Your SlideShare is downloading. ×
0
Chapter 4 - The Visual Elements <ul><li>The Visual Elements are a visual vocabulary – common characteristics throughout th...
The Visual Elements <ul><li>Line </li></ul><ul><li>Shape/Mass </li></ul><ul><li>Light/Value </li></ul><ul><li>Color </li><...
<ul><li>LINE </li></ul><ul><ul><ul><li>Connotations of Line </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></...
<ul><li>Line :  path of moving point </li></ul><ul><li>Actual & Implied (Contour/Outline </li></ul><ul><li>Direction & Mov...
<ul><li>Draw a Non-objective design using line, and shape to convey meaning.  </li></ul><ul><ul><li>Anger </li></ul></ul><...
Types of Line Active Lines contrapposto Static Lines
-------------------------- Line <ul><li>Direction and Movement </li></ul><ul><ul><li>Connotations of Line </li></ul></ul><...
 
 
 
 
 
Brice Marden , Grove IV,  1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches  182.88 x 182.88cm
 
MARK LOMBARDI
 
 
Egon Schiele, “Selbstporträt”, 1912
Otto Zitko,  Cheim & Read,  New York 2003
 
SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Theodore   Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm
Implied Lines / Eye Movement
Shape and Mass <ul><li>Shape = 2D form (triangle) </li></ul><ul><li>Mass = 3D form that occupies a volume of space (pyrami...
Types of Shapes and Forms <ul><li>Geometric (Hard-edge) </li></ul>
Types of Shapes and Forms <ul><li>Organic (biomorphic) </li></ul>Paul Klee Matisse – cut paper collage
KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on canvas, 1’ 10 7/8” x 1’ 7”.   Museum...
Zaha Hadid (architect), Cincinnati Center for Contemporary Art
 
 
GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, a...
Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, a...
 
LEONARDO DA VINCI, study for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightene...
Edward Weston photograph
<ul><li>A cluster of repeated parallel lines is known as   </li></ul><ul><ul><li>A) Cross-hatching  </li></ul></ul><ul><ul...
Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling:  Dots spac...
 
 
 
COLOR <ul><li>The three physical properties of color are  </li></ul><ul><ul><li>hue, intensity, and value.  </li></ul></ul...
<ul><li>The Primary Colors </li></ul><ul><ul><li>Red, Yellow, and Blue </li></ul></ul><ul><ul><li>These colors cannot be c...
 
<ul><li>Hue – name of color </li></ul><ul><li>Value – lightness or darkness of color </li></ul><ul><li>Intensity/Saturatio...
 
<ul><li>Color Combinations: </li></ul><ul><li>Monochromatic </li></ul><ul><li>Complimentary  </li></ul><ul><li>Analogous <...
Color is relative It is effected by the colors around it
JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”.  Analogous
Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
Complimentary
Peter Doig
 
GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, ...
Mark Tansey,  Forward Retreat,  1986
Ad Reinhardt. (American, 1913-1967).  Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8&quot;
Magdalena Jetelova   “Domestizierung Einer Pyramide” (Domestication of a Pyramid)  aprox 15m high, 1992, Red quartz Sand.
Otto Dix,  Pisarka Sylvia von Harden , 1926
Subjective Color <ul><li>That which is derived from the mind reflecting a personal viewpoint, bias, or emotion.  </li></ul...
Pablo Picasso The Tragedy , 1903
  Kirchner, Ernst Ludwig Self-Portrait with Model 1910/1926 Oil on canvas 150.4 x 100 cm (59 1/4 x 39 3/8 in.)
Texture  -  Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture :  ...
Impasto  – thick paint (“paste”)
Pattern <ul><li>Pattern </li></ul><ul><ul><li>Decorative, repetitive motif or design </li></ul></ul>
Chris Jordan Plastic Bottles, 2007 60x120&quot; Depicts two million plastic beverage bottles, the number used in the US ev...
 
 
Prison Uniforms, 2007 10x23 feet in six vertical panels Depicts 2.3 million folded prison uniforms, equal to the number of...
 
 
 
&quot;Where There's a Will a Way”,  glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches,...
Agnes Martin. (American, born Canada. 1912-2004).  The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
Frank Stella,  Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010
Upcoming SlideShare
Loading in...5
×

Week2 Visual Elements Part1

10,737

Published on

Published in: Education, Technology
2 Comments
34 Likes
Statistics
Notes
  • this is really helpful presentation !!!
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
  • great
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
No Downloads
Views
Total Views
10,737
On Slideshare
0
From Embeds
0
Number of Embeds
4
Actions
Shares
0
Downloads
647
Comments
2
Likes
34
Embeds 0
No embeds

No notes for slide
  • This chapter is divided into 2 parts, as there are a lot of terms. This also allows lecture time to be divided by an activity. Students will find the need to take notes on individual slides, so they should save more room beneath each term. Activity: Non-objective design using line, shape, and color to convey meaning. Write several adjectives on the board (Anger, Exuberance, Alienation, Passion). Students must use Nonobjective lines, shapes, and colors to convey the meaning. Remind students to bring supplies (paper, pencils, range of color media). There are excellent interactive study activities, Web links and videos related to this chapter available at www.mhhe.com/lwa8.
  • Texture can be described as a perception of smooth or rough, fine or coarse. This sculpture could be experienced through touch (if we were allowed). Some museums have had to set up detection alarms due to our need to touch. Brancusi included three different textures, which grow more refined as our eyes move upward. This contributes to the sense of movement, as if the material world were falling away. The rough, wooden pedestal exerts an upward thrust; the small limestone base acts as a compression zone for gathering energy; the smooth marble bird makes a leap into space. Paint applied thickly creates an actual texture, called Impasto, that we could feel (again, if we were allowed). Dufy’s painting is on a flat canvas, but he creates a visual illusion or an implied texture through his brushstrokes. They create “rough patches.” The water does not have a representational illusion, but still conveys choppiness. Artists can create convincing illusions of actual texture created through ranges of VALUE and use of LINE. The mask is an example of actual textures which are tactile (can be felt), and create a dynamic visual PATTERN.
  • Transcript of "Week2 Visual Elements Part1"

    1. 1. Chapter 4 - The Visual Elements <ul><li>The Visual Elements are a visual vocabulary – common characteristics throughout the history of art </li></ul>Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long. Deborah Butterfield Earth Measure, 1997 found welded metal 83 x 120 x 30&quot;
    2. 2. The Visual Elements <ul><li>Line </li></ul><ul><li>Shape/Mass </li></ul><ul><li>Light/Value </li></ul><ul><li>Color </li></ul><ul><li>Texture and Pattern </li></ul><ul><li>Space </li></ul><ul><li>Time and Motion </li></ul>
    3. 3. <ul><li>LINE </li></ul><ul><ul><ul><li>Connotations of Line </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></ul><ul><ul><ul><li>Horizontal </li></ul></ul></ul><ul><ul><ul><li>Diagonal </li></ul></ul></ul><ul><ul><ul><li>Contour and Outline Direction and Movement Implied Lines </li></ul></ul></ul><ul><li>SHAPE AND MASS </li></ul><ul><ul><ul><li>Implied Shapes </li></ul></ul></ul><ul><ul><ul><li>Figure/Ground </li></ul></ul></ul><ul><li>LIGHT </li></ul><ul><ul><ul><li>Values </li></ul></ul></ul><ul><ul><ul><li>Chiaroscuro </li></ul></ul></ul><ul><li>COLOR </li></ul><ul><ul><ul><li>Color Theory Color Properties Color Harmonies Optical Effects of Color Emotional Uses of Color – </li></ul></ul></ul><ul><ul><ul><li>Monochrome and Minimalism </li></ul></ul></ul><ul><li>TEXTURE AND PATTERN </li></ul><ul><ul><ul><li>Actual Texture Visual Texture Pattern </li></ul></ul></ul><ul><li>SPACE </li></ul><ul><ul><ul><li>Three-Dimensional Space Implied Space: Suggesting Depth in Two Dimensional Linear Perspective Foreshortening Atmospheric Perspective Isometric Perspective </li></ul></ul></ul><ul><li>TIME AND MOTION </li></ul>
    4. 4. <ul><li>Line : path of moving point </li></ul><ul><li>Actual & Implied (Contour/Outline </li></ul><ul><li>Direction & Movement </li></ul><ul><li>Hatching, Cross-hatching, Stippling) </li></ul><ul><li>Shape : (2-D) enclosed line </li></ul><ul><li>Actual & Implied </li></ul><ul><li>Mass/Form : (3-D) depth , height & width </li></ul><ul><li>Figure (positive) & Ground (Negative) </li></ul><ul><li>Value : Relative light & dark </li></ul><ul><li>Chiaroscuro (light & dark) </li></ul><ul><li>Color : Hue </li></ul><ul><li>Analogous (warm & cool) </li></ul><ul><li>Primary </li></ul><ul><li>Secondary </li></ul><ul><li>Complementary </li></ul><ul><li>Pointillism: optical mixing </li></ul>
    5. 5. <ul><li>Draw a Non-objective design using line, and shape to convey meaning. </li></ul><ul><ul><li>Anger </li></ul></ul><ul><ul><li>Energy/Exuberance </li></ul></ul><ul><ul><li>Love </li></ul></ul>
    6. 6. Types of Line Active Lines contrapposto Static Lines
    7. 7. -------------------------- Line <ul><li>Direction and Movement </li></ul><ul><ul><li>Connotations of Line </li></ul></ul><ul><ul><ul><li>Horizontal </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></ul><ul><ul><ul><li>Diagonal </li></ul></ul></ul><ul><li>Contour and Outline </li></ul><ul><li>Implied Lines </li></ul><ul><li>Appear calm, Landscape, Tranquility, Body in Repose </li></ul><ul><li>Strength, solidity, assertive, or denote growth & strength. </li></ul><ul><li>Dramatic and imply action, movement and/of tension </li></ul>
    8. 13. Brice Marden , Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
    9. 14. PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
    10. 15. Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches 182.88 x 182.88cm
    11. 17. MARK LOMBARDI
    12. 20. Egon Schiele, “Selbstporträt”, 1912
    13. 21. Otto Zitko, Cheim & Read, New York 2003
    14. 23. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
    15. 24. Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
    16. 25. Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm
    17. 26. Implied Lines / Eye Movement
    18. 27. Shape and Mass <ul><li>Shape = 2D form (triangle) </li></ul><ul><li>Mass = 3D form that occupies a volume of space (pyramid) </li></ul><ul><li>Figure/Ground </li></ul><ul><li>Positive/Negative Shapes </li></ul>
    19. 28. Types of Shapes and Forms <ul><li>Geometric (Hard-edge) </li></ul>
    20. 29. Types of Shapes and Forms <ul><li>Organic (biomorphic) </li></ul>Paul Klee Matisse – cut paper collage
    21. 30. KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on canvas, 1’ 10 7/8” x 1’ 7”. Museum of Modern Art, New York
    22. 31. Zaha Hadid (architect), Cincinnati Center for Contemporary Art
    23. 34. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
    24. 35. Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, and literally means </li></ul><ul><ul><li>A) organic shape. </li></ul></ul><ul><ul><li>B) a sense of movement. </li></ul></ul><ul><ul><li>C) outlined form. </li></ul></ul><ul><ul><li>D) rough texture. </li></ul></ul><ul><ul><li>E) light/dark. </li></ul></ul>
    25. 36. Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, and literally means </li></ul><ul><ul><li>A) organic shape. </li></ul></ul><ul><ul><li>B) a sense of movement. </li></ul></ul><ul><ul><li>C) outlined form. </li></ul></ul><ul><ul><li>D) rough texture. </li></ul></ul><ul><ul><li>E) light/dark. </li></ul></ul>
    26. 38. LEONARDO DA VINCI, study for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, approx. 4’ 6” x 3’ 3”. National Gallery, London.
    27. 39. Edward Weston photograph
    28. 40. <ul><li>A cluster of repeated parallel lines is known as </li></ul><ul><ul><li>A) Cross-hatching </li></ul></ul><ul><ul><li>B) Hatching </li></ul></ul><ul><ul><li>C) Contours </li></ul></ul><ul><li>Perpendicular hatched lines producing a cluster of lines similar to a checkered-board is </li></ul><ul><ul><li>A) Implied Lines </li></ul></ul><ul><ul><li>B) Cross-contour </li></ul></ul><ul><ul><li>C) Cross-hatching </li></ul></ul>Hatching/Cross-Hatching
    29. 41. Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling: Dots spaced close or far apart to suggest light/dark
    30. 45. COLOR <ul><li>The three physical properties of color are </li></ul><ul><ul><li>hue, intensity, and value. </li></ul></ul><ul><ul><li>primary, secondary, and intermediate. </li></ul></ul><ul><ul><li>warm, cool, and neutral. </li></ul></ul><ul><ul><li>tint, tone, and shade. </li></ul></ul><ul><ul><li>None of the answers are correct. </li></ul></ul>Color; Hue: Name of the color. Intensity: Relative purity of a color. Value: Relative lightness or darkness.
    31. 46. <ul><li>The Primary Colors </li></ul><ul><ul><li>Red, Yellow, and Blue </li></ul></ul><ul><ul><li>These colors cannot be combined from mixing any colors together. </li></ul></ul><ul><li>The Secondary Colors </li></ul><ul><ul><li>Green, violet, and orange </li></ul></ul><ul><ul><li>Made by combining the Primary colors together. </li></ul></ul><ul><li>The Tertiary Colors </li></ul><ul><ul><li>Yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange. </li></ul></ul><ul><ul><li>Made by combining a primary and a secondary hue. </li></ul></ul>
    32. 48. <ul><li>Hue – name of color </li></ul><ul><li>Value – lightness or darkness of color </li></ul><ul><li>Intensity/Saturation – relative purity of color </li></ul><ul><ul><li>Tint – mixed with white </li></ul></ul><ul><ul><li>Shade – mixed with black/dark color </li></ul></ul>
    33. 50. <ul><li>Color Combinations: </li></ul><ul><li>Monochromatic </li></ul><ul><li>Complimentary </li></ul><ul><li>Analogous </li></ul>
    34. 51. Color is relative It is effected by the colors around it
    35. 52. JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous
    36. 53. Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
    37. 54. Complimentary
    38. 55. Peter Doig
    39. 57. GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
    40. 58. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
    41. 59. Mark Tansey, Forward Retreat, 1986
    42. 60. Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8&quot;
    43. 61. Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.
    44. 62. Otto Dix, Pisarka Sylvia von Harden , 1926
    45. 63. Subjective Color <ul><li>That which is derived from the mind reflecting a personal viewpoint, bias, or emotion. </li></ul><ul><li>A subjective color tends to be intuitive, inventive, or creative. </li></ul>
    46. 64. Pablo Picasso The Tragedy , 1903
    47. 65. Kirchner, Ernst Ludwig Self-Portrait with Model 1910/1926 Oil on canvas 150.4 x 100 cm (59 1/4 x 39 3/8 in.)
    48. 66. Texture - Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture : an illusionary experience Brancusi , Bird in Space, 1925. Richard Patterson's &quot;Minotaur With Brushstrokes&quot; (1998), oil on canvas.
    49. 67. Impasto – thick paint (“paste”)
    50. 68. Pattern <ul><li>Pattern </li></ul><ul><ul><li>Decorative, repetitive motif or design </li></ul></ul>
    51. 69. Chris Jordan Plastic Bottles, 2007 60x120&quot; Depicts two million plastic beverage bottles, the number used in the US every five minutes.
    52. 72. Prison Uniforms, 2007 10x23 feet in six vertical panels Depicts 2.3 million folded prison uniforms, equal to the number of Americans incarcerated in 2005. The U.S. has the largest prison population of any country in the world.
    53. 76. &quot;Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
    54. 77. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
    55. 78. Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
    56. 79. Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010
    1. A particular slide catching your eye?

      Clipping is a handy way to collect important slides you want to go back to later.

    ×