Week2 Visual Elements Part1
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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"
Transcript of Week2 Visual Elements Part1
Chapter 4 - The Visual ElementsThe 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 ButterfieldEarth Measure, 1997found welded metal83 x 120 x 30"
The Visual Elements
• Line
• Shape/Mass
• Light/Value
• Color
• Texture and Pattern
• Space
• Time and Motion
• LINE• Connotations of Line• Vertical• Horizontal• Diagonal• Contour and Outline
Direction and MovementImplied Lines
• SHAPE AND MASS • Implied Shapes• Figure/Ground
• LIGHT • Values• Chiaroscuro
• COLOR • Color Theory
Color PropertiesColor HarmoniesOptical Effects of ColorEmotional Uses of Color –
• Monochrome and Minimalism• TEXTURE AND PATTERN
• Actual TextureVisual TexturePattern
• SPACE • Three-Dimensional Space
Implied Space: Suggesting Depth in Two Dimensional Linear PerspectiveForeshorteningAtmospheric PerspectiveIsometric Perspective
• TIME AND MOTION
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
• Draw a Non-objective design using line, and shape to convey meaning. – Anger– Energy/Exuberance – Love
Types of Line
Active Lines contrapposto
Static Lines
--------------------------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
Brice Marden, Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
PIET MONDRIAN, Composition in Red,
Blue, and Yellow, 1930. Oil on canvas,
2’ 4 5/8” x 1’ 9 1/4”.
Keith Haring, Untitled, 1982
Vinyl Ink on Vinyl Tarp
72 x 72 inches
182.88 x 182.88cm
MARK LOMBARDI
Egon Schiele, “Selbstporträt”, 1912
Otto Zitko, Cheim & Read, New York 2003
SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Implied Line / Eye Movement
SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
Theodore Gericault, “The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716
cm
Implied Lines / Eye Movement
Shape and Mass
• Shape = 2D form (triangle)
• Mass = 3D form that occupies a volume of space (pyramid)
• Figure/Ground• Positive/Negative Shapes
Types of Shapes and Forms
• Geometric (Hard-edge)
Types of Shapes and Forms
• Organic (biomorphic)
Paul Klee Matisse – cut paper collage
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
Zaha Hadid (architect), Cincinnati
Center for Contemporary Art
GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’
10 3/4” Austrian
Gallery, Vienna.
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.
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.
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.
Edward Weston photograph
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
Hatching:Closely spaced parallel lines
Cross-hatching:Parallel lines intersect like a checkerboard
Stippling: Dots spaced close or far apart to suggest light/dark
COLOR
The three physical properties of color are A) hue, intensity, and value.
B) primary, secondary, and intermediate.
C) warm, cool, and neutral.
D) tint, tone, and shade.
E) None of the answers are correct.
Color; Hue:Name of the color.
Intensity:Relative purity of a color.
Value:Relative lightness or darkness.
• 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.
• 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
Color Combinations:
•Monochromatic
•Complimentary
•Analogous
Color is relative
It is effected by the colors around it
JOSEF ALBERS, Homage to the
Square: “Ascending”, 1953. Oil on composition
board, 3’ 7 1/2” x 3’ 7 1/2”.
Analogous
Vermeer, 'A Young Woman standing at a Virginal', about 1670-2
Analogous
Complimentary
Peter Doig
GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
Mark Tansey, Forward Retreat, 1986
Ad Reinhardt. (American, 1913-1967). Abstract
Painting, Red. 1952. Oil on canvas, 9' x 40 1/8"
Magdalena Jetelova
“Domestizierung Einer
Pyramide” (Domestication of a Pyramid) aprox 15m
high, 1992, Red quartz Sand.
Otto Dix, Pisarka Sylvia von Harden,
1926
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.
Pablo PicassoThe Tragedy,
1903
Kirchner, Ernst Ludwig
Self-Portrait with Model
1910/1926Oil on canvas
150.4 x 100 cm (59 1/4 x 39 3/8 in.)
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.
Impasto – thick paint (“paste”)
Pattern
• Pattern– Decorative, repetitive
motif or design
Chris JordanPlastic Bottles, 200760x120"
Depicts two million plastic beverage bottles, the number used in the US every five minutes.
Prison Uniforms, 200710x23 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.
"Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
Agnes Martin. (American, born Canada. 1912-2004). The Tree. 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010
