The document discusses various visual tools and techniques used by artists to create artistic expression, including line, shape, mass, space, time, motion, light, and color. It explores characteristics of these different elements, such as how lines can define shapes and boundaries or depict light and shadow. Examples of works of art are provided to illustrate concepts like linear and atmospheric perspective, implied depth, motion, and representational versus abstract styles. The relationships between form and content, and iconography in conveying symbolic meaning, are also examined.

1. VISUAL COMMUNICATION
CHAPTER 2

2. LOOKING AND SEEING
LOOKING-TAKING IN WHAT IS BEFORE US
SEEING-ACTIVE EXTENSION OF LOOKING
ORDINARY THINGS BECOME EXTRAORDINARY WHEN
WE SEE THEM DEEPLY

3. EDWARD WESTON
PEPPER #30

4. THE VISUAL TOOLBOX
VISUAL TOOLS USED BY ARTISTS TO CREATE ARTISTIC
EXPRESSION
LINE, SHAPE, MASS, SPACE, TIME, MOTION, LIGHT,
COLOR, ABSTRACTION

5. CHARACTERISTICS OF LINE
LINES CAN BE ACTIVE OR STATIC, AGGRESSIVE OR
PASSIVE, SENSUAL OR MECHANICAL
LINES CAN:
INDICATE DIRECTION
DEFINE SHAPES AND BOUNDARIES
IMPLY VOLUME OR MASS
DEPICT LIGHT AND SHADOW
FORM PATTERNS

6. LEE FRIEDLANDER
BISMARCK, NORTH DAKOTA
2002

7. LINE VARIATIONS
ACTUAL LINE

8. LINE VARIATIONS
IMPLIED LINE

9. LINE VARIATIONS
ACTUAL STRAIGHT LINES AND IMPLIED CURVE LINE

10. LINE VARIATIONS
LINE CREATED BY EDGE

11. LINE VARIATIONS
VERTICAL LINE, HORIZONTAL LINE

12. LINE VARIATIONS
DIAGONAL LINES

13. LINE VARIATIONS
SHARP, JAGGED LINE

14. LINE VARIATIONS
DANCE OF CURVING LINES

15. LINE VARIATIONS
HARD LINE, SOFT LINE

16. LINE VARIATIONS
RAGGED, IRREGULAR LINE

17. ALNSELM REYLE
UNTITLED
2006

18. BRIDGET RILEY
CURRENT
1964

19. TORII KIYOTADA

20. KORII KIYOTADA

21. KIKI SMITH
GINGER
2000

22. IMPLIED LINE
IMPLIED LINES-SUGGEST VISUAL CONNECTIONS
CAN SERVE AS AN UNDERLYING STRUCTURE

23. SHAPE
SHAPE-EXPANSE WITHIN THE OUTLINE OF A TWO-
DIMENSIONAL AREA OR WITHIN THE BOUNDARIES OF A
THREE-DIMENSIONAL OBJECT
TWO CATEGORIES
GEOMETRIC SHAPES-CIRCLES, TRIANGLES...
ORGANIC SHAPES-IRREGULAR SHAPES
SHAPES ON A PICTURE PLANE CAN ALSO CREATE A
SECONDARY SHAPE IN THE NEGATIVE SPACE

24. IMPLIED SHAPE

25. M.C. ESCHER
SKY AND WATER 1
1938

26. MASS
A 2-DIMENSIONAL AREA IS A SHAPE, BUT A 3-
DIMENSIONAL AREA IS A MASS
WHEN A MASS ENCLOSES SPACE IT IS VOLUME
MOST OFTEN USED IN SCULPTURE AND ARCHITECTURE

27. SENNEFER
STEWARD OF THE PALACE
1450

28. ELIZABETH CATLETT
BREAD
1962

29. SPACE
SPACE IS THE INDEFINABLE EMPTY
HOW AN ARTIST ORGANIZES THE SPACE IS A VERY
IMPORTANT STEP IN THE MAKING OF THEIR ART
3D SPACE IS EXPERIENCED BY THE VIEWER
2D SPACE IS SIMPLY THE PARAMETERS OF THE ART, BUT
SPACE CAN BE IMPLIED

30. CESAR PELLI AND ASSOCIATES
NORTH TERMINAL, RONALD REAGAN WASHINGTON
NATIONAL AIRPORT

31. TOMB OF NEBAMUN
POOL IN THE GARDEN

32. IMPLIED DEPTH
WHEN SHAPES OVERLAP, WE ASSUME THAT ONE IS IN
FRONT OF THE OTHER
DIMINISHING SIZE-AS THINGS GET FURTHER AWAY,
THEY APPEAR SMALLER
VERTICAL PLACEMENT-THINGS LOWER ON THE PICTURE
PLANE APPEAR CLOSER

33. CLUES TO SPATIAL DEPTH

34. MU QI
SIX PERSIMMONS
1269

35. LINEAR PERSPECTIVE
PERSPECTIVE REFERS TO POINT OF VIEW
IN ART, PERSPECTIVE REFERS TO THE REPRESENTATION
OF 3D OBJECTS IN SPACE

36. LINEAR PERSPECTIVE

37. RAPHAEL
THE SCHOOL OF ATHENS
1508

40. ATMOSPHERIC PERSPECTIVE
ATMOSPHERIC OR AERIAL PERSPECTIVE-DEPTH IS
CREATED BY DIFFERENCE IN COLOR, VALUE, AND DETAIL
AS THINGS GET FURTHER AWAY, THEY APPEAR MORE
INDISTINCT AND CONTAIN LESS CONTRAST BETWEEN
LIGHT AND DARK

41. ASHER BROWEN DURAND
KINDRED SPIRIT
1849

42. SHEN ZHOU
POET ON A MOUNTAIN TOP
1427-1509

43. TIME AND MOTION
TIME-FOURTH DIMENSION IN WHICH EVENTS OCCUR IN
SUCCESSION

44. AZTEC CALENDAR
1479
STONE

45. SASSETTA AND WORKSHOP
THE MEETING OF ST. ANTHONY AND ST. PAUL

46. GARY PANTER
BACK TO NATURE
2001

47. MOTION
ARTISTS OFTEN TRY TO FIND WAYS TO DEPICT MOTION
MOTION CAN GIVE A LIFE LIKE QUALITY TO A WORK
TWO CATEGORIES:
IMPLIED MOTION
ACTUAL MOTION

48. DANCING KRISHNA

49. JENNY HOLZER
UNTITLED
1989

50. LIGHT
LIGHT CAN DRASTICALLY CHANGE HOW WE SEE A PIECE
OF ART, SPECIFICALLY SCULPTURE
VALUE REFERS THE DARKNESS OF LIGHTNESS OF A
SURFACE

51. DANIEL CHESTER
ABRAHAM LINCOLN
1850-1931

52. ANNIBALE CARRACCI
HEAD OF YOUTH
1560-1609

53. COLOR
COLOR CAN AFFECT OUR THOUGHTS, MOODS, ACTIONS,
AND EVEN HEALTH
MOST CULTURES USE COLOR SYMBOLICALLY
COLOR IS THE EFFECT OF LIGHT ON OUR EYES
WHITE LIGHT CONTAINS ALL COLORS COMBINED
TO SEE A COLOR IS TO SEE PART OF WHITE LIGHT

54. PIGMENTS AND LIGHT
WHEN LIGHT REFLECT OFF OF A SURFACE, SOME LIGHT
IS ABSORBED AND SOME LIGHT IS REFLECTED. THE
REFLECTED LIGHT MAKES THE COLOR
WHEN ALL LIGHT IS ABSORBED IN THE SURFACE, IT
APPEARS BLACK

55. COMPONENTS OF COLOR
HUE- THE SPECTRAL COLOR (RED, GREEN, YELLOW...)
VALUE-LIGHTNESS OR DARKNESS OF THE COLOR
ADD BLACK TO CREATE A SHADE OF A COLOR
ADD WHITE TO CREATE A TINT OF A COLOR
INTENSITY/SATURATION-PURITY OF THE HUE

56. HUE

57. VALUE

58. VALUE

59. INTENSITY

60. PIGMENT PRIMARIES
SUBTRACTIVE COLOR MIXTURE

61. LIGHT PRIMARIES
ADDITIVE COLOR MIXTURE

63. COLOR WHEEL
PRIMARIES-RED, YELLOW, BLUE
SECONDARY-MIXTURE OF TWO PRIMARIES
ORANGE, GREEN, VIOLET
INTERMEDIATE-BETWEEN PRIMARIES AND SECONDARIES
RED-ORANGE, YELLOW-ORANGE, YELLOW-GREEN,
BLUE-GREEN, BLUE-VIOLET, RED-VIOLET

64. WARM/COOL COLORS

65. JAMES ABBOTT MCNEILL WHISTLER
MONOCHROMATIC
COLOR SCHEME USES
VARIATIONS OF THE
SAME HUE
THE ARTIST MAY FEEL
THIS COLOR
REPRESENTS A MOOD

66. JENNIFER BARTLETT
ANALOGOUS COLOR
SCHEMES ARE BASED
ON COLOR NEAR EACH
OTHER ON THE COLOR
WHEEL

67. KEITH HARING
COMPLEMENTARY
COLOR SCHEMES USE
HUES ON OPPOSITE
SIDES OF THE COLOR
WHEEL
INTENSIFIES CONTRAST

68. ART AND REALITY
HOW AN ARTIST APPROACHED REALITY IS PART OF
THEIR VISUAL TOOLBOX
HOW REALITY IS DEPICTED:
REPRESENTATIONAL
ABSTRACT
NONREPRESENTATIONAL

69. REPRESENTATIONAL ART
DEPICTS THE
APPEARANCE OF
THINGS
REPRESENTATIONAL
ART DEPICTS
SUBJECTS

70. ABSTRACT ART
ABSTRACT IS TO TAKE
THE ESSENCE OF AN
OBJECT OR IDEA
ABSTRACT ART CAN:
HAVE NO
REFERENCE TO
REAL OBJECTS
SIMPLIFY OR
EXAGGERATE
OBJECTS

71. NON REPRESENTATIONAL
VISUAL FORMS WITH
NO REFERENCES TO
ANYTHING REAL

72. FORM AND CONTENT
FORM-WHAT WE SEE
CONTENT-THE MEANING WE GET FROM WHAT WE SEE

73. ICONOGRAPHY
SYMBOLIC MEANING OF
SIGNS, SUBJECTS, AND
IMAGES