12 the visual elements -line

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  • 12 the visual elements -line

    1. 1. Visual Imagination
    2. 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. 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. 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. 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. 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. 7. LINE as contour (edge or outline)
    8. 8. LINE contour or outline
    9. 9. LINE as path LINE as path and structure
    10. 10. LINE as direction
    11. 11. LINE as direction
    12. 12. LINE as direction
    13. 13. LINE as contour or outline PICASSO WAS A MASTER AT ABSTRACTING HIS SUBJECTS TO SIMPLE LINE DRAWINGS
    14. 14. 2. In nature we interpret line as providing structure or underpinning to an entity.
    15. 15. LINE as structure In nature
    16. 16. LINE structure in artifact
    17. 17. Alexander technique correcting posture (structure) LINE as structure in actor posture
    18. 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. 19. SOME LINE CHARACTERISTICS
    20. 20. MORE LINE CHARACTERISTICS
    21. 21. 4. Line are used for systems of notation, such as: letters and numbers, maps, plans, schematics, bar codes etc.
    22. 22. LINE - map
    23. 23. Line – Music notation Dance Notation Isadora Duncan Dance Notation Computer
    24. 24. LINE – Schematic LINE – Plan- Sistine Chapel
    25. 25. LINE – Calligraphic notation
    26. 26. LINE - Bar code
    27. 27. 5. Line can be used in forming patterns.
    28. 28. LINE can form pattern
    29. 29. LINE FORMING PATTERN
    30. 30. 6. Line can be used to create the illusion of dimension, depth and movement.
    31. 31. LINE can be dynamic
    32. 32. LINE can reinforce or amplify movement
    33. 33. LINE can be suggested or implied (points in a row).
    34. 34. LINE can imply movement
    35. 35. 7. Line can create tone and texture.
    36. 36. LINE can suggest tone
    37. 37. LINE can suggest texture
    38. 38. 8. Line dictates style.
    39. 39. Rococo LINE carries style Gothic Deconstruction
    40. 40. Art Noveau LINE carries style
    41. 41. LINE carries style Art Deco
    42. 42. 9. Line can indicate age or maturity.
    43. 43. Line indicating age
    44. 44. LINE can indicate style, age, sophistication and maturity.
    45. 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. 46. Turner Snowstorm - Steam-Boat off a Harbor's Mouth
    47. 47. Albert Le Goinvec Contrast and Serenity
    48. 48. Claude Monet Le Bassin aux Nymphéas
    49. 49. Odilon Redon Salome
    50. 50. Sternad Set for Elmer Rice’s Adding Machine
    51. 51. LINE can abstract a state of being. Image from Grotowski’s production of Acropolis.
    52. 52. LINE can suggest attitude and gesture
    53. 53. LINE can suggest attitude and gesture
    54. 54. LINE can create or support mood.
    55. 55. LINE can be expressive and emotive
    56. 56. LINE displaying attitude and gesture
    57. 57. LINE displaying attitude and gesture
    58. 58. GESTURE DRAWING REVISITED

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