visual elements
TRANSCRIPT
THE VISUAL ELEMENTS
OFAN IMAGE
LOOK CAREFULLY AT NEXT PICTURE AND DESCRIBE THE ELEMENTS THAT
YOU CAN SEE IN IT
I can see a spider
I can see a face
A bird
¿
He´s crying
There are a lot of stars
There are many things in a picture
But…
We are looking for the essential elements
The smallest visual elements on plastic work
Look for the essential elements
Try it again.
Just the essential elements¡
WHAT ARE
THESE ?
A DOT
A LINE
A PLANE
THE VISUAL
ELEMENTS OF
AN IMAGE
THE VISUAL
ELEMENTS OF
AN IMAGE
DOT
THE VISUAL
ELEMENTS OF
AN IMAGE LINE
DOT
THE VISUAL
ELEMENTS OF
AN IMAGE LINE
DOT
THE VISUAL
ELEMENTS
LINE
DOT
THE VISUAL
ELEMENTS
LINE
But there are two other missing
visual elements
DOT
But there are two other missing
visual elements
But there are two other missing
visual elements
Can you imagine ¿
Look at the screen
The fourth element is the…
COLOUR COLOUR
And the last element in an image is…
And the last element in an image is…
Look at the screen
TEXTURE
THE VISUAL
ELEMENTS
THE VISUAL
ELEMENTS
DOT
THE VISUAL
ELEMENTS LINE
DOT
THE VISUAL
ELEMENTS LINE
DOT
THE VISUAL
ELEMENTS LINE
DOT
THE VISUAL
ELEMENTS LINE
DOT
BASIC ELEMENTS OF PLASTIC EXPRESSIONS
BASIC ELEMENTS OF PLASTIC EXPRESSIONS
All the images that we see represented are made of the basic elements of plastic
expression: the dot, the line, the plane, the colour and texture.
BASIC ELEMENTS OF PLASTIC EXPRESSIONS
All the images that we see represented are made of the basic elements of plastic
expression: the dot, the line, the plane, the colour and texture.
These elements, isolated or combined, are a language in itself with specific rules. They allow
the author to transmit to other people ideas, sensations or feelings.
BASIC ELEMENTS OF PLASTIC EXPRESSIONS
All the images that we see represented are made of the basic elements of plastic
expression: the dot, the line, the plane, the colour and texture.
These elements, isolated or combined, are a language in itself with specific rules. They allow
the author to transmit to other people ideas, sensations or feelings.
It is important to study the characteristic and fundamental rules of the plastic elements in order to express effectively our own plastic
language.
THE DOT
The dot is the smallest, simplest element in visual expression.
THE DOT
Dots are normally round, but they can have different shapes according to their function. Dots used in visual expression
can have irregular surface and outline.
A shape is a dot when it takes a very small part of the surface where we draw.
If it is bigger than other shapes around, we consider it a plane.
If it is bigger than other shapes around, we consider it a plane.
A dot
If it is bigger than other shapes around, we consider it a plane.
If it is bigger than other shapes around, we consider it a plane.
A dot
A plane
Expressive capacity of the dot
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
Expressive capacity of the dotDots have an unlimited capacity to represent
images, ideas and emotions.For this reason, we use different visual effects like :
concentration = dots are grouped
dispersion = dots are at a distance
Expressive capacity of the dot
Expressive capacity of the dot
Line made with dots
Expressive capacity of the dot
concentration
Line made with dots
Expressive capacity of the dot
concentration
dispersion
Line made with dots
Dots also have a great attraction power.
It makes them very efficient as a composing element and as an indication sign.
Three-dimensional capacity of the dotIf we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.
Three-dimensional capacity of the dotIf we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.
Three-dimensional capacity of the dotIf we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.
THE LINE
THE LINE
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.
THE LINE
A DOT IN MOTION
THE LINELines have a position and a direction in space…
THE LINELines have a position and a direction in space…
THE LINELines have a position and a direction in space…
THE LINELines have a position and a direction in space…
THE LINELines have a position and a direction in space…
THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.
THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.
THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.
THE LINELines have a position and a direction in space…
…and one of their functions is to delimitate the outline of shapes.
For this reason and for its expressive possibilities, it is very suitable to describe accurately any shape and to transmit ideas
and emotions.
THE LINE
THE LINEThe shape, thickness,
colour and texture of the lines depend on the
materials we use and the way we use them. These structural features have different functions and allow the artist to create
different visual sensations such as depth,
balance, strength, smoothness, etc.
THE LINEThe shape, thickness,
colour and texture of the lines depend on the
materials we use and the way we use them. These structural features have different functions and allow the artist to create
different visual sensations such as depth,
balance, strength, smoothness, etc.
THE LINEThe shape, thickness,
colour and texture of the lines depend on the
materials we use and the way we use them. These structural features have different functions and allow the artist to create
different visual sensations such as depth,
balance, strength, smoothness, etc.
THE LINEThe shape, thickness,
colour and texture of the lines depend on the
materials we use and the way we use them. These structural features have different functions and allow the artist to create
different visual sensations such as depth,
balance, strength, smoothness, etc.
THE LINEThe shape, thickness,
colour and texture of the lines depend on the
materials we use and the way we use them. These structural features have different functions and allow the artist to create
different visual sensations such as depth,
balance, strength, smoothness, etc.
The structural differences of lines make them expressively rich.
The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
The structural differences of lines make them expressively rich.
Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.
CLASSIFYING LINES
CLASSIFYING LINES According to their structure, lines can be classified in:
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines
Composed lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
We make undulating lines with fragments of curve
lines.
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
We make undulating lines with fragments of curve
lines.
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
We make undulating lines with fragments of curve
lines.
We make mixed lines with fragments of straight
and curve lines.
CLASSIFYING LINES According to their structure, lines can be classified in:
Simple lines are made in just one stroke, straight or curve. They are perceived at just one look.
Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.
We make broken lines with fragments of straight
lines
We make undulating lines with fragments of curve
lines.
We make mixed lines with fragments of straight
and curve lines.
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions:
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions: vertical,
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions: vertical, horizontal
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions: vertical, horizontal, oblique
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions: vertical, horizontal, oblique or curve.
EXPRESSIVE POSSIBILITIES OF LINESWe can draw lines in different directions: vertical, horizontal, oblique or curve.
Each of them has a different expressive value.
EXPRESSIVE POSSIBILITIES OF LINES
EXPRESSIVE POSSIBILITIES OF LINES
Vertical lines:
EXPRESSIVE POSSIBILITIES OF LINES
Vertical lines:
transmits an upward or a downward movement, depending on how we use them.
It gives us a visual sensation of growing, balance and power.
growing
balance
power
growing
growing
growing balance
growing balance
growing balance power
growing balance power
strong
EXPRESSIVE POSSIBILITIES OF LINES
EXPRESSIVE POSSIBILITIES OF LINES
Horizontal lines:
EXPRESSIVE POSSIBILITIES OF LINES
Horizontal lines:
horizontal direction gives a visual sensation of stability, calm and serenity, but an excessive use can give a dull effect.
stability
calm
serenity
Stability
Stability
Stability
Calm
Stability
Calm
Stability
Calm
Serenity
EXPRESSIVE POSSIBILITIES OF LINES
EXPRESSIVE POSSIBILITIES OF LINES
Obliques lines :
EXPRESSIVE POSSIBILITIES OF LINES
Obliques lines :
transmit more instability and movement. These
two aspects give slanting lines a visual
sensation of dynamism.
instability
movement
dyna
mism
Instability
Instability
Instability movement
Instability movement
Instability movement dynamism
EXPRESSIVE POSSIBILITIES OF LINES
EXPRESSIVE POSSIBILITIES OF LINES
Curve lines :
EXPRESSIVE POSSIBILITIES OF LINES
Curve lines :
Transmit a visual sensation of
movement and joy.
movement
joy
THE PLANE
THE PLANE
A plane is a two-dimension surface, length and width, and it has a position and a direction in space.
THE PLANE
THE PLANEThere are several ways to describe the limits of a plane: This plane is delimitated by an contour line. This plane is delimitated by an contour line
THE PLANEThere are several ways to describe the limits of a plane:
THE PLANEThere are several ways to describe the limits of a plane:
This plane is delimitated by an outline
THE PLANEThere are several ways to describe the limits of a plane:
This plane is delimitated by an outline
THE PLANEThere are several ways to describe the limits of a plane:
This plane is delimitated by an outline
THE PLANEThere are several ways to describe the limits of a plane:
This plane is delimitated by an outline
THE PLANEThere are several ways to describe the limits of a plane:
This plane is delimitated by an outline
There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
THE PLANE
There are several ways to describe the limits of a plane: THE PLANE
There are several ways to describe the limits of a plane: THE PLANE
The surface of this plane is defined by very little
dots...
There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
THE PLANE
The surface of this plane is defined by very little
dots...
or by a texture
There are several ways to describe the limits of a plane: The surface of this plane is defined by very little
dots...
or by a texture
or by lines
THE PLANE
There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
THE PLANE
There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.
To define this plane, we use a coloured surface
THE PLANE
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANE
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANEWe have two types:
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANEWe have two types:
Geometric: they can transmit strong visual sensations of order and stability.
Organic: They give a visual sensation of more dynamism than geometric forms.
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANEWe have two types:
Geometric: they can transmit strong visual sensations of order and stability.
Organic: They give a visual sensation of more dynamism than geometric forms.
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANEWe have two types:
Geometric: they can transmit strong visual sensations of order and stability.
Organic: They give a visual sensation of more dynamism than geometric forms.
CLASSIFYING PLANE FORMS
This plane is delimitated by an contour line.
THE PLANEWe have two types:
Geometric: they can transmit strong visual sensations of order and stability.
Organic: They give a visual sensation of more dynamism than geometric forms.
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line. One of the main functions of plane forms is to create
volume when they are together with other plane forms in different directions.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Observe: if we join planes in different directions, we get a visual sensation of volume.
Other plastic elements such as changes in colour and size
contribute to this.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions:
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length, width
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length, width
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length, width and depth
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length, width and depth
This plane is delimitated by an contour line.
THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE
Volume has three dimensions: length, width and depth
The plane is most suitable to transmit visual sensations such as volume, chiaroscuro, depth, etc. These qualities make of it a fundamental part for the elaboration of artistic work in any
of their means of expression.
THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS
The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.
THE PLANEEXPRESSIVE CAPACITY OF PLANE FORMS
The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.
THE TEXTURE
THE TEXTURETexture is the quality of surfaces due to the material structure of
the object. It can transmit different visual and tactile
sensations.
We can distinguish
flatTEXTURE
We can distinguish
flatTEXTURE
We can distinguish
flatTEXTURE
We can distinguish
FLATTEXTURE
We can distinguish
FLATTEXTURE
smooth
We can distinguish
FLATTEXTURE
smooth
We can distinguish
FLATTEXTURE
We can distinguish
FLATTEXTURE
granulated
We can distinguish
FLATTEXTURE
granulated
We can distinguish
FLATTEXTURE
We can distinguish
FLATTEXTURE
rough
We can distinguish
FLATTEXTURE
rough
the surface of silk is flat and smooth
the surface of the bark of a tree is rough and ridged
Artists use textures as
another plastic
element to reach more expressivity
in their works
NATURAL AND ARTIFICIAL TEXTURES
NATURAL AND ARTIFICIAL TEXTURESAccording to their origin we can classify textures into:
NATURAL AND ARTIFICIAL TEXTURESAccording to their origin we can classify textures into:
Natural textures
NATURAL AND ARTIFICIAL TEXTURESAccording to their origin we can classify textures into:
Natural textures
Artificial textures
NATURAL AND ARTIFICIAL TEXTURES
NATURAL AND ARTIFICIAL TEXTURESNatural textures: those present in nature.
NATURAL AND ARTIFICIAL TEXTURESArtificial textures: those manually or mechanically elaborated by man.
TACTILE
TEXTURES
We can perceive them through the sense of
touch. In plastic representation -
painting or sculpture-, we can perceive a lot
of tactile effects combining different materials or making
surfaces with the relief we want.
TACTILE
TEXTURES
VISUAL TEXTURES
VISUAL TEXTURES
VISUAL TEXTURES
We perceive visual textures only with our
sight. We also call them graphic textures, because they are photographs or
representations on paper or on other materials.