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Elements of Art - Arts 1B
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- 2. Learning Outcomes 1 2 Be ableto Identify the specific elements of art present in an art work To better analyze and interpret works of art in a formalist pe rspective
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- 5. Form AS an artelement
- 6. Form AS an artelement
- 7. 7 3D objects thathave height, width and d epth × The arbitrary organization or inventive arrangement of all the visual elements acco rding to the principles that will develop unity in the a rtwork
- 8. 8 MEDIA AND TECHNIQUES -The emergence of media and techniques have affected art and uses them as aids to their creative expression. o Photography Edward Steichen,Fashion, 1924,Willem Photographic
- 9. 9 MEDIA AND TECHNIQUES oSome are extensions for traditional approach (Traditional painting, drawing media, sculptors) o Also, nontraditional or unique media
- 10. 10 PICTURE PLANE ANDPICTURE FRAME Picture plane - is the flat surface on which artists execute th eir pictorial images. - may also represent an imaginary plane of re ference on which an artist can create spatial illusions .
- 11. 11 Picture Frame -represents theoutermost limits, or boundary, of the picture plane. -these limits are represented by the edges of t he canvas or paper on which the artist works, or b y the margin drawn within these edges.
- 12. TOM WESSELMANN, BARBARAAND THE BABY 1979-81. OIL CANVAS
- 13. 13 POSITIVE AND NEGATIVEAREAS Negative areas -unoccupied areas -they are just as important to total picture unity as t he positive areas -might be considered as those portions of the pictur e plane that continue to show through after the positive areas h ave been
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- 15. 15 Positive areas -may depictrecognizable objects or nonrepresent ational elements -areas that represent the artist’s initial selection of elements
- 16. 16 The conceptof positive-negative is importa nt to beginners investigating art organization, since they us ually direct their attention to positive forms and neglect surrounding areas. As a result, pictures often seem overcrowde d, busy and confusing.
- 17. S P AC E
- 18. SPACE as an ELEMENTOF ART
- 19. 19 Space - Conceived asa product rather than a tool w hich is created by art elements - Area where the artwork is organized - Within, outside, around Positive space – main object or subject or in s culpture it is what the object Negative space – surrounding area or the in b etween
- 20. 20 Types of space Decorativespace – the absence of real depth (flat ) - Confined to the flatness of the picture plane Plastic space – refers to the representation of thre e-dimensionality Shallow – allows more positive control on placeme nt of shapes; more in keeping with the flatness of th e working space Deep and Infinite Space – movement into far dista nces; window
- 21. 21 Spatial Indicators 1. Size– Nearness of object is to largenes s of scale while far distance is to smaller scale; Largene ss may mean importance, power and strength. 2. Position – Horizon line (eye level) provi des point of reference; bottom of plane is seen as closer
- 22. 22 4. Transparency –the overlapped figure is made visible; to produce a closer spatial relationship; see n on Cubist artworks presenting a shallow s pace 5. Interpenetration – object passes throug h another object providing a clear position o f the planes and objects creating illusion of shallow or deep space
- 23. 23 6. Fractional Representation– in human an atomy, as much as body as possible is seen t o create flatness and for some to move viewer around the subjects; Egyptian ar tworks 7. Sharp and Diminishing Detail – near = cl early defined, sharp and refined; far; blurry an d grayed values seen in Atmospheric Perspec tive wherein objects lose color brightness and
- 24. 24 8. Converging Parallels– it makes a shape app ear to recede into the field 9. Linear Perspective – a system for concerting sizes and distances of known objects into a unifi ed spatial order
- 25. 25 Parts: 1. Horizon Line/EyeLevel 2. Vanishing Point – where guidelines conv erge 3. Orthogonal – imaginary sightlines/ guideli nes 4. Viewer’s location point – vertical axis whic h can be seen through the vanishing point
- 26. 26 a. One-point Perspective- Directly in fron t of image; creates and is viewed as a flat surface b. Two-point Perspective – geometric soli ds appear to be in angular positions; u sually used in artworks that frame an a rchitectural structure c. Three-point Perspective – artist views an object from an exaggerated positio
- 27. T E XT U R E
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- 29. Texture isthe surface character of a materi al which can be experienced through touch or the illusion of touch. It can either be produced by natural forces or through an artist’s manipulation of the art elements. Texture is an experience that is always with us. 29
- 30. The Nature oftexture Texture is really surface and the feel of that s urface depends on the degree to which it is b roken by its composition. × Example: Rough surfaces intercept light ray s while glossy surfaces reflect light more evenly. 30
- 31. Types of texture a)Actual texture is the “real thing”; it is the way the surfac e of an object looks and feels. b) Simulated texture is said to be a surface that looks real but, in fact, is not. c) Abstract texture usually display some hint of the origin al texture but have been modified to suit suit the artist’s particular ne eds. d) Invented textures are textures without precedent; they 31
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- 36. Texture and composition Relative dominance and movement Psychological factors Texture and Art Media Textual possibilities are also considered in making other kinds of artworks and not just graphic arts. 36
- 37. Texture and theVisual Arts Texture is unique among the art elements b ecause it activates two sensory processes. It can be both tactile and visual. 37
- 38. Texture and theVisual Arts
- 40. Example: -An architect balancesthe smoothness of ste el and glass to the roughness of stones and concretes. -Sculptors manipulate the textures of clay, me tal and wood 40
- 41. S H AP E
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- 43. 43 An area thatstands out from the space n ext to or around it due to a defined or implied bou ndaries because of differences of value, color or t exture.
- 44. 44 Kinds of Shapes: ActualShape –clearly defined or positive areas Amorphous Shape – a shape without clarity or definition : formless, indistinct and of uncertain dimension Biomorphic Shape – irregular shape that resembles the freely
- 45. 45 Geometric Shape –a shape that appears related to geometry. They are usually simple such as triangles, rectangles and circle s. Implied Shape – a shape suggested or created by th e psychological connections of dots, lines, areas, or their edges creati ng the visual
- 46. 46 Mass – ingraphic art, a shape that appears to stand out thr ee-dimensionally from the space surrounding it, or appears or create the illusion of a solid body of material. In the plastic arts, the physical bulk of a solid body of materi al. Objective – that which is based, as near as possible, on ph ysical actuality or optical perception. Such art tends to appear natu ral or real. Planar – having to do with planes
- 47. 47 Subjective Shape –that which is derived from the mi nd and reflects an individual viewpoint or bias. Art that is subjective tends to be inventive or creative. Three-dimensional – to possess or to have the illusi on possessing the dimension of depth, as well as the dimensions of height and width. Two-dimensional – to possess the dimensions of hei ght and width,
- 48. 48 Shape Dimensions 1. Two-dimensional 2.Three-dimensional Shape and Principle of Designs 1. Balance 2. Control of Attention 3. Duration and Relative Dominance
- 49. 49 The Use ofShapes 1. To achieve order, harmony, and variety – all related to the principles of design. 2. To create the illusion of mass, volume, an d space on the surface of the picture plan e. 3. To extend observer attention or interest sp an.
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- 52. • The mostfamiliar element of art • Provide a means of sharing ideas o Ideograms (Pictorial symbols of objects) o Sound symbols i.e. alphabets In art, line is the primary element in sketching and drawing
- 54. The Physical Characteristicsof Lin e• Short or long • Thin or thick • Straight or curved • Direct or meandering • Zigzag or serpentine • Distinct or blurred
- 56. The Physical Characteristicsof Line: Measure • Refers to the length and width of line – its measurable properties • Must be appropriate for the development of the image
- 57. The Physical Characteristicsof Line: Type • Differentiated by change of direction
- 59. The Physical Characteristicsof Line: Direction • Can exist irrespective of the component movements within the line
- 60. The Physical Characteristicsof Line: Location • Enhances or diminishes the visual weight and our psychological response to the other characteristics of the line
- 61. • A visualsurface quality related to the medium with which the line is created The Physical Characteristics of Line: Character
- 63. Line and theOther Art Elements: Line and Shape Contour – the line that define s the outermost limits of a draw n and painted figure, object or mass
- 64. Cross-contour – linesthat seem to follow the rise and fall of a shape’s surface to create a sense of three- dimensionality
- 65. Line and theOther Art Elements: Line and Value • The degree of lightness or darkness that a line exhibits against its background
- 66. Hatching – commonway of creating value with parallel lines Cross-hatching – passing a group of parallel lines across another group of lines, in a different direction – create darker values
- 67. Line and theOther Art Elements: Line and Texture Groups of lines can combine to create the illusion of a visual texture. Visual Texture – can indicate degrees of roughness or smoothness that stimulate our sensation of touch
- 69. C O LO R
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- 71. Line and theOther Art Elemen ts: Line and ColorCan accentuate other line properties
- 72. • The mostuniversally appreciated element • One of the most expressive elements
- 73. Light: The Sourceof Color
- 74. Subtractive Color • Coloris experienced through reflected light
- 75. Primary, Secondary, andIntermediate Colors Primary Colors: Blue, Red, Yellow Secondary Colors – a mixture of t wo primary colors i.e Orange, Gre en, Violet Intermediate Colors – crea ted by mixing a primary c olor with a neighboring se condary color
- 76. Tertiary Colors • Producedby unbalanced mixtures
- 77. Neutrals Achromatic colors • Black,white and gray
- 78. The Physical Properties ofColor: Hue• The generic color name – red, blue, green, and so on • Determined by the specific wavelength of color in a ray of light
- 79. The Physical Propertiesof Color: Value • Indicates the relative degree of lightness or darkness in an image • Chromatic Value – refers to the lightness or darkness of a color i.e. the quantity of light a color reflects
- 80. High-Key and Low-KeyColors • High-Key Colors: located above the middle gray • Low-Key Colors: below the middle gray
- 83. Aesthetic Color Relationships: Complementsand Split-Complements
- 85. Triads • Formed byan equilateral trian gle on the color wheel Primary Triad Secondary Triad
- 86. Tetrads • Color relationshipbased on a square, rather than an equilateral triangle • Formed when four colors are used
- 87. Analogous and MonochromaticColors • Analogous Colors – colors that appear next to each other on the color wheel
- 88. • Monochromatic Colors– use only one hue but explore the complete range of tints (value levels to white) and shades (value levels to black)
- 89. Warm and CoolColors • Warm colors – associated with the sun e.g. red, orange, and yellow • Cool colors – any color containing blue e.g green, violet, blue green are associated with air, sky, plants and water
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- 94. V A LU E
- 95. Value as an ElementOF ART 95
- 96. DEFINITIONOF VALUE AS ANELEMENT OF ART - Value in art is the relationship of one part or detail to another with respect to light or dark. - Value is also called tone, brightness, shade, or ev en color, but these terms only have only limited c onvenience and accuracy in an art context.
- 97. Uses OF VALUE ASAN ELEMENT OF ART DESCRIPTIVE USES OF VALUE One of the most useful applications of value is in d escribing objects, shapes, and space. Descriptive qualities can be br oadened to include psychological, emotional, and dramatic expression.
- 98. DEFINITIONOF VALUE AS ANELEMENT OF ART
- 99. Uses OF VALUE ASAN ELEMENT OF ART EXPRESSIVE USES OF VALUE Can be used to create an atmosphere of gloomy, m ystery, drama, or menace, whereas a composition that is basically lig ht will produce quite the opposite effect.
- 100. AS AN ELEMENTOF ART
- 101. CHIAROSCURO Technique of representationthat m akes forceful use of contrasting ligh ts and darks.
- 102. TENEBRISM Painters who useviolent chiaroscur o are called tenebrists. Also called the “dark manner” of pai nting
- 105. Uses OF VALUE ASAN ELEMENT OF ART DECORATIVE VALUE PATTERNS
- 106. COMPOSITIONALFUNCTIONS OF VALUE Opencompositions- Values can cross over shape boundaries i nto adjoining areas Closed compositions- Values are limited by the edges
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