powerpoint 2a

the visual vocabulary of art

THE ELEMENTS AND PRINCIPLES OF ARTSAYRE CHAPTERS 4 – 8

a formal language • visual art as a language

– relationships among words, images and objects

– the idea of representation through form, content, convention and iconography

• the formal elements – the “tools” used to create art– line, shape, form, space, light & color

(contrast, saturation and temperature), and texture

• the principles of design – the “rules” for organizing the elements in

a composition – pattern, time & motion, balance,

emphasis, scale & proportion, repetition, rhythm, variety and unity

varieties of line• types of line

– a continuous extent of length– contour line: the outlines which describe the

surface of an object– implied line: a function of line of sight, where our

eye creates a connection between points• qualities of line

– weight: thickness/thinness– distance: short or long– direction: vertical, horizontal or diagonal – expressiveness: dynamic or static – relationships: parallel, and perpendicular &

intersecting • leading lines

– lines that create the illusion of motion, distance and perspective

– the viewer’s eyes literally follow the line across, into or around the image

chapter 4

the critical process• thinking about line– lines can outline shape, create the contour of form (volume

and mass), and imply direction – lines of sight connect widely separate parts

• lines of motion– implied lines create the sense of motion– in figures these lines are formed by the spine and the limbs– study Delacroix’s Death of Sardanapalus, David’s Death of

Socrates, and the bronze statue of Zeus– Where are the lines of motion in these works?– How do these lines direct your eyes?

chapter 4

2d & 3d space• types of shape

– an area that has width and height– geometric: spaces described in points, lines,

curves and planes– organic: the free-form or

non-linear/curvilinear spaces– positive and negative shape: the relationship

between the figure (+) and background (-) • types of form

– an area that has width, height and depth – geometric: masses/volumes that have

linear/curvilinear edges – organic: masses/volumes that are free-form – positive: the space an object occupies, the

object itself– negative: the emptiness surrounding an object

or within an object chapter 5

perspective• linear perspective

– a mathematical description of space in which the picture plane functions as a window to the viewer

– one point: uses a horizon line, one vanishing point and the depths of objects recede to that one point via orthogonal lines

– two point: uses two vanishing points – ant’s-eye view: horizon line is distorted to

look up from the ground level– bird’s-eye view: horizon line is distorted to

look down onto the ground level – foreshortening: a rule that objects closest

to the viewer appear larger than those objects which are further away; creates the illusion of depth

chapter 5

perspective cont’d• atmospheric perspective

– as distance between the viewer and objects increase, the contrast between these objects decrease

– in other words, objects closest to the viewer have the most contrast

– famously utilized by Leonardo da Vinci • cubism

– as developed by Georges Braque and Pablo Picasso

– among other components, attempted to obscure perspective in order to represent a four-dimensional universe

– different angles and vantage points of objects are simultaneously represented on a two-dimensional plane

– influenced by the mathematical models developed by Henri Poincaré

chapter 5

the critical process• thinking about space– modern artists continually rebel against the illusion of space;

that is the refusal to represent the three-dimensional world on a two-dimensional plane

– this has allowed them to develop other notions of reality – technology has allowed artists to explore other ideas of space:

cyberspace, virtual reality, the internet and mass media • Jeffrey Shaw, the Legible City 1989-91– In what was is Shaw’s virtual reality really a two-dimensional

space? In what ways is it a three-dimensional space?– What are the implications of “new” spaces?– What possibilities do such spaces offer?

chapter 5

the properties of light

• value & shading – value: the measure of lightness and darkness of

an object based on the source of light– gradation: the gradual shift of light to dark as

seen in a gray scale – highlight: the brightest area(s) of an object– cast shadow: the shape directed by the object’s

blocking the light source – chiaroscuro: the shading of an object/figure in

the direction of the object’s volume, according to a source of light and modeling the surface

– tints & shades: the values with more white and more black respectively

• associations with good & evil– light and darkness play a role in myths and

cultural themes – thus, the use of dark and light can signify

emotional/psychological meanings chapter 6

the properties of color

• color terminology– spectrum: the breaks in electromagnetic

phenomena (rainbow)– primary colors (subtractive): in terms of

pigment, the unmixable colors of red, yellow and blue as viewed on the color wheel • painting, drawing, etc.

– primary colors (additive): in terms of light, red, green and blue• computer monitors, television etc.

– secondary colors (-): in terms of pigment, mixed from the primaries; orange, violet and green as viewed on the color wheel

– secondary colors (+): in terms of light, mixtures of refracted light; cyan, magenta and yellow

chapter 6

the properties of color

• color terminology– intermediate (tertiary colors): a primary mixed with a secondary such

as red-orange or yellow-green – black & white: the absence of color or the combination of all color

(prior to refraction), respectively – saturation: measure of intensity via brightness or dullness – Color schemes: the relationships between colors– analogous colors: those colors in order on the color wheel; such as

red, red-orange, orange, yellow-orange – complimentary colors: those colors opposite on the color wheel; such

as violet and yellow or green and red – when placed next to one another increases contrast and intensity of both hues

– temperature: the warmness or coolness of a color• blues, violets and greens are considered cool• reds, oranges, and yellows are considered warm chapter 6

the properties of color

• color terminology– monochromatic & polychromatic: the limitation to a single color and its

tints/shades, and the use of an unlimited color palette, respectively – local color: the general color of an object/figure; ie. a tree is a green – perceptual color: the physical mixing of multiple colors to create the

illusion of natural lighting– optical mixing: the placement of multiple local colors near one another

and when viewed at a distance the colors blend forming new hues• symbols and moods in color

– colors have different symbolic meanings based in the culture that those colors are used, for instance in western culture: • white represents cleanliness and sterility • black represents death

– colors have emotional qualities, also linked to culture – such as:• red represents passion, love, rage and anger• green represents jealousy chapter 6

the critical process• thinking about light and color– contrast is the placement of opposites near one another (such as

black and white, red and green)– the use of light and dark can be an expressive tool, especially

with its combination of color– color and contrast work symbolically and emotionally

• Tony Cragg, Newton’s Tones/New Stones, 1982– What is the relationship between science and art, especially

concerning light and color?– In Cragg’s work, does color serve a symbolical purpose? Or an

emotional purpose? – Does color possess a goodness or evilness on its own?– How does Cragg use color to develop aesthetic? chapter 6

texture• the tactile sense in art

– actual texture: the way something feels

– visual texture: the illusion or implication that something feels the way it looks

– impasto: the application of paint strokes in thick, textured ways

– grattage: the scraping of dried of paint

– rubbing: laying a piece of paper across a texture and applying a media to create an impression of that texture

chapter 7

using repetition• pattern

– the repetition of an element such as shape, value, color or texture

– the use of decorative patterns and motifs• time and motion

– repetition can imply the passage of time – direction can lead the viewer through

space (the viewer’s eyes across a work and into a work) and through time (the viewer senses divisions and sequence)

– performance art, multimedia and film create literal expressions of time and motion, working not only in the second and third dimensions, but also in the fourth

chapter 7

using the elements• design & composition

– the use of the elements to create unified wholes

– the principles are used together to create harmony

• balance & symmetry – integral to the placement of elements

within a composition – balance creates the sense of “good design”

or aesthetic – bilateral symmetry: mirrored image on both

sides of a vertical or horizontal axis – asymmetrical balance: the weight,

darkness/lightness, and size of objects are disproportionate creating visual dominance

– radial symmetry: the elements are the same and repeat, radiating from a center point chapter 8

creating dominance• emphasis and focal point

– the area the viewer is drawn to most when looking at the composition

– balance can create dominance through shape, size and value

– color, line, texture and other elements can also create dominance leading the viewer to the focal point

– afocal: the viewer is distracted and continually looks all over

• scale and proportion– proportion: the relationship between parts of

an object– scale: the comparison of size between objects– golden mean: the harmonious middle

between two extremes (such as size or length) and represented as the golden ratio (phi)

chapter 8

creating harmony• rhythm

– repetition of elements and movement, creating lines of motion

– guides the viewer through the work – creates a sense of gravity or pull

• variety – creates visual interest by comparing

objects that are similar but also emphasizes the differences

• unity – sustains the interest of the viewer– give the impression that objects go

together – there is purpose in their placement and design

– an interplay between chaos and order, peace and tension chapter 8

the critical process• thinking about the principles of design – the use of the elements by means of the principles creates strong

composition – design appears in all works of art – it is simply the purposeful

planning and executing of the visual language– aesthetics is created through the use of design (that is the principles

of design with the elements) • Monet’s Railroad Bridge, 1874– Consider the relationship between light and dark and the

complimentary colors orange and blue– How does this create opposition? How does this enhance the sense of

symmetry/asymmetry? – Can you identify each of the elements and principles within the work?– Does it demonstrate unity? Harmony?

chapter 8