1. PART TWO Chapter 4: The Visual Elements
The visual elements of art include:
1. Line
2. Shape and Mass
3. Light
4. Color
5. Texture and Pattern
6. Space
7. Time and Motion
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2. Key Terms for this chapter include:
Line: contour, outline
Shape and Mass: geometric/organic shapes, figure/ground, positive/negative shapes
Light: value, modeling, chiaroscuro, stippling, hatching, cross-hatching
Color: reflected/refracted light, hue, value, intensity, tint, shade, monochromatic, complementary, analogous, triadic, simultaneous contrast, afterimage, pointillism
Texture and Pattern: actual/visual texture
Space: picture plane, perspective (linear, 1-point, 2-point, atmosphere, isometric), foreshortening
Time and Motion: kinetic art
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3. The Visual Elements
The visual elements help us analyze our visual experiences. These 7 terms are also used as the fundamental language for the discussion about works of art.
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4. LINE: Contour and Outline
Line is defined as the path of moving point.
Outline: Defines a 2-dimensional shape.
Contour lines: Record boundaries and define more specifically what shapes represent.
Discussion Question:
How do you use line each and every day in your life?
Insert visual(s).
Suggestion: 4.4 Sequence 6 from Flow Chart for “The Perfect Ride”
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5. Sequence 6 from Flow Chart of the “Perfect Ride” Animation, Jennifer Pastor, 2000
Contour lines are boundaries of 3d forms. Contour lines represent a series of drawings that show the entire ride from beginning to end.

6. LINE: Direction and Movement
Artists use line to direct and move our eyes around a work of art.
Vertical lines seem assertive, or denote growth & strength.
Horizontal lines appear calm.
Diagonal lines are the most dramatic and imply action.
Insert visual(s).
Suggestions:
4.7 Linear Analysis of The Biglin Brothers Racing
4.9 Linear Analysis of The Raft of Medusa
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7. The Biglin Brothers Racing, Thomas Eakins, 1873-4
Stabilized by long horizontal of distant shore. Slight diagonals of boats and more intense diagonals of men’s arms. Arms and oars set boat n motion. Slight angles in treetops and clouds. Edges of mens backs also diagonal.

8. The Raft of the Medusa, Theodore Gericault, 1818-19
Based on actual wreck of French govt ship Medusa off North Africa in Only few survived by clinging to raft. They have sighted rescue ship. Two conflicting points of interest: Survivors limbs point upward to figure waving shirt to attract rescuer. Rope leads eye to sail where we see wind is taking raft away from rescue.

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LINE: Implied Lines
Dotted lines and directional cues such as a finger pointing in a specific direction creating a line of sight are examples of implied lines in action.
Discussion Topic:
Have students note physical examples of implied line after they leave the classroom and during the next class share their experiences of where and how these implied lines guided their visual experience.
Insert visual(s).
Suggestion: 4.11 Linear Analysis of The Embarkation for Cythera
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10. The Embarkation for Cythera, Jean-Antoine Watteau, 1718-19
Implied line moves our eye starting with figure at right through line of people to gauzy air where cupids fly. Cythera is mythological island of love. Watteau painted romantic scenes of aristocratic men and women in leafy settings. (Rococo period). Only interruptions are to looks back by some of the figures suggesting melancholy. Similar to life, we follow the look of others.

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SHAPE and MASS
Shape and mass can be created by line, texture and color change.
Shape: 2-dimensional form that occupies an area with identifiable boundaries.
Mass: 3-dimensional form that occupies a volume of space with identifiable boundaries.
Insert visual(s).
Suggestions:
4.12 The Raven and the First Men
4.13 Chanter
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12. The Raven and the First Men, Bill Reid, 1980.6’2”
Chanter, Emmi Whitehorse, 1991
Raven depicts birth of human as told in creation story of Haida. Giant bird is spirit hero called Raven. Light and shadow of the 3d form reveal mass and form and is easily detectable. Geometric and organic shapes in Canter seem to disappear and reappear from background. Figure-ground shift creating a fluid space.

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SHAPE and MASS
The 2 broad categories of shapes and masses are geometric and organic.
Geometric forms can be mathematically defined.
Organic forms are irregular and suggest forms found in nature.
Discussion Question:
Do you prefer geometric or organic forms in works of art? Why?
Can geometric forms express nature and can organic forms express math? Give examples.
Insert visual(s).
Suggestion: 4.14 circular shield with stepped fret design
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14. Circular shield with stepped fret design, Aztec, 1521

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SHAPE and MASS
The figure and the ground are how we perceive shapes and masses within a work of art.
Figure: the positive shape on which visual focus is placed.
Ground: the negative shape or area sometimes considered the background of a work of art.
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SHAPE and MASS
Artists use implied shapes to help unify their compositions. Implied shapes can help to create a sense of order in a work of art.
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17. The Madonna of the Meadows, Raphael, 1505
Use of implied lines Triangular composition popular in Renaissance. Gazes of eyes direct our eyes.

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LIGHT
The fundamental purpose of light is to show us the material world. It helps us understand forms and spatial relationships.
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19. DW 68 VEN MCASD 11, Doug Wheeler, Installation, 1968/2011
Wheeler spent childhood in open spaces in Southwest checking fences. Began as dark and the daylight. Space is very important, no edges, corners, or distractions. Concept is to stare at space and dematerialize and record with peripheral vision.

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LIGHT
Both actual and illusionistic light are used and are important for artwork.
Actual light: existing light either natural or man-made.
Illusionistic light: the impression of light created by the artist.
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LIGHT: Implied
There are several value techniques that artists use to imply light within works of art. These techniques result in the illusion of shape and mass of objects.
Shading/Modeling: Using chiaroscuro or values to create mass.
Value: Relative lightness or darkness.
Chiaroscuro: Italian for light/dark; contrasts of light and shadow.
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LIGHT: Implied
There are several value techniques that artists use to imply light within works of art. These techniques result in the illusion of shape and mass of objects.
Hatching: Closely spaced parallel lines.
Cross-hatching: Parallel lines intersect like a checkerboard.
Stippling: Dots spaced close or far apart to suggest darker or lighter areas.
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23. Implied Light Untitled, Charles White, 1979
Chiaroscuro (Italian for light/dark) is demonstrated through modeling and in image on left and demonstrated effectively in Renaissance art.
Hatching and cross-hatching are used to show light. Stippling (placement of dots) can also create implied light.
Untitled, Charles White, 1979
The Virgin and Saint Anne with the Christ Child and John the Baptist, Leonardo da Vinci,

24. COLOR: Color Theory
Color Wheel: Based on the refracted colors observed by Sir Isaac Newton when light was directed through a prism.
Primary Colors:
Yellow, Red, Blue
Secondary Colors:
Orange, Green, Violet
Intermediate Colors (total of 6):
Also called tertiary; Mix a primary and adjacent secondary together
Color Wheel
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25. COLOR: Color Properties
Hue: Name of the color
Value: Relative lightness or darkness
Intensity: (Chroma, Saturation)
Relative purity of a color
Discussion Question:
Choose any primary or secondary color. Which would you be visually attracted to first. A highly saturated version of this color or a tint/shade of this color? Support your reasoning.
Color, Value, and Intensity
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26. COLOR: Color Properties
Warm colors: located on red-orange side of the color wheel
Cool colors: located on the blue-green side of the color wheel.
Tint: adding white to a pigmented color.
Shade: adding black to a color
Discussion question:
Which part of the United States would you associate with the warm side of the color wheel and why?
Which part of the U.S. would you associate with the cool side of the color wheel and why?
Color Wheel
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27. COLOR: Light and Pigment
Additive Color: Colors of light mixed to produce still lighter colors.
Discussion Topic:
Visually demonstrate the effect of light by having the students observe the classroom or their surroundings with the lights on and then observe the color in color by switching off the lights. Have them note the very real changes in color and how an intense strong color is diminished or altered by a change in lighting.
Light primaries and their additive mixtures
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28. COLOR: Light and Pigment
Subtractive Color: Pigments of different hues mixed together result in darker and duller colors.
Discussion Topic:
Have the students bring in some brightly colored crayons or markers and do some simple color mixing in class so that they can personally experience subtractive color operating.
Pigment primaries and their subtractive mixtures.
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29. COLOR: Color Harmonies
A color scheme is the selective use of or more colors in a single composition.
Monochromatic: Variations of the same hue.
Complementary: Hues directly opposite on the color wheel.
Analogous: Adjacent hues on the color wheel.
Triadic: 3 equidistant hues on the color wheel.
Discussion Question:
What would it be like to live in a world of complementary color? Analogous color? Monochromatic color?
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30. COLOR: Optical Effects
Simultaneous contrast: also called an afterimage.
Complementary color afterimage
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31. COLOR: Optical Effects
Pointillism: A technique of applying dots of pure color that are then mixed by our eyes to produce the illusion of color mixtures.
Optical Color Mixture: Color that is mixed by the eyes.
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32. Evening, Honfleur, Georges Seurat, 1886
Hendrix, Devorah Sperber, 2009
Seurat (Post-Impressionist) used complimentary colors on frame to make sky seem more luminous. Sperber uses spools of thread representing pixels. Original image is turned upside down and viewed through sphere that acts as a lens.

33. The Scream, Edward Munch, 1893
I sensed a shriek passing through nature --- I painted this picture. I painted the clouds as actual blood.
Why is sky red and swirling? Man screaming while others on bridge walk away.

34. TEXTURE and PATTERN
Texture and pattern are the perceived surface qualities of a work of art. They can be actual or implied.
Actual texture: A tactile experience.
Implied texture: An illusionary experience.
Pattern: Any decorative, repetitive motif or design.
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35. The Chief: He WhoSold Africa to the Colonists, Samuel Fosso, 1997

36. Prayer Mat, Mona Hatourn, 1995
Actual texture – dense field of brass pins glued into canvas backing. Refernce to Muslim prayer mat that are used 5 times daily to pray in direction of Mecca. Compass embedded in mat. Inflicting pain as sacrifice to God or religion as torment on person?

37. SPACE
Space interacts with other visual elements and helps give them definition. There exists both negative and positive space.
Three dimensional space has height, width, and depth.
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38. 3d space Nose, Alberto Giacommeti, 1947
Inspired by dying friend’s frail and hollow face

39. Reflection, Do Ho Suh, 2004
3d space created with inverted Korean entry gate juxtaposed against upright identical gate. Viewers see an inverted gate with a reflection overhead. Piece is about memory.

40. SPACE: Implied and Illusionistic
Two dimensional space has only height and width. There exists the picture plane and the illusion of the negative (ground) and positive (figure) space.
Implied Space: Includes overlapping and
position (foreground, middle-ground, background)
Illusionistic Space: Includes foreshortening, linear, isometric, and atmospheric perspective
Discussion Topic:
Have the students focus on the negative rather than the positive spaces in their surroundings. What do you see in the negative spaces and does it reframe your visual experience? Why is it difficult to place visually emphasis on negative space? Terms to know: vanishing point, horizon line, one point, two point.
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41. Basic principles of linear perspective
SPACE: Illusionistic
Linear Perspective
Basic principles of linear perspective
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42. The Last Supper, Leonardo da Vinci, 1495-97
Linear perspective – windows, door, tapestries. Direction of gaze directs our eyes. Passover meal where Jesus announces, “One of you will betray me.”
Judas (4th from right with money bag of 13 silver coins paid to hand over Jesus to authorities) knows it is he. Halo effect achieved with light window around Christ’s head.

43. Isometric Perspective Basic principles of isometric perspective
SPACE: Illusionistic
Isometric Perspective
Common in Chinese and Muslim painting. Similar to God’s eyeview. Parallel lines of form never converge.
Basic principles of isometric perspective
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44. The Rocky Mountains, Landers Peak, Albert Bierstadt, 1863
Atmospheric perspective is where objects farthest away are less distinct or detailed, hazy, cooler and lighter in color. Based on idea that particles of moisture and dust suspended in air scatter light, and blue scatters most. Things take on a bluish tinge as their distance increases.

45. SPACE: Illusionistic
Foreshortening: The affect of linear perspective when applied to objects and human forms within a work of art.
Atmospheric Perspective: As objects recede into the distance they become paler, bluer, and less distinct.
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46. The Groom and the Witch, Hans Baldung Grien, 1540
Draftsman Drawing a Reclining Nude, Albrecht Durer, 1527
Foreshortening means an object appears shorter when viewed as it comes toward you.

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TIME and MOTION
Time and motion have become increasingly important to art during the 20th and 21st centuries. There is more thought and emphasis placed on the nature of time in our modern world.
Kinetic art: Art that actually moves.
Discussion Question:
Why has man become so increasingly focused on speed and the passage of time in the modern world?
Has such focus improved the human race and the individual?
How can you increase your ability to spend time with art, even artwork that you dislike?
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48. Southern Cross, Alexander Calder, 1963
Kinetic art is art that moves. Southern Cross is a popular name for constellation called Crux that southern sea sailors used to guide them. It combines kinetic and stable art with top part (symbolizing night) moving with its weight and slight air current.

49. Bellamy, Richard Serra, 2001
An object to view and an a place to explore. 13’ tall, spiral path what is closed and dark at some points until viewer enters center where light is visible.

50. Soundsuit, Nick Cave, Performance art, made to be worn, costume for dance. First soundsuit made as response to brutal beating of Rodney King in early 1990s. Based on notion that “black man is discarded, devalued, etc. Chose discarded objects to create a costume that made one stand erect and want to dance. Identity/race was hidden.

51. Motion - Installation named for order of Sufi mystics known as whirling dervishes who enter into state of spiritual ecstacy by means of spinning dance. Tree was simulated to look like no specific tree. Virtual image is projected and twists and changes colors and seasons.

52. The Visual Elements: Summary
The Visual Elements and Key Terms:
Line: contour, outline
Shape and Mass: geometric/organic shapes, figure/ground, positive/negative shapes
Light: value, modeling, chiaroscuro, stippling, hatching, cross-hatching
Color: reflected/refracted light, palette, hue, value, and intensity, monochromatic, complementary, analogous, triadic, simultaneous contrast, afterimage, pointillism
Texture and Pattern: actual/visual texture
Space: picture plane, perspective (linear, 1-point, 2-point, atmosphere, isometric), foreshortening
Time and Motion: kinetic art
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