean Arp
  19. 19. Gustave Caillebotte
  20. 20. The distance or area between, around, above, below, or within things. Linear perspective- the lines of buildings roads and similar objects are slanted to make them appear to come together or meet in the distance. Size- objects in the foreground (front) are made bigger than objects in the background. Overlapping- nearer shapes and forms overlap or partly cover those meant to appear farther away. Placement- distant objects are placed higher up in the picture. Foreground, Middle ground and Background (creates DEPTH) La Rue de la Bavolle in Honfleur by Claude Monet. Space
  21. 21. Space Positive space filled with something Negative empty spaces between the shapes or forms in two and three dimensional art. Intensity and value- the colors of objects meant to appear in the distance are lower in intensity than those of objects meant to appear nearer. They are also lighter in value. Detail- more detail is added to closer objects and less detail is added to those in the distance
  22. 22. TEXTURETEXTURE •The surface quality or "feel" of an object, its smoothness, roughness, softness, etc. •Textures may be actual or implied.
  23. 23. Cecil Buller Texture- the element of art that refers to how things feel, or look as though they might feel , if touched. Visual texture- is texture you experience with your eyes as you remember them from experience. Ex. Paintings of velvet, leather, silk or concrete.
  24. 24. What we use to organize the Elements of Art, or the tools to make art.
  25. 25. Principle of art concerned with arranging the elements so that no one part of the work overpowers, ore seems heaver than, any other part. Alexander Calder
  26. 26. Balance Formal balance is dignified, stable, more static and symmetrical. Informal balance is asymmetrical. The Last Supper by Leonardo Da Vinci
  27. 27. Symmetrical Balance The parts of an image are organized so that one side mirrors the other. Leonardo DaVinci
  28. 28. AsymmetricalAsymmetrical BalanceBalance When one side of a composition does not reflect the design of the other. James Whistler
  29. 29. Radial Balance When the elements of art or object in an artwork radiate or come out from a central point.
  30. 30. The focal point of an image, or when one area or thing stand out the most. Jim Dine Gustav Klimt
  31. 31. Emphasis Emphasis is a principle that captures your eye when you first see an art piece. The focal point or center of attention. The Herring Net by Winslow Homer
  32. 32. CONTRAST A large difference between two things to create interest and tension. Ansel Adams Salvador Dali
  33. 33. The principle of art that indicates movement through the repetition of elements and objects. Marcel Duchamp
  34. 34. Movement The principle of art that leads the viewer to see action in a work, also the path that the viewers eye follows through the work. Movement is the principle of giving life to an artwork. The artist makes a compelling path through repeated line, color, and shapes. Napoleon Crossing the Alps by Jacques-Louis David
  35. 35. Vincent VanGogh
  36. 36. Gustav Klimt PATTERN -Two dimensional, decorative visual repetition. -Motif- unit of repetition in a visual pattern.
  37. 37. Repetition Repetition is a principle that can be simple or complex. Repetition of line shape and color creates a visual rhythm. A pattern or motif also results from repetition. Repeated patterns also show order.
  38. 38. Unity Unity is the arrangement of elements and principles of art to creat a feeling of completeness or wholeness. Irises by Vincent van Gogh
  39. 39. Harmony A principle of design where elements of art are combined to accent their similarities and bind the picture parts into a whole. Sandy Skoglund
  40. 40. Variety The use of differences and change to increase the visual interest of the work. Marc Chagall
  41. 41. Variety Variety is a principle that uses differences and contrasts between elements to bring an art piece to life. Variety brings life and attention to an art piece. The Persistence of Memory by Salvador Dali
  42. 42. •The comparative relationship of one part to another with respect to size, quantity, or degree; SCALE. Gustave Caillebotte
  43. 43. Proportion Realistic proportion accurately represents people of things in their actual proportions. Distorted proportion effects mood and feelings by not being accurate in proportion. Mona Lisa by Leonardo Da Vinci