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Artappprezi5
Artappprezi5
Artappprezi5
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Artappprezi5

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Transcript

  • 1. The Vocabulary of Art The Visual Elements of Art and Design
  • 2. Form • the physical or visual aspects, the composition • The elements and principles of art • Formalism • Form works with content to create meaning
  • 3. The Problem We All Live With by Norman Rockwell, 1964
  • 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. The elements of design • Line • Shape (mass) • Value (light) • Color • Texture • Space
  • 6. Line • points or dots following a path • types= straight, curved, zigzag • actual vs implied lines • directional forces • expressive qualities
  • 7. Actual Lines
  • 8. Actual Lines
  • 9. Actual Lines
  • 10. Actual Lines
  • 11. Implied Lines
  • 12. Implied Lines
  • 13. Implied Lines
  • 14. Implied Lines
  • 15. Implied Lines
  • 16. Line Direction • Vertical lines = strength, force • Horizontal lines = stability, calm • Diagonal lines = movement, energy • Curved lines = flowing energy, softness, sensuality, organic
  • 17. Diagonal forces
  • 18. Vertical forces
  • 19. Horizontal forces
  • 20. Curvilinear forces
  • 21. expressive qualities of line mechanical gestural
  • 22. expressive qualities of line mechanical gestural
  • 23. expressive qualities of line arabesque controlledcalligraphic
  • 24. How lines are used in art Contour lines
  • 25. How lines are used in art Cross-Contour lines
  • 26. How lines are used in art Continuous lines
  • 27. How lines are used in art Hatching & Cross-Hatching lines
  • 28. How lines are used in art Texture
  • 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. Actual shape/mass
  • 31. Actual shape/mass
  • 32. Implied shape/mass
  • 33. Implied shape/mass
  • 34. Geometric shapes/masses namable shapes, circles, spheres, rectangles, triangles, etc
  • 35. Rectilinear shapes/masses unnamable shapes with straight edges and sharp corners
  • 36. Curvilinear shapes/masses
  • 37. biomorphic shapes/masses curvilinear shapes that imply organic forms
  • 38. how shape and mass are used in art figure/ground relationship (in 2d art only)
  • 39. Obvious figure/ground relationshipeasy to tell what is the figure (or positive shape) and what is the ground (or negative space)
  • 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. How shape and mass are used in art constructing with planes
  • 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. value
  • 44. Value
  • 45. value gradation
  • 46. value gradation
  • 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. chiaroscuro highlight core shadow reflected light cast shadow
  • 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. Light Constantin Brancusi
  • 51. Light Sydney Cash
  • 52. Light Tara Donovan
  • 53. Light Nancy Holt’s “sun tunnels”
  • 54. Light Robert Morris Yayoi Kusama interactive
  • 55. Light Glen Ligon James Turrell James Clar
  • 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. color as effect of light
  • 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. 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. Color Wheel Munsell system
  • 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. monochromatic
  • 63. complementary
  • 64. analogous
  • 65. Texture • surface quality of a form • illusionistic or actual
  • 66. Illusionistic texture formed by regular or irregular patterning of elements
  • 67. Illusionistic texture formed by regular or irregular patterning of elements
  • 68. Illusionistic texture formed by regular or irregular patterning of elements
  • 69. Illusionistic texture formed by regular or irregular patterning of elements David Musgrave
  • 70. Illusionistic texture formed by regular or irregular patterning of elements Wangechi Mutu
  • 71. Illusionistic texture formed by regular or irregular patterning of elements Alyssa Monks
  • 72. Actual texture texture you could feel with touch
  • 73. Actual texture texture you could feel with touch Anish KapoorNabil Nahas
  • 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. Actual Space Henrique OliveiraAi Weiwei Installation Art
  • 76. Actual Space Frank Lloyd WrightZaha Hadid Architecture
  • 77. Illusionistic space Picture Plane= the imaginary plane that covers the surface of the picture or canvas
  • 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. 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. Linear Perspective one point perspective
  • 81. Linear Perspective one point perspective
  • 82. Two-Point Perspectivewhen no face or front plane is parallel with picture plane, creates two or more vanishing points on horizon line
  • 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. Linear Perspective Two point or multiple point perspective
  • 85. Linear Perspective Two point or multiple point perspective
  • 86. Linear Perspective Two point or multiple point perspective
  • 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. Atmospheric Perspective
  • 89. Atmospheric Perspective
  • 90. Foreshortening smaller forms in perspective, apparent diminishing in length

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