ELEMENTS OF ART AND PRINCIPLES OF DESIGN.

Transcription

1 ELEMENTS OF ART AND PRINCIPLES OF DESIGN.

2 Formal analysis is an important technique for organizing visual information. It is a strategy used to translate what you see into written words: The Elements and Principles of Art and Design This strategy can be applied to any work of art, from any period in history, whether a photograph, sculpture, painting or cultural artifact, and can also be applied to art that engages other senses beyond the visual (sound art, music, performance, food), though the words may be used metaphorically rather than literally.

3 The Elements The elements of formal analysis are building blocks that can be combined to create a larger structure that is a work of art. They are: Line, Value, Shape, Form, Space, Color and Texture

4 Line is the path of a moving point that provides direction and detail to a work of art.

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6 Brian Novatny - Ink Drawing, 2014

7 Vincent Van Gogh - Sketch for The Sower, 1888

8 Vincent Van Gogh - The Sower, 1888

9 Andy Goldsworthy - Carefully broken pebbles scratched white with another stone, 1985

10 Richard Long - A Line Made by Walking, 1967

11 Line A line can be implied a series of points that the eye connects. The line is perceived by the viewer but not rendered.

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13 Elliott Erwitt - USA, Wilmington, NC, 1950

14 Value is the light and dark in a work of art independent of color. Light is the measure of illumination or shadow in a full range of colors.

15 Ansel Adams - The Tetons and Snake River, 1942

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17 Brian Novatny - A Proper Course, 2014

18 Shape is a two-dimensional area that stands out from the surrounding space because of an identifiable boundary. The shape itself occupies positive space, while the surrounding area is the negative space

19 Henri Matisse - La Perruche et la Sirène, 1952

20 Man Ray - Rayograph, 1922

21 John Baldessari - Frames and Ribbons, 1988

22 Form is a three-dimensional area that stands out from the surrounding space because of an identifiable boundary. The form itself occupies positive space, while the surrounding area is the negative space.

23 Nadav Kander - Scottie Pippen III, 1997

24 Edward Weston - Nude-62n 1927

25 Manish Nai - Cube from family s used clothing, 2015

26 Space is the implied or real sensation of two or three dimensions. It is the area between and around objects.

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30 Vincent Van Gogh - Bedroom, 1889

31 Paul Cezanne - Mont Sainte-Victoire, 1887

32 Robert Adams - Untitled (from questions for a cloudy day), 2005

33 Color is a property of light determined by specific light wavelengths, known as the hues. A color will have a hue, a value, and a saturation/intensity. Hue Saturation Value

34 Jessica Eaton - cfaal 84, 2013

35 Chuck Close - Self-Portrait,

36 Anthony Lepore - Spill, 2015

37 Richard Diebenkorn - Ocean Park,

38 Loretta Lux - Portrait of Antonia, 2010

39 Mark Rothko - Color Fields at MoMA, 1950s

40 Rothko Chapel, Houston

41 Texture is the tactile surface qualities of a work of art that appeal (vicariously) to the sense of touch. These can be actual or visual.

42 Lord Leighton - Flaming June, 1895

43 Aaron Siskind - Peeling Paint, Jerome, Arizona, 1949

44 Daniel Gordon - Tangerines in Orange and Blue, 2011

45 The Principles The principles of design integrate the elements of formal analysis and build on one another. Balance, Contrast, Movement, Emphasis, Rhythm, Scale and Unity Think of each of these principles as representing a spectrum. Balance contains both complete balance and complete imbalance. Movement contains both motion and stillness.

46 The Principles The principles are not a prescriptive guide for making art. Just following these principles does not make a work successful. Useful checklist when making a visual composition if your sketch feels boring - does it address any of these principles?

47 Balance is the equilibrium of formal elements in a work of art. Broad categories include symmetry, asymmetry, overall balance, and radial balance.

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49 Albert Renger-Patzsch - Fungi Lepiota Procera, 1930

50 Nancy Graves - Zeeg (Spill Series), 1983 (Bronze)

51 Gordon Parks - American Gothic, Washington, DC, 1942

52 Jacques Henri Lartigue - Hendaye, 1934

53 Contrast Contrast is opposition.

54 Hiroshi Sugimoto - Bass Strait Table Cape, 1997

55 William Wegman - Leopard/Zebra, 1981

56 William Wegman - On Set, 1994

57 Movement is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colors within the artwork. Chris Fraser

58 Philippe Halsman - Dali Atomicus, 1948

59 Paul Fusco - RFK Funeral Train, 1968

60 Charles Sheeler, Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company, 1927

61 Wassily Kandinsky - Improvisation 28 (second version), 1912

62 James Mollison - Affiliated Primary School of South China Normal University, Guangzhou, China, 2014

63 Emphasis is the principle that states that the viewer's attention will be drawn to some parts of the composition more than others. Those points of attention are called focal points.

64 Vivian Maier - Self-Portrait 3, 1955

65 John Baldessari - Noses & Ears, Etc. : Head (with Nose), 2006

66 Elliott Erwitt - Siberia, Bratsk, 1967

67 Leonardo da Vinci - The Last Supper, 1490s

68 Leonardo da Vinci - The Last Supper, 1490s

69 Rhythm is the measured repetition of accented elements that move the eye through a composition (sometimes referred to as pattern).

70 Lucas Blalock - Building Materials, 2011

71 Tomma Abts - Untitled 1b, 2013

72 Edward Weston - Tomato Fields, Big Sur, 1927

73 Scale is the size of an object in relation to things around it. Proportion is the size relationship of parts belonging to one object or figure.

74 Elliott Erwitt - USA, NYC, 1974

75 Charles Ray - Fall 91 (Red Jacket), 1992

76 Vincent Fournier - MDRS2, 2011

77 Slinkachu - Scavengers, 2008

78 Alberto Giacometti - Tall Woman II, 1960

79 Unity refers to a coherent total effect that creates a sense of harmony in a work of art. Variety refers to diversity or difference which acts as a visual counterpoint to unity.

80 Henri Matisse - Dance I, 1909

81 Henri Matisse - Music, 1910

82 Elliott Erwitt - The Met, 1998

83 David Hockney - Joiners

84 Once you have an understanding of formal analysis, you will be well prepared to put this theory into practice by making your own images that incorporate the elements and principles of design. When you feel like an artwork is successful or unsuccessful, these ideas can help you figure out why.