Chapter 4 - The Visual Elements <ul><li>The Visual Elements are a visual vocabulary – common characteristics throughout th...
The Visual Elements <ul><li>Line </li></ul><ul><li>Shape/Mass </li></ul><ul><li>Light/Value </li></ul><ul><li>Color </li><...
<ul><li>LINE </li></ul><ul><ul><ul><li>Connotations of Line </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></...
<ul><li>Line :  path of moving point </li></ul><ul><li>Actual & Implied (Contour/Outline </li></ul><ul><li>Direction & Mov...
<ul><li>Draw a Non-objective design using line, and shape to convey meaning.  </li></ul><ul><ul><li>Anger </li></ul></ul><...
Types of Line Active Lines contrapposto Static Lines
-------------------------- Line <ul><li>Direction and Movement </li></ul><ul><ul><li>Connotations of Line </li></ul></ul><...
 
 
 
 
 
Brice Marden , Grove IV,  1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches  182.88 x 182.88cm
 
MARK LOMBARDI
 
 
Egon Schiele, “Selbstporträt”, 1912
Otto Zitko,  Cheim & Read,  New York 2003
 
SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Theodore   Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm
Implied Lines / Eye Movement
Shape and Mass <ul><li>Shape = 2D form (triangle) </li></ul><ul><li>Mass = 3D form that occupies a volume of space (pyrami...
Types of Shapes and Forms <ul><li>Geometric (Hard-edge) </li></ul>
Types of Shapes and Forms <ul><li>Organic (biomorphic) </li></ul>Paul Klee Matisse – cut paper collage
KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on canvas, 1’ 10 7/8” x 1’ 7”.   Museum...
Zaha Hadid (architect), Cincinnati Center for Contemporary Art
 
 
GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, a...
Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, a...
 
LEONARDO DA VINCI, study for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightene...
Edward Weston photograph
<ul><li>A cluster of repeated parallel lines is known as   </li></ul><ul><ul><li>A) Cross-hatching  </li></ul></ul><ul><ul...
Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling:  Dots spac...
 
 
 
COLOR <ul><li>The three physical properties of color are  </li></ul><ul><ul><li>hue, intensity, and value.  </li></ul></ul...
<ul><li>The Primary Colors </li></ul><ul><ul><li>Red, Yellow, and Blue </li></ul></ul><ul><ul><li>These colors cannot be c...
 
<ul><li>Hue – name of color </li></ul><ul><li>Value – lightness or darkness of color </li></ul><ul><li>Intensity/Saturatio...
 
<ul><li>Color Combinations: </li></ul><ul><li>Monochromatic </li></ul><ul><li>Complimentary  </li></ul><ul><li>Analogous <...
Color is relative It is effected by the colors around it
JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”.  Analogous
Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
Complimentary
Peter Doig
 
GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, ...
Mark Tansey,  Forward Retreat,  1986
Ad Reinhardt. (American, 1913-1967).  Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8&quot;
Magdalena Jetelova   “Domestizierung Einer Pyramide” (Domestication of a Pyramid)  aprox 15m high, 1992, Red quartz Sand.
Otto Dix,  Pisarka Sylvia von Harden , 1926
Subjective Color <ul><li>That which is derived from the mind reflecting a personal viewpoint, bias, or emotion.  </li></ul...
Pablo Picasso The Tragedy , 1903
  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.)
Texture  -  Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture :  ...
Impasto  – thick paint (“paste”)
Pattern <ul><li>Pattern </li></ul><ul><ul><li>Decorative, repetitive motif or design </li></ul></ul>
Chris Jordan Plastic Bottles, 2007 60x120&quot; Depicts two million plastic beverage bottles, the number used in the US ev...
 
 
Prison Uniforms, 2007 10x23 feet in six vertical panels Depicts 2.3 million folded prison uniforms, equal to the number of...
 
 
 
&quot;Where There's a Will a Way”,  glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches,...
Agnes Martin. (American, born Canada. 1912-2004).  The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
Frank Stella,  Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010
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Week2 Visual Elements Part1

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Week2 Visual Elements Part1

  1. 1. Chapter 4 - The Visual Elements <ul><li>The Visual Elements are a visual vocabulary – common characteristics throughout the history of art </li></ul>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&quot;
  2. 2. The Visual Elements <ul><li>Line </li></ul><ul><li>Shape/Mass </li></ul><ul><li>Light/Value </li></ul><ul><li>Color </li></ul><ul><li>Texture and Pattern </li></ul><ul><li>Space </li></ul><ul><li>Time and Motion </li></ul>
  3. 3. <ul><li>LINE </li></ul><ul><ul><ul><li>Connotations of Line </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></ul><ul><ul><ul><li>Horizontal </li></ul></ul></ul><ul><ul><ul><li>Diagonal </li></ul></ul></ul><ul><ul><ul><li>Contour and Outline Direction and Movement Implied Lines </li></ul></ul></ul><ul><li>SHAPE AND MASS </li></ul><ul><ul><ul><li>Implied Shapes </li></ul></ul></ul><ul><ul><ul><li>Figure/Ground </li></ul></ul></ul><ul><li>LIGHT </li></ul><ul><ul><ul><li>Values </li></ul></ul></ul><ul><ul><ul><li>Chiaroscuro </li></ul></ul></ul><ul><li>COLOR </li></ul><ul><ul><ul><li>Color Theory Color Properties Color Harmonies Optical Effects of Color Emotional Uses of Color – </li></ul></ul></ul><ul><ul><ul><li>Monochrome and Minimalism </li></ul></ul></ul><ul><li>TEXTURE AND PATTERN </li></ul><ul><ul><ul><li>Actual Texture Visual Texture Pattern </li></ul></ul></ul><ul><li>SPACE </li></ul><ul><ul><ul><li>Three-Dimensional Space Implied Space: Suggesting Depth in Two Dimensional Linear Perspective Foreshortening Atmospheric Perspective Isometric Perspective </li></ul></ul></ul><ul><li>TIME AND MOTION </li></ul>
  4. 4. <ul><li>Line : path of moving point </li></ul><ul><li>Actual & Implied (Contour/Outline </li></ul><ul><li>Direction & Movement </li></ul><ul><li>Hatching, Cross-hatching, Stippling) </li></ul><ul><li>Shape : (2-D) enclosed line </li></ul><ul><li>Actual & Implied </li></ul><ul><li>Mass/Form : (3-D) depth , height & width </li></ul><ul><li>Figure (positive) & Ground (Negative) </li></ul><ul><li>Value : Relative light & dark </li></ul><ul><li>Chiaroscuro (light & dark) </li></ul><ul><li>Color : Hue </li></ul><ul><li>Analogous (warm & cool) </li></ul><ul><li>Primary </li></ul><ul><li>Secondary </li></ul><ul><li>Complementary </li></ul><ul><li>Pointillism: optical mixing </li></ul>
  5. 5. <ul><li>Draw a Non-objective design using line, and shape to convey meaning. </li></ul><ul><ul><li>Anger </li></ul></ul><ul><ul><li>Energy/Exuberance </li></ul></ul><ul><ul><li>Love </li></ul></ul>
  6. 6. Types of Line Active Lines contrapposto Static Lines
  7. 7. -------------------------- Line <ul><li>Direction and Movement </li></ul><ul><ul><li>Connotations of Line </li></ul></ul><ul><ul><ul><li>Horizontal </li></ul></ul></ul><ul><ul><ul><li>Vertical </li></ul></ul></ul><ul><ul><ul><li>Diagonal </li></ul></ul></ul><ul><li>Contour and Outline </li></ul><ul><li>Implied Lines </li></ul><ul><li>Appear calm, Landscape, Tranquility, Body in Repose </li></ul><ul><li>Strength, solidity, assertive, or denote growth & strength. </li></ul><ul><li>Dramatic and imply action, movement and/of tension </li></ul>
  8. 13. Brice Marden , Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
  9. 14. PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
  10. 15. Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches 182.88 x 182.88cm
  11. 17. MARK LOMBARDI
  12. 20. Egon Schiele, “Selbstporträt”, 1912
  13. 21. Otto Zitko, Cheim & Read, New York 2003
  14. 23. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
  15. 24. Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
  16. 25. Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm
  17. 26. Implied Lines / Eye Movement
  18. 27. Shape and Mass <ul><li>Shape = 2D form (triangle) </li></ul><ul><li>Mass = 3D form that occupies a volume of space (pyramid) </li></ul><ul><li>Figure/Ground </li></ul><ul><li>Positive/Negative Shapes </li></ul>
  19. 28. Types of Shapes and Forms <ul><li>Geometric (Hard-edge) </li></ul>
  20. 29. Types of Shapes and Forms <ul><li>Organic (biomorphic) </li></ul>Paul Klee Matisse – cut paper collage
  21. 30. 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
  22. 31. Zaha Hadid (architect), Cincinnati Center for Contemporary Art
  23. 34. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
  24. 35. Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, and literally means </li></ul><ul><ul><li>A) organic shape. </li></ul></ul><ul><ul><li>B) a sense of movement. </li></ul></ul><ul><ul><li>C) outlined form. </li></ul></ul><ul><ul><li>D) rough texture. </li></ul></ul><ul><ul><li>E) light/dark. </li></ul></ul>
  25. 36. Values (the Effects of Light) <ul><li>Chiaroscuro </li></ul><ul><li>The term &quot;chiaroscuro&quot; comes from Italian, and literally means </li></ul><ul><ul><li>A) organic shape. </li></ul></ul><ul><ul><li>B) a sense of movement. </li></ul></ul><ul><ul><li>C) outlined form. </li></ul></ul><ul><ul><li>D) rough texture. </li></ul></ul><ul><ul><li>E) light/dark. </li></ul></ul>
  26. 38. 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.
  27. 39. Edward Weston photograph
  28. 40. <ul><li>A cluster of repeated parallel lines is known as </li></ul><ul><ul><li>A) Cross-hatching </li></ul></ul><ul><ul><li>B) Hatching </li></ul></ul><ul><ul><li>C) Contours </li></ul></ul><ul><li>Perpendicular hatched lines producing a cluster of lines similar to a checkered-board is </li></ul><ul><ul><li>A) Implied Lines </li></ul></ul><ul><ul><li>B) Cross-contour </li></ul></ul><ul><ul><li>C) Cross-hatching </li></ul></ul>Hatching/Cross-Hatching
  29. 41. Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling: Dots spaced close or far apart to suggest light/dark
  30. 45. COLOR <ul><li>The three physical properties of color are </li></ul><ul><ul><li>hue, intensity, and value. </li></ul></ul><ul><ul><li>primary, secondary, and intermediate. </li></ul></ul><ul><ul><li>warm, cool, and neutral. </li></ul></ul><ul><ul><li>tint, tone, and shade. </li></ul></ul><ul><ul><li>None of the answers are correct. </li></ul></ul>Color; Hue: Name of the color. Intensity: Relative purity of a color. Value: Relative lightness or darkness.
  31. 46. <ul><li>The Primary Colors </li></ul><ul><ul><li>Red, Yellow, and Blue </li></ul></ul><ul><ul><li>These colors cannot be combined from mixing any colors together. </li></ul></ul><ul><li>The Secondary Colors </li></ul><ul><ul><li>Green, violet, and orange </li></ul></ul><ul><ul><li>Made by combining the Primary colors together. </li></ul></ul><ul><li>The Tertiary Colors </li></ul><ul><ul><li>Yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange. </li></ul></ul><ul><ul><li>Made by combining a primary and a secondary hue. </li></ul></ul>
  32. 48. <ul><li>Hue – name of color </li></ul><ul><li>Value – lightness or darkness of color </li></ul><ul><li>Intensity/Saturation – relative purity of color </li></ul><ul><ul><li>Tint – mixed with white </li></ul></ul><ul><ul><li>Shade – mixed with black/dark color </li></ul></ul>
  33. 50. <ul><li>Color Combinations: </li></ul><ul><li>Monochromatic </li></ul><ul><li>Complimentary </li></ul><ul><li>Analogous </li></ul>
  34. 51. Color is relative It is effected by the colors around it
  35. 52. JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous
  36. 53. Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
  37. 54. Complimentary
  38. 55. Peter Doig
  39. 57. GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
  40. 58. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
  41. 59. Mark Tansey, Forward Retreat, 1986
  42. 60. Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8&quot;
  43. 61. Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.
  44. 62. Otto Dix, Pisarka Sylvia von Harden , 1926
  45. 63. Subjective Color <ul><li>That which is derived from the mind reflecting a personal viewpoint, bias, or emotion. </li></ul><ul><li>A subjective color tends to be intuitive, inventive, or creative. </li></ul>
  46. 64. Pablo Picasso The Tragedy , 1903
  47. 65. 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.)
  48. 66. Texture - Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture : an illusionary experience Brancusi , Bird in Space, 1925. Richard Patterson's &quot;Minotaur With Brushstrokes&quot; (1998), oil on canvas.
  49. 67. Impasto – thick paint (“paste”)
  50. 68. Pattern <ul><li>Pattern </li></ul><ul><ul><li>Decorative, repetitive motif or design </li></ul></ul>
  51. 69. Chris Jordan Plastic Bottles, 2007 60x120&quot; Depicts two million plastic beverage bottles, the number used in the US every five minutes.
  52. 72. 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.
  53. 76. &quot;Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
  54. 77. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
  55. 78. Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
  56. 79. Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010

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