The Visual Elements. Lecture 2B and 2C

Transcription

1 The Visual Elements Lecture 2B and 2C

2 The 6 Main Visual Elements in the Visual Toolbox 1. Line 2 Shape/Mass 3. Light/Value 4. Color 5. Space 6. Time/Motion The language of art is the visual elements. I found I could only say things with color that I couldn t say in any other way things I had no words for. Georgia O Keeffe

3 1. LINE Lines are our basic means for recording and symbolizing ideas, observations, and feelings. Begin your examination of every work by looking at and describing the lines you see. Please refer to figure 2.4 in your textbook and become familiar with all the lines and descriptors illustrated.

4 1. LINE: cont. Functions: To Outline and Shape (Contour lines) To Express Emotion (Psychological lines) Can imply volumes or solid masses (Hatching or Crosshatching) To Suggest Direction and Movement How do the lines function in this work?

5 Lines to imply volumes or solid masses Kiki Smith, Ginzer, Etching on paper, Figure 2.11

6 Lines to Suggest Movement or Stillness Fig Theodore Gericault, Raft of the Medusa,

7 Horizontal and Vertical = Stillness, Stability Diagonal = Movement, Chaos

8 What emotions are suggested by these works? What adjectives?

9 2. SHAPE and MASS Shape: a 2D form that occupies area with identifiable boundaries. Mass: a 3D form that occupies a actual space. Mondrian, 1930 and Sennefer, Figure 2.16

10 As you begin to look at a work, describe the shapes and masses you see. The Pyramids of Giza Emmi Whitehorse, Chanter

11 Positive and Negative Shapes Positive shapes (Figures): the dominant shapes, usually the subject matter.

12 Positive and Negative Shapes Negative shapes (Ground): the background. Since we are used to filtering out the background, we have to shift our awareness and learn to see everything the artist has included.

13 Implied shapes Implied shapes are created by the viewer s perception. These optical illusions are used by artists to unify or stabilize their compositions.

14 Raphael, The Madonna of the Meadows and Chagall, I and the Village

15 3. LIGHT Artificial and natural light is used today by some artists as a medium. James Turell, Live Oak Friends Meeting House, Houston

16 Daniel Chester French ( ). Abraham Lincoln a. As originally lit by daylight. b. With the addition of artificial light. Figure 2.36

17 3. VALUE Values: shades of light and dark. Contrast: the degree of difference between shades of gray.

18 Chiaroscuro Chiaroscuro: Italian term meaning light/dark; shading from light to dark that gives a 3D appearance. Pierre Paul Prud hon, The Source

19 4. COLOR What we perceive as color is actually white light being reflected off a surface. Black, white, and shades of gray are not colors; they are achromatic or neutral. The human eye can distinguish between millions of colors.

20 The 3 Color Properties Hue: the name of the color. Value: the relative lightness or darkness Tint: A color lighter than the normal value Shade: A color darker than the normal value Intensity: the relative purity of a color (sometimes called saturation)

21 The Color Wheel Primary Hues (1): can t be created by mixing pigments. Secondary Hues: (2):created by mixing two primary colors Tertiary or Intermediate Hues: created by mixing one primary hue with one secondary hue.

22 Color and Emotions Color can trigger strong emotional responses in a viewer. In our culture we are: Green with envy Red with anger Blue with sorrow White with fright Many color associations are culture specific. Study by Tom Wesselmann, 1964.

23 5. SPACE Actual space: space of the real world occupied by 3D arts. To fully understand a work of art in actual space, the viewer must walk around or in the artwork. Ara Pacis Augustae

24 Implied space/depth Implied space: the illusion of space created on a 2D surface. The space can appear shallow/flat or expansive. -Overlapping -Diminishing Size -Vertical Placement -Linear Perspective -Atmospheric Perspective Figure 2.21 Clues to Spatial Depth

25 Linear Perspective A technique based on the observation that parallel lines seem to converge as they recede from the viewer, finally meeting at a vanishing point. Linear perspective relies on a fixed viewpoint.

26 Linear Perspective Figure 2.24a and 2.24b Raphael, School of Athens,

27 Atmospheric Perspective A technique based on the observation that objects appear paler and/or bluer, and less distinct the further away they are from the viewer due to the way moisture in the intervening atmosphere scatters light. Fig A.B. Durand, Kindred Spirits.

28 Does this space seem deep or shallow? Figure 2-11 Botticelli, The Birth of Venus, 1482

29 6. TIME and MOTION Artists throughout the ages have sought to represent the passage of time and the movement of objects through space.

30 Scenes from Genesis in the Moutier-Grandval Bible, ca. 840 Registers: bands of decoration. Can contain narrative scenes.

31 Implied Motion The viewer infers motion is occurring through diagonal lines and/or repetition. Fig Dancing Krishna

32 Actual motion Kinetic art: art that moves Fig Alexander Calder, Untitled, 1976

33 Illusion of Motion In the 20 th century, new technologies and media allowed for new ways in which to include the elements of time and motion in the arts.

34 Motion Pictures (and TV shows!)