ELEMENTS of arts involving methods .pptx

it consist of elements such as color shapes vignette hue balance and more others

1. ELEMENTS OF

2. ) ) ) ) ) ) ) ) ) The artist utilizes the mediums and puts together elements to create a work of art. The medium is the physical means through which he can come up with a work of art, and the elements are its quantities or properties. An element of art can be achieved through the use of a particular medium. To create color, for example, the artists use and mix pigments. ) ) ) ) ) ) ) ) )

3. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

4. LINE Line is an important element at the disposal of every artist. Through the lines, as in painting or sculpture, the artist represents figures and forms . Lines always have direction. They are always moving. Lines are use in any work of art, may either be straight or curved .

5. Two classifications of Line: Straight Line Horizontal Line Vertical Line Diagonal Line Curve Line Crooked or jagged lines LINE

6. A straight line is the basic framework of many forms, but it lacks softness and flexibility . Straight lines , however, suggest efficiency, simplicity, and strength . Straight lines depict flexibility, buoyancy, and grace. The straight line moves in one direction only . It may either be horizontal, vertical, or diagonal. LINE

7. Horizontal lines are lines of repose and serenity . They express ideas of calmness and quiescence . Horizontal lines are found in reclining persons, in landscapes, calm bodies of water, and in the distant meeting of the earth and sky in what is commonly called the horizon. HORIZONTAL LINE

8. HORIZONTAL LINE

9. Vertical lines are lines that denote action . They suggest poise, balance, force, aspiration, exaltation, and dynamism. Vertical lines seen in a man standing straight, a tall tree, and in statues of saints, and heroes give an impression of dignity . Vertical lines also tend to express as well as arouse emotions of exaltation and inquietude : this is evident in monumental architecture. The Gothic cathedral express the aforementioned sentiments that possessed the soul of Norther Europe in the later Middle Ages . VERTICAL LINE

10. VERTICAL LINE

11. Diagonal lines suggest action, life and movement. They give animation to any composition in which they appear. Almost every object in an action assumes a diagonal line. A running person makes a diagonal line with his body and legs. The degree of action is shown by the angle the diagonal makes in relation to the ground. DIAGONAL LINE

12. Curved lines suggest grace, subtleness, direction, instability movement, flexibility, joyousness, and grace. They are never harsh or stem since they are formed by gradual change in direction, they tend to impart these qualities to any work where they are used. LINE

13. CURVE LINE

14. Crooked or jagged lines express energy, violence, conflict, struggle. CROOKED OR JAGGED LINE

15. Lines may also be classified into three groups: lines which follow or repeat one another lines which contrast with one another transitional lines which modify or soften the effect of others

16. Repetition occurs when two or more lines are drawn within a corner.

17. Lines that are in opposition to each other form a contrast .

18. When a curved line cuts across a comer from an opposition line to another, it forms a transitional line.

19. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

20. Of all the elements of visual arts, color has the most aesthetic appeal. Delight in color is a universal human characteristic. Color is a property of light. When light goes out, color goes with it. COLOR

21. The light of the sun contains all the colors of the spectrum, violet , indigo , blue , green , yellow , orange , and red . These colors are so blended that they yield no appearance of color. When a beam of light passes through a prism , the different rays of color are separated so we are able to see and identify them from each other.

22. When light strikes a surface, some of the color rays are absorbed while others are reflected. Others pass through, especially when the object is transparent. Most surfaces absorb all the color rays except those which yield a single-color sensation and therefore appear to be of that color.

23. A blue dress absorbs all the color rays except the blue ray which it reflects. A red ball absorbs all the color rays except the red ray which it reflects. The color of an object therefore is determined by the rays which are reflected to the eyes of the beholder. Objects that appear to be black absorbed practically all the color rays and reflect none, while objects that appear white reflect all the color rays equally. Gray is due to the partial reflection of the color rays. White, gray, and black have no color quality. They are called neutral colors .

24. What is the color? Hue HUE, VALUE, AND intensity How light or dark is the color? How strong or faded is the color? These are three-dimensions of Color. Val u e Intensity

25. red blue yellow You use these colors to make all other colors. Red Blue Yellow Hue is the dimension of color that gives color its name. When we say, the flower is yellow, we're naming its hue. Color names such as red, blue green, violet, and yellow indicate hue . Blue, red, and yellow are primary hues. HUE

26. green purple orange Blue Yellow + = Green Can you see which colors make purple and orange? We can see secondary colors on the color wheel. The color wheel shows us which primary colors mix to make a secondary color. For example, Purple Green Orange

27. WARM AND COOL COLORS Warm colors are red, yellow, and orange, and colors they are connected to in the color wheel. Cool colors are blue, green and purple and colors they are connected to in the color wheel. Warm Colors Cool Colors

28. Colors may either be warm or cool. Red, orange, and yellow are the warm hues. They are associated with objects like the sun, fire, and other sources of heat. They tend to impart warmth to any composition in which they are used. They are conspicuous, cheerful , stimulating, vivacious, joyous, and exciting. They are suggestive of impetuous or instinctive action. They are called advancing colors because they have an effect of advancing or coming towards you.

29. The cool colors are those where blue predominates like green, blue-green, blue, and blue - violet. They cause surfaces covered with them to appear or recede. They suggest distance. They are calm, sober, restful, and inconspicuous .

30. R ed , the color of fire and blood, is the warmest, most vigorous, and most exciting of the colors. It stands for passion and energy. Yellow , the color of light, is the most brilliant, cheerful, and exultant of the colors. It suggests cheerfulness, magnificence, life, and splendor. It serves to balance the warm colors like red and orange . Green is the color for vegetation and symbolizes life and freshness.

31. Violet represents shadows and mysteries . B lack despair death and pain . O range suggests deliciousness and warmth. Blue the color of the sky and of deep and still water, is the coolest and the most tranquil of the colors. It arouses the feelings of peace and quietness.

32. Color and line should not evoke an emotion as much as express it. The painting must express the emotion intended by the artist. Unless the spectator is made aware this emotion as truly there in the canvas, the painting is not aesthetic at all (Panizo and Rustia, 1995). Through color and line, painting moves the spectator.

33. What is the color? Hue HUE, VALUE, AND intensity How light or dark is the color? How strong or faded is the color? These are three-dimensions of Color. Val u e Intensity

34. Value sometimes called chiaroscuro , refers to the lightness or darkness of a color. I t is a quality which depends on the amount of light and dark in color. They give the expression of depth and solidity and lend form to paintings. VALUE

35. Value sometimes called chiaroscuro, refers to the lightness or darkness of a color. it is a quality which depends on the amount of light and dark in color. They give the expression of depth and solidity and lend form to paintings. VALUE Tints are value above the normal and shades are values below the normal. Pink is a tint of red, maroon is a shade of red. Sky blue is a tint, navy blue is a shade The value of a hue can be changed. We raise hue by adding more light so that it reflects more light it can reflect

36. What is the color? Hue HUE, VALUE, AND intensity How light or dark is the color? How strong or faded is the color? These are three-dimensions of Color. Val u e Intensity

37. Intensity , another dimension of color, refers to its brightness or darkness . It gives color strength. Difference in intensity may be described as full intensity, two-thirds intensity and two-thirds neutral. Two colors may be both blue but one is more intense than the other. When it is dulled, it is said to be partly neutralized. The more black or white is added, the weaker the intensity becomes.

38. Color plays an important role in the works of artists. Painters use one color to balance and enrich the other to awaken the emotional responses of the viewer. Although painting is known as the art of color, color is also important in sculpture and architecture. Buildings are painted; bronze is selected for its rich brown color and marble for its whiteness.

39. Color Harmonies

40. Ginyard International Co. There are two kinds of color harmonies : R elated C olor H armonies C ontrasted C olor H armonies

41. RELATED COLOR HARMONIES Related color harmonies may either be monochromatic or adjacent. Monochromatic harmony is made up of several tones of one hue, like for instance orange, tan, brown, and other tones from the orange family. Monochromatic harmonies are simplest and easiest to use. Different tones of the same hue all have something in common, so it is easy for them to agree.

42. Adjacent or neighboring harmony two or three neighboring hues on the color circle are used together. For example, tones of green, yellow, and orange can produce delightful harmony. They have something in common because there is yellow in green and in orange. Good adjacent harmonies can be produced by using other groups of neighboring colors like yellow, orange, and red orange, red, and violet.

43. 2. Contrasted color harmonies Colors which lie directly opposite to each other in the color circle are called complementary colors . Red and green, orange and blue, and violet and yellow are complementary colors. They contrast which each other strongly; therefore, they are more difficult to use harmoniously than related color combinations.

44. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

45. Texture Texture is an element that deals more directly with the sense of touch. It has to do with the characteristic of surfaces which can be rough or smooth, fine, or coarse, shiny or dull, plain or irregular. Texture is found in all the visual arts. A painting, a building, or a piece of sculpture has textures which can be felt and described in a variety of ways. Texture is due primarily to differences in medium.

46. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

47. Perspective Perspective deals with the effect of distance upon the appearance of objects, by means of which the eye judges spatial relationships. It enables us to perceive distance and to see the position of objects in space.

48. There are two kinds of perspective: linear perspective and aerial perspective. To get depth or distance, an artist uses both linear and aerial perspective.

49. Linear perspective is the representation of an appearance of distance by means of converging lines. involves the direction of lines and the size of objects.

50. Aerial Perspective Aerial perspective, also known as atmospheric perspective, involves using gradations in color and definition to suggest distance. It simulates the way our eyes perceive objects as they recede into the distance.

51. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

52. Space In painting, as in architecture, space is for great importance. The exterior of a building is seen as it appears in space, while interior is seen by one who is inside an enclosure. Painting does not deal with space directly. It represents space only on a two-dimensional surface. Sculpture involves very little space relationship or perception of space.

53. ELEMENT IN VISUAL ART LINE COLOR TEXTURE PERSPECTIVE SPACE FORM & VOLUME LIGHT sHADOW

54. Form Form applies to the overall design of a work of art. It describes the structure or a shape of an object. Form directs the movements of the eyes. Since form consists of size and volume, it signifies visual weight. Every kind of form has its own aesthetic effect. All the visual arts are concerned with form. Sculpture and architecture deal with three-dimensional forms. Sculpture, however, deals with exterior form alone because one cannot get inside a statue.

55. Elements of Auditory Arts and Combined Arts

56. R hythm Poetic devices such as : 1 2 3 Image Metaphor

57. Pitch PROPERTIES OF MUSICAL SOUND SUCH AS: 1 2 3 4 Duration Volume Timbre

58. GRAFFITI Graffiti are writings or drawings which have been scribbled, scratched, or painted on walls or other surface materials, often within public view. Graffiti ranged from simple written words of drawings to elaborate wall paintings. Graffiti do not only express stylistic and artistic expression More often they express socio-political messages. In a hip-hop culture, graffit i have evolved alongside hip-hop music, b-boying and other elements. Gangs also use their own form of graffiti to mark territory or to serve as indicator of gang related activities. In the Philippines, marking or painting private and government properties without the owner's consent is considered defacement and vandalism, crimes punishable by law.

59. POETRY-PERFORMANCE P oetry-performance is specifically composed for or during a performance before an audience. In the 1980's, poetry performed was very popular to describe poetry written or composed for performance rather than print distribution, mostly open to improvisation .

60. either be scripted or unscripted either random or carefully orchestrated be spontaneous or carefully planned be with or without audience be live or via media Pe rformance art is a performance which is presented to the audience. It can be presented in many ways. Performance may: Performance Art

61. P erformance can be present of absent. Performance can be any situation where the four (4) basic elements are involved: time, space, the performer's body, or presented in a medium and the relationship between performer and audience. Performance can take place anywhere, in any type of venue or setting and for any length and duration of time. The actions of the performance or group of performance at a particular place and time contribute the performance. Performance Art

62. Digital Art This art introduces the digital artists to the world of possibilities for putting their artistic and creative skills to work online in any number of fields. Artistic expression covers rules governing images, where to find them and how to manipulate images and word art, logos, and banner. Digital Art Technologies include 3D computer modelling, powerpoint presentations, web design, film, video and film making.

63. Modified Art Expression It is a range of techniques, manipulating and experimenting with all aspects of the works. This can be done by calligraphic text, deconstructed books, intricately hand-cut paper, and recycled and re-sculptured materials. Modified art expression is a fascinating collection of artworks that demonstrates each artist's personal interrelation of the texts, transforming literary works into visual ones and creating powerful new forms of expression.

64. Transcreation (creative translation) This is the process of adapting a message from one language to another while maintaining its intent, style, tone, and context. A message that was successfully transcreated evokes the same emotions and carries the same implications in the target languages as it does in the source language. Nowadays, transcreation is widely used in global marketing and advertising campaign as advertisers seek to transcend the boundaries of culture and language. Transcreation takes account of images which are used within a creative message to ensure that they are suitable for the target local market. In other words, transcreation is taking the essence of a message and re-creating it is another language or dialect.

65. Purpose of Transcreation The purpose of transcreation is to transfer the intent, style, vocal tone, and emotional salience of the message from the source language to that of the targeted audience. To do this process, it requires expertise in marketing, linguistic skills and knowledge of targeted cultures. Thus, to produce effective transcreation, local language copywriters need to have extensive knowledge of their market, excellent language skills and the ability to creativity adapt message for the target market.

66. I n translation, a word for word translation is inadequate. The best translation takes into account the vocabulary, grammar, syntax, idiom and local ways of the target audience while remaining faithful to the text as well as to the context of the original document. T ranscreation expands the translation by focusing not so much as the literal text but on discerning the emotional response by viewers in the source language and working to elicit the same response from viewers in the target market. In short, transcreation is taking a concept in one language, and completely recreating it in another language, Transcreation and Translation

67. Transcreation of text to music In novel or poetry, one can generate music with emotional feeling. Example Recite the poem "Tree" by Joyce Kilmer and transcreate it to music.

68. Transcreation of text to dance Its using a dialogue or text to influence and enhance dance According to Karin Barber, when words are uttered, it performance captures a n the performance. She further said that "the text is a permanent artifact handwritten or printed, while the performance is the unique, never-to-be-repeated realization of the text, a realization that 'brings the text to life' but which is itself doomed to die on the breach in which it is uttered."

69. Transcreation of dance to visual art The great majority of the evidence for dance occurred in Ancient Greek which come from visual art. Sculptures and paintings on pots represented dancers. Relief sculpture in tombs included scenes of dancers. The canon for artistic representation was in place because the deceased and his or her family needed to be depicted in a very specific way in order to activate the magic that transported them to the next world.

70. Question & Answer

71. YOU THANK