The visual elements of an image (english version)

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The visual elements of an image (english version)

  1. 1. THE VISUAL ELEMENTS OF AN IMAGE
  2. 3. LOOK CAREFULLY AT NEXT PICTURE AND DESCRIBE THE ELEMENTS THAT YOU CAN SEE IN IT
  3. 5. Write and draw in your paper the elements that you can see
  4. 7. I can see a spider
  5. 8. I can see a face
  6. 9. A bird ¿
  7. 10. He´s crying
  8. 11. There are a lot of stars
  9. 13. There are many things in a picture
  10. 15. But…
  11. 17. We are looking for the essential elements
  12. 18. The smallest visual elements on plastic work
  13. 19. Look for the essential elements
  14. 21. Try it again. Just the essential elements¡
  15. 26. WHAT ARE THESE ?
  16. 28. A DOT
  17. 29. A LINE
  18. 30. A PLANE
  19. 33. THE VISUAL ELEMENTS OF AN IMAGE
  20. 34. THE VISUAL ELEMENTS OF AN IMAGE DOT
  21. 35. THE VISUAL ELEMENTS OF AN IMAGE LINE DOT
  22. 36. THE VISUAL ELEMENTS OF AN IMAGE LINE  DOT
  23. 37. THE VISUAL ELEMENTS LINE  DOT
  24. 38. THE VISUAL ELEMENTS LINE  But there are two other missing visual elements DOT
  25. 39. But there are two other missing visual elements
  26. 40. But there are two other missing visual elements Can you imagine ¿
  27. 42. Look at the screen
  28. 54. The fourth element is the…
  29. 55. COLOUR COLOUR
  30. 57. And the last element in an image is…
  31. 58. And the last element in an image is… Look at the screen
  32. 68. TEXTURE
  33. 70. THE VISUAL ELEMENTS
  34. 71. THE VISUAL ELEMENTS DOT
  35. 72. THE VISUAL ELEMENTS LINE DOT
  36. 73. THE VISUAL ELEMENTS LINE  DOT
  37. 74. THE VISUAL ELEMENTS LINE   DOT
  38. 75. THE VISUAL ELEMENTS LINE    DOT
  39. 77. BASIC ELEMENTS OF PLASTIC EXPRESSIONS
  40. 78. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture.
  41. 79. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings.
  42. 80. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings. It is important to study the characteristic and fundamental rules of the plastic elements in order to express effectively our own plastic language.
  43. 83. THE DOT
  44. 84. THE DOT The dot is the smallest, simplest element in visual expression.
  45. 86. Dots are normally round, but they can have different shapes according to their function. Dots used in visual expression can have irregular surface and outline.
  46. 89. A shape is a dot when it takes a very small part of the surface where we draw.
  47. 91. If it is bigger than other shapes around, we consider it a plane.
  48. 92. If it is bigger than other shapes around, we consider it a plane.
  49. 93. If it is bigger than other shapes around, we consider it a plane. A dot
  50. 94. If it is bigger than other shapes around, we consider it a plane. A dot A plane
  51. 96. Expressive capacity of the dot
  52. 97. Expressive capacity of the dot
  53. 98. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions.
  54. 99. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  55. 100. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  56. 101. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  57. 102. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  58. 103. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  59. 104. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  60. 105. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :
  61. 106. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  62. 107. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  63. 108. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  64. 109. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  65. 110. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  66. 111. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  67. 112. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped
  68. 113. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped dispersion = dots are at a distance
  69. 114. Expressive capacity of the dot
  70. 115. Expressive capacity of the dot
  71. 116. Expressive capacity of the dot Line made with dots
  72. 117. Expressive capacity of the dot concentration Line made with dots
  73. 118. Expressive capacity of the dot concentration dispersion Line made with dots
  74. 119. Expressive capacity of the dot
  75. 121. Dots also have a great attraction power. It makes them very efficient as a composing element and as an indication sign.
  76. 124. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .
  77. 125. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .
  78. 126. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .
  79. 131. THE LINE
  80. 132. THE LINE
  81. 133. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
  82. 134. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  83. 135. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  84. 136. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  85. 137. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  86. 138. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  87. 139. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION
  88. 140. THE LINE
  89. 141. THE LINE Lines have a position and a direction in space…
  90. 142. THE LINE Lines have a position and a direction in space…
  91. 143. THE LINE Lines have a position and a direction in space…
  92. 144. THE LINE Lines have a position and a direction in space…
  93. 145. THE LINE Lines have a position and a direction in space…
  94. 146. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.
  95. 147. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.
  96. 148. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.
  97. 149. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes. For this reason and for its expressive possibilities, it is very suitable to describe accurately any shape and to transmit ideas and emotions.
  98. 150. THE LINE
  99. 151. THE LINE
  100. 152. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.
  101. 153. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth , balance, strength, smoothness, etc.
  102. 154. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance , strength, smoothness, etc.
  103. 155. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength , smoothness, etc.
  104. 156. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness , etc.
  105. 158. The structural differences of lines make them expressively rich.
  106. 159. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
  107. 160. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
  108. 161. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
  109. 162. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
  110. 163. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
  111. 165. CLASSIFYING LINES
  112. 166. CLASSIFYING LINES According to their structure, lines can be classified in:
  113. 167. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines
  114. 168. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines Composed lines
  115. 169. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines
  116. 170. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines
  117. 171. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
  118. 172. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines
  119. 173. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines
  120. 174. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.
  121. 175. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.
  122. 176. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.
  123. 177. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.
  124. 179. EXPRESSIVE POSSIBILITIES OF LINES
  125. 180. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions:
  126. 181. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical,
  127. 182. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal
  128. 183. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique
  129. 184. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve.
  130. 185. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve. Each of them has a different expressive value.
  131. 186. EXPRESSIVE POSSIBILITIES OF LINES
  132. 187. EXPRESSIVE POSSIBILITIES OF LINES
  133. 188. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines:
  134. 189. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines: transmits an upward or a downward movement, depending on how we use them. It gives us a visual sensation of growing, balance and power.
  135. 191. growing
  136. 193. balance
  137. 195. power
  138. 199. growing
  139. 200. growing
  140. 201. growing balance
  141. 202. growing balance
  142. 203. growing balance power
  143. 204. growing balance power strong
  144. 205. EXPRESSIVE POSSIBILITIES OF LINES
  145. 206. EXPRESSIVE POSSIBILITIES OF LINES
  146. 207. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines:
  147. 208. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines: horizontal direction gives a visual sensation of stability, calm and serenity, but an excessive use can give a dull effect.
  148. 210. stability
  149. 212. calm
  150. 214. serenity
  151. 217. Stability
  152. 218. Stability
  153. 219. Stability Calm
  154. 220. Stability Calm
  155. 221. Stability Calm Serenity
  156. 222. EXPRESSIVE POSSIBILITIES OF LINES
  157. 223. EXPRESSIVE POSSIBILITIES OF LINES
  158. 224. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines :
  159. 225. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines : transmit more instability and movement. These two aspects give slanting lines a visual sensation of dynamism.
  160. 227. instability
  161. 229. movement
  162. 231. dynamism
  163. 235. Instability
  164. 236. Instability
  165. 237. Instability movement
  166. 238. Instability movement
  167. 239. Instability movement dynamism
  168. 240. EXPRESSIVE POSSIBILITIES OF LINES
  169. 241. EXPRESSIVE POSSIBILITIES OF LINES
  170. 242. EXPRESSIVE POSSIBILITIES OF LINES Curve lines :
  171. 243. EXPRESSIVE POSSIBILITIES OF LINES Curve lines : Transmit a visual sensation of movement and joy.
  172. 245. mov ement
  173. 247. joy
  174. 248. THE PLANE
  175. 249. THE PLANE
  176. 250. THE PLANE A plane is a two-dimension surface, length and width, and it has a position and a direction in space.
  177. 251. THE PLANE This plane is delimitated by an contour line. This plane is delimitated by an contour line
  178. 252. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. This plane is delimitated by an contour line
  179. 253. THE PLANE There are several ways to describe the limits of a plane:
  180. 254. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline
  181. 255. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline
  182. 256. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline
  183. 257. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline
  184. 258. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline
  185. 259. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
  186. 260. THE PLANE There are several ways to describe the limits of a plane:
  187. 261. THE PLANE There are several ways to describe the limits of a plane: The surface of this plane is defined by very little dots...
  188. 262. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. The surface of this plane is defined by very little dots... or by a texture
  189. 263. THE PLANE There are several ways to describe the limits of a plane: The surface of this plane is defined by very little dots... or by a texture or by lines
  190. 264. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
  191. 265. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. To define this plane, we use a coloured surface
  192. 266. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line.
  193. 267. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types:
  194. 268. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.
  195. 269. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.
  196. 270. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.
  197. 271. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.
  198. 272. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  199. 273. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  200. 274. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  201. 275. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  202. 276. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  203. 277. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Observe: if we join planes in different directions, we get a visual sensation of volume. Other plastic elements such as changes in colour and size contribute to this.
  204. 278. THE PLANE THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  205. 279. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE
  206. 280. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions:
  207. 281. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length
  208. 282. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length
  209. 283. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width
  210. 284. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width
  211. 285. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width and depth
  212. 286. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width and depth
  213. 287. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length , width and depth
  214. 305. The plane is most suitable to transmit visual sensations such as volume, chiaroscuro, depth, etc. These qualities make of it a fundamental part for the elaboration of artistic work in any of their means of expression.
  215. 306. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.
  216. 335. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.
  217. 345. THE TEXTURE
  218. 346. THE TEXTURE Texture is the quality of surfaces due to the material structure of the object. It can transmit different visual and tactile sensations.
  219. 349. We can distinguish flat TEXTURE
  220. 350. We can distinguish flat TEXTURE
  221. 351. We can distinguish flat TEXTURE
  222. 352. We can distinguish FLAT TEXTURE
  223. 353. We can distinguish FLAT TEXTURE smooth
  224. 354. We can distinguish FLAT TEXTURE smooth
  225. 355. We can distinguish FLAT TEXTURE
  226. 356. We can distinguish FLAT TEXTURE granulated
  227. 357. We can distinguish FLAT TEXTURE granulated
  228. 358. We can distinguish FLAT TEXTURE
  229. 359. We can distinguish FLAT TEXTURE rough
  230. 360. We can distinguish FLAT TEXTURE rough
  231. 363. the surface of silk is flat and smooth
  232. 366. the surface of the bark of a tree is rough and ridged
  233. 368. Artists use textures as another plastic element to reach more expressivity in their works
  234. 370. NATURAL AND ARTIFICIAL TEXTURES
  235. 371. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into:
  236. 372. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures
  237. 373. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures Artificial textures
  238. 374. NATURAL AND ARTIFICIAL TEXTURES
  239. 375. NATURAL AND ARTIFICIAL TEXTURES Natural textures: those present in nature.
  240. 376. NATURAL AND ARTIFICIAL TEXTURES Artificial textures: those manually or mechanically elaborated by man.
  241. 379. TACTILE TEXTURES
  242. 380. We can perceive them through the sense of touch . In plastic representation - painting or sculpture-, we can perceive a lot of tactile effects combining different materials or making surfaces with the relief we want. TACTILE TEXTURES
  243. 382. VISUAL TEXTURES
  244. 383. VISUAL TEXTURES
  245. 384. VISUAL TEXTURES We perceive visual textures only with our sight. We also call them graphic textures, because they are photographs or representations on paper or on other materials.

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