Post on 31-Jul-2015
transcript
1© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
The Vocabulary of Art
Figure 4.1 Elizabeth Murray, The Sun and the Moon, 2005.
2© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Four, Part A
The Visual ElementsLine
Shape & Mass
Light
Color
Texture & Pattern
Space
Time & Motion
3
Line: path of moving point.Actual & Implied (contour/outline;direction & movement; hatching, cross-hatching, stippling)
Shape: (2-D) enclosed lineActual & Implied
Mass: (3-D) depth, height & widthFigure (positive) & Ground
(negative)Figure-ground reversal
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Four, Part A
The Visual Elements
Light: digital & electronicActual & Implied
Value: relative light & darkChiaroscuro (light & dark)
Color: HueAnalogous (warm & cool)PrimarySecondaryComplementaryPointillism: optical mixing
4
The primary function of line in art is to record the borders of forms and convey direction and motion.
Line
5
…is the path of a moving point.…Line implies direction and movement
Line
6
7Figure 4.2 Keith Haring, Untitled, 1982. Figure 4.3 Sarah Sze, Hidden Relief, 2001.
Line
- indicate the boundaries between regions
-can be used as symbols
- are expressive
8
Line: Contour and Outline
Outlines: defines a two-dimensional shape(outline the shape of your hand on a piece of paper)
Contour: are interior and exterior boundaries (edges) of an implied three-dimensional form.
(adding lines to the outline of your hand to
make it look real)
9
Line: Direction and Movement
Henri Cartier-Bresson (1908), Aquila, Abruzzi, Italy, 1951. Photograph. © Henri Cartier-Bresson/Magnum Photos.
10
Line: Direction and Movement
- Our eyes tend to follow lines to see where they are going. Artists use this concept to direct our eyes around an image and to suggest movement
11
Direction
Vertical linesseem assertive, or denote growth & strength.
Horizontal linesappear calm or placid.
Diagonal lines are the most dramaticand imply action.
Figure 4.6 and 4.7 Eakins, The Biglin Brothers Racing, 1873-74.
Line: Direction and Movement
12
Line: Direction and Movement
- we experience more than just literal drawn lines as lines. (we react to any linear form as a line.)
13
Deals with eye movement and implied motion
Line: Implied Line
14
Deals with eye movement and implied motion
Figure 4.8 and 4.9 Géricault, The Raft of the Medusa, 1818-19.
Line: Implied Line
15© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Shading and Modeling: …Creates mass
-Hatching:Closely spaced
parallel lines-Cross-hatching:Parallel lines
intersect like a checkerboard
-Stippling: Dots spaced close or far apart to
suggest darker or lighter areas
Line
16
…records the borders of form and conveys direction and motion. That is the primary function of line in art.
Line
17
Calmness
A B
18
Anger
A B
19
Passion
A B
20
Stillness
A B
21
Ascension (Moving upwards)
A B
22© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.13 Emmi Whitehorse, Chanter,1991.Figure 4.12 Bill Reid, The Raven and the First Men, completed 1983.
Shape: a two-dimensional image with identifiable boundaries.i.e. circles or squares
Mass/Form:A three-dimensional form with identifiable boundaries.i.e. spheres and cubes
Shape and Mass
23
Figure 4.13 Emmi Whitehorse, Chanter,1991.Figure 4.12 Bill Reid, The Raven and the First Men, completed 1983.
Geometric: shapes that reflect geometry(squares, circles, rectangles, etc.)
Organic: irregular shapes that evoke the living forms of nature.
Shape and Mass
24
Implied Shape
Figure 4.16 Raphael, The Madonna of the Meadows, 1505.
Actual and Implied Shape
Figure 4.12 Bill Reid, The Raven and the First Men, completed 1983.
25
Implied Shape
…used by artists to unify their compositions
26
Implied Shape
27Figure 4.14 Aztec, circular shield, before 1521.
Shape and Mass
Figure (positive shape): the shape we detach and focus on
Ground (negative shape): the surrounding visual information that the figure stands out from
- we perceive shapes by mentally detaching them from their surroundings and see them as distinct images.
28
Figure-ground reversal: The concept of positive and negative space.In representational work, it is the shape of the object. In nonrepresentational work, it is the shape that appears dominant or active.
Shape and Mass
29
Light, Value, and Color
Actual light
Light reveals the material world to our eyes in a way that helps us understand forms and spatial relationships
Implied light
30
Light:Actual light
Importance for three-dimensional work
Actual Light
31
Actual Light
32
Value: Shades of light and dark
Implied Light and Value
Chiaroscuro: Means light/dark. Artists employ values to record contrasts of light and shadow in the natural world
33
Value: Shades of light and dark
Value
“good” value is a seemless transistion from light to dark
White is the highest value
Black is the lowest value
34
Figure 4.20 Leonardo da Vinci, The Virgin and Saint Anne with Christ Child and John the Baptist. Figure 4.21 Charles White, Untitled, 1979.
Implied Light and Value
Modeling in Two Dimensions through valueChiaroscuro: Means light/dark. Artists employ values – lights and darks – to record contrasts of light and shadow in the natural world
35
Implied Light and Value
Chiaroscuro: Means light/dark. Artists employ values – lights and darks – to record contrasts of light and shadow in the natural world
36
Implied Light and Value
37© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Color wheel:Made up of the colors refracted by Sir Isaac Newton’s prism
Color
Color Theory
38
ColorPrimary colors:
Red
Yellow
Blue
Secondary colors:
Orange
Green
Violet
Tertiary colors (Intermediate):
Product of a primary color and an adjacent secondary color
Color Theory
39
ColorColor Theory
Warm colors: colors on the red-orange side of the color wheel.
Cool colors: colors on the blue-green side of the color wheel
40
1. Hue:Name of the color
2. Value:Relative lightness or darkness
3. Intensity:Relative purity of a color
Color
Color Properties
(the purest colors have high intensity, while the duller colors have less intensity)
41
2. Value:Relative lightness or darkness
Color
Color Properties
Normal value = the value at which we expect to find that hue.
42
3. Intensity:Relative purity of a color
- AKA – chroma or saturation
Color
Color Properties
- the purest colors have high intensity, while the duller colors have less intensity
43
Color Harmonies (color schemes) = the selective use of two or more colors in a single composition
Color
44
Color Harmonies
Monochromatic:Variations of the same hue, often with differences of value and intensity
Color
45
Color Harmonies
Complementary:Colors that are directly opposite each other on the color wheel
Color
46
Color
Color Harmonies
Analogous:Adjacent hues on the color wheel
47
Color
Color Harmonies
Triadic:Three equidistant colors on the color wheel
48
Color
Optical Effects
Optical color mixture: when small batches of different colors are close together, the eye may blend them to produce a new color
49
Color
Optical Effects
50
Pointillism: Dots of pure color that tend to mix in our eyes to produce the illusion of color mixtures
Color
Optical Effects
51
Emotional responsesto color are both cultural and personal.
Color
Emotional Effects
52© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Four, Part A
The Visual Elements
Line: path of moving pointActual & Implied (contour/outline;direction & movement; hatching, cross-hatching, stippling)
Shape: (2-D) enclosed lineActual & Implied
Mass/Form: (3-D) depth, height & width
Figure (positive) & Ground (negative)
Figure-ground reversal
Light: digital & electronicActual & Implied
Value: relative light & darkChiaroscuro (light & dark)
Color: HueAnalogous (warm & cool)PrimarySecondaryComplementaryPointillism: optical mixing