Week2 Visual Elements Part1

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    Week2 Visual Elements Part1 - Presentation Transcript

    1. 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"
    2. The Visual Elements
      • 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
      • 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
    3. 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
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    8. Brice Marden , Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
    9. PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
    10. Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches 182.88 x 182.88cm
    11.  
    12. Egon Schiele, “Selbstporträt”, 1912
    13. MARK LOMBARDI
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    18. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”. Galleria degli Uffizi, Florence.
    19. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”. Galleria degli Uffizi, Florence.
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    22. 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.
    23. 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
    24. 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
    25. Zaha Hadid (architect), Cincinnati Center for Contemporary Art
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    28. Kurt Schwitters
    29. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
    30. 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.
    31.  
    32. 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
    33. 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.
    34. 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
    35. 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
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    39. 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.
    40. The Color Wheel
      • There are 12 hues in the spectrum of color.
      • They are divided into three categories…
    41. The Primary Colors
      • Red, Yellow, and Blue
      • These colors cannot be combined from mixing any colors together.
    42. The Secondary Colors
      • Green, violet, and orange
      • Made by combining the Primary colors together.
    43. 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.
    44. 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
    45.  
      • Color Combinations:
      • Monochromatic
      • Complimentary
      • Analogous
    46. Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
    47. JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous
    48. Complimentary
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    51. GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
    52. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
    53. Mark Tansey, Forward Retreat, 1986
    54. Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8"
    55. Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.
    56. Otto Dix, Pisarka Sylvia von Harden , 1926
    57. Mark Tansey, “Picasso and Braque” Oil on Canvas, 1992
    58. 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.
    59. Pablo Picasso The Tragedy , 1903
    60. 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.
    61. Lisa Yuskavage Blonde with Oven Mitt, 1994 Lisa Yuskavage Changing 2005 Oil on linen Image Size: 77 x 68 inches
    62. 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.)
    63. Texture and Pattern
      • Texture
        • Actual
        • Visual/Implied
      • Pattern
        • Decorative, repetitive motif or design
    64. Chris Jordan Plastic Bottles, 2007 60x120" Depicts two million plastic beverage bottles, the number used in the US every five minutes.
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    67. 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.
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    71. "Where There's a Will a and glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
    72. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
    73. Frank Stella Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.

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