Elements of Art - Arts 1B

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1. http://www.free-powerpoint-templates-design.com ELEMENTS OF ART

2. Learning Outcomes 1 2 Be able to Identify the specific elements of art present in an art work To better analyze and interpret works of art in a formalist perspective

3. INTRODUCTION

4. F O R M

5. Form AS an art element

6. Form AS an art element

7. 7 3D objects that have height, width and depth The arbitrary organization or inventive arrangement of all the visual elements according to the principles that will develop unity in the artwork

8. 8 MEDIA AND TECHNIQUES   The emergence of media and techniques have affected art and uses them as aids to their creative expression. Photography Edward Steichen,Fashion, 1924,Willem Photographic

9. 9 MEDIA AND TECHNIQUES Some are extensions for traditional approach (Traditional painting, drawing media, sculptors) Also, nontraditional or unique media

10. 10 PICTURE PLANE AND PICTURE FRAME Picture plane - is the flat surface on which artists execute their pictorial images. - may also represent an imaginary plane of reference on which an artist can create spatial illusions. -used as a basis for judging two- and three- dimensional space.

11. 11 Picture Frame -represents the outermost limits, or boundary, of the picture plane. -these limits are represented by the edges of the canvas or paper on which the artist works, or by the margin drawn within these edges.

12. TOM WESSELMANN, BARBARA AND THE BABY 1979-81. OIL CANVAS

13. 13 POSITIVE AND NEGATIVE AREAS Negative areas - unoccupied areas -they are just as important to total picture unity as the positive areas -might be considered as those portions of the picture plane that continue to show through after the positive areas have been placed in a framed space.

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15. 15 Positive areas -may depict recognizable objects or nonrepresentational elements -areas that represent the artist’s initial selection of elements

16. 16 The concept of positive-negative is important to beginners investigating art organization, since they usually direct their attention to positive forms and neglect surrounding areas. As a result, pictures often seem overcrowded, busy and confusing.

17. S P A C E

18. SPACE as an ELEMENT OF ART

19. 19 Space Conceived as a product rather than a tool which is created by art elements Area where the artwork is organized Within, outside, around Positive space – main object or subject or in sculpture it is what the object Negative space – surrounding area or the in between

20. 20 Types of space Decorative space – the absence of real depth (flat) Confined to the flatness of the picture plane Plastic space – refers to the representation of three-dimensionality Shallow – allows more positive control on placement of shapes; more in keeping with the flatness of the working space Deep and Infinite Space – movement into far distances; window to a landscape  

21. 21 Spatial Indicators 1. Size – Nearness of object is to largeness of scale while far distance is to smaller scale ; Largeness may mean importance, power and strength. 2. Position – Horizon line (eye level) provides point of reference; bottom of plane is seen as closer 3. Overlapping – object partially covers another object (front seems to be closer)

22. 22 4. Transparency – the overlapped figure is made visible; to produce a closer spatial relationship; seen on Cubist artworks presenting a shallow space 5. Interpenetration – object passes through another object providing a clear position of the planes and objects creating illusion of shallow or deep space

23. 23 6. Fractional Representation – in human anatomy, as much as body as possible is seen to create flatness and for some to move viewer around the subjects; Egyptian artworks 7. Sharp and Diminishing Detail – near = clearly defined, sharp and refined; far; blurry and grayed values seen in Atmospheric Perspective wherein objects lose color brightness and detail as they gain distance

24. 24 8. Converging Parallels – it makes a shape appear to recede into the field 9. Linear Perspective – a system for concerting sizes and distances of known objects into a unified spatial order

25. 25 Parts: Horizon Line/Eye Level Vanishing Point – where guidelines converge Orthogonal – imaginary sightlines/ guidelines Viewer’s location point – vertical axis which can be seen through the vanishing point which establishes location of artist or viewer

26. 26 One-point Perspective - Directly in front of image; creates and is viewed as a flat surface Two-point Perspective – geometric solids appear to be in angular positions; usually used in artworks that frame an architectural structure Three-point Perspective – artist views an object from an exaggerated position; frog’s-eye view or bird’s-eye view

27. T E X T U R E

28. Introduction to texture 28

29. Texture is the surface character of a material 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 of texture Texture is really surface and the feel of that surface depends on the degree to which it is broken by its composition. Example: Rough surfaces intercept light rays while glossy surfaces reflect light more evenly. 30

31. Types of texture Actual texture is the “real thing”; it is the way the surface of an object looks and feels. Simulated texture is said to be a surface that looks real but, in fact, is not. Abstract texture usually display some hint of the original texture but have been modified to suit suit the artist’s particular needs. Invented textures are textures without precedent; they neither simulate nor are they abstracted from reality; they are purely created in the artist’s imagination. 31

32. Actual texture

33. Simulated texture

34. Abstract texture

35. Invented textures

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 the Visual Arts Texture is unique among the art elements because it activates two sensory processes. It can be both tactile and visual. 37

38. Texture and the Visual Arts

39. Example: -An architect balances the smoothness of steel and glass to the roughness of stones and concretes. -Sculptors manipulate the textures of clay, metal and wood 40

40. S H A P E

41. What is Shape?

42. 43 An area that stands out from the space next to or around it due to a defined or implied boundaries because of differences of value, color or texture.

43. 44 Kinds of Shapes : Actual Shape –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 developed curves found in live organisms. .

44. 45 Geometric Shape – a shape that appears related to geometry. They are usually simple such as triangles, rectangles and circles . Implied Shape – a shape suggested or created by the psychological connections of dots, lines, areas, or their edges creating the visual appearance of shape that does not physically present

45. 46 Mass – in graphic art, a shape that appears to stand out three-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 material. Objective – that which is based, as near as possible, on physical actuality or optical perception. Such art tends to appear natural or real. Planar – having to do with planes

46. 47 Subjective Shape – that which is derived from the mind 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 illusion possessing the dimension of depth, as well as the dimensions of height and width. Two-dimensional – to possess the dimensions of height and width, especially in regard to flat surface or picture plane.

47. 48 Shape Dimensions Two-dimensional Three-dimensional Shape and Principle of Designs Balance Control of Attention Duration and Relative Dominance

48. 49 The Use of Shapes To achieve order, harmony, and variety – all related to the principles of design. To create the illusion of mass, volume, and space on the surface of the picture plane. To extend observer attention or interest span.

49. L I N E

50. LINE As ELEMENT of ART

51. The most familiar element of art Provide a means of sharing ideas Ideograms (Pictorial symbols of objects) Sound symbols i.e. alphabets In art, line is the primary element in sketching and drawing

52. The Physical Characteristics of Line Short or long Thin or thick Straight or curved Direct or meandering Zigzag or serpentine Distinct or blurred

53. The Physical Characteristics of Line: Measure Refers to the length and width of line – its measurable properties Must be appropriate for the development of the image

54. The Physical Characteristics of Line: Type Differentiated by change of direction

55. The Physical Characteristics of Line: Direction Can exist irrespective of the component movements within the line

56. The Physical Characteristics of Line: Location Enhances or diminishes the visual weight and our psychological response to the other characteristics of the line

57. A visual surface quality related to the medium with which the line is created The Physical Characteristics of Line: Character

58. Line and the Other Art Elements: Line and Shape Contour – the line that defines the outermost limits of a drawn and painted figure, object or mass

59. Cross-contour – lines that seem to follow the rise and fall of a shape’s surface to create a sense of three-dimensionality

60. Line and the Other Art Elements: Line and Value The degree of lightness or darkness that a line exhibits against its background

61. Hatching – common way 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

62. Line and the Other 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

63. C O L O R

64. THE ELEMENT OF COLOR

65. Line and the Other Art Elements: Line and Color Can accentuate other line properties

66. The most universally appreciated element One of the most expressive elements

67. Light: The Source of Color

68. Subtractive Color Color is experienced through reflected light

69. Primary, Secondary, and Intermediate Colors Primary Colors: Blue, Red, Yellow Secondary Colors – a mixture of two primary colors i.e Orange, Green, Violet Intermediate Colors – created by mixing a primary color with a neighboring secondary color

70. Tertiary Colors Produced by unbalanced mixtures

71. Neutrals Achromatic colors Black, white and gray

72. The Physical Properties of Color : Hue The generic color name – red, blue, green, and so on Determined by the specific wavelength of color in a ray of light

73. The Physical Properties of 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

74. High-Key and Low-Key Colors High-Key Colors: l ocated above the middle gray Low-Key Colors: below the middle gray

75. Aesthetic Color Relationships: Complements and Split-Complements

76. Triads Formed by an equilateral triangle on the color wheel Primary Triad Secondary Triad

77. Tetrads Color relationship based on a square, rather than an equilateral triangle Formed when four colors are used

78. Analogous and Monochromatic Colors Analogous Colors – colors that appear next to each other on the color wheel

79. Monochromatic Colors – use only one hue but explore the complete range of tints (value levels to white) and shades (value levels to black)

80. Warm and Cool Colors 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

81. Plastic Colors

82. V A L U E

83. Value as an Element OF ART 95

84. DEFINITION OF VALUE AS AN ELEMENT 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 even color, but these terms only have only limited convenience and accuracy in an art context.

85. Uses OF VALUE AS AN ELEMENT OF ART DESCRIPTIVE USES OF VALUE One of the most useful applications of value is in describing objects, shapes, and space. Descriptive qualities can be broadened to include psychological, emotional, and dramatic expression.

86. DEFINITION OF VALUE AS AN ELEMENT OF ART

87. Uses OF VALUE AS AN ELEMENT OF ART EXPRESSIVE USES OF VALUE Can be used to create an atmosphere of gloomy, mystery, drama, or menace, whereas a composition that is basically light will produce quite the opposite effect.

88. AS AN ELEMENT OF ART

89. CHIAROSCURO Technique of representation that makes forceful use of contrasting lights and darks.

90. TENEBRISM Painters who use violent chiaroscuro are called tenebrists . Also called the “dark manner” of painting

91. Uses OF VALUE AS AN ELEMENT OF ART DECORATIVE VALUE PATTERNS

92. COMPOSITIONAL FUNCTIONS OF VALUE Open compositions- Values can cross over shape boundaries into adjoining areas Closed compositions- Values are limited by the edges

93. COMPOSITIONAL FUNCTIONS OF VALUE

94. Thank you