elements of art what makes up an art work? the elements of art
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Elements of Art
What makes up an art work?
The Elements of art
Elements of ArtThe composition of an art work is made up
of the arrangement of the elements.These are known as the Elements of Art
Elements of Art
COLOR LINESHAPE
SPACE VALUE FORM
COLOR
COLOR
• Primary colors- yellow, red and blue.
(colors that can not be made by mixing other colors.
• Secondary colors- purple, green and orange (colors mixed from a combination of any two primary colors)
Primary coloursRoy Lichtenstein
Color Schemes
• Complementary Colors – colors directly across from each other on the color wheel
• Monochromatic color scheme - uses only one color and tints and shades
• Analagous colors- colors that have something in common. They are next to each other on the color wheel. One color will be in harmony with another.
Complementary coloursGauguin
Complementary colours scheme
Monochromatic color schemeM.C. Escher
Colour schemes
Communicating with colour
• Cool colors recede - go away from you
Van Gogh
Warm colors come toward the viewer (advance); Cool colors recede
Mark Rothko
Rothko
VALUE
ValuePencil Value Scale
ValueStippling Value Scale
Line – The Obvious
STRAIGHT
HORIZONTAL
VERTICAL
DIAGONAL
LINE
Simple to Complex
in terms of line . . .
Lines can be implied . . .
IMPLIED LINES
Not really there but guide the eye or organize the image
Implied Line
SHAPE
Late Gothic/ Early Renaissance from 1305
BOLD
DIAGONAL
Giotto, Pieta(Lamentation)fresco
Caravaggio
The Calling of
St. Matthew,
1599-1600
Gentileschi,Judith Slaying Holofernes,
1620
Diego Rivera, The Flower Carrier, 1935, 48x48 in.
Note lines implied by directional
gazes
Pierre-Auguste RenoirLe déjeuner des canotiers, 1880–1881Oil on canvas, 129.5 × 172.7 cm
Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas
The blue lines point out . . .
IMPLIED LINES
Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas
implied
Caravaggio, Supper at Emmaus, c.1601
Kenneth Noland, Thrust, 196345 x 45 in.
A VENETIAN WOMANJohn Singer Sargent (American, b.1856, d.1925)1882oil on canvas93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)
Barnett Newman, Dionysius, 1944, 67x49in.
Barnett Newman, Yellow Painting, 1949
Barnett Newman, Untitled (The Cry), 36x24in., ink on paper
Late Gothic/ Early Renaissance from 1305
BOLD
DIAGONAL
Giotto, Pieta(Lamentation)fresco
Caravaggio
The Calling of
St. Matthew,
1599-1600
Gentileschi,Judith Slaying Holofernes,
1620
IMPLIED LINES
Not really there but guide the eye or organize the image
Diego Rivera, The Flower Carrier, 1935, 48x48 in.
Note lines implied by directional
gazes
Pierre-Auguste RenoirLe déjeuner des canotiers, 1880–1881Oil on canvas, 129.5 × 172.7 cm
Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas
The blue lines point out . . .
IMPLIED LINES
Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas
implied
Schiele, EgonSeated Girl1911Watercolor and pencil48 x 31.5 cm
Caravaggio, Supper at Emmaus, c.1601
Kenneth Noland, Thrust, 196345 x 45 in.
A VENETIAN WOMANJohn Singer Sargent (American, b.1856, d.1925)1882oil on canvas93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)
A VENETIAN WOMANJohn Singer Sargent (American, b.1856, d.1925)1882oil on canvas93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)
Lines used to create emphasis
Lines can curve . . .
Hokusai, KatsushikaThe Great Wave Off KanagawaFrom "Thirty-six Views of Mount Fuji"1823-29Color woodcut10 x 15 in.
Jean Honore Fragonard, The Bathers, 1761
Cy Twombly, Untitled, 1970
This “artless” scribble
• Defines an area
• Creates an illusion of depth (volume)
Look again …
Brice MardenAmerican, born Bronxville, New York, 1938 Cold Mountain 2, 1989-1991Oil on linen, 108 1/8 x 144 1/4 in.
What lines lurk in
this texture?
Jackson Pollock, Lavendar Mist No. 1, 1950
Consider the expressive quality of the jagged lines
in this work . . .
Clyfford Still, 1957, No.1
Georgia O’Keeffe, Red, White and Blue, 1931
The Obvious Again
STRAIGHT
CURVED – SMOOTH, JAGGED
Johann KoerbeckeGerman, c. 1420 - 1491The Ascension, 1456/1457tempera on panel, 92.7 x 64.8 cm (36 1/2 x 25 1/2 in.)
Curved, smooth
Jagged
Jagged, zig-zag
straight
Clyfford StillAmerican, 1904 - 1980 1948-C, (1948)Oil on canvas80 7/8 x 68 3/4 in.
complex contour lines formed by these complex shapes
Lines create or imply shapes
Shapes can be open or closed
Lines around a shape are CONTOUR lines
SHAPE
open/closed
geometric/
biomorphic or organic
Picasso, Femme
an open shape, a biomorphic form
Frank Stella, Wolfeboro II, 1966
closed, geometric
THE UPSTAIRSCharles Sheeler (American, b.1883, d.1965)1938oil on canvas19 1/2 x 12 3/4 in. (49.5 x 32.4 cm)
Lines create planes; planes suggest volume
VOLUME
Implied in painting; actual in sculpture
LINE SHAPE VOLUME
Kenneth SnelsonRador, 1975brass & stainless steel21 x 17 x 6 inches
Kenneth SnelsonAmerican, born Pendleton,
Oregon, 1927
Needle Tower, 1968Aluminum and stainless steel720 x 243-1/2 x 213-3/8 in.
RodinBalzac
Frank Lloyd Wright, Fallingwater, 1936-7
VolumesCA
N
C R E A T E
LINES
Frank Lloyd Wright, Fallingwater, 1936-37
Frank Gehry, Disney Concert Hall
Frank Gehry, Disney Concert Hall
Frank Gehry, Disney Concert Hall
Giusti Garden, Verona, Italy
Henry MooreKnife Edge Mirror Two Piece1976-1978, bronze534.5 x 721.1 x 363.1 cm (210 1/2 x 284 x 143 in.)
Bird in Space, 1923Constantin Brancusi (French, born Romania, 1876–1957)Marble; (with base) H. 56-3/4, Diam. 6-1/2 in.
Bird, 1940
BrancusiAdam and Eve1921
BOTTOM LINE
The concept of line plays a role in compositions of music and art, ranging
from the simple to the complex.
LINEWhat is a line in Art?
Line – a series of points; an area whose length is considerably greater than its width; an indication of direction, an apparent movement. A line is a point moved or moving through space. This applies to drawing, painting, printmaking, sculpture, clay/pottery, and architecture.
Characteristics of lines: lines can be actual or implied; a line which denotes or describes an outside edge of an object is a contour line. A contour line divides the plane or delineates an edge of a volume.
A directional line points or moves the eye in a particular direction. Horizontal – often read as across, quiet, stable. Vertical: reaching up, spiritual, uplifting, rising. Diagonal: dynamic, moving.
Lines can be interpreted as having expressive qualities; particular qualities – thick or thin, weighty or straight, hard-edged or soft – can indicate moods or feelings.
ON HANDOUT
SPACE
SpaceLinear Perspective
Positive and Negative Space
SPACEBrett Whiteley
• Larger lines in the foreground
• Smaller lines in the back ground give an illusion of distances, space and perspective.
FORM
Form
Form
Form
Texture
Texture
COLOR
• Color is very expressive and an exciting element of art. It appeals strongly to the senses and emotions.
• Art works can communicate by color alone. It can cause emotional reactions.
Lines
Line in art may mean a single thin stroke
It may signify the meeting edge of two areas
It may refer to the contours, or edges
Line can suggest movement
Line can produce a sense of tranquility
Line Clement Meadmore
Line can create volumeM.C. Escher
Lines can create movement M.C. Escher
Lines can create movementBrett Whiteley
Brett Whiteley
Brett Whiteley
Brett Whiteley
• Larger lines in the foreground
• Smaller lines in the back ground give an illusion of distances, space and perspective.
Lines create pattern and shapeJohn Olsen
Value or Tone
• Tone can be flat or graduated
• Value Can be created by using shading, line or dots.
• Lines can be used to create tone in hatching or cross-hatching
• Dots can be used to create different tones or values.
Rick Amor
ToneRick Amor
Tone can be:– subtle– strong– contrasting
Value Hatching and cross-hatching
Rembrandt
Value Mattia Preti
How does value attract our attention to the focal point of the painting? (EMPHASIS)
Texture• Grained
• Rough
• Corrugated
• Smooth
• Furry
• Shiny
• prickly
TextureVan Gogh
Texture
When we actually touch and feel a surface we experience real texture
• Real texture; the feel of a surface - cactus, feathers, scales, fur, sharp stones
When we look at a photograph or a painting of the texture of a surface such as glass or velvet leather, we see patterns of light and dark that create the effect of texture
• Simulated or Implied texture; a two dimensional surface that imitates real texture, simulated textures copy or imitate real textures.
Implied / Simulated textureimitates real texture
Max Ernst
Real texture - the feel of a surfaceClaus Oldenburg
Shape / Form
• A shape is an area that is defined in some way by a line, an edge, a colour or a texture. If we traced around its outline we would have a shape; silhouette
• Shapes are flat they have only two dimensions – height and width
• Geometric shapes– look as if they were made with a ruler.
• Organic shapes – look irregular like the uneven shapes of nature.
ShapeHenri Matisse
Shape / Form
• Forms are similar to shapes. Both have height and width, but form also has the third dimension of DEPTH.
• Forms have volume and occupy 3-D space.
• Two dimensional = painting (height and width)• Three dimension = sculpture (height, width
and depth)
Elements of Art
• Every artwork can be described by one or more of these five elements of visual perception.
• For example, a work will have the presence of strong lines or absence of line. A work may be full of tone or a complete lack of tone.
Principles of Design These are the nine main principles of design
Contrast
Repetition
Movement
Rhythm
Direction
Space
Balance
Proportion
Emphasis
Unity
Principles of Art
• The artists use the principles to combine the elements in a satisfying way.
Ways to create space
• Divide the picture into the fore-ground, middle ground and background
• Strong details is used in the foreground, with gradual loss of detail as the image fades into the back ground
• Large objects in the fore ground graduating to smaller objects in the back ground
• Overlapping of objects give the appearance of objects being in front of each other
• Warm colours in the foreground and cool colours in the back ground
DegasSpace
Balance
• Refers to the distribution of weight in an art work so that no one part overpowers another or seems heavier that another.
• Artists may choose to create imbalance of a particular purpose. Sydney Long
Proportion
• The relationship between the size of the objects within an artwork.
• Eugene von Guerard
Emphasis
• An artist can create a centre of interest by allowing one area of an art work to dominate.
Picasso
Contrast Picasso “Girl Mirror”
Repetition
• John Brack - “Collins St 5pm”
Rhythm
• Richard Mock