1. THE ELEMENTS OF DESIGN

2. Elements of Design
Line
Shape
Mass
Light
Value
Color
Texture
Space

3. Elements of Design *added element
Line: path of a moving dot.
Actual & Implied (Contour/Outline
Direction & Movement
Hatching, Cross-hatching, Stippling)
Shape: (2-D) enclosed line
Actual & Implied
Mass/Form: (3-D) depth, height & width
Figure (positive) / Ground (negative)
Figure-Ground Reversal
* TIME AND MOTION: Kinetic art,
Mobiles
Light: Digital & electronic
Actual & Implied
Value: Relative light & dark
Chiaroscuro( modeling from light to dark)
Color: Hue
Analogous (warm & cool)
Primary
Secondary
Complementary
Pointillism: optical mixing
Texture: Actual & Visual
Space: Actual, Implied Space,
Linear Perspective

4. Line implies direction and movement.

5. Judy Pfaff. Cirque, cirque. 1992-95
Judy Pfaff. Cirque, cirque Construction of steel and aluminum tubes, handblown glass orbs, etc. Pennsylannia Convention Center, Philadelphia.

6. Line as contour and outlines Contour lines gives the illusion of three dimensional form. Outline describes only the outer edge.

7. Thomas Eakins. The Biglin Brothers racing, 1873-74
Thomas Eakins. The Biglin Brothers racing, oil on canvas, 24 1/8 x 36 1/8

8. Shape and Mass A Shape is a two-dimensional form.
Mass is a three dimensional form that occupies a volume of space.
Mass & shape can be divided into two categories, geometric and organic
Geometric Shapes: square, triangle, hexagon, circle,etc.
Organic Shapes: irregular & evoking living forms in nature.

9. Raphael. The Madonna of the Meadows. 1505. Oil on panel, 44 ½ x 34 ¼”

10. James Turrell. Light James Turrell
James Turrell. Light James Turrell. Live Oak Friends Meeting of Houston, Texas “skyspaces”

11. Light and Shadow Value scale light to dark
Chiaroscuro, Italian word for light/dark.
Modeling from light to dark

12. Leonardo da Vinci. The Virgin and Saint Anne with the Christ child and John the Baptist. Charcoal, black & white chalk on brown paper

14. Charles White. Untitled. 1979. Etching, 4 x 5 ½”.

15. Color Color Theory traced to Isaac Newton
Newton prism –red, orange, yellow, green, blue, and violet
Color wheel
Primary colors-red, yellow and blue
Secondary colors- orange, green, and violet
Tertiary colors mixed by primary colors and an adjacent secondary color
Complementary colors are directly opposite on the color wheel

18. Color Properties: hue, value & intensity
Hue is the name of the color
Value refers to relative lightness or darkness.
Tint is adding white to a color.
Shade is adding black to a color.
Intensity—also called chroma or saturation—refers to the purity of the color.

19. Colors of Light & Colors of Pigment

20. Color harmony
Color Scheme is the selective use of two or more colors in a single composition.
Monochromatic harmonies are composed of variations on the same hue, often with different value and intensity.
Complementary harmonies directly opposite
Analogous harmonies colors adjacent to one another on the color wheel.
Restricted palette
Open palette

21. Monochromatic Pierre-Auguste Renoir: Portrait of the Actress Jeanne Samary Oil on canvas, 5’ 8 ¼ x 3’ 4 ¼” James Abbott McNeill Whistler. Nocturne in Blue and Gold( Old Battersea Bridge). C oil on canvas 23 3/8” x 18 3/8”

22. Analogous Color Stephen Mueller. Madrugadra 2. 2001
Analogous Color Stephen Mueller. Madrugadra Acrylics on canvas, 70 x 80”.

23. Optical color mixing George Seurat. A Sunday on La Grande Jatte
Optical color mixing George Seurat. A Sunday on La Grande Jatte Oil on canvas, 6’9 ¾” x 10’ 1 ¾”

25. Chuck Close. Bill. 1990. Oil on canvas, 6 x 5’.

26. Emotional Effects of Color James Abbott McNeill Whistler
Emotional Effects of Color James Abbott McNeill Whistler. Nocturne in Blue and Gold( Old Battersea Bridge). C oil on canvas 23 3/8” x 18 3/8

27. Edvard Munch. The Scream. 1893
Edvard Munch. The Scream Tempera and casein on cardboard, 36 x 29”

28. Texture & Pattern
Texture refers to surface quality – a perception of smooth or rough, flat or bumpy, etc.
Actual Texture is literally tactile, a quality experienced through touch.
Visual Texture in painting or drawing is with markings our eyes associate with texture are there, whether they actually depict texture or not.

29. Pattern is any decorative , repetitive motif or design. Samuel Fosso
Pattern is any decorative , repetitive motif or design. Samuel Fosso. The Chief: He who sold Africa to the Colonists, from Self-Portraits I-V. 1997

30. Space
Three dimensional space the actual space in which our bodies stand.
Implied Space: Suggesting Depth in Two dimensions
Picture plane
Linear Perspective

35. Leonardo da Vinci. The Last Supper( after restoration). C 1495-97
Leonardo da Vinci. The Last Supper( after restoration). C Fresco, 15’1 1/8 ” x 28’ 10 ½ ”

36. FORESHORTENING
Applying linear perspective where form recedes into space to animals & humans.
The use of a grid to aid in capturing foreshortening.
Foreshortening refers to the visual effect or optical illusion that an object or distance is shorter than it actually is because it is angled toward the viewer.

37. Hans Baldung Grien. The Groom and the Witch. c. 1540
Hans Baldung Grien. The Groom and the Witch. c Woodcut, image 13 15/16 x 7 1/8”

38. Albert Durer. Draftsman Drawing a Reclining Nude, from the Art of Measurement. c, Woodcut, 3 x 8 ¼”

39. Atmospheric Perspective
Atmospheric perspective is based on the idea/observation that distant objects appear less distinct, paler; and bluer than nearby objects due to the way moisture in the air.

40. Albert Bierstadt. The Rocky Monutains Lander’s Peak. 1863
Albert Bierstadt. The Rocky Monutains Lander’s Peak Oil on canvas, 6’1 ¼” x 10’ ¾”

41. TIME AND MOTION
Time became a conscious element in painting with the works of the Impressionist painter Claude Monet.
The Futurist art movement observed motion, speed, energy, and daring.
Mobiles are sculptures in motion and are the creation of Alexander Calder.
Kinetic art from the Greek word kinetos, moving.

42. Futurism: Giacomo Balla. Dynamism of a Dog on a Leash. 1912
Futurism: Giacomo Balla. Dynamism of a Dog on a Leash Oil on canvas, 35 3/8 x 43 ¼”

43. Alexander Calder. Southern Cross. 1963
Alexander Calder. Southern Cross Sheet metal, rod, bolts, and paint; height 20’3”

44. Eve Sussman. 89 seconds at Alcazar. Single channel video.

45. Jennifer Steinkamp. Dervish, detail. 2004
Jennifer Steinkamp. Dervish, detail Video installation at Lehmann Maupin Gallery, New York, January 10-February 14, 2004; each tree 12 x 16’