powerpoint 2a

1. powerpoint2a the visual vocabulary of art the Elements and Principles of Art SAYRE Chapters 4 – 8

2. 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

3. 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

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

5. 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

6. 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

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. 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

19. 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