The Elements of Art
The Ingredients for a great Composition
What are the elements of art?
The Elements of Art are the “tools” that artists use to make art. They are the basic “foundation” of a good composition
The Elements of Art are the “tools” that artists use to make art. There are 7 of them:
Line - A line is a path that a point takes through space. Lines can be thick, thin, dotted or solid. They can make straight movements, zig-zags, waves or curls. They may be:
Horizontal Lines are generally restful, like the horizon, where the sky meets land
Vertical lines seem to be reaching, so they may seem inspirational like tall majestic trees or church steeples
Diagonal lines tend to be disturbing. They suggest decay or chaos like lightening or falling trees.
Expressive Lines tend to be found in nature and are very organic
Constructive lines are other lines that are very measured, geometric, directional and angular. They tend to appear to be man-made because of their precision.
Value - Value is the lightness or darkness of a color. Value makes objects appear more real because it imitates natural light. When showing value in a work of art, you will need a LIGHT SOURCE. A light source is the place where the light is coming from, the darkest areas are always on the opposite side of the light. In order to have a successful drawing, you will need to show a full value range, which means that there are very light areas, middle tones, and very dark areas. This is a way of giving a work of art Contrast. In drawing value can be added several ways: Ways value can be added:
Cross-hatching is when you use irregular lengths of parallel lines that cross over each other diagonally. The closer together the lines are placed, the darker the value.
Stippling is the use of dots to create shade. This is accomplished by placing dots very close together to create dark values and farther apart to create lighter values.
Soft shading is when you use your pencil to create soft gradual movements from one value to the next using full value range.
Texture - is the way the surface of an object actually feels. In the artistic world, we refer to two types of texture-tactile and implied. Tactile (or Real) Texture is the way the surface of an object actually feels. Examples would be sandpaper, cotton balls, tree bark, puppy fur, etc.
Implied Texture is the way the surface of an object looks like it feels. This is the type of texture that artists use when they draw and paint. Textures may look rough, fuzzy, gritty, or scruffy, but can’t actually be felt.
Shape - Shape is created when a line becomes connected and encloses space. It is the outline or outward appearance of something. Shapes are 2 Dimensional (2-D) which means there are 2 ways they can be measured. You can measure its HEIGHT and its WIDTH. There are two basic types of shape.
The Elements of Art
The Ingredients for a great Composition
What are the elements of art?
The Elements of Art are the “tools” that artists use to make art. They are the basic “foundation” of a good composition
The Elements of Art are the “tools” that artists use to make art. There are 7 of them:
Line - A line is a path that a point takes through space. Lines can be thick, thin, dotted or solid. They can make straight movements, zig-zags, waves or curls. They may be:
Horizontal Lines are generally restful, like the horizon, where the sky meets land
Vertical lines seem to be reaching, so they may seem inspirational like tall majestic trees or church steeples
Diagonal lines tend to be disturbing. They suggest decay or chaos like lightening or falling trees.
Expressive Lines tend to be found in nature and are very organic
Constructive lines are other lines that are very measured, geometric, directional and angular. They tend to appear to be man-made because of their precision.
Value - Value is the lightness or darkness of a color. Value makes objects appear more real because it imitates natural light. When showing value in a work of art, you will need a LIGHT SOURCE. A light source is the place where the light is coming from, the darkest areas are always on the opposite side of the light. In order to have a successful drawing, you will need to show a full value range, which means that there are very light areas, middle tones, and very dark areas. This is a way of giving a work of art Contrast. In drawing value can be added several ways: Ways value can be added:
Cross-hatching is when you use irregular lengths of parallel lines that cross over each other diagonally. The closer together the lines are placed, the darker the value.
Stippling is the use of dots to create shade. This is accomplished by placing dots very close together to create dark values and farther apart to create lighter values.
Soft shading is when you use your pencil to create soft gradual movements from one value to the next using full value range.
Texture - is the way the surface of an object actually feels. In the artistic world, we refer to two types of texture-tactile and implied. Tactile (or Real) Texture is the way the surface of an object actually feels. Examples would be sandpaper, cotton balls, tree bark, puppy fur, etc.
Implied Texture is the way the surface of an object looks like it feels. This is the type of texture that artists use when they draw and paint. Textures may look rough, fuzzy, gritty, or scruffy, but can’t actually be felt.
Shape - Shape is created when a line becomes connected and encloses space. It is the outline or outward appearance of something. Shapes are 2 Dimensional (2-D) which means there are 2 ways they can be measured. You can measure its HEIGHT and its WIDTH. There are two basic types of shape.
Проектирование, продажи с помощью интерактивного погружения в готовый объект. Современный контент для организации продаж объектов коммерческой и жилой недвижимости.
This is one of my pet projects - work in progress - an Art Book showcasing the work of Keith Hansen - Night Owls and the mythology concerning these birds of the night.
повишаване културното равнище;
• запознаване с основните стилове и течения в дизайна и живописта;
• запознаване с творчеството на велики живописци, скулптори, архитекти;
запознаване с традициите в изкуството на не европейски народи
In school we learn to write as a fundamental building block for communication, and drawing is shunted away to “art class.” But scientists like Darwin and Marie Curie, presidents from Jefferson to Obama, and mathematicians, choreographers, and composers all have used sketching to give form to their ideas. Words are abstract and ambiguous, and can lead to miscommunication. We say a picture is worth a thousand words, so why do we discard this critical tool?
Drawing is not just for so-called creatives. Drawing allows you to ideate, communicate, and collaborate with your team. Stop talking around your vision, and get it on the whiteboard where your team can see it! Whether you’re an entrepreneur, an engineer, or a product manager, drawing will make you better at your job. In this workshop, you will go from “can’t draw a straight line” to visually representing complex ideas. First, we’ll demystify the act of sketching. Through a series of activities and exercises, we’ll cover the fundamental building blocks of visual communication. You’ll learn easy ways to draw the most common images, from people to interfaces. Next, we’ll tackle making storyboards, product flows, and interfaces. We’ll finish by working with charts, mental models, and canvases. This is a hands-on workshop, so come with paper, pencils, and pens, and be ready to make your mark.
We've all been there. Sitting in a boardroom. Bored out of our minds in another "brainstorm". Waiting for the misery to end.
Get out of your rut and stop wasting time. Start producing kick-ass ideas today...what are you waiting for? Click the next button and let's get started...
Whiteboard Warrior @ the d.school 1/31/15Molly Wilson
Deck from "Notebook Neophyte to Whiteboard Warrior," the Stanford d.school pop-up class I teach with Kate Rutter. It's a 4-hour crash course in visual communication.
More about the class, plus a curated list of recommended readings, at http://whiteboardwarrior.org.
VDIS10015 Developing Visual Imagery - Lecture 2Virtu Institute
In this lecture we will discuss how to develop and refine
drawing and other visual representation tools that can be
used to create original imagery. We will look at different
ways of creating image as well as ways to improve our
skills. These skills are physical but also cognitive tools for
professional practice. Our focus is on the development of
drawing rather than a particular level of drawing technique.
Return on Investment – Education FundingDevelop a three- to five.docxronak56
Return on Investment – Education Funding
Develop a three- to five-page analysis (excluding the title and reference pages) on the projected return on investment for your college education and projected future employment. This analysis will consist of two parts.
Part 1: Describe how and why you made the decision to pursue an MBA. In the description, include calculations of expenses and opportunity costs related to that decision.
Part 2: Analyze your desired occupation. Determine how much compensation (return) you expect to earn and how long will it take to pay back the return on this investment. Use the financial formulas, Net Present Value (NPV), Internal Rate of Return (IRR), and Payback, provided in Chapters 3 and 4 of your text.
The analysis should be comprehensive and reference specific examples from a minimum of two scholarly sources, in addition to your text. The paper must be formatted according to APA.
NOTES: Needed to pursue MY MBA to position myself for a promotion at work.
Occupation is Manager of supply chain operations spent around 80,000.00 on school. This should be enough info for you.
Mrs. Reeshemah Johnson
EDUC 210
PowerPoint Tips
1. Remember the K-I-S-S rule (Keep It Short and Simple).
a. Do not put entire paragraphs on your slides.
b. Use bullets and only include your main ideas.
c. Stick to the 8x8 rule – 8 lines with 8 words each max per slide. There should be very limited exceptions, eg. definitions, quotes, etc.
d. PowerPoint has lots of bells and whistles. Just because it’s there, doesn’t mean you have to use it.
i. Use simple slide transitions and builds (see #8). Too much spinning and flashing and blinking is distracting and may cause seizures in some people.
ii. Use sounds only if it enhances the message. Omit the applause and the whooshing when the slides change or the text enters/exits.
2. Limit the number of font colors to no more than 2 or 3. Use formatting sparingly – to highlight important information.
3. Consistency is key. All the slides should look like they are from the same presentation. Use design templates (themes) to help achieve this.
4. For slide titles, use sentence case, not all CAPS, and center the text.
5. Title font should be at least 38pt font.
6. Text should be at least 24pt font.
7. On dark backgrounds, use light font. On light backgrounds, use dark font. Light backgrounds with dark fonts “pop” more.
8. Graphics and sound should be relevant. Don’t include anything that does not add to the message.
9. Builds refer to the way text, graphics, objects, etc enter or exit the slide. This is done using the Custom Animation button on the Animations tab. Highlight the text/graphic/object, and click the Custom Animation button.
10. Changes to the entire presentation can be made by making changes to the Slide Master (View Slide Master).
Education World® Quiz Students With PowerPoint!
Quiz Students With PowerPoint!
By Lorrie Jackson
WHY A TECHTORIAL?
What will I learn ...
The Right Research Method For Any Problem (And Budget)Leah Buley
The mighty user research toolkit is packed with techniques. It can do everything from blue sky innovation research, to need-finding and requirements gathering, to product validation and testing. But many teams don't exploit the full toolkit, sticking instead to one side or the other of the quant versus qual divide, or returning again and again to that tired old workhorse—usability testing. This presentation is a primer on the range of research methods available, and a guide for determining which is the best technique for what you’re trying to learn now (and for your budget).
Hunches, Instincts, and Trusting Your Gut (Warm Gun 2014)Leah Buley
The challenge for all designers is how to critique the work, your own or someone else’s. Can you translate your gut feelings into a clear, credible point of view and communicate it to others?
Practice building for the ux team of one uxlxLeah Buley
These slides were presented in a workshop at UX London 2011. The workshop covered the methods, soft skills, and strategies to help UX teams of one build their own careers and do their best work in a resource constrained environments. Includes an overview of different "types" of teams of one, challenges, and some useful methods.
In this presentation, I share my own experiences learning about generative design and how to do it. This presentation includes lots of practical tips and tricks.
Agile methods for better and faster UX solutions. This 3-hour workshop was presented at Agile 2008 in Toronto. Co-developed with Dan Harrelson (http://www.slideshare.net/dharrels).
How to Be a UX Team of One was presented by Leah Buley at the 2008 IA Summit in Miami, Florida.
It shows techniques for generative design that can be used by solo user experience practitioners.
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
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8. AGENDA
2:15-2:30 Intro
2:30-3:15 Confidence Games
3:15-3:45 Sketching The User
3:45-4:15 Sketching Product Ideas
4:15-4:45 Sketching User Experiences
4:45-5:15 Validating With Sketches
12. INSTRUCTIONS
1. Spend 2 minutes
drawing this image
2. Now, spend 2
minutes drawing
this image
13. 1. Use markers and pens, not pencils;
be fast, not
2. Our :
if you mess up, keep going
3. If you really mess up,
grab a new page
perfect
Rules of Thumb
for Pen & Paper
16. INSTRUCTIONS
1. Fill a page with
overlapping rectangles
using the thing end of
the sharpie
2. Hold the page up for
everyone to see
3. Pass it to your neighbor,
then choose one
rectangle and color it
yellow
4. Pass it to your neighbor,
then outline 3-4
rectangles with the fat
end of the sharpie
5. One more pass! Shade in
3-4 rectangles with
hatching or stippling ...
or add some shadows
28. INSTRUCTIONS
1. Do a rough “overlapping
shapes” sketch of this
manikin
2. Trace back over your
rough sketch, and turn it
into a semi-realistic
sketch of your bad habit
in action.
3. Be sure to give the
sketch a facial
expression.
30. Header
Tab
User
Picture
Photo
Video
Filler text
Pop-up
Module
Arrows
Larger ones can
communicate weight,
or act as labels
Side-scrolling Module
Drop Shadows
Communicate depth and
bring attention to callouts
or popup boxes
Calendar
Page curl
Mouse Cursor
Quietly indicates a
rollover state
Callouts
Can show alerts,
help, guidance or
sketch annotations
Interface Elements
35. INSTRUCTIONS
1. Draw 6 boxes on a page.
2. Sketch 6 mutally
independent ideas for
products or interfaces
that could help with your
bad habit.
IDEA 1 IDEA 2 IDEA 3
IDEA 4 IDEA 5 IDEA 6
37. INSTRUCTIONS
1. Pick your favorite idea (or
combination of ideas)
from your 6-up template
2. Re-sketch it in more
detail on a new pageFAVORITE IDEA
42. INSTRUCTIONS
1. Sketch this image.
2. Look for lines, circles,
dots, angled lines, and
curved lines.
3. Add your favorite idea
from your 6 up to the
mobile phone
You have 5 minutes.
51. INSTRUCTIONS
1. Draw a storyboard that
shows how your concept
would fit into your life
and help you with your
bad habits
2. In the first few panels,
show the bad habit in
action
3. In the middle panels,
show the product
solution
4. In the final few panels,
show positive effect
55. INSTRUCTIONS
1. Share your 1-up sketch
and your storyboard
with a partner
2. Partner, take a minute to
say what you like about
the idea
3. Now, both of you, look at
the 1-up sketch and
storyboard, and think
about what you don’t
like about it
4. Place a sticky note for
every issue you see or
concern you have
58. Pro Tips for UX Sketching
1. Have nice pens and pencils.
2. Trace. Copy. Steal.
3. Find a font you like and practice tracing it.
4. Use interface templates and 6 up templates.
5. When in doubt, give it a thick outline.
6. Keep a sketchbook.
59. RESOURCES
Books
An Illustrated Life, by Danny Gregory
Drawing With Children, by Mona Brooks
Drawing on the Right Side of the Brain, by Betty Edwards
The Big Book of Realistic Drawing Secrets, by Carrie Stuart Parks & Rick Parks
Cartooning: Philosophy and Practice, by Ivan Brunetti
Drawing Lab for Mixed-Media Artists, by Carla Sonheim
Me
leah_buley@intuit.com
www.uxteamofone.com
www.leahbuley.com
@ugleah