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12   the visual elements -line
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  • 1. Visual Imagination
  • 2. As conceptual elements are those constructs which can only be conceived, and are for the most part, defined only in mathematical terms; visual elements, are those properties of objects and surfaces that can be observed through eye sight. Although we can observe these visual elements, they continue to be rather abstract* concepts. Much more abstract than we think they are. *Abstract: the extract of an underlying essence of a concept, achieved by removing any dependence on real world objects with which it might originally have been connected, generalizing it, so that it has wider applications.
  • 3. Studying the visual elements is important for two (2) major reasons: 1. They define the visible world 2. We describe the visible world through them.
  • 4. There are six (6) principal visual elements: 1. Point* 2. Line 3. Shape 4. Volume* 5. Color 6. Texture • Point and Volume will not be given significant attention in this class.
  • 5. We have already, to a degree, considered four of them in the discussion concerning conceptual elements, namely: Point, Line, Plane and Volume. In visual terms, point becomes a dot and is primarily, although, not exclusively, used to pinpoint the position of a shape or object in two dimensional and three dimensional space.
  • 6. THE CHARACTERISTICS OF LINE AS A VISUAL ELEMENT 1. In visual terms, line is sometimes thought of as an edge, a contour (outline), a path, or a directional signal . It directs our vision to various points of interest in a composition. Line is a graphic device. It does not exist in nature in the same sense that we interpret it in drawing.
  • 7. LINE as contour (edge or outline)
  • 8. LINE contour or outline
  • 9. LINE as path LINE as path and structure
  • 10. LINE as direction
  • 11. LINE as direction
  • 12. LINE as direction
  • 13. LINE as contour or outline PICASSO WAS A MASTER AT ABSTRACTING HIS SUBJECTS TO SIMPLE LINE DRAWINGS
  • 14. 2. In nature we interpret line as providing structure or underpinning to an entity.
  • 15. LINE as structure In nature
  • 16. LINE structure in artifact
  • 17. Alexander technique correcting posture (structure) LINE as structure in actor posture
  • 18. 3. Lines have surface characteristics.They can be straight, curved, thick, thin, solid, broken, rough, smooth, light, dark pigmented or nonpigmented. Or any combinations of the above .
  • 19. SOME LINE CHARACTERISTICS
  • 20. MORE LINE CHARACTERISTICS
  • 21. 4. Line are used for systems of notation, such as: letters and numbers, maps, plans, schematics, bar codes etc.
  • 22. LINE - map
  • 23. Line – Music notation Dance Notation Isadora Duncan Dance Notation Computer
  • 24. LINE – Schematic LINE – Plan- Sistine Chapel
  • 25. LINE – Calligraphic notation
  • 26. LINE - Bar code
  • 27. 5. Line can be used in forming patterns.
  • 28. LINE can form pattern
  • 29. LINE FORMING PATTERN
  • 30. 6. Line can be used to create the illusion of dimension, depth and movement.
  • 31. LINE can be dynamic
  • 32. LINE can reinforce or amplify movement
  • 33. LINE can be suggested or implied (points in a row).
  • 34. LINE can imply movement
  • 35. 7. Line can create tone and texture.
  • 36. LINE can suggest tone
  • 37. LINE can suggest texture
  • 38. 8. Line dictates style.
  • 39. Rococo LINE carries style Gothic Deconstruction
  • 40. Art Noveau LINE carries style
  • 41. LINE carries style Art Deco
  • 42. 9. Line can indicate age or maturity.
  • 43. Line indicating age
  • 44. LINE can indicate style, age, sophistication and maturity.
  • 45. 10. Line can be used as a means of visual expression to represent ideas and moods such as happiness, sadness, gracefulness, boldness etc. As such, line displays some psychological weight through its symbolic associations. (ex: stick drawings, smiley lines, sad lines, tranquil lines, majestic lines, conflict lines, unbalanced lines etc.)
  • 46. Turner Snowstorm - Steam-Boat off a Harbor's Mouth
  • 47. Albert Le Goinvec Contrast and Serenity
  • 48. Claude Monet Le Bassin aux Nymphéas
  • 49. Odilon Redon Salome
  • 50. Sternad Set for Elmer Rice’s Adding Machine
  • 51. LINE can abstract a state of being. Image from Grotowski’s production of Acropolis.
  • 52. LINE can suggest attitude and gesture
  • 53. LINE can suggest attitude and gesture
  • 54. LINE can create or support mood.
  • 55. LINE can be expressive and emotive
  • 56. LINE displaying attitude and gesture
  • 57. LINE displaying attitude and gesture
  • 58. GESTURE DRAWING REVISITED