2. Elements of Art

3. What makes up an art work? The Elements of art

4. Elements of Art The composition of an art work is made up of the arrangement of the elements. These are known as the Elements of Art

5. Elements of Art COLORLINESHAPE SPACEVALUEFORM

6. COLOR

7. COLORCOLOR 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)

8. Primary colours Roy Lichtenstein

9. 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.

10. Complementary colours Gauguin

11. Complementary colours scheme

12. Monochromatic color scheme M.C. Escher

13. Colour schemes

14. Communicating with colour Cool colors recede - go away from you Van Gogh

15. Warm colors come toward the viewer (advance); Cool colors recede Mark Rothko

16. Rothko

17. VALUE

18. Value Pencil Value Scale

19. Value Stippling Value Scale

20. Line – The Obvious STRAIGHT HORIZONTAL VERTICAL DIAGONAL

21. LINE

22. Simple to Complex in terms of line...

24. Lines can be implied...

25. IMPLIED LINES Not really there but guide the eye or organize the image

26. Implied Line

27. SHAPE Late Gothic/ Early Renaissance from 1305 BOLD DIAGONAL Giotto, Pieta (Lamentation) fresco

28. Caravaggio The Calling of St. Matthew, 1599-1600

29. Gentileschi, Judith Slaying Holofernes, 1620

30. Diego Rivera, The Flower Carrier, 1935, 48x48 in. Note lines implied by directional gazes

31. Pierre-Auguste Renoir Le déjeuner des canotiers, 1880–1881 Oil on canvas, 129.5 × 172.7 cm

32. Morandi, Giorgio Still Life (The Blue Vase) 1920 Oil on canvas The blue lines point out... IMPLIED LINES

33. Morandi, Giorgio Still Life (The Blue Vase) 1920 Oil on canvas implied

34. Caravaggio, Supper at Emmaus, c.1601

35. Kenneth Noland, Thrust, 1963 45 x 45 in.

36. A VENETIAN WOMAN John Singer Sargent (American, b.1856, d.1925) 1882 oil on canvas 93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)

37. Barnett Newman, Dionysius, 1944, 67x49in.

38. Barnett Newman, Yellow Painting, 1949

39. Barnett Newman, Untitled (The Cry), 36x24in., ink on paper

40. Late Gothic/ Early Renaissance from 1305 BOLD DIAGONAL Giotto, Pieta (Lamentation) fresco

41. Caravaggio The Calling of St. Matthew, 1599-1600

42. Gentileschi, Judith Slaying Holofernes, 1620

43. IMPLIED LINES Not really there but guide the eye or organize the image

44. Diego Rivera, The Flower Carrier, 1935, 48x48 in. Note lines implied by directional gazes

45. Pierre-Auguste Renoir Le déjeuner des canotiers, 1880–1881 Oil on canvas, 129.5 × 172.7 cm

46. Morandi, Giorgio Still Life (The Blue Vase) 1920 Oil on canvas The blue lines point out... IMPLIED LINES

47. Morandi, Giorgio Still Life (The Blue Vase) 1920 Oil on canvas implied

48. Schiele, Egon Seated Girl 1911 Watercolor and pencil 48 x 31.5 cm

49. Caravaggio, Supper at Emmaus, c.1601

51. Kenneth Noland, Thrust, 1963 45 x 45 in.

52. A VENETIAN WOMAN John Singer Sargent (American, b.1856, d.1925) 1882 oil on canvas 93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)

53. Lines used to create emphasis

54. Lines can curve...

55. Hokusai, Katsushika The Great Wave Off Kanagawa From "Thirty-six Views of Mount Fuji" 1823-29 Color woodcut 10 x 15 in.

56. Jean Honore Fragonard, The Bathers, 1761

57. Cy Twombly, Untitled, 1970

58. This “artless” scribble Defines an area Creates an illusion of depth (volume)

59. Look again …

60. Brice Marden American, born Bronxville, New York, 1938 Cold Mountain 2, 1989-1991 Oil on linen, 108 1/8 x 144 1/4 in.

61. What lines lurk in this texture?

62. Jackson Pollock, Lavendar Mist No. 1, 1950

63. Consider the expressive quality of the jagged lines in this work...

64. Clyfford Still, 1957, No.1

65. Georgia O’Keeffe, Red, White and Blue, 1931

66. The Obvious Again STRAIGHT CURVED – SMOOTH, JAGGED

67. Johann Koerbecke German, c. 1420 - 1491 The Ascension, 1456/1457 tempera on panel, 92.7 x 64.8 cm (36 1/2 x 25 1/2 in.) Curved, smooth Jagged Jagged, zig-zag straight

68. Clyfford Still American, 1904 - 1980 1948-C, (1948) Oil on canvas 80 7/8 x 68 3/4 in. complex contour lines formed by these complex shapes

69. Lines create or imply shapes Shapes can be open or closed Lines around a shape are CONTOUR lines

70. SHAPE open/closed geometric/ biomorphic or organic

71. Picasso, Femme an open shape, a biomorphic form

72. Frank Stella, Wolfeboro II, 1966 closed, geometric

73. THE UPSTAIRS Charles Sheeler (American, b.1883, d.1965) 1938 oil on canvas 19 1/2 x 12 3/4 in. (49.5 x 32.4 cm) Lines create planes; planes suggest volume

74. VOLUME Implied in painting; actual in sculpture LINE  SHAPE  VOLUME

75. Kenneth Snelson Rador, 1975 brass & stainless steel 21 x 17 x 6 inches

76. Kenneth Snelson American, born Pendleton, Oregon, 1927 Needle Tower, 1968 Aluminum and stainless steel 720 x 243-1/2 x 213-3/8 in.

78. Rodin Balzac

79. Frank Lloyd Wright, Fallingwater, 1936-7

80. Volumes CANCAN C R E A T E LINES

81. Frank Lloyd Wright, Fallingwater, 1936-37

82. Frank Gehry, Disney Concert Hall

85. Giusti Garden, Verona, Italy

86. Henry Moore Knife Edge Mirror Two Piece 1976-1978, bronze 534.5 x 721.1 x 363.1 cm (210 1/2 x 284 x 143 in.)

87. Bird in Space, 1923 Constantin Brancusi (French, born Romania, 1876–1957) Marble; (with base) H. 56-3/4, Diam. 6-1/2 in. Bird, 1940

88. Brancusi Adam and Eve 1921

89. BOTTOM LINE The concept of line plays a role in compositions of music and art, ranging from the simple to the complex.

90. LINE What 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

91. SPACE

92. Space Linear Perspective

93. Positive and Negative Space

94. SPACE Brett Whiteley Larger lines in the foreground Smaller lines in the back ground give an illusion of distances, space and perspective.

95. FORM

96. Form

99. Texture

101. COLORCOLOR 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.

102. 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

103. Line Clement Meadmore

104. Line can create volume M.C. Escher

105. Lines can create movement M.C. Escher

106. Lines can create movement Brett Whiteley

107. Brett Whiteley

109. Larger lines in the foreground Smaller lines in the back ground give an illusion of distances, space and perspective.

110. Lines create pattern and shape John Olsen

111. 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.

112. Rick Amor

113. Tone Rick Amor Tone can be: –subtle –strong –contrasting

114. Value Hatching and cross-hatching Rembrandt

115. Value Mattia Preti How does value attract our attention to the focal point of the painting? (EMPHASIS)

116. Texture Grained Rough Corrugated Smooth Furry Shiny prickly

117. Texture Van Gogh

118. 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.

119. Implied / Simulated texture imitates real texture Max Ernst

120. Real texture - the feel of a surface Claus Oldenburg

121. 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.

122. Shape Henri Matisse

123. 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)

124. 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.

125. Principles of Design These are the nine main principles of design Contrast Repetition Movement Rhythm Direction Space Balance Proportion Emphasis Unity

126. Principles of Art The artists use the principles to combine the elements in a satisfying way.

127. 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

128. Degas Space

129. 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

130. Proportion The relationship between the size of the objects within an artwork. Eugene von Guerard

131. Emphasis An artist can create a centre of interest by allowing one area of an art work to dominate. Picasso

132. Contrast Picasso “Girl Mirror”

133. Repetition John Brack - “Collins St 5pm”

134. Rhythm Richard Mock