Chapter 4 - The Visual Elements The Visual Elements are a visual vocabulary – common characteristics throughout the history of art 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"

The Visual Elements are a visual vocabulary – common characteristics throughout the history of art

The Visual Elements Line Shape/Mass Light/Value Color Texture and Pattern Space Time and Motion

Line

Shape/Mass

Light/Value

Color

Texture and Pattern

Space

Time and Motion

Line: path of moving point Actual & Implied (Contour/Outline Direction & Movement Hatching, Cross-hatching, Stippling) Shape: (2-D) enclosed line Actual & Implied Mass/Form: (3-D) depth , height & width Figure (positive) & Ground (Negative) Value: Relative light & dark Chiaroscuro (light & dark) Color: Hue Analogous (warm & cool) Primary Secondary Complementary Pointillism: optical mixing

Line: path of moving point

Actual & Implied (Contour/Outline

Direction & Movement

Hatching, Cross-hatching, Stippling)

Shape: (2-D) enclosed line

Actual & Implied

Mass/Form: (3-D) depth , height & width

Figure (positive) & Ground (Negative)

Value: Relative light & dark

Chiaroscuro (light & dark)

Color: Hue

Analogous (warm & cool)

Primary

Secondary

Complementary

Pointillism: optical mixing

Draw a Non-objective design using line, and shape to convey meaning. Anger Exuberance Alienation Passion

Draw a Non-objective design using line, and shape to convey meaning.

Anger

Exuberance

Alienation

Passion

LINE Connotations of Line Vertical Horizontal Diagonal Contour and Outline Direction and Movement Implied Lines SHAPE AND MASS Implied Shapes Figure/Ground LIGHT Values Chiaroscuro COLOR Color Theory Color Properties Pigment and Light Color Harmonies Optical Effects of Color Emotional Uses of Color – Monochrome and Minimalism TEXTURE AND PATTERN Actual Texture Visual Texture Pattern SPACE Three-Dimensional Space Implied Space: Suggesting Depth in Two Dimensional Linear Perspective Foreshortening Atmospheric Perspective Isometric Perspective TIME AND MOTION

LINE

Connotations of Line

Vertical

Horizontal

Diagonal

Contour and Outline Direction and Movement Implied Lines

SHAPE AND MASS

Implied Shapes

Figure/Ground

LIGHT

Values

Chiaroscuro

COLOR

Color Theory Color Properties Pigment and Light Color Harmonies Optical Effects of Color Emotional Uses of Color –

Monochrome and Minimalism

TEXTURE AND PATTERN

Actual Texture Visual Texture Pattern

SPACE

Three-Dimensional Space Implied Space: Suggesting Depth in Two Dimensional Linear Perspective Foreshortening Atmospheric Perspective Isometric Perspective

TIME AND MOTION

Line Direction and Movement Connotations of Line Horizontal Vertical Diagonal Contour and Outline Implied Lines Appear calm, Landscape, Tranquility, Body in Repose Strength, solidity, assertive, or denote growth & strength. Dramatic and imply action, movement and/of tension

Direction and Movement

Connotations of Line

Horizontal

Vertical

Diagonal

Contour and Outline

Implied Lines

Appear calm, Landscape, Tranquility, Body in Repose

Strength, solidity, assertive, or denote growth & strength.

Dramatic and imply action, movement and/of tension

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

Egon Schiele, “Selbstporträt”, 1912

MARK LOMBARDI

SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”. Galleria degli Uffizi, Florence.

SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”. Galleria degli Uffizi, Florence.

Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm

As visual elements, the difference between shape and mass is: A) mass is a two-dimensional form. B) shape is a two-dimensional form. C) mass is a three-dimensional form. D) shape is a two-dimensional form and mass is a three-dimensional form. E) mass is a two-dimensional and a three-dimensional form.

As visual elements, the difference between shape and mass is:

A) mass is a two-dimensional form.

B) shape is a two-dimensional form.

C) mass is a three-dimensional form.

D) shape is a two-dimensional form and mass is a three-dimensional form.

E) mass is a two-dimensional and a three-dimensional form.

Shape and Mass Shape = two dimensional form (triangle) Mass = three-dimensional form that occupies a volume of space (pyramid) Figure/Ground and Positive/Negative Shapes

Shape = two dimensional form (triangle)

Mass = three-dimensional form that occupies a volume of space (pyramid)

Figure/Ground and Positive/Negative Shapes

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

Zaha Hadid (architect), Cincinnati Center for Contemporary Art

Kurt Schwitters

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) Chiaroscuro The term "chiaroscuro" comes from Italian, and literally means A) organic shape. B) a sense of movement. C) outlined form. D) rough texture. E) light/dark.

Chiaroscuro

The term "chiaroscuro" comes from Italian, and literally means

A) organic shape.

B) a sense of movement.

C) outlined form.

D) rough texture.

E) light/dark.

Light: Actual Light Importance for 3-dimensional work Light, color, and value are intimately connected. Figure 4.17 James Turrell , Live Oak Friends Meeting House, 2001. Light Value and Color

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.

RAPHAEL, Madonna in the Meadow, 1505. Oil on panel, 3’ 8 1/2” x 2’ 10 1/4”. Kunsthistorisches Museum, Vienna.

A cluster of repeated parallel lines is known as A) Cross-hatching B) Hatching C) Contours Perpendicular hatched lines producing a cluster of lines similar to a checkered-board is A) Implied Lines B) Cross-contour C) Cross-hatching Hatching/Cross-Hatching

A cluster of repeated parallel lines is known as

A) Cross-hatching

B) Hatching

C) Contours

Perpendicular hatched lines producing a cluster of lines similar to a checkered-board is

A) Implied Lines

B) Cross-contour

C) Cross-hatching

Shading and Modeling: Create mass Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling: Dots spaced close or far apart to suggest darker or lighter areas

COLOR The three physical properties of color are hue, intensity, and value. primary, secondary, and intermediate. warm, cool, and neutral. tint, tone, and shade. None of the answers are correct. Color; Hue: Name of the color. Value: Relative lightness or darkness. Intensity: Relative purity of a color.

The three physical properties of color are

hue, intensity, and value.

primary, secondary, and intermediate.

warm, cool, and neutral.

tint, tone, and shade.

None of the answers are correct.

The Color Wheel There are 12 hues in the spectrum of color. They are divided into three categories…

There are 12 hues in the spectrum of color.

They are divided into three categories…

The Primary Colors Red, Yellow, and Blue These colors cannot be combined from mixing any colors together.

Red, Yellow, and Blue

These colors cannot be combined from mixing any colors together.

The Secondary Colors Green, violet, and orange Made by combining the Primary colors together.

Green, violet, and orange

Made by combining the Primary colors together.

The Tertiary Colors Yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange. Made by combining a primary and a secondary hue. Named by the Primary color first.

Yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange.

Made by combining a primary and a secondary hue.

Named by the Primary color first.

Color Wheel and Value

Hue – name of color Value – lightness or darkness of color Intensity/Saturation – relative purity of color Tint – mixed with white Shade – mixed with black/dark color

Hue – name of color

Value – lightness or darkness of color

Intensity/Saturation – relative purity of color

Tint – mixed with white

Shade – mixed with black/dark color

Color Combinations: Monochromatic Complimentary Analogous

Color Combinations:

Monochromatic

Complimentary

Analogous

Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous

JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous

Complimentary

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, Chicago

Mark Tansey, Forward Retreat, 1986

Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8"

Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.

Otto Dix, Pisarka Sylvia von Harden , 1926

Mark Tansey, “Picasso and Braque” Oil on Canvas, 1992

Subjective Color That which is derived from the mind reflecting a personal viewpoint, bias, or emotion. A subjective color tends to be intuitive, inventive, or creative.

That which is derived from the mind reflecting a personal viewpoint, bias, or emotion.

A subjective color tends to be intuitive, inventive, or creative.

Pablo Picasso The Tragedy , 1903

Otto Dix, Portrait of the Dancer Anita Berber , 1925 Balthus (Baltusz Klossowski de Rola). André Derain . 1936. Oil on wood, 44 3/8 x 28 1/2" Lisa Yuskavage , Transference Portrait of my Shrink in her Starched Nightgown with my Face and Her Hair, 1995. Oil on linen, 84 x 72 inches.

Lisa Yuskavage Blonde with Oven Mitt, 1994 Lisa Yuskavage Changing 2005 Oil on linen Image Size: 77 x 68 inches

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 and Pattern Texture Actual Visual/Implied Pattern Decorative, repetitive motif or design

Texture

Actual

Visual/Implied

Pattern

Decorative, repetitive motif or design

Chris Jordan Plastic Bottles, 2007 60x120" Depicts two million plastic beverage bottles, the number used in the US every five minutes.

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.

"Where There's a Will a and glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,

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.