2. ELEMENTS OF ART
• Are the visual, tactile, spatial (and sometimes the sonic)
sensory qualities used when creating or talking about
2D, 3D and time based artworks.
• Arts elements are traditionally associated with particular
arts disciplines and art forms. In visual arts, these
elements include…
3. LINE
• Line is a mark on a
surface that describes
a shape or outline. It
can create texture
and can be thick and
thin.
• ‘Cataract 3’ by Bridget
Riley, 1967. PVA on
canvas.
13. SPACE
• . • There are 2 types of
space, positive and
negative.
• Positive space is the
space taken up an object
in the area.
• Negative space is the
space a ro und the object,
or space that is no t taken
up by an object.
14. SPACE
• Depth is created by a visual
perspective used to give the illusion
of depth or distance on a flat surface.
Sometimes depth is included as part
of s p a c e .
– Line a r Pe rs p e c tive is a way
of showing depth where
distant objects are made
proportionally smaller than
nearer ones.
– Horizon Lines and
Vanishing Points determine
the scale of objects within
15. TEXTURE
• There are 2 types of
texture used to talk
about the surface
qualities of artworks,
used to describe the
roughness or
smoothness in
objects and surfaces
Detail of ‘Sunflowers’ by Van
Gogh, (1888, oil on canvas)
showing texture of impasto
technique.
16. VISUAL TEXTURE
• Visual Texture is
the illus io n of
texture, created on
a flat surface.
Graphite pencil drawings of fur.
Graphite pencil and charcoal
drawing of glass by Koo
Hyunhee, a year 12 student
from Westfield High (America)
17. TACTILE TEXURE
Tactile texture is
the roughness or
smoothness of a
surface.
In this image the
ridges and peaks of
thickly applied paint
in works using a
technique called
Detail of ‘Sunflowers’ by Van im p a s to .
Gogh, (1888, oil on canvas)
showing texture of impasto
technique.
18.
19.
20.
21.
22. COLOR
• Refers to specific hues (pure colors without tint
or shade, which are created by adding white or
black pigments respectively), and has three
properties
CHROMA
INTENSITY
VALUE
23. CHROMA/INTENSITY
Chrom is
a
about how
vivid colors
are perceived.
Essentially,
it’s a measure
of a color’s
purity
compared to
grey.
24. CHROMA/INTENSITY
The brightness or dullness of a color is
referred to as the color’s intensity.
A pure color is high intensity, whereas a
color that has been mixed with it’s
complementary color is called a low
intensity color.
25. VALUE
Value (sometimes called ‘tone’) is
concerned with the LIGHTNESS and
DARKNESS of a color and is achieved
by adding white or black to a color to
create tints (by adding white) and
s ha d e s (by adding black).
31. FORM
• Form is a 3D object
having volume and
thickness.
• The illusion of form
(volume and
thickness) can be
implied with light and
shade, but true 3D
form can be viewed
from multiple angles,
as an object in
physical space.
32. MOVEMENT
• Refers to a visual
sense of motion used
to establish the flow
of the composition
from one area to
another.
• In this sculpture the
artist makes effective
use of movement.
The eye is drawn
through the form by
the angles of the arm,
legs and torso, and
33. COMPOSITION
• The arrangement/placement of
arts elements according to visual
principles. Examples of formal
compositional devices are the ‘rule
of thirds’, and the ‘golden section’.
• The image at the top depicts a
photograph composed using the
traditional ‘golden mean’
compositional framework. In this
type of composition, places where
the guidelines intersect are key
points for placing important
elements of your image.
• The image at the bottom depicts a
photograph composed using the
‘rule of thirds’ compositional
framework.
34. PRINCIPLES OF ART
The ways that art elements are used,
arranged, or organized to create
artworks.
Arts principles are also referred to as
‘compositional’ or ‘structural’ devices
or conventions. They include:
35. BALANCE
• Refers to the way in
which visual weight is
distributed throughout the
art piece. A composition
can be symmetrically or
asymmetrically balanced,
which means that both
sides of an image are
visually equal, or
unequal, respectively.
• The top image shows the
difference between
symmetrical and
asymmetrical balance,
while the image at the
bottom shows
‘approximate symmetry’
59. HARMONY
• When visual elements
within an artwork interact
well together in an
aesthetically pleasing
manner.
• This principle is closely
related to unity , and often
concerned with
combining similar art
elements to create a
pleasing appearance.
60. CONTRAST
• The difference between
two things.
• High contrast would be
the difference between
black and white or bright
yellow and dark purple.
• Low contrast would be
the difference between
middle value colours and
greys.
• Contrast can also apply
to size, shape, colour and
texture etc.
61. SCALE
• Scale is the size or
apparent size of an
object in relation to
other objects and
it’s environment.
• Relative to other
objects.
62. PROPORTION
• Refers to the way that
elements and objects
work together in an
artwork. Using
proportion, artists can
make sure that the
different parts of an
artwork make sense
within their
composition.
The Vitruv ia n M n a
Le o na rd o Da Vinc i,
C. 1 48 7 . Pe n a nd ink with wa s h o ve r m e ta lp o int
64. HIERARCY
• Refers to the way
objects and figures
are placed to show
relative importance of
those objects or
figures.
• In this image, the
cyclist is at the top of
the visual hierarchy,
then the shadows of
the other cyclists and
then the landscape
which serves as the
65. Fra Filippo Lippi.
Sa int La wre nc e
Enthro ne d with Sa ints
a nd Do no rs .
c. Late 1440s
66. EMPHASIS
• Emphasis is produced by
visually stressing the
importance of one
element over another in
order to create a sense of
hierarchy to control where
the viewer looks first.
Areas of emphasis may
be planned using
compositional devices
such as the ‘rule of
thirds’, or created using
color and so on.
Henri de Toulouse Lautrec - "At
the Moulin Rouge", 1892/1895 Oil
on Canvas
67. VARIATION
• A device used to
make key areas stand
out, achieved by
using differing lines,
shapes, and colors
within the artwork.
• This principle can be
used to create
movement and direct
the eye of the viewer
through the artwork.
In this image, the
variations displayed
are primarily color,
shape and texture.
68. VARIATION (CONT’D)
• For example, if a
warm orange dot is
placed on an artwork
that is mostly cool
colors, the eye of the
viewer is drawn to the
orange spot.
69. ABSTRACTION
The
‘Riesenrad’ • Refers to the
ferris wheel
at the
deliberate departure
Prater, from natural
Vienna appearances.
• Images are simplified,
Abstracted modified or changed
image of to varying degrees to
ferris wheel-
details emphasize certain
removed to qualities or content, or
emphasise
line and
to convey meaning.
shape. • DIFFERENT than
non-representational
art.
70. CROPPING
• When a selected
image is improved by
the removal of the
outer parts to improve
framing, accentuate
the subject, mood or
drama of a work, or to
alter the aspect ratio.
71. MOVEMENT & RHYTHM
• By creating
movement, you are
able to control where
the viewer looks in
your image, and keep
them looking at your
image for longer.
• How has the artist led
our eyes around the
‘Reptiles’, M. C. Escher, 1943, Lithograph. image?
Contour Line: Describes the outside and inside edges of an object. This lines don’t actually exist, but delineate changes in color, mark edges and describe interior areas of texture or changes in form.
On left, contour line drawing exhibits precise attention to edges and details…accuracy of observation. On right, does not use precise contour lines, but gesture lines that suggest the mass and form of his head. We can see the movement of the hand.
Gesture lines are used when describing shape is less important than showing action or pose. Line is free…drawn quickly and spontaneously. In this drawing, some contours are suggested, but the stance and proportion of the pose are predominant. Both types of drawing styles can be used simultaneously.
Negative Space/Positive Shape -Figure/Ground -Both elements are thought through and planned -Subject is focal point, but negative areas are equally important
Figure-Ground Reversal
Figure-Ground Reversal
Richard pearse
Low-Value Contrast
High-Value Contrast
Value Pattern : The arrangement and the amount of variation in light and dark, independent of the colors used. When value contrast is minimized and all the values are within a limited range with only small variation… HIGH KEY=Composition dominated by lights LOW KEY=Composition dominated by darks Here LOW KEY…dominated by darks, dramatic, theatrical. Works with subject matter…typical of Baroque artists
Value Used to suggest volume or space Chiaroscuro : During the Renaissance, this term was coined to describe the artistic device of using light and dark to imply depth and volume in a painting or drawing. -Combination of the two Italian words “chiaro”, meaning light, and “scuro”, the word for dark. -Characterized by strong contrasts between light and dark, usually bold contrasts affecting a whole composition
Symmetrical Balance : repeated elements on both sides of the axis…also called Bilateral Symmetry…MIRROR IMAGE. -Static balance -Formal balance -Feeling of permanence, strength, stability -Order -Present in government buildings, churches
Symmetrical Balance is rare in photography and painting, unlike architecture. Symmetrical Compositions Immediate creation and emphasis of a focal point.
Approximate Symmetry…slight differences on either side of the axis
Radial Balance…mirror image on all axes
Spirograph! String art! Doily!
Asymmetrical Balance : Balance is achieved with dissimilar objects that have equal visual weight or equal eye attraction. Informal balance : More casual approach; appears less planned (though is untrue)… -Involves more complex considerations and more subtle factors.
Asymmetrical Balance by Value : Dissimilar value areas are equally interesting to the eye -A darker, smaller element is visually equal to a lighter, larger one.
-A darker, smaller element is visually equal to a lighter, larger one.
Asymmetrical Balance by Color : A smaller amount of one color can balance a larger area of another color
Asymmetrical Balance by Color : A smaller amount of one color can balance a larger area of another color
Asymmetrical Balance by Color : A smaller amount of one color can balance a larger area of another color
Asymmetrical Balance by Shape…a small, complicated shape is balanced by a larger, more stable shape.
Asymmetrical Balance by Shape…a small, complicated shape is balanced by a larger, more stable shape. The curvilinear shape of the chair is balanced by the many rectilinear shapes of the window sills.
Asymmetrical Balance by Texture/Pattern…Large areas of pattern are balanced by smaller areas of flat, smooth texture.
Asymmetrical Balance by Texture/Pattern…Large areas with no pattern are balanced by smaller areas of decorative pattern.
Asymmetrical Balance by Texture/Pattern…Large areas with no pattern are balanced by smaller areas of decorative pattern.
Asymmetry by Position & Eye Direction : A large shape placed near the middle of a design can be balanced by a smaller shape placed toward the outer edge.
Asymmetry by Position & Eye Direction : A large shape placed near the middle of a design can be balanced by a smaller shape placed toward the outer edge.
Asymmetry by Position & Eye Direction : A large shape placed near the middle of a design can be balanced by a smaller shape placed toward the outer edge.
Asymmetry by Position & Eye Direction : A large shape placed near the middle of a design can be balanced by a smaller shape placed toward the outer edge…connected by eye direction between Mary and Gabriel
Focal point : A point of emphasis that can attract attention and encourage the viewer to look closer. -Here the turtle is emphasized by the contrast of color and size, as well as its isolation…actual and implied lines also direct us to it. -Several focal points can turn the design into a “3-ring circus”, leaving the viewer in confusion…WHERE EVERYTHING IS EMPHASIZED, NOTHING IS EMPHASIZED.
Emphasis by Contrast : as a rule, focal point results when one element differs from the others. Whatever interrupts an overall feeling or pattern automatically attracts the eye by this difference. -Here, composition is dominated by distorted, expressionistic faces. His realistic self-portrait differs in its execution
Emphasis by Isolation : Simply by being set off by itself, it grabs our attention. This is contrast, of course, by it is contrast by placement, not form. -The doctor and the foreground figures contrast by value from the background figures, but their isolation in the composition’s corner gives extra emphasis to the doctor.
Power of Unusual Scale
Scale and proportion are closely tied to emphasis and focal point. Hieratic Scaling : Visual scale was often related to thematic importance
Rhythm : Based on repetition…involves a clear repetition of elements that are the same or only slightly modified.
Legato (connecting & flowing) vs. Stacatto (abrupt)
