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Handouts 2 elements of arts visual
- 1. ELEMENTS OF ART ART APPRECIATION MarieEllen Jane N. Belandres, LPT INSTRUCTOR
- 2. How do artists recreate,transform, or translate one artform into another work?
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- 4. Elements of Art:Visual - The aspects of an artwork that can be isolated from each other. - Generally produced when something is done to the medium after the technique is carried out. These are the elements of art and designs are the following: line, shape and form, space, color, and texture
- 6. Line – Refers toa point moving at an identifiable path- it has length and direction. - It also has width, it is one-dimensional and it has the capacity to either define the perimeters of the artwork (edges) and/or become a substantial component of the composition. - Line is “simple”, it has variations in view of its orientation/ direction, shape, and thickness.
- 7. a. Horizontal andvertical lines - Horizontal lines are normally associated with rest or calm. - Landscapes often contain these elements as works like these often connote a visual sense of being parallel to the ground. - Vertical lines connote elevation or height, which is usually taken to mean exaltation or aspiration for action.
- 8. b. Diagonal crookedLines - Diagonal lines convey movement and instability, although the progression can be seen. - Crooked or Jagged lines are reminiscent of violence, conflict or struggle.
- 9. c. Curved lines -These are lines that bend or coil - They allude to softness, grace, flexibility, or even sensuality.
- 11. Shape and Form -These two are related to each other in the sense that they define the space occupied by the object of art. - Shape refers to two dimensions: height and width - Form refers to three dimensions: height, width and depth - Shapes are part of bigger pictures; each can be identified by breaking the visual components apart and making distinctions.
- 12. There are two(2) categories can be used as broad distinctions: a. Geometric - These shapes find origin in mathematical propositions. - Its translation and use are often man-made. - These include shape such as squares, triangles, cubes, circles, spheres, and cones. b. Organic - These shapes are those readily occurring in nature, often irregular and asymmetrical. - Shapes may also be implied.
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- 15. Space - Related toshape and form is space. - inferred from a sense of depth, whether it is real or simulated - Sculpture is perfect example of artworks that bear in element - Manifested in two-dimensional artworks through the use of different techniques or use (non-use) of area around the drawing or picture.
- 16. However, not allworks are sculptures. In two-dimensional artworks, they may imply: a. Positive and negative space - identified with the white space is the negative space. - Positive space is the space where shadow is heavily used. b. Three-dimensional space - can be simulated through variety of techniques such as shading - Illusion of three-dimensionality can be achieved in a two- dimensional work.
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- 19. Color - One ofthe elements that enhance the appeal of an artwork. - This element is a property of light, as it is reflected off the object - Color is not intrinsic to an object and without light - Color begins with the notion of a Color Theory that was first unrevealed by the experiments undertaken by Sir Isaac Newton in 1666 This Color Theory is the creation of a color wheel, which corresponds to the property of color:
- 20. Hue - This dimensionof color gives its name: It can be subdivided into: Primary colors – red, yellow, and blue Secondary color- green, orange, and violet Tertiary color- six in total, these hues are achieved when primary and secondary colors are mixed.
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- 25. Value - This refersto the brightness or darkness of color; this is used in artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene. ·Light colors- taken as the source of light in the composition ·Dark colors- lack or even absence of light
- 27. Intensity - This isthe color’s brightness or dullness, identified as the strength of color, whether it is vivid or muted; to achieve a specific intensity of a color ·Bright or warm colors- positive energy ·Dull or cool colors- sedate/soothing, seriousness or calm
- 28. To better understandintensity of color, color harmonies are to be considered. However, color harmonies are also integral considerations not only for pictorial arts but also for other art forms.
- 29. Monochromatic harmonies - use thevariations of a hue; an example is “Claud Monet’s “Houses of Parliament”. Houses of Parliament, 1904 by Claude Monet
- 30. Complementary harmonies -involve two colors oppositeeach other in the color wheel, since they are at contrary positions the reaction is most intense. Three Saints: Roch, Anthony Abbot, and Lucy ca. 1513 Cima da Conegliano (Giovanni Battista Cima) Italian
- 31. Analogous harmonies - makeuse two colors beside each other in the color wheel. Edgar Degas, "Before the Race" (1882-1884) Oil on panel. Henry Walters (Bequeathed, 1931) Walters Art Musuem (WAM)
- 32. Triadic harmonies – makeuse of three- dimensional colors from equidistant within the color wheel. Edvard Munch, "The Scream" (1893). Tempera and Casein on cardboard. Munchmuseet Nasjonalgalleriet, Oslo
- 34. Texture - Like space,texture can be either real or implied - This element in an artwork is experienced through the sense of touch (and sight) and renders the art object tactile.
- 35. Frans Pourbus theYounger, "Margherita Gonzaga, Princess of Mantua" Oil on canvas. Bequest of Collis P. Huntington, 1990. The Metropolitan of Art, New York
- 36. Planes and Perspective Someart forms work with actual spaces, such as sculptors, architects, and stage designers. However, with pictorial art that is two-dimensional, notions of depth and hence perspective requires the implementation of principles and techniques in creating an illusion that will fool the eye of three-dimensionality when in reality there is none.
- 37. Picture Plane -the actualsurface of the painting or drawing, where no illusion of a third dimension exists. Hence, the elements lay flat, as if one was looking through a window into what lies on the other side of the glass.
- 38. During the Renaissance,specifically in the 15th century, chiaroscuro was developed. It made use of light and dark contrasts and tones in which paintings not only looked three- dimensional but also more dramatic. Aside from this technique, linear perspective changed the way pictorial representation was done. Credited to Renaissance artists, its early proponents include Leon Battista Alberti, Paolo Uccello, and architect Filippo Brunelleschi in the early fifteenth century, who were published in Alberti's On Painting in 1435.
- 39. Its use wasbased on the following observations: a. As forms and objects recede, the smaller they become. b. We were taught that parallel lines never meet. However, when they, too, seem to converge when they recede into a distance, at a point, they both disappear. This point of disappearance is called the vanishing point.
- 41. A viewpoint mayalso be constructed as normal (view standing), low (view from a lower angle), or high(view looking down on a scene) depending on the position the viewers take. There are three types of perspective, grounded on the number of vanishing points used by the artist: a. One-point perspective - often used in depicting roads, tracks, hallways, or rows of trees -this type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line.
- 42. b. Two-point perspective- pertains to a painting or drawing that makes use of two vanishing points, which can be placed anywhere along the horizon line. It is often used in depicting structures such as houses or buildings in the landscapes that are viewed from a specific corner. c. Three-point perspective - the viewer is looking at a scene from above or below. It makes use of the three vanishing points, each corresponding to each axis of the scene.
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- 44. Two-Point Perspective Gustav Caillebotte,"Rue de Paris, tempts de pluie" (Paris Street in Rainy Weather), 1877. Oil on canvas.
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- 46. REFERENCES: Caslib, B. N.,Jr., Garing, D., and Casaul, J. A. (2018). Art Appreciation. Rex Book Store. www.google.com