Sofa elementsof art


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This power point will give you a better understanding of the Elements of Art

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Sofa elementsof art

  1. 1. Elements and Principles Elements of Art and Principles of Design Ballenger
  2. 2. THE ELEMENTS AND PRINCIPLES OF ART • Elements of Art: the basic components or building blocks: color, line, texture, shape/form, value and space. • Principles of Art: describe the different ways artists can use each of the elements of art. The principles organize the elements: balance, emphasis, harmony, variety, unity, movement, rhythm, and proportion.
  3. 3. ELEMENTS: COLOR • Color comes from light. Light contains all colors. When the light rays hits an object our eyes responds to the light that is bounced back and we see that color.  Hue refers to the name of a color. The term is used to point out the difference between; a blue and a green, or a red and a yellow.
  4. 4. Color Wheel
  5. 5. Complementary Colors: Direct opposites on the Color Wheel, when mixed create neutral colors Primary Colors: red, blue, and yellow – from which it is possible to mix all other colors Secondary Colors: The colors obtained by mixing equal amounts of two primary colors – orange, green, and purple Warm Colors: Reds, oranges, and yellows, advance towards viewer, stimulating and passionate Cool Colors: Greens, blues, and violets, recede from viewer, calming and depressive Neutral Colors: Browns, blacks, grays, and white, colors not associated with a hue Analogous Colors: Colors next to each other on the color wheel
  6. 6. ELEMENTS: COLOR - Intensity • When looking at colors, some seem to be brighter, or purer than others. Such qualities are referred to as a color’s intensity, or quality of brightness and purity. High Intensity Low Intensity
  7. 7. ELEMENTS: COLOR - Value • When describing a hue, the term value refers to that hue’s lightness or darkness. • Value changes are often obtained by adding black or white to a particular hue. Adding black creates a shade, adding white creates a tint. Added Black Added White
  8. 8. Value • The lightness or darkness in a work even when color is absent. Ralph Eugene Meatyard, Untitled, Figure and boat, Gelatin silver print, 1961/print 1974.
  9. 9. • Line is a continuous mark made on a surface with a pointed tool or implied by the edges of shapes and forms. • Line is used to define shape, contours, and outlines, also to suggest mass and volume. • Different effects/feelings are obtained by using different types of line.
  10. 10. ELEMENTS: LINE Characteristics of Line: • Width: thick, thin, tapering, uneven • Length: long, short, continuous, broken • Direction: horizontal, vertical, diagonal, curving, perpendicular, oblique, parallel, radial, zigzag • Focus: sharp, blurry, fuzzy, choppy • Feeling: sharp, jagged, graceful, smooth
  11. 11. ELEMENTS: LINE Types of Line • Outlines: Lines made by the edge of an object or its silhouette. Andy Warhol, Red Lenin, 1987, Screenprint on Arches paper Wayne Theibaud, Supine Woman, 1963, oil on canvas.
  12. 12. ELEMENTS: LINE • Contour Lines: Lines that describe the shape of an object and the interior detail. Paul Signac, Still Life with Pitcher, 1919, Watercolor and graphite
  13. 13. ELEMENTS: LINE • Gesture Lines: Line that are energetic and catches the movement and gestures of an active figure. Kathe Kollwitz, “Woman with Dead Child” 1903, etching.
  14. 14. TEXTURE • Texture is the element of art that refers to the way things feel, or look as if they might feel if touched. • Texture can be broken up into two parts: – Physical Texture/actual is the texture you can actually feel with your hand. The build up of paint, slipperiness of soft pastel, layering of collage - all the things that change the nature of the work’s surface. – Visual Texture/implied is the illusion of physical texture, created with the materials you use. Paint can be manipulated to give the impression of texture, while the paper surface remains smooth and flat.
  15. 15. Texture Physical Texture/actual Visual Texture/implied Jasper Johns, Target with Four Faces, 1930, mixed media. Ralph Goings, “Ralph’s Diner,” 2008, Oil on canvas.
  16. 16. Element: SHAPE • Shapes a two-dimensional area clearly set off by one or more of the other visual elements. • Shapes are flat and are limited to only two dimensions: length and width.
  17. 17. Jacob Lawrence, Ambulance Call, 1948, Tempera on board
  18. 18. Element: Form • Form has three dimensions: depth, length, and width. Form is also an object with three dimensions.
  19. 19. SPACE • Space can be thought of as the distance or area between, around, above, below, or within things. • Two types of space: – Positive Space: filled with something – Negative Space: empty space, a void Alberto Giacometti, The Cage, 1930-31, Wood
  20. 20. SPACE • Space can also show perspective – the technique of projecting an illusion of the 3-D world onto a 2-D surface – creates a sense of depth — of receding space. • There are two main types of perspective: – Linear Perspective – Aerial Perspective
  21. 21. SPACE • Linear Perspective: follows consistent geometric rules for rendering objects as they appear to the human eye. For instance, we see parallel lines as converging in the distance, although in reality they do not. Dorothea Lange, The Road West, 1938, Photograph
  22. 22. SPACE • Linear Perspective – Vanishing Point: points on the horizon line where receding lines / planes converge.
  23. 23. SPACE • Linear Perspective Raffaello Sanzio (Raphael), The School of Athens, 1510-11, Fresco
  24. 24. SPACE • Linear Perspective Raffaello Sanzio (Raphael), The School of Athens, 1510-11, Fresco
  25. 25. SPACE • Aerial Perspective: achieved by using less focus, along with bluer, lighter, and duller hues for the distant spaces and objects depicted in a picture – also called “atmospheric perspective” Claude Lorrain, Landscape with Ruins, Pastoral Figures, and Trees, 1643/1655
  26. 26. SPACE Depth Strategies: • Overlap • Position on the picture plane • Relative size • Foreshortening John Sloan, South Beach Bathers, 1907-08, Oil on canvas
  27. 27. PRACTICE • Describe the space in this work of art. Pietro Perugino, Christ Handing the Keys to St. Peter, 1481-82, Fresco
  28. 28. PRACTICE • Describe the space in this work of art. Albert Bierstadt, Sunrise, Yosemite Valley, n.d., Oil on canvas, Amon Carter Museum (Fort Worth)
  29. 29. Tom Uttech, Enassamishhinjijweian, 2009, Oil on Canvas, 103x112