Artappprezi5

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Artappprezi5

  1. 1. The Vocabulary of Art The Visual Elements of Art and Design
  2. 2. Form • the physical or visual aspects, the composition • The elements and principles of art • Formalism • Form works with content to create meaning
  3. 3. The Problem We All Live With by Norman Rockwell, 1964
  4. 4. The Problem We All Live With by Norman Rockwell, 1964 • The horizontal lines of the work imply stability of subject • The shallow, cropped space makes the subject matter more intense and immediate • The value contrast of the clean white dress with the textured, dirty wall helps convey her innocence and purity • The strength of the girl is conveyed by her stable, triangular shape • The little girl is the focal point of the work created by the high contrast and the framing created by the cropped, figures on the sides • the asymmetry of the composition pulls the little girl and our eye forward conveying the concept that the country is moving forward • the artist has made the viewer complicit with the racist protestors by making us share their point-of-view (carries further the title of the painting)
  5. 5. The elements of design • Line • Shape (mass) • Value (light) • Color • Texture • Space
  6. 6. Line • points or dots following a path • types= straight, curved, zigzag • actual vs implied lines • directional forces • expressive qualities
  7. 7. Actual Lines
  8. 8. Actual Lines
  9. 9. Actual Lines
  10. 10. Actual Lines
  11. 11. Implied Lines
  12. 12. Implied Lines
  13. 13. Implied Lines
  14. 14. Implied Lines
  15. 15. Implied Lines
  16. 16. Line Direction • Vertical lines = strength, force • Horizontal lines = stability, calm • Diagonal lines = movement, energy • Curved lines = flowing energy, softness, sensuality, organic
  17. 17. Diagonal forces
  18. 18. Vertical forces
  19. 19. Horizontal forces
  20. 20. Curvilinear forces
  21. 21. expressive qualities of line mechanical gestural
  22. 22. expressive qualities of line mechanical gestural
  23. 23. expressive qualities of line arabesque controlledcalligraphic
  24. 24. How lines are used in art Contour lines
  25. 25. How lines are used in art Cross-Contour lines
  26. 26. How lines are used in art Continuous lines
  27. 27. How lines are used in art Hatching & Cross-Hatching lines
  28. 28. How lines are used in art Texture
  29. 29. Shape & Mass • shape= 2d area with definable boundary, has height and width • mass= 3d area with definable boundary, has height, width, and depth • actual vs implied • geometric, curvilinear, rectilinear, biomorphic • figure/ ground relationship • planar construction
  30. 30. Actual shape/mass
  31. 31. Actual shape/mass
  32. 32. Implied shape/mass
  33. 33. Implied shape/mass
  34. 34. Geometric shapes/masses namable shapes, circles, spheres, rectangles, triangles, etc
  35. 35. Rectilinear shapes/masses unnamable shapes with straight edges and sharp corners
  36. 36. Curvilinear shapes/masses
  37. 37. biomorphic shapes/masses curvilinear shapes that imply organic forms
  38. 38. how shape and mass are used in art figure/ground relationship (in 2d art only)
  39. 39. Obvious figure/ground relationshipeasy to tell what is the figure (or positive shape) and what is the ground (or negative space)
  40. 40. Ambiguous figure/ground relationshipdifficult to tell what is the figure (or positive shape) and what is the ground (or negative space) also known as “figure/ground reversal”
  41. 41. How shape and mass are used in art constructing with planes
  42. 42. Value as element • value = the varied lights and darks reflecting off a surface • also known as “tones”, or “tonal variation” • value gradation • chiaroscuro = italian for Light/dark • mostly relates to realism but not necessarily
  43. 43. value
  44. 44. Value
  45. 45. value gradation
  46. 46. value gradation
  47. 47. chiaroscuro • The traditional term for the effects of light and dark in art • Chiaro= light, scuro = dark • Developed during Renaissance • Usually involves soft, subtle value changes • described the particular parts of light and shadow (highlight, core shadow, reflected light, cast shadow) highlight core shadow reflected light cast shadow
  48. 48. chiaroscuro highlight core shadow reflected light cast shadow
  49. 49. Light • the quality and direction of light as it is shown on a sculpture or in a room • an actual light fixture or effect as part of an art , often neon
  50. 50. Light Constantin Brancusi
  51. 51. Light Sydney Cash
  52. 52. Light Tara Donovan
  53. 53. Light Nancy Holt’s “sun tunnels”
  54. 54. Light Robert Morris Yayoi Kusama interactive
  55. 55. Light Glen Ligon James Turrell James Clar
  56. 56. Color • effect of light rays and interaction with eyes/brain • additive vs subtractive color • aspects of color = hue, value, intensity or saturation • color wheel • color schemes
  57. 57. color as effect of light
  58. 58. additive vs subtractive color mixing additive= mixing light subtractive= mixing pigments(adding light so light gets lighter) (subtracting light so light gets darker)
  59. 59. Aspects of subtractive color • Hue= name of color (red, green, violet, etc) • Value= darkness and lightness of color (light red, dark blue, etc) • Saturation or intensity= the brightness and dullness of the color (bright pink, dull orange) • when painters mix paint they control the hue, value, and saturation
  60. 60. Color Wheel Munsell system
  61. 61. Color Schemes • common combinations of colors that help unify an image • monochromatic= one hue with different values • complementary= two hues (and their values) directly across from each other on color wheel • analogous= 3 or 4 hues adjacent to each other on color wheel
  62. 62. monochromatic
  63. 63. complementary
  64. 64. analogous
  65. 65. Texture • surface quality of a form • illusionistic or actual
  66. 66. Illusionistic texture formed by regular or irregular patterning of elements
  67. 67. Illusionistic texture formed by regular or irregular patterning of elements
  68. 68. Illusionistic texture formed by regular or irregular patterning of elements
  69. 69. Illusionistic texture formed by regular or irregular patterning of elements David Musgrave
  70. 70. Illusionistic texture formed by regular or irregular patterning of elements Wangechi Mutu
  71. 71. Illusionistic texture formed by regular or irregular patterning of elements Alyssa Monks
  72. 72. Actual texture texture you could feel with touch
  73. 73. Actual texture texture you could feel with touch Anish KapoorNabil Nahas
  74. 74. Space • actual space in sculpture, installation, and architecture • illusionistic space in 2d art (foreground, middle ground, background) • simple use of overlapping and relative size • linear perspective, one-point, two-point or more • atmospheric perspective • foreshortening
  75. 75. Actual Space Henrique OliveiraAi Weiwei Installation Art
  76. 76. Actual Space Frank Lloyd WrightZaha Hadid Architecture
  77. 77. Illusionistic space Picture Plane= the imaginary plane that covers the surface of the picture or canvas
  78. 78. Illusionistic space early depiction of space used overlap, differences in sizes, and the idea that objects lower on picture plane seem closer to viewer
  79. 79. One-Point Perspectivewhen the face or front plane is parallel with picture plane, creates one vanishing point on the horizon line (where sky and earth meet, eye level)
  80. 80. Linear Perspective one point perspective
  81. 81. Linear Perspective one point perspective
  82. 82. Two-Point Perspectivewhen no face or front plane is parallel with picture plane, creates two or more vanishing points on horizon line
  83. 83. Illusionistic space isometric projection showing depth and space without lines appearing to meet at vanishing point, often seen in video games and M.C. Escher
  84. 84. Linear Perspective Two point or multiple point perspective
  85. 85. Linear Perspective Two point or multiple point perspective
  86. 86. Linear Perspective Two point or multiple point perspective
  87. 87. Atmospheric Perspective illusion of depth created by value, color, or texture gradients, a darker or warmer or more textured color comes forward while cooler, lighter, and smoother goes back
  88. 88. Atmospheric Perspective
  89. 89. Atmospheric Perspective
  90. 90. Foreshortening smaller forms in perspective, apparent diminishing in length

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