The document discusses the visual elements used in art, including line, shape, mass, light/value, color, texture, pattern, and space. It provides definitions and examples of each element. Key points covered include the different types of lines and how they imply movement, shapes being either two-dimensional or three-dimensional, the use of light and dark values to create depth, the properties of color like hue and saturation, and how texture can be either actual or implied visually. Spatial concepts like linear perspective and implied depth in two-dimensional works are also addressed.

1. Chapter 4 - The Visual Elements The Visual Elements are a visual vocabulary – common characteristics throughout the history of art 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"

2. The Visual Elements Line Shape/Mass Light/Value Color Texture and Pattern Space Time and Motion

3. LINE Connotations of Line Vertical Horizontal Diagonal Contour and Outline Direction and Movement Implied Lines SHAPE AND MASS Implied Shapes Figure/Ground LIGHT Values Chiaroscuro COLOR Color Theory Color Properties Color Harmonies Optical Effects of Color Emotional Uses of Color – Monochrome and Minimalism TEXTURE AND PATTERN Actual Texture Visual Texture Pattern SPACE Three-Dimensional Space Implied Space: Suggesting Depth in Two Dimensional Linear Perspective Foreshortening Atmospheric Perspective Isometric Perspective TIME AND MOTION

4. Line : path of moving point Actual & Implied (Contour/Outline Direction & Movement Hatching, Cross-hatching, Stippling) Shape : (2-D) enclosed line Actual & Implied Mass/Form : (3-D) depth , height & width Figure (positive) & Ground (Negative) Value : Relative light & dark Chiaroscuro (light & dark) Color : Hue Analogous (warm & cool) Primary Secondary Complementary Pointillism: optical mixing

5. Draw a Non-objective design using line, and shape to convey meaning. Anger Energy/Exuberance Love

6. Types of Line Active Lines contrapposto Static Lines

7. -------------------------- Line Direction and Movement Connotations of Line Horizontal Vertical Diagonal Contour and Outline Implied Lines Appear calm, Landscape, Tranquility, Body in Repose Strength, solidity, assertive, or denote growth & strength. Dramatic and imply action, movement and/of tension

13. Brice Marden , Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.

14. PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.

15. Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches 182.88 x 182.88cm

17. MARK LOMBARDI

20. Egon Schiele, “Selbstporträt”, 1912

21. Otto Zitko, Cheim & Read, New York 2003

23. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.

24. Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.

25. Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm

26. Implied Lines / Eye Movement

27. Shape and Mass Shape = 2D form (triangle) Mass = 3D form that occupies a volume of space (pyramid) Figure/Ground Positive/Negative Shapes

28. Types of Shapes and Forms Geometric (Hard-edge)

29. Types of Shapes and Forms Organic (biomorphic) Paul Klee Matisse – cut paper collage

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

31. Zaha Hadid (architect), Cincinnati Center for Contemporary Art

34. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.

35. Values (the Effects of Light) Chiaroscuro The term "chiaroscuro" comes from Italian, and literally means A) organic shape. B) a sense of movement. C) outlined form. D) rough texture. E) light/dark.

36. Values (the Effects of Light) Chiaroscuro The term "chiaroscuro" comes from Italian, and literally means A) organic shape. B) a sense of movement. C) outlined form. D) rough texture. E) light/dark.

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.

39. Edward Weston photograph

40. A cluster of repeated parallel lines is known as A) Cross-hatching B) Hatching C) Contours Perpendicular hatched lines producing a cluster of lines similar to a checkered-board is A) Implied Lines B) Cross-contour C) Cross-hatching Hatching/Cross-Hatching

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

45. COLOR The three physical properties of color are hue, intensity, and value. primary, secondary, and intermediate. warm, cool, and neutral. tint, tone, and shade. None of the answers are correct. Color; Hue: Name of the color. Intensity: Relative purity of a color. Value: Relative lightness or darkness.

46. The Primary Colors Red, Yellow, and Blue These colors cannot be combined from mixing any colors together. The Secondary Colors Green, violet, and orange Made by combining the Primary colors together. The Tertiary Colors Yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange. Made by combining a primary and a secondary hue.

48. Hue – name of color Value – lightness or darkness of color Intensity/Saturation – relative purity of color Tint – mixed with white Shade – mixed with black/dark color

50. Color Combinations: Monochromatic Complimentary Analogous

51. Color is relative It is effected by the colors around it

52. JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous

53. Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous

54. Complimentary

55. Peter Doig

57. GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.

58. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago

59. Mark Tansey, Forward Retreat, 1986

60. Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8"

61. Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.

62. Otto Dix, Pisarka Sylvia von Harden , 1926

63. Subjective Color That which is derived from the mind reflecting a personal viewpoint, bias, or emotion. A subjective color tends to be intuitive, inventive, or creative.

64. Pablo Picasso The Tragedy , 1903

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.)

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 "Minotaur With Brushstrokes" (1998), oil on canvas.

67. Impasto – thick paint (“paste”)

68. Pattern Pattern Decorative, repetitive motif or design

69. Chris Jordan Plastic Bottles, 2007 60x120" Depicts two million plastic beverage bottles, the number used in the US every five minutes.

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.

76. "Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,

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).

78. Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.

79. Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010